Subject: Amy send me this link

From: "Wendell Z." <[email-masked]>
Date: Sat, 22 Sep 2007 00:13:44 -1000

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“This meaning-making capability — to talk about growth, to explain what something says about who I am — develops across adolescence.” During a standard life-story interview, people describe phases of their lives as if they were outlining chapters, from the sandlot years through adolescence and middle age. By contrast, so-called generative adults — those who score highly on tests measuring civic-mindedness, and who are likely to be energetic and involved — tend to see many of the events in their life in the reverse order, as linked by themes of redemption. But the point is that the narrative themes are, as much as any other trait, driving factors in people’s behavior, the researchers say. Adler reported on 180 adults from the Chicago area who had recently completed a course of talk therapy. 

Yet Mr.Adler found that in fact those former patients who scored highest on measures of well-being — who had recovered, by standard measures — told very similar tales about their experiences. Those in the study who scored lower on measures of psychological well-being were more likely to see their moods and behavior problems as a part of their own character, rather than as a villain to be defeated. They tested levels of conscious and unconscious hostility after the recollections, using both standard questionnaires and students’ essays. kommazone nocalsch-archive888megatronietf.orgmo The way people replay and recast memories, day by day, deepens and reshapes their larger life story. 

Indigenous cuisines offer clues about what humans, naturally omnivorous, need to survive, reproduce and grow: traditional vegetarian diets, as in India, invariably include dairy and eggs for complete protein, essential fats and vitamins. It contains many necessary components, including cholesterol (which babies use to make nerve cells) and countless immune and growth factors. Studies show that vegan breast milk lacks enough docosahexaenoic acid, or DHA, the omega-3 fat found in fatty fish. (Not here, though — perhaps because our farm policy is so soy-friendly.) Historically, diet honored tradition: we ate the foods that our mothers, and their mothers, ate.

That DreamWorks ogre’s skin is the color of money after all. Which is only to say that “Shrek the Third,” directed by Chris Miller and Raman Hui from a script with a half-dozen credited begetters, already feels less like a children’s movie than either of its predecessors.

Success may not have spoiled Mr. The story this time unfolds as a series of increasingly dreary and teary melodramatic encounters regularly interrupted by special-effects-laden fights. As it happens, the over-all shape does recall a Busby Berkeley musical — snappy story, lavish number, snappy story, lavish number — but without the snap or fun. The bittersweet aspects of the film add texture, though they can't supplant the lack of comedy; there were more laughs in Ice Cube's last picture, "Torque." Much has been made of the film’s look, and it’s easy to see why.  Malcolm Turner (Martin Lawrence) is an FBI agent who is a master of disguise and will stop at nothing to get his man. When a bank robber escapes from prison and goes on a violent crime spree, Malcolm is assigned to bring him in.

Wendell, who works with a partner, Reyes (Jacob Vargas), out of an Airstream trailer he calls the Ellis Island of the Southwest, means no harm. For my taste, a little goes a long way. Stories are stories, after all.

The attractive stranger at the airport bar hears one version, the parole officer another, and the P.T.A. By better understanding how life stories are built, this work suggests, people may be able to alter their own narrative, in small ways and perhaps large ones.

Over the years, Dr.McAdams and others have interviewed hundreds of men and women, most in their 30s and older. During a standard life-story interview, people describe phases of their lives as if they were outlining chapters, from the sandlot years through adolescence and middle age. They also describe several crucial scenes in detail, including high points (the graduation speech, complete with verbal drum roll); low points (the college nervous breakdown, complete with the list of witnesses); and turning points. A note of disappointment seems to close each narrative phrase. By contrast, so-called generative adults — those who score highly on tests measuring civic-mindedness, and who are likely to be energetic and involved — tend to see many of the events in their life in the reverse order, as linked by themes of redemption. With the decline of manufacturing and few formal jobs, many residents make a meager living off one another’s misery. That DreamWorks ogre’s skin is the color of money after all.

The current installment finds him faced with impending fatherhood and something of a career crisis. But then again, so did my kids.) The story this time unfolds as a series of increasingly dreary and teary melodramatic encounters regularly interrupted by special-effects-laden fights.

Most of the decisions involving this sequel to the spirited original "Barbershop" — a movie that itself cobbled together pieces of other projects — are about carefully retracing the steps of that 2002 hit in order to keep those $100 Benjamins flowing. The cinematographer, Sean Kirby, has done some striking work here.

The prowling camera and dusky colors give much of “Zoo,” which opens with the portentous image of what appear to be miners emerging from a tunnel, a sumptuous, almost velvety look and vibe, an effect enhanced by the repeated use of slow-motion photography. When a bank robber escapes from prison and goes on a violent crime spree, Malcolm is assigned to bring him in. The thief's girlfriend Sherry (Nia Long), who is also the mother of his child, lives in a small Southern town, and Malcolm plans to set up a stake-out in the house across the street from Sherry's. For all I know, there may be an endless supply of “Shrek” sequels in the pipeline. But then again, so did my kids.) After exploring the predominance of violence in American culture in Bowling for Columbine and taking a critical look at the September 11th attacks in Fahrenheit 9/11, activist filmmaker Michael Moore turns his attentions towards the topic of health care in the United States in this documentary that weighs the plight of the uninsured against the record profits of the pharmaceutical industry. He makes about $2 a day, and cannot afford to send his sons to school.

That DreamWorks ogre’s skin is the color of money after all. Which is only to say that “Shrek the Third,” directed by Chris Miller and Raman Hui from a script with a half-dozen credited begetters, already feels less like a children’s movie than either of its predecessors. (Ready or not, the studio is talking about a fourth.) Aesthetically and conceptually wrung out, fizzled rather than fizzy, this latest installment in the spider-bites-boy adventure story shoots high, swings low and every so often hits the sweet spot, but mostly just plods and plods along, as if its heart were pumping tired radioactive blood.

Success may not have spoiled Mr. Instead they go to a Koranic school, where they learn the Koran by rote.

In the first movie Shrek (voiced by Mike Myers) met and wooed his lady love, Fiona (Cameron Diaz); in the second he got to know the in-laws. (This may be why I liked it better than the others. If ever a movie had a case of the blues and the blahs, it’s “Spider-Man 3,” the third and what feels like the end of Sam Raimi’s big-screen comic-book adaptations. Raimi as it has Peter Parker, but it seems as if it has zapped his gracious good humor, which was so critical to the first two films. When the moneyed inner-city entrepreneur Quentin Leroux (Harry Lennix) builds a lavish competitor called Nappy Cutz right across the street from Calvin's shop, the battle is on — Calvin has to fight to keep his business alive. The bittersweet aspects of the film add texture, though they can't supplant the lack of comedy; there were more laughs in Ice Cube's last picture, "Torque." Idriss Abdoulaye sells water from a pushcart for 20 naira a jerry can, about 15 cents, to people like himself, too poor to have wells.

But there is nonetheless a feeling of finality about “Shrek the Third,” a sense that the tale has at last reached a state of completion. But then again, so did my kids.) (Ready or not, the studio is talking about a fourth.) Aesthetically and conceptually wrung out, fizzled rather than fizzy, this latest installment in the spider-bites-boy adventure story shoots high, swings low and every so often hits the sweet spot, but mostly just plods and plods along, as if its heart were pumping tired radioactive blood.

This film seems to be "All About the Benjamins," to use the title of an Ice Cube action comedy. But although Ice Cube's business sense is right on the money, the minor surprises of the first film are gone.