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PARKOUR Lifestyle Vlog 88 - Mallorca - Duration: 4:52.
hey guys, welcome to a new vlog
right now it's way to early
the sun is rising behind me
I just arrived at the airport Tegel right now
I will fly to mallorca today
so it will be a bit stressful but also a lot of fun
I will check a big cruise ship where I will have a parkour shooting soon
so I have to check if everything works out there and is safe
I am very tired right now
I will check in now with my crash pad
the sunrise looks so awesome
today it is really cold in Berlin and at mallorca it will be 30° today
so the timing is perfect
we arrived at the harbor now
Here are 6 to 7 huge cruise ships
I think we will go to this one here
I'm really curious what you can do there
we are done at the cruise and I just arrived at the hotel now
the sun is already going down
the beach is close to the hotel so I hurry up to be there before sunset
I made it to the beach in time
the sun is still there
the sand is extremely soft here
I sink so deeply that it is really hard to jump
the sun is rising again and I have to drive to the airport again
the weather is really uncomfortable here in berlin
at first I go to the gym to do a boxing workout now
and tonight I'm going to train parkour
the box training was a lot of fun, now I am in the gym for my free running training
I am done with the training for today
tomorrow I will fly to Stuttgart for a TV show
you can see it in my next vlog or live in my instagram story
you can find my insta channel here
so far enjoy your training!
see you next time
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Segna di Bonaventura's 'Crucifix' | A History of the National Gallery in Six Paintings - Duration: 37:27.
Good afternoon, ladies and gentlemen.
Welcome to the National Gallery.
This lecture is part of a series
where we're trying something a little bit new,
where, of course, we'll be focusing on the paintings,
but we're going to be viewing them through a slightly different lens,
which is through the history of the National Gallery
and ideas to do with the history of taste and collecting.
So, we have about half an hour to travel through time and space together.
But first I'd like to introduce myself.
I'm Dr Susanna Avery-Quash.
I work here as a Senior Research Curator
in the History of Collecting, that's a bit of a mouthful,
but, basically, my role
is to think about the past histories
of our many paintings
before they arrived at the National Gallery
and became part of the national collection of Old Master paintings.
And so, really, this is a prime chance for me
to demonstrate the type of work that I do for the Gallery.
In fact, to whet people's appetites,
a few months ago I put on YouTube
a series of four little videos just lasting about two minutes each
where I drilled down into the past histories
of four of our paintings
to show seismic moments of change
where different types of art
were acquired by the National Gallery over time.
So, if you plug in: "Susanna Avery-Quash,
YouTube videos, History of Collecting", you should get four of them.
What I want to do today is talk about
these two beautiful,
very early Italian paintings in the National Gallery's collection
and explore with you their journeys
over 600 years,
and really the reasons why we've acquired them.
They obviously now sit in a very different place
from the ones they originally inhabited,
and their function today is very different
from their original purposes.
And I'd like to combine thinking about that change over time
with the whole remit of the National Gallery
over its last 200 years,
and along the way mention to you some key figures
in the 19th-century history of British art institutions,
including my personal hero, Sir Charles Eastlake,
the first director of the National Gallery,
who did so much to transform the Gallery
into the type of institution that we know and love today
and who was responsible not only for buying these paintings behind me
but about 150 other works
in the decade 1855 to 1865.
So, I'd like to first of all actually mention a little bit
about these two paintings.
So, on this side here, we have a crucifix.
So, we see Jesus Christ,
who Christian believers
hold to be the saviour of the world, God's Son,
who was brought to Earth in human form
to build up a new relationship
between mankind and God,
and people did not recognise immediately, for the most part,
as being the Son of God, so he was crucified,
but that was part of the grand scheme, so that his death on the cross
would reconcile mankind to God and build a better relationship.
So, much Christian art was dedicated to the life of Jesus Christ on Earth,
his seismic death by crucifixion by the Jewish authorities,
who did not recognise him and his claims to be the Son of God,
and then his Resurrection and Ascension into Heaven.
You can see how big this painting is.
Originally, it would have been just a tad larger,
because in monumental Italian crucifixes
often there's a roundel with God the Father painted at the top,
so you can imagine a round circle making the cross an even larger shape.
And the image of God the Father
would have enabled viewers to understand
that the figure below was God's Son,
and you can see the roundel above his head with a cross behind it,
and that signifies a halo
and the fact that he is a holy person, God's Son.
The figures to either side of the arm of the cross
are also part of the Christian narrative.
On my near side, we have the Virgin Mary,
Jesus's mother, who has come to lament
at the foot of the cross the death of her son.
And then John, the beloved disciple, on the far side,
who was one of the early witnesses to Christ's life.
Now, this sort of crucifix was never intended
to be put in an art gallery,
in the sense that when it was painted, about 1310, there were no art galleries.
It was intended for a church setting
to help the viewers
to focus their minds on the mass,
on the celebration of the Eucharist happening below.
Normally, these massive monumental crosses
were hung above the altar
where the priest would celebrate the mass.
And turning to this painting,
it's also very large,
it was also intended for an Italian church,
probably in Siena, again in the early 14th century,
and it's more of a victory painting,
it's celebrating life rather than a moment of death,
but we have many of the same characters in it,
because again it's about the life of Christ,
the central figure in Christian iconography.
So Christ is not a man aged about 33, at the end of his life,
he's a small child, he's the son of the Virgin Mary,
the lady on this side of the wing,
and she's sitting on a throne.
We know, actually, that she was a poor woman,
but because she's the Mother of God
Christian artists, following scriptural tradition
and theological reflection,
have made her into the Queen of Heaven.
So, as a queen, she needs a throne,
and the artist has popped her on a monumental throne with Cosmati work,
and the Virgin is often shown in a beautiful blue robe
that designates her as a queen
and is often
painted with ultramarine,
which came all the way from present Afghanistan
and so it was the most expensive pigment you could actually get,
it cost more per ounce than gold.
And often the Virgin Mary is shown in this dark blue robe,
sometimes with this ultramarine pigment
to honour the fact that she's the Mother of God,
also honouring the fact that she's the most important person
in the biblical story apart from her son, to whom she gave birth.
There's the fact that you've got all these beautiful angels around them.
I said that the crucifix would have been bigger with a roundel above it.
Also, this painting you think might be quite large enough,
but again, originally, it would have been even larger.
We believe that the figure of the Virgin would have extended down to show her feet,
and there were floods in the Siena area
in the 14th-15th centuries, and probably the painting got damaged
when it was in the church, probably in Santa Croce Church in Florence.
In any case, that meant the damage was cut out
and so we've got a seated Virgin but without any legs.
This type of painting, which is very magisterial and very iconic,
is often known as a "maestà", from the Italian word majesty,
where the audience or the congregation,
rather than us, the museum visitor,
again is presented with an image of devotion
where the Virgin, who presents her baby,
who is Jesus Christ, the Son of God,
she's presenting him to us
for our adoration and worship.
Now, both these paintings were painted,
as I say, in the early 14th century,
not quite sure when, probably about 1310 to 1315,
and they've both come from Tuscany, the Siena-Florence area,
and they were painted there about 600 years ago.
What are they doing away from
their Italian ecclesiastical context for worship?
What are they doing in the middle of Trafalgar Square
and the fact that I'm standing up and lecturing you today?
Well, the point is that I wanted to share
these two representative examples of early-Italian art
because they are seismic in the history of the National Gallery.
When they arrive, they arrive together in 1857,
they were profoundly different
from most of the rest of the collection.
If you go anywhere but the Sainsbury Wing,
you will see the type of art that was originally bought
by the National Gallery.
So, the National Gallery had been in existence since 1824,
and these arrive some 30 or so years later in 1857.
So, when these arrived 30 years, a generation, after the foundation,
it looked like people from Mars had arrived.
These were very, very different
in subject matter,
in scale and in type
from what the National Gallery had been acquiring in its first history.
So, I want to tell you something, a drop-down in history
to why these paintings were bought
and why the National Gallery decided that it needed to change
the trajectory on which it had been travelling perfectly happily
for the first 30 years of its existence.
The first National Gallery was actually founded
on the collection of a private individual,
a philanthropist and a financier
who had emigrated from Germany,
who was born in Saint Petersburg in Russia,
called John Julius Angerstein.
And he is best known today
for having formed Lloyd's Insurance, which still exists.
He built it up into the reputable company that we know today.
And from his money that he earned in the City,
he was able to build up an art collection.
He wasn't an artist himself, he wasn't a connoisseur,
he was a money man, but he had the advantage of friends,
and three of his closest friends were all presidents of the Royal Academy.
If you want to build up an art collection,
get to know the president of the Royal Academy,
because John Julius Angerstein knew three of them:
Joshua Reynolds, the founding president,
Benjamin West, the American painter,
and then Sir Thomas Lawrence, the great Regency portraitist,
and all three people helped him build up an amazing collection.
Why I'm telling you about Angerstein's collection,
that was just down the road in Pall Mall,
was because Lord Liverpool's government in 1824
finally did the right thing and bought the collection for us
as a foundation collection of England, the National Gallery.
They actually bought 38
of John Julius Angerstein's Old Master paintings.
They also bought the lease on his London townhouse in Pall Mall
because they had nowhere to put the pictures,
because this was a foundation collection.
And so if you imagine it, the National Gallery,
which is meant to be in a public domain,
was actually founded on a private gentleman's private art collection
and the first home was not a purpose-built designated gallery,
it was actually his London Georgian townhouse.
And the type of art that he had
was the type of art that his three Royal Academician presidential friends
told him was the best taste, okay.
So, it's a very narrow type of art collecting,
and it's all the type of art that, had John Julius Angerstein been an aristocrat,
he wasn't, he was a financier, a gentleman,
but the type of art was emulating the taste of the aristocrats,
who would have gone on the Grand Tour to Italy,
Rome, Florence, Naples, whatever, France, Germany.
And so it was dominated by
16th and 17th-century Italian and some French art,
so I'm talking about the later Raphael, Michelangelo, that sort of thing.
So, if any of you came to the talk that was the first in this series,
I'm second in our series of the history of the National Gallery,
we looked at Sebastiano del Piombo, 'The Raising of Lazarus'.
That is National Gallery accession number 1,
and that was one of the 38 paintings
in John Julius Angerstein's collection,
and it was a grand manner, it was meant to be beautifully painted,
it was meant to show young artists how to draw compositions,
how to paint nude figures, how to draw landscape, that sort of thing.
So, we have artists like Michelangelo, Raphael, Leonardo,
we have French painters like Claude Lorrain and Poussin,
all the great academics.
That was what was in the core foundation collection
of John Julius Angerstein,
purchased by Lord Liverpool's government
to form the core of the national collection.
And young aspiring artists from the Royal Academy and elsewhere
were meant to come and study this type of art
that was acknowledged to be the correct form of art
and often showed classical subject matters, history paintings,
images from the Bible, but in the best manner
so that the British native school of young artists
would be able to resurrect our own school
and if not rival
they could even maybe surpass
the great masters from the foreign continent, okay.
So, this is what was the original National Gallery.
And this is how it continued for the first 30 years
until the mid-1850s.
And this was partly because
of the nature of the setup of the National Gallery.
They had a conservative body of aristocratic trustees
who all had private collections,
much of the same kind as John Julius Angerstein,
so they were comfortable and knew about that type of art
and so this is what they felt able to collect.
The second problem was that there was no annual purchase grant.
The government said, "We've been so generous,
we have bought the nation 38 paintings,
and we have housed it, and that is your lot."
And so they had no money to increase the collection,
so what the trustees tried to do
was bang on the doors of their aristocratic conservative friends
who all had collections like John Julius Angerstein's,
so when gifts and bequests came through, they were all of the same kind.
So, the National Gallery did grow quite steadily,
but it only collected a certain type of art,
like NG 1, Sebastiano del Piombo, that type of thing.
But then we have a change of era.
The Georgian era dies out,
we always think of them as rather naughty, rather louche,
rather fun-loving, aristocratic,
not caring about the general public or education,
and in come the serious Victorians and Queen Victoria comes to the throne.
And we start having serious-minded politicians
thinking about what is the point of the National Gallery
and who should it be serving,
and what type of art it should be collecting,
and what direction of flow should we be going in.
Were we happy to continue along
in this nice sort of vein of collecting yet more Michelangelos, Leonardos,
Claude, Poussin, that type of thing?
So, we have a number of select committees:
1835, 1840, 1850,
1853, you get the drift.
Thousands of pages of reports, hundreds of witness statements,
and all these questions are being asked
and prodded and thought about and contemplated,
and the end result is that people think:
"We're not that happy with the National Gallery
just showing certain types of art.
Shouldn't it be an educational collection?
Shouldn't it be more than a treasure trove of already acknowledged masterpieces?
If it's meant to serve a public and teach the history of art,
we can't teach the same thing time and time again.
We don't want more of the same drilling down, we want a breadth.
Shouldn't it become a survey collection
in order to display visually
the entire story of Western European painting?"
And the agreement basically was, "Yes, we've got it wrong
and we need to go back to the drawing board."
And this is where my hero, Charles Eastlake, comes in,
along with many people,
and this is where paintings like these two paintings here
come into play,
because people like, I wanted to quote to you
from a statement that one of the MPs, Lord John Russell,
made in the House of Commons on the 8th of March, 1853.
And remember that when he's speaking to his fellow MPs,
these type of pictures didn't exist,
we didn't have any works by the Master of the Albertini,
the Master of the Casole Fresco,
or Segna di Bonaventura's Crucifixion.
But the MP Lord John Russel wanted them, he had a vision.
"There is one object which I have more than once
stated in this house as worth striving for,
an object which ought not to be attained with much difficulty,
I mean the obtaining of a collection
of works by the early-Italian masters,
many of which are, indeed, very beautiful in themselves,
but which have a further value as showing the progress
which led afterwards to the beautiful creations of Raphael and da Vinci."
Okay, so you get here a sense of
the desire to show a story,
the progress, the development
of Western European art.
After people like Lord John Russell and various other foreigners
started beating their drum for a reform,
my hero, Charles Eastlake,
comes into the equation.
Before he had any association with the National Gallery,
he had aspired to become a history painter in the European tradition
and he'd been a pupil at the Royal Academy schools as a young man,
and then had actually lived for no fewer than 14 years
in Rome, where he had travelled around Rome and further afield in Italy
and France and Germany, looking at private and public collections
and thinking about great art.
He was also very intellectual by bent,
and he started thinking about the history of art
from the pictures he'd seen and realised that England
was a little bit behind its continental partners
in the writing of the story of art,
so he started laying down his paintbrush and picking up his pen,
and he started translating texts,
Goethe's Colour Theory,
Passavant's book on the "Life of Raphael", into English
because he was very concerned
that the Brits weren't very good at languages
and couldn't get hold of the information
that was written in French, Italian, German and so on.
So he did a good lot of translation work and a good lot of editing work,
and he was also involved as secretary
of something called the Fine Art Commission
that was to encourage a new school of British artists
to decorate the new Houses of Parliament.
The old ones had burnt down and Barry built the ones just down the road
in 1840,
and Prince Albert was involved, as was Sir Robert Peel,
as was Eastlake, in generating interest
in young artists to paint British scenes,
British histories and literature for the Houses of Parliament,
and he was also interested in building up a collection of art.
In 1847, his first association with this place started
when he was appointed Keeper.
The old Keeper, William Seguier, had died
and he was very Georgian and happy-go-lucky
and didn't do much to build up the collection
and didn't worry that there were no labels or catalogues,
and didn't worry if people didn't come into Pall Mall
or this place here that was opened in 1838.
Eastlake was much more concerned
with the history of the pictures and that the public should come and enjoy them,
so he wrote a pioneering catalogue at the end of his keepership in 1847
that tried to plot the history of all the works of art,
and he was a very, very vociferous speaker
advocating this survey
in the most important of those select committees,
there was one in 1835, 1840, 1850 and 1853.
Now, it was the 1853 select committee
that really promoted the purchase of works of this kind,
and their report was published, a thousand pages of it,
in 1855,
and that led to something absolutely revolutionary
in the history of art institutions.
This place was reconstituted.
I've done quite a lot of work in the history of other institutions
and apart from Dulwich College in South London having a minor change to its rules
I can find no other major European museum
that has been reconstituted,
as if to say: "We got it wrong,
we had go to back to the drawing board and we've started again."
And it is in the reconstitution of the National Gallery in 1855
that led to the embracing of the purchase
of works like the two behind me,
and these two are two of the twenty-two
that came in very quickly
after this reconstitution in 1857.
As part of the reconstitution,
Eastlake had been this very vocal expert witness at the 1853 select committee,
the government said, "Right, sorry, we've got it wrong,
we didn't have expert staff, didn't give you money,
no direction of flow, we're going to change all this."
So, in a nutshell, Eastlake gets promoted from being Keeper
to the first-ever director with autonomous power,
he wanted that because he had a vision,
he didn't want trustees to stop him doing it.
He was the first director with autonomous power,
he had cash in hand so he could actually buy pictures,
he was given 10,000 pounds a year
to buy paintings for the new-style National Gallery,
and he had a competent staff.
He had a Bavarian picture dealer called Otto Mündler,
who was employed for three years as the Gallery's travelling agent.
And between Otto Mündler and Charles Eastlake,
they scoured continental Europe
with a vision, with a purse full of money
and knowledge from all the art history they'd been learning,
and they stole a march on many other museums of the day.
Eastlake wrote about 36 notebooks
which we preserve in the National Gallery, which say where he went,
when he went, who he saw, what he saw,
and whether he thought certain works like this were eligible.
I had to transcribe all the notebooks and this word "non-el",
or "in-el", or "el". What is this "el"?
I thought, "Ugh! Silly woman! Eligible."
It's not eligible or it is eligible.
And Eastlake, as the first director of the National Gallery,
had to make up things as he went along because there was no precedent.
So, he had money and he had a vision of making a survey collection,
but within that he had to think about what pictures would be suitable and appropriate
for the National Gallery of Great Britain.
So, eligible would be: suitable subject matter,
so, religious art is okay,
we don't want too many weepy Saint Mary Magdalenes
and we certainly don't want too many images of God the Father,
because we are Protestants, thank you,
in Victorian Britain and we are not Roman Catholic, okay.
Eligible apart from subject matter is cost.
We only have 10,000 pounds, we're lucky to have that,
but we've got to spend our pennies carefully,
and always the private owners or churches
that are trying to sell their pictures to Eastlake and Mündler
are trying to raise the price.
Eastlake and Mündler are trying to lower it.
There's got to be a fair asking price.
The condition, it's got to be in fair condition,
because the public, like we lot, will say:
"Oi! Why have you spent X number of pounds of our money
on a rubbishy little painting that's falling apart?"
Also, Eastlake was trying to introduce the public
to unusual works like this,
and if they were really falling apart the public simply wouldn't get it,
so Eastlake had to be very strategic in his purchases,
he had to think of subject matter, price, condition,
and then he could get going.
And one of the very first purchases he made
in line with the recommendations
of the 1853 select committee,
written up in its 1,000-page report in 1855 that reconstituted the Gallery
was: Eastlake, you're going to go out
and buy early-Italian pictures
because they are the beginning chapter, the first chapter,
of this survey, this story, that we want to tell the British public.
We're very good, if you think of an alphabet, with letters like
M, N, O and P, something like Claude Lorrain, Poussin, that type of thing,
but where's the A? And B and C? We've got none of that.
So, we've got a very patchy story.
So, why these two paintings are so key in the history of the National Gallery
is that they are the first examples
that our first director, Charles Eastlake,
bought of early-Italian art
for the National Gallery in order to fulfil
the new purchasing criteria
of a survey collection
that could be displayed on the walls in such a way
that anyone could walk into the Gallery
and start understanding visually
the development of Western European art from its origins,
and these paintings were some of the very earliest
that Eastlake managed to scoop up
in a coup in 1857.
So, he was appointed director in 1855,
he's got his notebooks, he's running around and he comes to Florence.
And there are a couple of wily dealers,
Ugo Baldi and Francesco Lombardi,
and they have been making a collection
of earliest Sienese and Florentine art.
And they loved them to a certain extent, they are Tuscan,
they have a sense of pride, but they're also dealers,
and they want to make a deal.
They want to sell their collection of 100 works
to anyone, and they don't really mind.
So, the National Gallery is aware of this collection from 1847,
but they don't have any money, it's not 1855, it hasn't been reconstructed,
and why do they want 100 ugly early-Tuscan pictures anyway,
because they're not used to it and don't have a rationale.
So, the matter gets dropped from 1847.
It's picked up in 1855
when people can say, "Look, guys, aren't there two dealers
who haven't sold their 100 pictures yet?
Their pictures are just what we want in this new-style National Gallery.
We don't need 100 of them,
but to have a nice selection would fill up the A, B, C bit
of the alphabet we're trying to create."
So they go back to Ugo Baldi and Francesco Lombardi,
the National Gallery says, "We love your pictures, we don't want 100,
because they're not all "L"
according to price, condition, subject matter,
can we have about 20 of them?"
First of all, the dealers say, "Nope, you either have all of them or none of them."
The Gallery said, "We can't afford all of that."
But Eastlake was desperate,
so desperate was he to get some of them
that he had an Act of Parliament passed, that we haven't used very often,
in 1857 to say if we buy an entire collection but we don't want some of it,
can we sell off the bits we don't want?
This is a very unknown fact about the National Gallery.
We only used it once to get rid of some early-German pictures that we didn't want.
The sale wasn't successful, so we haven't done it again.
But Eastlake had the trick up his sleeve
that he could go back to the wily Florentine dealers and say,
"I'll take your 100, but we'll get rid of some of them."
But luckily, at the same time the stars converged
and although he had the law ready up his sleeve
the dealer said, "Just have what you want."
So he bought 22 of the 100
early-Florentine and Sienese paintings, of which these are two,
and in the glass case behind me, the Duccio is a third of the 22.
And when the 22 pictures arrived back at the National Gallery,
there was a lot of gasping and comments of dismay,
because they're unwrapping not just one or two, but 22 pictures
dating from the sort of 13th, 14th centuries,
the earliest one was Margarito d'Arezzo of 1260.
These are still 600 years old, they're 50 years later, 1310, okay.
They're unwrapping one after another,
and the trustees are thinking, "Oh god, Eastlake has gone completely mad.
What is he doing?" And the public are thinking:
"Hmm, the National Gallery was meant to be full of examples of high art
that we're meant to follow and emulate."
But Eastlake has to say in his first annual report that was published,
he has to justify his purchases saying, "I haven't lost my head,
I am quite sane, and what I'm doing here
is I'm buying, on very different grounds than what we're used to purchasing for,
I'm not buying for aesthetic merit,
I'm not buying because things look nice,
I'm buying for historical interest.
I'm buying them as an historian, an art historian, not an artist.
So, I'm saying to young artists, come and look, don't necessarily copy,
but just enjoy,
and for the general public to understand the history of art."
So, I'd like to finish by reading the justification
that Eastlake gave out loud
when he purchased this wonderful crucifixion
that I started off with by Segna di Bonaventura,
and this painting, we don't know much about the artist,
but we say it's the Master of the Albertini.
The dreadful thing was he didn't even have a name,
and he was spending money on a Master, they like things with an autograph.
Anyway, this is what Eastlake said,
that he had not bought all of the works from the Lombardi-Baldi collection,
but, "I have selected all the justly celebrated
and all the most historically valuable pictures in the collection.
They were comprehended." I love that, sort of going after a thief.
"And not withstanding the difficulty averted
of stopping at that point,"
because the dealers wanted to sell him more,
"scarcely any others were admitted.
The unsightly specimens
of Margaritone and the earliest Tuscan painters,"
so unsightly is a Victorian word for ugly, people thought they were ugly.
"So the unsightly specimens of Margaritone and the earliest Tuscan painters
were selected solely for their historical importance,
and as showing the rude beginnings
from which, through nearly two centuries and a half,
Italian art slowly advanced to the period of Raphael and his contemporaries."
There was a sigh of relief at Raphael, they understand, they like Raphael.
Raphael is the pinnacle of beauty,
but Eastlake is saying we've got to get to the story where hero Raphael enters.
We've got to know what preceded Raphael.
And this is why the Gallery did such a great job under Eastlake
of acquiring many, many of the 150 acquisitions under his watch
that were early-Italian, and also early-German, early-Netherlandish art,
in order to show the public the history of painting.
And I just wanted to finish by saying
that the National Gallery that we have today
is largely the result of Eastlake's efforts.
He died in Pisa,
basically through over-hard work on Christmas Eve in 1865,
a decade after starting in office.
And his vision for the National Gallery
transformed the place from being a hotchpotch
of certain acknowledged masterpieces hung in a random order
with no labelling, poor lighting, no cataloguing,
into the type of gallery that we have become.
We may answer questions in a slightly different way,
but we pose the same questions
that Eastlake first put on the table:
What is the National Gallery for? It's for everyone.
What type of paintings should we have?
A survey collection of Western European art.
How should they be displayed?
By chronology.
By an historical account through different countries.
How do we help the public to understand them?
By putting labels up, by cataloguing them properly, and so on.
So, my point to you today is when you come round the Gallery again
or continue your journey this afternoon,
please remember and spare a thought for Charles Eastlake,
our first director in office for a decade from 1855,
who transformed the way that the Gallery is arranged and run
and it was he who was really responsible
for the type of art in the Sainsbury Wing,
because he inaugurated systematically
the purchase of the earliest types of Italian art
that we have in our collection.
Thank you very much.
-------------------------------------------
Crews battle fire at Skyline Chili in Fairfield - Duration: 2:04.
For more infomation >> Crews battle fire at Skyline Chili in Fairfield - Duration: 2:04. -------------------------------------------
Discernment | Enjoying Everyday Life - Duration: 28:32.
ANNOUNCER: THIS PROGRAM HAS BEEN MADE POSSIBLE
BY THE FRIENDS AND PARTNERS OF JOYCE MEYER MINISTRIES.
JOYCE: I DON'T KNOW WHAT IT IS YOU MAY BE DOING RIGHT NOW
IN YOUR LIFE TO TRY TO GET WHAT IT IS YOU WANT, BUT I GUESS
THE FIRST THING I WOULD LIKE TO ASK IS, IS IT WORKING?
AND EVEN IF IT MIGHT BE WORKING, DO YOU HAVE PEACE
TO GO ALONG WITH IT?
[MUSIC]
[AUDIENCE APPLAUDING]
JOYCE: WELL, WELCOME TO "ENJOYING EVERYDAY LIFE"
TODAY AND WE HOPE AND PRAY THAT WHAT WE HAVE TO SAY WILL
HELP YOU ENJOY YOUR LIFE MORE.
TODAY I WANNA TALK ABOUT DISCERNMENT.
IT'S ACTUALLY ONE OF THE GIFTS OF THE SPIRIT THAT I THINK
THAT WE SHOULD PRAY FOR ON A REGULAR BASIS.
HOWEVER, YOU DON'T HAVE TO HAVE
A SPECIAL GIFT TO NEED DISCERNMENT.
IT'S SOMETHING THAT WE NEED TO LIVE BY.
AND DISCERNMENT IS SOMETHING THAT REQUIRES SLOWING DOWN
IN LIFE.
SURE YOU'RE GONNA HEAR ME SAY THAT A FEW TIMES TODAY.
YOU CAN'T REALLY MAKE THE WISEST DECISIONS
IF YOU'RE ALWAYS TRYING TO MAKE EVERY DECISION IN A HURRY.
AND SO I CAN APPLY THAT TO MYSELF BECAUSE I MAKE VERY
QUICK DECISIONS AND, THANKFULLY, A LOT OF THEM ARE GOOD,
BUT SOMETIMES I NEED TO TAKE A LITTLE MORE TIME THAN WHAT I
DO TO REALLY PONDER SOMETHING AND THINK ABOUT IT.
AND I THINK EVERYBODY TODAY IN OUR SOCIETY IS IN PRETTY MUCH
OF A HURRY; AND SO, IN ORDER TO HEAR FROM GOD, IN ORDER TO BE
LED BY THE SPIRIT, I THINK WE HAVE TO LEARN TO SLOW DOWN
AND WE PROBABLY NEED TO LEARN TO BE A LITTLE BIT QUIETER SO WE
CAN HEAR WHAT GOD IS SAYING AND NOT JUST WHAT EVERYBODY ELSE
IS SAYING, OR EVEN WHAT WE HAPPEN TO BE SAYING TO OURSELF.
I THINK DISCERNMENT IS SOMETHING THAT'S REALLY, REALLY, REALLY
IMPORTANT BECAUSE IT TAKES YOU DEEPER THAN THE WAY THINGS LOOK.
IT TAKES YOU DEEPER THAN THE WAY THINGS FEEL.
AND YOU KNOW, I'M SURE YOU'VE ALL HAD THE EXPERIENCE OF BEING
AROUND SOMEBODY THAT THERE DOESN'T APPEAR TO BE ANYTHING
WRONG WITH THEM, THEY SEEM LIKE THEY SHOULD JUST BE THE GREATEST
PERSON, THEY SAY THE RIGHT THING, THEY DO THE RIGHT THING,
THEY LOOK RIGHT, BUT THERE'S SOMETHING I ALWAYS SAY, LIKE,
IN YOUR GUT THAT YOU DON'T KNOW WHAT IT IS, YOU JUST DON'T FEEL
RIGHT ABOUT THEM.
AND I THINK A LOT OF TIMES WE HAVE TO BE CAREFUL WHEN WE GET
THAT FEELING BECAUSE IT DOESN'T EVEN NECESSARILY MEAN THERE'S
SOMETHING WRONG WITH THEM.
IT MAY JUST MEAN THAT IT'S NOT A RIGHT RELATIONSHIP FOR YOU.
AND SO SOMETIMES, WE CAN GET OURSELVES CONFUSED AND START
BEING JUDGMENTAL OR CRITICAL, OR LET'S JUST SAY MAYBE YOU GO
TO A NEW CHURCH AND EVERYTHING LOOKS RIGHT AND IT FEELS RIGHT,
THEY SAY THE RIGHT THING, BUT IT JUST DOESN'T SEEM RIGHT.
YOU KNOW, WELL, IT WOULD BE SO TEMPTING TO THINK, "WELL,
THERE MUST BE SOME SIN HERE.
THERE MUST BE SOMETHING WRONG.
THERE MUST BE SOMETHING GOING ON."
IT COULD JUST SIMPLY NOT BE THE RIGHT PLACE FOR YOU
BECAUSE GOD WANTS TO USE YOU SOMEWHERE ELSE.
SO TO DISCERN, THE DEFINITION OF DISCERNMENT MEANS
TO DISTINGUISH BETWEEN GOOD AND EVIL.
YOU KNOW, THE BIBLE SAYS THAT IN THE LAST DAYS
THAT PEOPLE ARE GONNA THINK THAT EVIL IS GOOD AND THAT GOOD
IS EVIL.
AND WE'RE SEEING THAT TODAY.
THAT'S ONE OF THOSE BIBLICAL PROPHECIES THAT WE'RE SEEING
COME TO PASS RIGHT BEFORE OUR EYES.
BUT TO DISCERN MEANS TO DISTINGUISH BETWEEN GOOD
AND EVIL, BETWEEN RIGHT AND WRONG, AND I LIKE THIS.
TO DISTINGUISH BETWEEN WHAT'S GOOD AND WHAT'S EXCELLENT.
AND I THINK THERE'S A LOT OF TIMES IN OUR LIFE WHEN WE
HANG ON TO SOMETHING BECAUSE IT, "WELL, WELL, YOU KNOW, I'M DOING
THIS, BUT IT'S A GOOD THING."
BUT YOU CAN STAY BUSY DOING A LOT OF GOOD THINGS
THAT CAN KEEP YOU FROM DOING THE THING THAT GOD
WANTS YOU TO DO OR THE MORE EXCELLENT THING.
DISCERNMENT ALSO MEANS PROPER UNDERSTANDING REGARDING THE TRUE
NATURE OF A THING OR A PERSON.
NOW, PROVERBS, WE KNOW, IS FULL OF INSTRUCTIONS TO BE WISE,
TO BE DISCERNING.
THE WORD IS USED A LOT IN PROVERBS.
TO BE PRUDENT AND THE WORD "PRUDENT" MEANS TO BE A GOOD
MANAGER, TO HAVE KNOWLEDGE, TO HAVE UNDERSTANDING.
SO WE'RE--IT'S TALKING ABOUT ALL THESE DEEPER THINGS,
BUT IN VERSE 5 IT SAYS: "THE WISE WILL HEAR AND INCREASE
THEIR LEARNING."
AND I DREW A CIRCLE AROUND "HEAR" 'CAUSE WE CAN READ THAT
REAL FAST AND THINK, "WELL, THE WISE WILL INCREASE
THEIR LEARNING," BUT THE WISE WILL HEAR, 'CAUSE THAT'S WHY I
SAY MAYBE SOMETIMES WE NEED TO BE A LITTLE BIT QUIETER,
AND HERE AGAIN, I CAN CERTAINLY APPLY THAT TO MYSELF
BECAUSE I TALK A LOT.
AND--BUT WHEN YOU'RE TALKING ALL THE TIME, YOU DON'T HEAR.
YOU DON'T HEAR, REALLY HEAR, WHAT OTHER PEOPLE ARE SAYING.
IN PROVERBS, THERE ARE VARIOUS--THERE'S
A LOT OF DIFFERENT KINDS OF FOOLS THAT ARE TALKED ABOUT.
IF YOU'VE READ PROVERBS, YOU KNOW IT SAYS, "THE FOOL,
THE FOOL, THE FOOL, THE FOOL."
BUT IT'S INTERESTING IN--THERE'S A FOOTNOTE OF PROVERBS 1:7
THAT SAYS, IN PROVERBS, VARIOUS
KINDS OF FOOLS ARE DISCUSSED INCLUDING THOSE WHO ARE
CLOSED-MINDED, OVER-CONFIDENT, THEY REJECT INSTRUCTION
AND CORRECTION--THEY'RE UNTEACHABLE; THEY LACK SPIRITUAL
INSIGHT--THEY'RE SPIRITUALLY BLIND; THEY'RE FLIPPANT,
HARDENED, AND DELIBERATELY CHOOSE TO REJECT GOD
AND WISDOM--THEY ARE ARROGANT.
SO REALLY, THE BOTTOM LINE, THIS PARTICULAR TYPE OF FOOL,
IT'S TALKING ABOUT SOMEBODY WHO ALREADY THINKS THEY KNOW
EVERYTHING.
SO YOU CAN'T TEACH THEM ANYTHING.
THE OTHER KIND OF FOOL THAT THE AMPLIFIED BIBLE TALKS
ABOUT A LOT IS THE SELF-CONFIDENT FOOL,
THE PERSON WHOSE CONFIDENCE IS IN THEMSELVES.
SO 1 CORINTHIANS CHAPTER 2, VERSES 14 THROUGH 16.
I REALLY LIKE--I'VE LOOKED AT THESE A LOT IN MY LIFE AND I
WANNA SHARE THEM WITH YOU TODAY.
"THE NATURAL [THE UNBELIEVING]
MAN," SO A PERSON WHO'S NOT--DOES NOT HAVE
A RELATIONSHIP WITH GOD.
THEY DON'T UNDERSTAND SPIRITUAL THINGS.
"THEY DO NOT ACCEPT THE THINGS [THE TEACHINGS
AND THE REVELATIONS]
OF THE SPIRIT OF GOD, BECAUSE TO THEM,
THEY ARE FOOLISHNESS [THEY ARE ABSURD AND ILLOGICAL.]"
NOW, IF YOU'VE EVER TRIED TO EXPLAIN WHY THE WAY YOU
BELIEVE THE WAY YOU DO OR WHY YOU DO SOME OF THE THINGS
YOU DO AS A BELIEVER, TO A NON-BELIEVER,
YOU KNOW THAT IT JUST GOES RIGHT OVER THEIR HEAD.
THEY JUST DON'T GET IT AT ALL.
AND SO LITERALLY, WHEN YOU BECOME A NEW CREATURE IN CHRIST,
WHEN ANYONE BECOMES A NEW CREATURE IN CHRIST, THEY BEGIN
TO LIVE BY A WHOLE DIFFERENT SET OF STANDARDS THAN WHAT
THE REST OF THE WORLD DOES.
FOR EXAMPLE, IF YOU WOULD TALK TO AN UNBELIEVER ABOUT FORGIVING
YOUR ENEMIES AND PRAYING FOR THEM AND BLESSING THEM,
THEY WOULD THINK YOU'RE STARK RAVING MAD.
WHY WOULD YOU DO THAT?
BECAUSE THE WHOLE METHODOLOGY OF THE WORLD IS YOU
GET PEOPLE BACK.
YOU TAKE REVENGE.
YOU SHUT THEM OUT OF YOUR LIFE.
BUT GOD GIVES US A HIGHER WISDOM AND ACTUALLY TEACHES US
THAT IN FORGIVING PEOPLE WE'RE ACTUALLY DOING OURSELF A FAVOR.
GIVING AWAY THE FIRST 10% OF YOUR INCOME.
WHAT UNBELIEVER IS GONNA UNDERSTAND THAT?
THEY DON'T UNDERSTAND THAT AT ALL BECAUSE IT'S
A SPIRITUAL PRINCIPLE.
HOW ABOUT NOT WORRYING ABOUT YOUR PROBLEMS?
YOU KNOW, MOST PEOPLE WHO DON'T HAVE A RELATIONSHIP WITH GOD,
AND EVEN SOME THAT DO, THEY WOULD THINK THAT THEY
WEREN'T BEING GOOD PARENTS IF THEY DIDN'T WORRY
ABOUT THEIR CHILDREN.
"WELL, I MEAN, THAT'S WHAT I DO.
I MEAN, A MOM, I'M A MOM.
I WORRY ABOUT MY KIDS."
BUT SEE, WHEN YOU HAVE A RELATIONSHIP WITH GOD,
THEN YOU KNOW THAT THAT'S NOT THE THING TO DO.
AND ONE OF THE BIG THINGS THAT UNBELIEVERS KNOW ABSOLUTELY
NOTHING ABOUT IS THE DIFFERENCE BETWEEN WHAT THE BIBLE CALLS
WORKS OF THE FLESH AND THE WORK OF GOD.
GOD NEVER CALLS US NOT TO WORK, BUT HE DOES TELL US
NOT TO GET INTO WORKS, WITH AN "S" ON THE END OF IT.
AND WORKS OF THE FLESH IS LIKE OUR ENERGY TRYING TO DO
WHAT ONLY GOD CAN DO.
AND IT'S USELESS, IT'S POINTLESS, AND IT NEVER
ACCOMPLISHES ANYTHING.
GOING ON WITH THIS SCRIPTURE NOW, IT SAYS: "TO HIM; IT--"
WELL, I'LL JUST START OVER.
"BUT [THE UNBELIEVING] MAN DOES NOT ACCEPT THE THINGS OF GOD
FOR THEY ARE FOOLISHNESS TO HIM [THEY ARE ABSURD AND ILLOGICAL];
AND HE'S ACTUALLY INCAPABLE OF UNDERSTANDING THEM, BECAUSE
THEY ARE SPIRITUALLY DISCERNED."
SEE, THEY ARE SOMETHING THAT IS DISCERNED DOWN DEEP
ON THE INSIDE OF YOU, NOT SOMETHING THAT JUST
COMES OFF THE TOP OF YOUR HEAD OR SOMETHING THAT'S BASED
ON HOW YOU FEEL.
"HE IS UNQUALIFIED TO JUDGE SPIRITUAL MATTERS.
BUT THE SPIRITUAL MAN [THE SPIRITUALLY MATURE
CHRISTIAN] JUDGES ALL THINGS [HE QUESTIONS, EXAMINES AND APPLIES
WHAT THE HOLY SPIRIT HAS REVEALED], YET HE HIMSELF
IS TO BE JUDGED BY NO ONE [THE UNBELIEVER CANNOT JUDGE
AND UNDERSTAND THE BELIEVER'S SPIRITUAL NATURE]."
NOW, LET ME JUST SAY IT IN THE KINDEST WAY
THAT I KNOW HOW.
A REALLY FULL-ON, FULLY COMMITTED BELIEVER, TO THE REST
OF THE WORLD, MAY LOOK JUST A LITTLE BIT STRANGE.
AND IT SAYS HERE THAT THEY REALLY CAN'T BE UNDERSTOOD
BY SOMEBODY WHO'S NOT A BELIEVER BECAUSE WE WILL SAY THINGS
THAT WE BELIEVE THE BIBLE TELLS US ARE OURS BEFORE WE ACTUALLY
HAVE THEM IN OUR POSITION-- IN OUR POSSESSION.
WE CALL THINGS THAT ARE NOT AS THOUGH THEY ARE.
WE CAN--WE SAY WHAT GOD SAYS RATHER THAN WHAT WE HAVE.
WELL, TO SOMEBODY LOOKING ON, WHO DIDN'T UNDERSTAND
THOSE PRINCIPLES, THEY WOULD BASICALLY SAY,
"WELL, YOU'RE LYING."
BUT YOU'RE NOT.
YOU'RE JUST SPEAKING THE SAME THING THAT GOD SAYS AND HE'S
A GOD WHO CALLS THOSE THINGS
THAT BE NOT AS IF THEY ALREADY EXISTED.
SO WE SAY WHAT GOD'S WILL IS, NOT WHAT OUR CIRCUMSTANCE
ACTUALLY IS.
AND SOMETIMES, TO PEOPLE LOOKING ON IN THE WORLD, IT MAY LOOK
LIKE WE'RE DOING SOMETHING REALLY, REALLY, REALLY FOOLISH
AND ABSURD BECAUSE IT DOESN'T MAKE ANY SENSE TO THEM.
THE NATURAL MAN LIVES OFF THE TOP OF HIS HEAD,
BUT THE TRULY SPIRITUAL MAN, WHICH I THINK WE'RE ALL WORKING
OUR WAY TOWARDS THAT, THE TRULY SPIRITUAL MAN LEARNS
HOW TO LIVE BY THE DISCERNMENT AND THE GUIDANCE
AND THE LEADERSHIP OF THE HOLY SPIRIT.
"THE SPIRITUAL MAN [THE SPIRITUALLY MATURE
CHRISTIAN] JUDGES ALL THINGS.
HE EXAMINES ALL THINGS.
HE THINKS ABOUT THINGS, BUT HE
CANNOT BE JUDGED BY ANYONE.
FOR WHO HAS KNOWN THE MIND AND THE PURPOSES OF THE LORD,
SO AS TO INSTRUCT HIM?
BUT WE HAVE THE MIND OF CHRIST [TO BE GUIDED BY HIS THOUGHTS
AND HIS PURPOSES]."
NOW, I WANNA GIVE YOU A COUPLE OF REALLY GOOD EXAMPLES
IN THE BIBLE.
A COUPLE OF DIFFERENT CASE POINTS ABOUT THIS THING ABOUT
DISCERNMENT OR ABOUT WORKS OF THE FLESH VERSUS THE WORK
OF GOD.
WE ALL KNOW THAT WHEN GOD GIVES US A PROMISE THAT HE'S GONNA DO
SOMETHING, WHETHER IT'S SOMETHING WE READ IN THE BIBLE
OR SOMETHING WE REALLY FEEL THAT GOD HAS SPOKEN TO US
INDIVIDUALLY, WE KNOW THAT THINGS DON'T HAPPEN
RIGHT AWAY, DON'T WE?
BOY, DO WE KNOW THAT.
THE PROMISES OF GOD COME TO US BY FAITH AND PATIENCE.
IT'S HARD FOR US TO UNDERSTAND WHY, IF GOD CAN DO SOMETHING
VERY EASILY, WHY HE MAKES US WAIT LONGER THAN WHAT WE
WOULD LIKE TO.
THEY'RE CALLED TESTS.
WE'RE TESTED IN AREAS TO SEE IF OUR FAITH IS REALLY REAL.
AND SO WE HAVE A COUPLE IN THE BIBLE, ABRAHAM AND SARAH,
WHO IN THIS PARTICULAR SCRIPTURE WERE STILL CALLED BY THEIR OLDER
NAME, SARAI AND ABRAM.
GOD GAVE THEM NEW NAMES TO BE MORE DESCRIPTIVE OF ACTUALLY
WHAT HE WAS CALLING THEM TO BE.
ABRAHAM MEANT THE FATHER OF MANY NATIONS
AND SARAH MEANT PRINCESS.
BUT HERE IT SAYS: "SARAI, ABRAM'S WIFE,
HAD NOT BORNE HIM ANY CHILDREN, AND SHE HAD AN EGYPTIAN MAID
WHOSE NAME WAS HAGAR."
NOW, GOD HAD PROMISED THEM THAT THEY WOULD HAVE
THEIR OWN CHILD.
BUT IN THE NATURAL IT WAS RIDICULOUS BECAUSE HE WAS
ALREADY ALMOST 100 YEARS OLD AND SHE WAS LONG PAST THE TIME
WHEN SHE COULD BEAR CHILDREN.
HAS GOD EVER SPOKEN ANYTHING TO YOUR HEART THAT SOUNDED
SO IMPOSSIBLE?
IF GOD DIDN'T DO IT, THERE WAS NO WAY THAT IT COULD BE DONE.
AND SO ABRAHAM ACTUALLY RELEASED HIS FAITH IN GOD AND HE
BELIEVED, BUT MANY, MANY YEARS HAD GONE BY, AND JUST LIKE
ANYBODY ELSE WOULD, I THINK THEY STARTED TO WEAKEN
IN FAITH AND MAYBE THINK THEY NEEDED TO HELP GOD.
[AUDIENCE LAUGHING]
JOYCE: DO YOU EVER THINK THAT MAYBE YOU JUST--GOD
JUST NEEDS A LITTLE HELP?
[AUDIENCE LAUGHING]
JOYCE: I FIND MYSELF SUGGESTING SOMETIMES TO GOD
WHAT HE COULD DO.
"WELL, GOD, YOU KNOW, YOU COULD DO THIS TO FIX MY PROBLEM."
SO SARAH GOT INTO ONE OF THOSE MOODS
THAT DAY, I GUESS, WHERE SHE FELT LIKE SHE COULD HELP GOD FIX
HER PROBLEM, BUT YOU'LL SEE REAL QUICKLY HOW
JUST TOTALLY DUMB HER IDEA WAS.
"SO SARAI SAID TO ABRAM, 'SEE HERE, THE LORD HAS PREVENTED ME
FROM BEARING CHILDREN.
SO I'M ASKING YOU NOW TO GO IN TO [THE BED OF] MY MAID
[SO THAT SHE MAY BEAR YOU A CHILD]; AND PERHAPS I
WILL OBTAIN CHILDREN BY HER.' AND ABRAM LISTENED TO SARAI
AND DID AS SHE SAID."
SO HE BEHAVED JUST AS UNWISELY
AS SHE DID.
NOW, JUST TO TAKE A LITTLE BIT OF THE PRESSURE OFF, MEN HAVING
CONCUBINES IN THOSE DAYS WAS NOT AS ODD AS IT IS NOW.
IT STILL WASN'T SOMETHING THAT GOD DESIRED
OR APPROVED OF, BUT IT WAS A LITTLE MORE OF A COMMON THING.
HOWEVER, ANY WOMAN SHOULD HAVE ENOUGH SENSE TO NOT GIVE
HER HUSBAND ANOTHER WIFE BECAUSE THERE COULD BE NOTHING
BUT TROUBLE.
YOU CANNOT PUT TWO WOMEN IN THE SAME HOUSE, GIVE THEM
ONE MAN, AND EXPECT THEM TO NOT HAVE A FIGHT.
SHE SAID, "PERHAPS I CAN BEAR A CHILD BY HER."
SO--AND IT'S IMPORTANT FOR EVERYBODY TO LISTEN TO THIS
TODAY BECAUSE WHAT IS IT THAT YOU WANT RIGHT NOW
THAT YOU'RE WAITING ON AND YOU'VE GOTTEN TIRED
OF WAITING, AND SO NOW MAYBE YOU'RE TRYING TO MAKE IT HAPPEN
YOURSELF.
"AFTER ABRAM HAD LIVED IN THE LAND OF CANAAN TEN YEARS,
ABRAM'S WIFE SARAI TOOK HAGAR HER EGYPTIAN [MAID], AND GAVE
HER TO HER HUSBAND TO BE HIS [SECONDARY] WIFE.
AND HE WENT IN TO [THE BED OF] HAGAR, AND SHE CONCEIVED;
AND WHEN SHE REALIZED THAT SHE HAD CONCEIVED, SHE LOOKED
WITH CONTEMPT ON HER MISTRESS [REGARDING SARAI
AS INSIGNIFICANT BECAUSE OF HER FERTILITY]."
SO BOTTOM LINE IS, IS SHE GOT WHAT SARAH WANTED.
SARAH COULDN'T BEAR CHILDREN.
SHE GOT PREGNANT, SO NOW, IMMEDIATELY, SHE GETS
A BAD ATTITUDE.
"NAH, NAH, NAH, NAH-NAH NAH."
[AUDIENCE LAUGHING]
JOYCE: "NOW, HE'S GONNA LIKE ME BETTER THAN HE LIKES YOU."
AND SO--BUT HERE'S THE FUNNY THING.
"SARAH WENT STRAIGHT TO ABRAM AND SAID, 'MAY
[THE RESPONSIBILITY FOR] THE WRONG DONE TO ME
[BY THIS ARROGANT BEHAVIOR OF HAGAR] BE UPON YOU.'"
SO NOW IT WAS--LET'S REMEMBER IT WAS HER IDEA.
SHE TALKED HIM INTO IT, BUT NOW IT'S HIS FAULT.
[AUDIENCE LAUGHING]
JOYCE: I JUST WANNA STOP HERE AND SAY SOMETHING.
WHATEVER KIND OF PROBLEMS YOU MIGHT HAVE IN YOUR LIFE,
THE ONLY WAY OUT OF TROUBLE IS TO TAKE 100% RESPONSIBILITY
FOR YOUR LIFE.
BLAMING OTHER PEOPLE FOR OUR PROBLEMS IS
THE OLDEST STORY IN THE BOOK.
IT STARTED ALL THE WAY BACK IN THE GARDEN.
WHEN ADAM AND EVE SINNED, ADAM SAID,
"IT'S THE WOMAN YOU GAVE ME."
AND EVE SAID, "IT WAS THE DEVIL."
SOMEBODY'S ALWAYS WANTING TO BLAME SOMEBODY ELSE.
I WENT THAT--THROUGH THAT FOR A LOT OF YEARS.
I HAD BAD BEHAVIOR BECAUSE I'D BEEN ABUSED IN MY CHILDHOOD.
THAT WAS MY WAY OF THINKING.
AND GOD REALLY SPOKE TO MY HEART AND SAID, "THE WAY YOU ARE IS
BECAUSE OF WHAT HAPPENED TO YOU, BUT DON'T LET IT BE AN EXCUSE
TO STAY THAT WAY."
WE HAVE TO TAKE RESPONSIBILITY FOR WHERE WE'RE AT.
EVEN IF SOMETHING UNFORTUNATE HAPPENED TO YOU THAT HAS KIND
OF GOTTEN YOU INTO THE SITUATION YOU'RE IN, NOBODY ELSE IS GONNA
COME AND GET YOU OUT OF IT.
ONLY GOD CAN GET YOU OUT OF IT, AND HE'LL ONLY DO THAT IF YOU
STOP BLAMING OTHER PEOPLE FOR YOUR PROBLEMS.
BUT SHE SAID, "MAY [THE RESPONSIBILITY
FOR] THE WRONG DONE TO ME [BY THIS ARROGANT WOMAN] BE
UPON YOU.
I GAVE HER INTO YOUR ARMS, AND WHEN SHE REALIZED SHE
HAD CONCEIVED, SHE THEN DESPISED ME AND DISRESPECTED ME."
WELL, ABRAHAM TURNED AND PUT IT RIGHT BACK ON HER.
IN VERSE 6, HE SAID TO SARAH, "LOOK, YOUR MAID
IS IN YOUR HANDS, SUBJECT TO YOUR AUTHORITY; NOW YOU
DO WITH HER AS YOU PLEASE."
AND I'M NOT GONNA REALLY READ ANY MORE OF THIS
EXCEPT JUST TO SIMPLY SAY THAT THIS DOESN'T WORK.
YOU'VE GOTTA BE VERY CAREFUL WHEN YOU'RE WAITING ON GOD TO DO
SOMETHING AND YOU JUST GET A BRIGHT IDEA.
NOW, I'M NOT AT ALL SAYING THAT THERE AREN'T THINGS
THAT GOD SHOWS US TO DO.
BUT THE DIFFERENCE IN THE WORK OF GOD
AND THE WORKS OF THE FLESH IS THAT, FIRST OF ALL,
THE WORK OF GOD WORKS, AND WORKS OF THE FLESH DON'T.
SO ONE OF THE THINGS WE MIGHT DO, AND I WANNA SAY THIS
TO THOSE OF YOU WATCHING FROM HOME, I DON'T KNOW
WHAT IT IS YOU MAY BE DOING RIGHT NOW IN YOUR LIFE TO TRY
TO GET WHAT IT IS YOU WANT, BUT I GUESS THE FIRST THING I
WOULD LIKE TO ASK IS, IS IT WORKING?
AND EVEN IF IT MIGHT BE WORKING, DO YOU HAVE PEACE
TO GO ALONG WITH IT?
AND DO YOU HAVE JOY?
IS IT REALLY PRODUCING THE THINGS IN YOUR LIFE
THAT YOU FEEL ARE THE ABSOLUTE MOST IMPORTANT?
I RECALL A SITUATION, I'M JUST THINKING ABOUT IT NOW.
DAVE AND I WERE SHOPPING OUT AT THE MALL, AND WE
WERE LOOKING FOR A PICTURE FOR OUR HOME, AND HE SAW
A PICTURE THAT HE LIKED, BUT I DIDN'T LIKE IT
AND I DIDN'T WANT IT.
AND HE WANTED IT AND I DIDN'T WANT IT.
SO YOU KNOW WHERE THAT GOES FROM THERE.
[AUDIENCE LAUGHING]
JOYCE: AND DAVE IS A PRETTY PEACE-LOVING, EASYGOING GUY,
AND IF YOU KEEP AT IT LONG ENOUGH, USUALLY HE'LL
JUST, JUST TO HAVE PEACE, HE'LL JUST SAY,
"DO WHATEVER YOU WANT."
WELL, WE ARGUED AND ARGUED AND I DIDN'T LIKE IT AND DIDN'T LIKE
IT AND FINALLY HE SAID, "I DON'T CARE.
JUST DO WHAT YOU WANT."
SO WHEN WE WALKED OUT OF THE STORE AND STARTED WALKING
DOWN THE MALL, I COULD FEEL MY FLESH JUST FELT KIND OF SMUG
AND SATISFIED, LIKE, "HM, I GOT MY WAY."
BUT THE LORD HAD SOMETHING ELSE TO SAY IN MY HEART.
HE SAID, "YOU THINK YOU WON, BUT ACTUALLY YOU LOST
BECAUSE YOU GOT WHAT YOU WANTED USING CARNAL FLESHLY MEANS
RATHER THAN WAITING ON ME."
SO SEE, SOMETIMES YOU CAN MAKE SOMETHING HAPPEN.
I MEAN, YOU CAN GO OUT AND BUY A NEW CAR, BUT YOU COULD DO
THAT THE WHOLE TIME KNOWING DOWN DEEP INSIDE THAT IT WASN'T
THE RIGHT THING TO DO, AND YET, IF YOU DON'T REALLY TAKE
THE TIME TO DISCERN AND LISTEN TO WHY YOU HAVE THAT LITTLE
GNAWING, UNCOMFORTABLE FEELING INSIDE, YOU CAN END UP SIGNING
ON THE DOTTED LINE AND YOU CAN PAY FOR IT FOR SEVEN YEARS
OR HOWEVER LONG NOW THEY GIVE YOU TO PAY STUFF OFF, WHICH IS
GETTING LONGER ALL THE TIME.
AND I CAN TELL YOU, A WEEK AFTER YOU GET IT,
WHEN IT'S DIRTY AND NOT SHINY ANYMORE, YOU'RE GONNA WISH YOU
HAD YOUR OLD ONE BACK THAT WAS ALREADY PAID FOR.
SO WE NEED TO BE VERY CAREFUL ABOUT THIS WORKS OF THE FLESH
COMPARED TO THE WORK OF GOD.
GOD ALWAYS GIVES US THINGS TO DO.
I'M FINDING MORE AND MORE THAT WHEN I'M PRAYING ABOUT
SOMETHING, A LOT OF TIMES GOD SHOWS ME SOMETHING TO DO OR HE
SHOWS ME SOMETHING NOT TO DO, AND I FIND THAT IN PARTICULAR
WITH HEALTH SITUATIONS.
IT'S LIKE, MANY TIMES YOU CAN BE GOING TO EVERY DOCTOR YOU CAN
FIND AND NOBODY'S HELPING YOU AND YOU'RE TRYING THIS AND THAT
THAT THE DOCTOR SAID AND NOTHING'S HELPING YOU
AND, HONESTLY, I MEAN, GOD MAY JUST SHOW YOU, "STOP DRINKING
SO MUCH CAFFEINE."
THAT HAPPENED TO MY HUSBAND.
HE WAS NOT FEELING GOOD AND HE WAS GETTING WHAT HE CALLED
"THE JITTERS" ALL THE TIME AND DIDN'T KNOW WHAT IT WAS,
AND THIS HAS BEEN MANY YEARS AGO.
AND GOD JUST SHOWED HIM THAT HE WAS DRINKING TOO MANY SODAS
EVERY DAY.
HE WAS GOING BY THESE DRIVE-IN RESTAURANTS AND GETTING
THESE QUART SODAS AND DRINKING THEM AND, YOU KNOW, HE'D BEEN
ABLE TO DO THAT FOR A LONG TIME, BUT NOW HE COULDN'T DO IT
ANYMORE.
AND SO SOMETIMES, YOU--MAYBE YOU'VE BEEN ABLE TO DO SOMETHING
FOR A LONG PERIOD OF TIME, BUT I CAN TELL YOU, AS YOU GET
A LITTLE BIT OLDER AND YOUR BODY CHANGES, YOU JUST MAY NOT BE
ABLE TO DO EVERYTHING THAT YOU USED TO DO AT ONE TIME.
AND I THINK WE CAN GET A LOT OF GOOD INFORMATION
FROM GOD IF WE'D LEARN HOW TO LISTEN A LITTLE BIT MORE.
SO THERE ARE THINGS THAT GOD WILL SHOW US TO DO, BUT YOU
GOTTA BE REALLY CAREFUL ABOUT JUST BRIGHT IDEAS THAT JUST ARE
COMING FROM YOU THAT DON'T WORK.
I SAY OFTEN AND EVERYBODY LAUGHS WHEN I DO, SO YOU CAN LAUGH
WHEN I SAY THIS TOO.
YOU KNOW, DAVE LOVES SPORTS AND I DIDN'T LIKE ANY OF 'EM
BECAUSE I NEVER GREW UP BEING ABLE TO ATTEND
ANY KIND OF SPORTING EVENT, SO I JUST DIDN'T LIKE 'EM
AND I WAS QUITE STRONG-WILLED AND CONTROLLING,
AND IF I DIDN'T LIKE IT, I DIDN'T WANT HIM TO LIKE IT.
AND SO I GRUMBLED AND COMPLAINED ABOUT IT ALL THE TIME BECAUSE I
ALWAYS SAY HE LIKED EVERYTHING THAT BOUNCED AND ROLLED.
I DON'T CARE WHAT IT WAS, IT WASN'T JUST A SPORT,
IT WAS SPORTS ON A BROAD SCALE.
AND SO IT TOOK ME A WHILE, BUT ONE DAY, LITERALLY, I WALKED
INTO OUR FAMILY ROOM WHERE HE WAS WATCHING TELEVISION.
HE WAS WATCHING A BASEBALL GAME, LISTENING TO A FOOTBALL GAME
BECAUSE, YOU KNOW, THE PRE-SEASON STUFF
KIND OF CROSSES OVER, AND HE WAS SHINING
HIS GOLF CLUBS.
[AUDIENCE LAUGHING]
JOYCE: AND SO MY LIGHTNING-FAST BRAIN
SAID, "THIS IS NOT WORKING."
SO I GUESS WHAT I'M ASKING YOU TODAY IS TO CONSIDER HOW MUCH
PEACE DO YOU HAVE ABOUT THE THINGS THAT YOU'RE DOING?
WHAT KIND OF FRUIT IS IT REALLY BEARING IN YOUR LIFE?
DO WE REALLY THINK THAT WE'RE SMARTER THAN GOD?
I MEAN, DO WE REALLY THINK THAT HE NEEDS OUR ADVICE?
YOU KNOW, THE SPIRITUALLY MATURE PERSON, THE BIBLE SAYS
IN HEBREWS 5, "BUT SOLID FOOD--" HEBREWS 5:14.
"SOLID FOOD IS FOR THE [SPIRITUALLY] MATURE,
WHOSE SENSES ARE TRAINED BY PRACTICE TO DISTINGUISH
BETWEEN WHAT IS GOOD AND WHAT IS EVIL."
AND I DON'T EVEN THINK THAT HAS TO BE WHAT'S MORALLY GOOD
AND MORALLY EVIL, ALTHOUGH THAT'S WHAT
THIS PARTICULAR SCRIPTURE'S TALKING ABOUT.
I THINK IT COULD EVEN BE CAN YOU DISCERN BETWEEN WHAT'S GOOD
FOR YOU OR WHAT'S NOT GOOD FOR YOU?
YOU KNOW, MAYBE YOU'RE THE KIND OF PERSON THAT NEEDS MORE REST
AND MORE SLEEP THAN ALL THE OTHER FRIENDS THAT YOU HAVE.
MAYBE YOU HAVE OTHER FRIENDS THAT CAN GO ON FOUR HOURS' SLEEP
EVERY NIGHT AND THEY DO JUST FINE, BUT WHEN YOU DO THAT,
YOU'RE GONNA FEEL BAD THE NEXT DAY AND YOU'RE GONNA BE CRANKY
WITH EVERYBODY AND YOU'RE NOT GONNA WALK IN THE SPIRIT
AND YOU'RE NOT GONNA WANNA PRAY AND ALL THESE THINGS.
SO YOU HAVE TO KNOW WHAT WORKS FOR YOU AND WHAT DOESN'T WORK
FOR YOU, AND YOU HAVE TO BE WISE ENOUGH TO SAY, YOU KNOW, "I JUST
CAN'T DO WHAT YOU CAN DO."
WE ALWAYS WANNA KEEP UP WITH EVERYBODY ELSE,
BUT SO OFTEN, WE'RE JUST CAUSING OURSELF TROUBLE.
SO THIS IS ONLY A LITTLE TINY BIT OF WHAT I COULD TELL YOU
TODAY ABOUT DISCERNMENT, BUT WE'RE GONNA OFFER YOU
A FREE BOOKLET TODAY.
WE ALL LOVE FREE, SO JUST REMEMBER THAT FREE IS FREE
TO YOU, BUT IT DID COST SOMEBODY SOMETHING.
AND SO WE WANNA MAKE AN INVESTMENT IN YOUR LIFE
BY SENDING YOU A LITTLE BOOKLET UPON REQUEST CALLED,
"HEARING FROM GOD."
EVERYBODY WANTS TO HEAR FROM GOD.
GOD WANTS TO BE PART OF OUR DAILY LIVES, AND WE NEED
TO SEEK HIM, AND WHEN WE DO, HE WILL GIVE US DIVINE GUIDANCE.
THANK YOU FOR JOINING US TODAY AND I HOPE THIS HELPS YOU.
[AUDIENCE APPLAUDING]
MALE: OH MY GOODNESS, I AM PUMPED RIGHT NOW.
I MEAN, I JUST LEFT THE CONFERENCE, AND TO BE AROUND
THIS MANY OF GOD'S PEOPLE, TO EXPERIENCE THIS FEELING,
IS SOMETHING THAT YOU DON'T WANNA MISS.
IT'S MORE IMPORTANT TO COME OUT AND BE AROUND PEOPLE SO THAT YOU
CAN SEE THAT YOUR SITUATION IS NOT ISOLATED, AND THIS IS
WHAT YOU GET WHEN YOU COME TO A PLACE LIKE THIS.
YOU GET TO TOUCH AND FEEL AND MEET REAL-LIFE TESTIMONIES.
YOU CAN'T HELP BUT TO LEAVE ENERGIZED.
[MUSIC]
[MUSIC]
[MUSIC]
[MUSIC]
[MUSIC]
ANNOUNCER: THE LOVE LIFE WOMEN'S CONFERENCE
IS SOLD OUT, BUT DON'T WORRY, YOU CAN STILL JOIN US,
AND FROM THE COMFORT OF YOUR OWN HOME.
SIGN UP FOR THE 2018 LOVE LIFE WOMEN'S CONFERENCE
LIVE STREAM.
HEAR POWERFUL MESSAGES BY JOYCE MEYER, PRISCILLA SHIRER,
LISA HARPER, AND SARAH JAKES ROBERTS.
WORSHIP WITH ELEVATION WORSHIP AND NATALIE GRANT.
REGISTER TODAY FOR THE 2018 LOVE LIFE WOMEN'S CONFERENCE
LIVE STREAM.
VISIT US AT JOYCEMEYER.ORG/WCLIVE.
ANNOUNCER: WE HOPE YOU HAVE ENJOYED TODAY'S PROGRAM.
PLEASE CONTACT US OR VISIT JOYCEMEYER.ORG TO SHARE
YOUR PRAYER REQUEST, SEE THE CONFERENCE SCHEDULE,
OR PARTNER WITH US IN SHARING CHRIST AND LOVING PEOPLE
ALL ACROSS THE GLOBE.
THIS PROGRAM HAS BEEN MADE POSSIBLE
BY THE FRIENDS AND PARTNERS OF JOYCE MEYER MINISTRIES.
-------------------------------------------
LES MACARONS - Recette ultime - Duration: 3:57.
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Armed man fatally shot by officers in Orlando, police say - Duration: 1:34.
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3 Tricks Thats Will Change the Way You Stretch || Plus Get Longer and Leaner Muscles - Duration: 7:40.
Would you like better results from your stretching? Watch this video where I give
you my top Pilates inspired tips for more efficient stretching. My name
is Gretchen, Founder of Balanced to the Core and what I do is give Pilates
inspired tips, tidbits, workouts, you name it. Whatever you need to help get
your everyday living more functional, efficient, where you feel amazing.
iI you like this channel please subscribe and be sure to click that Bell
so you never miss a video. There are three tips that you want to use
while stretching. I'm going to a go over these tips while giving you three
different stretching exercises so you can really feel the benefit.
Tip number one is to keep your belly engaged, as if you are
wearing a tight pair of jeans. What does your belly do when you're zipping up a
tight pair of jeans? It pulls in and up so you want to get that feeling all
the time , that inward and upward. The little lift is important because it's
going to prevent you from compressing your organs.
You always want to keep length in your body. The second principle
is your box. In Pilates we refer a lot to the box - which is shoulder to
shoulder and hip to hip. You always want to keep that box lined up and know
where it is in space. The third tip or principle is this idea of opposition and
stabilization. While you stretch there's always muscles pulling one
direction and opposing muscles pulling in the opposite direction. This idea
of energy pulling in opposition but then there's a middle point that is
being stabilized. So let's dive into these three exercises and talk about
the three principles. The first exercise is a basic hamstring stretch.
Get your your spine neutral and pelvis neutral and if you're not sure
what neutral is, check out my beginner mat Pilates series.
Click the link up in the corner of your screen and learn more about neutral.
OK, so extend your leg up to the ceiling.
The key when you stretch is you really want to keep your body in alignment
in that neutral with your tailbone down. What I see a lot is the tailbone lifting as you stretch
into a hamstring stretch and you don't want that, you want to stay neutral. Principle
one - are your abs in and up? Second principle, keep your box sqaure and
down - so hip bones down - tailbone down that's part of the box.
Shoulders down. Principle 3 opposition so with your
pelvis down you're stretching the leg up,
you want to pull through that heel and bring that leg into you. As you hold
here really ground the pelvis, feel your pelvis pull one way and your leg and
heel reach the other. Another opposition are your toes are pulling towards
your chest and your heel is reaching up. Belly in and up, box planted down, pull in
a little deeper - as you pull in keep everything grounded - don't let anything
lift - don't change the shape of that box. Focus on
the opposing energies that are going on. There's another opposing energy -
the opposite foot that's planted, push it into the ground and then reach your head
away from you. You can also straighten that leg below you and flex the foot.
Pull it away from you as you feel your opposite leg pulling up and away from that leg.
The center being your pelvis that holds stable. This might be a little confusing
because I'm talking about a lot of things, but it's still just thinking about those
three principles. My belly, my box and opposing energies.
The second exercise that I'm going to do is a
side stretch. Get into a half split position
Stretch one leg out and one leg in.
Principle one: belly in and up.
Principle two is my box my box perfectly upright I want to make sure I'm not
tilted either way or I'm sinking in my back.I want to keep the shoulders right
above the hips with my belly engaged in the center.
Stretch to your foot, but I want to think about
opposition of energy first. I'm planting my pelvis
and I'm lifting up out of the crown of my head. So before moving,I already
have energy going on. I'm also planting my pelvis
and reaching through the opposite heel and pulling the toes towards my chest.
Bring your arm up with shoulders down and stretch over towards
your foot. Keep the alignment of your box. Keep it square.
Keep my shoulders lined with the hips. Stretch over with an opposition
of energy as you plant your opposite butt bone down. As you reach over you're
going to get a nice long length. So but bones pulling down as I stretch
to the opposite side. Be careful you don't start to roll in where you lose
the box. Open it up - think about the heart turning up to the ceiling as you
plant the pelvis. I'm also reaching out of the crown of my head, my belly is the
center by pulling in and up ,and then come back up. So keep scanning
through those three principles going back and forth back and forth.
It creates stretching where you're always present, it's never passive, you're
always in the moment. You will always stay in the moment by constantly
scanning the body and going over these three principles.
The 3rd exercise I'm going to do is a quad stretch. Grab one
foot and if you need to hold on to a surface, go ahead and hold on to
something. The first thing you want to do is draw your belly in and up. The second
thing is the box. If you tilt you've lost your box . If you extend the spine (I'll
show you from the side) my box is out of alignment. I want to try to get
my shoulders over my hips and then line the thighs - thigh to thigh.
Now opposition of energy - right knee down head reaching up. The center is
the pelvis and the ABS are stabilizing. Push the tailbone to the
floor, draw the belly in and up. That's another opposition of energy as
the tailbone pushes down, the belly pulls in and up. As your
opposite foot is grounding into the earth it's getting
energy from the earth as you push down into that foot feel the head lift up.
Release it. You'll get a nice thigh stretch as you go thru the
principles. They are allowing you to create strength while stretching and that's
where you're really going to get the benefit from stretching . You never want
to just push yourself into an exercise or stretch without going
through some sort of alignment checklist andI find are these three to be
best. They keep you present, keep you workin, g keep you in your body, and
help get results fast. If you liked this video please give it a like. Please
comment on something that you resonated with you. And please let me
know if there's anything else that you would like to see. I want to make
these videos for you so they're beneficial for you. If you'd like to be
part of my community you can hop over to Gretchen McCarthy.com where I have all
the information about how you can sign up for a regular email from me where I
give you more tidbits and tools and everything that you need to feel better
in your everyday living. Thanks so much for watching today and I will see
you again soon. Take Care!
-------------------------------------------
Batman - The Telltale Series : สรุปเนื้อเรื่อง #1 (Realm of Shadows) - Duration: 21:18.
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Hé Lộ Bí Quyết Gia Truyền.Cách Làm Dưa Chua Rau Muống | MTPL - Duration: 10:59.
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Dia Mundial do Vegetarianismo - 1º de Outubro | Ep 04 | Victor RW Kids - Duration: 2:26.
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¿QUÉ OCULTA LA MONTAÑA DE MONTSERRAT? con Xavier García - Duration: 1:53:56.
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Турция: Важно знать всем. Страхование здоровья, жилья, машины в Аланье - Duration: 18:45.
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Bean Pastas and Lentil Sprouts - Duration: 4:39.
For more infomation >> Bean Pastas and Lentil Sprouts - Duration: 4:39. -------------------------------------------
Remember These 'Teen Mom' Cheaters? | MTV - Duration: 2:29.
(wedding music)
- [Narrator 1 ] We've met with the casts of Teen Mom OG
and Teen Mom Two through it all.
(broken record)
Even cheating.
Tonight, take a look back at
all the times your faves got caught.
- You constantly told your girls
all the (bleep) time "I'm so sick of this."
- No, I don't
- [Narrator 2] If the cast of Teen Mom OG and Teen Mom Two
have taught us anything, it's that cheaters never prosper.
- I know that I've hurt you and I didn't want to.
- [Narrator 2] These moms and dads have been through
all sorts of relationship scandals from trust issues ...
- I'm not gonna give up all my
privacy because you're insecure.
- [Narrator 2] To rumors ...
- My cousin, was told that she's sleeping with Lou
- [Narrator 2] To getting caught red-handed.
- You have cheated on me
- At least five times
- [Woman] That's a lot! - No it's not.
- [Narrator 2] And while some work
through their problems, most haven't been so lucky.
- So you didn't admit to me that you slept with someone.
- I had filed for divorce in December.
- Oh here we go, okay, but when I left we were together.
No don't close the door.
Be an adult. - I'm leaving.
- [Narrator 2] Tonight, we'll look back at all the lying,
- I talked to two girls, - Three
- On Facebook.
- [Narrator 2] sneaking, - You've been at a hotel with
god knows who doing god knows what.
- [Narrator 2] two-timing,
- That ugly ass
(bleep)
- [Narrator 2] And deceiving,
on Teen Mom Presents: Cheaters.
- Daddy's a cheater!
- [Dad] Cheater? - Wooo.
- [Narrator 1] And after that, it's another show
full of heartbreak: Are You The One?
- Come at me bro.
Come at me bro.
I don't (bleep) people like you do bro.
(yelling)
(bleep) (bleep) (screams)
- Oh my god ... no no (drowned out by yelling)
(bleep)
(bleep) (yelling)
- Calm down (bleep) Calm down, no no no
- [Man] Don't start that
- I'm gonna say my (bleep) peace.
If you can't handle it then you can't handle it.
- [Man] Oh, beat his ass. He better chill.
He don't know what a (bleep) I am.
- He said his piece to me and I responded
with my piece to him.
(dramatic music)
- Listen, you saw how Cam acted for you today.
- I know. Like, I had done nothing to
have been talked about in that way.
- [Asia] Yeah. - Nothing.
- [Asia] But that's how you know it's not ...
- To be disrespected like that
- [Asia] It's not you. It's not you.
- Listening to Quasi talk about like,
"yeah, yeah bro, you can nurture her."
And like "Imma bag her."
That's very disrespectful.
Kayla has every reason to be upset about it.
I mean, I would be (bleep) pissed.
Even if you don't get an apology,
you know you didn't deserve this.
- And let the mother (bleep) self destruct.
- [Narrator 1] It all goes down tonight nine eight central,
only on MTV.
-------------------------------------------
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Halloween Night | Videos For Kids | Scary Nursery Rhymes | Farmees - Duration: 17:06.
It's Halloween Night Not a soul in sight
I hear Footsteps Who's that coming?
I see a ghost!
Oh no!!!
I see a ghost!
Run!!!
I see a ghost!
Hahahahaha!
It's Halloween Night not a soul in sight
I hear Footsteps who's that coming?
I see a zombie!
Oh no!!!
I see a zombie!
Look Out!
I see a zombie!
Hahahahaha!
It's Halloween night not a soul in sight
I hear Footsteps who's that coming?
I see a vampire!
Oh no!!!
I see a vampire!
Help!
I see a vampire!
Hahaha!
It's Halloween night not a soul in sight
I hear Footsteps who's that coming?
I see a witch!
Oh no!!!
I see a witch!
save me!
I see a witch!
Hahahahaha!
It's Halloween night not a soul in sight
I hear Footsteps who's that coming?
I see a skeleton!
Oh no!!!
I see a skeleton!
Hide!!!
I see a skeleton!
Hahahahaha!
-------------------------------------------
22 Useful Organizing Inspiration for Anyone Living in a Small Space - Duration: 14:41.
Small space blues are real.
What seemed like an economically sane decision
quickly turns into an ordeal
when you realize that you cannot move around home,
without bumping into furniture or your pet
or your partner.
The fact though,
is that any living space can be organized better,
no matter how small it is.
You only need to think smart
rather than get inspired by the latest design fad
that you came across on Pinterest.
If you are woefully short of ideas,
then here are 22 tips that will help you organize
your home better
and with some luck,
drive some of those small space blues away.
As always, this list is brought to you
by simphome.com
22. Secret Shelf for your kitchen
If only we could have a kitchen that had enough room
to store all our pots, pans, bottles,
Tupperware, crockery, bins, containers, spatulas,
baskets, bins, tongs, et al.
See?
You never run out of things to store in your kitchen.
This secret shelf is ridiculously tempting to make
and so functional.
It's sleek enough to hide in the wee bit of space
between your refrigerator and the wall.
Yet, it can store as many things
as a full sized cabinet can.
Don't believe us?
Check this video for more details.
21. Pull Out Pantry
This Pull Out Pantry can be a seamless extension
to your existing Pantry.
It's somewhat similar to the secret shelf design
that I shared earlier.
However, there's a lot more room
in the horizontal shelving.
This can easily accommodate
some of the larger containers.
A neatly tucked Plexiglas piece serves as the fencing
that protects the contents from tumbling out
as you pull the shelf.
Most importantly,
it's way cheaper than getting a bespoke one made.
20. Simply Organized DIY Floating Shelves
Floating shelves are so versatile.
You can customize them in all sorts of sizes.
They can fit into tiny nooks.
They serve as landing pads
for just about anything you fancy.
And they look great.
Don't they?
Have some space between the stairs and the wall?
This DIY floating shelf from Simply Organized
will fit right into it.
The lady here uses dark wood stain
but I recommend chalk paint instead for a rustic,
worn out look.
19. IKEA lack table hack with Plexiglas
Here's a great way to put that old,
outdated side table to good use.
Convert it into a contemporary
and sophisticated looking cube table
using some mirrored Plexiglas, glue and cardboard.
The end result looks so good
that it can easily pass off
for a designer $1000 side table.
God, I love DIY hacks.
18. Poppytalk DIY Desk Organizer
This desk organizer is a creative solution
to the bane of the modern-day home,
cluttered work desks.
It has enough pockets, hangers and shelves
to store most of the tiny nick knacks
that otherwise make for an ungainly desk.
Not to mention that you can easily find the things
that you use the most frequently.
17. DIY Tie Rack idea
Irrespective of whether you wear ties or don't,
you've got to love this DIY Tie rack.
Distressed old wooden board,
a ledge on top and a row of old fashioned 2.5" nails.
Bingo!
You've got an amazing new place to display those ties.
By the way, you can get really creative with this
and convert this into a key hanger
or a decorative fixture.
Super easy to make as well.
16. DIY Organization Blocks Made Out Of Plywood:
Bedroom And Desk Editions
Someone wise once said
that a cluttered desk = a cluttered mind.
Couldn't be truer.
Organizing your desk improves productivity.
The fact that you can find the things
that you need the most a lot faster
will also reflect on your concentration.
This DIY organization block is tailor made
for woodworking newbies.
It is as simple as tracing a block on paper,
cutting out a few blocks of Plywood
and gluing them together.
The best part is that you can make your own block
to organize just about everything
from cellphones to keys to office stationary.
Make one for your bedroom too
and stain or paint to match the existing décor.
15. Fold-Down Spice Rack
Spices enliven your food.
The irony is that rows after rows of spice bottles
often clutter your countertops.
This fold down spice rack allows you easy access
to your spices and keeps them hidden
when they are not in use.
It can be made from any old wooden briefcase or trunk,
which adds a rustic chic element
to your kitchen.
Add a few of these in varying sizes around home
and you have a smart storage solution
that's as aesthetic as they come.
14. Wall Art Into A Table
Storage and organization is about sprucing up
existing décor or furniture pieces
and improving their functionality.
This DIY hack allows you to convert any wall art
into a folding murphy table
that can be used for a variety of tasks.
When not in use,
it looks as innocuous as any wall art would.
Some heavy duty hinges,
wood glue and paint is all that it takes.
It can serve as a temporary work desk.
Add a mirror on the wall next to it
and you have a folding makeup desk.
Nifty!
13. Console Table Bookshelf
This console table adds layers of functionality
to just about any room that you place it in.
Place it between the bed
(if it does not have a headboard)
and the wall
and you have a place to park your reading lights,
books and décor.
Place it in the game room
and you can keep your drinks or game titles on it.
Stain it, paint it, add some hidden LED light strips
to create a cool ambient light effect.
It's sleek, compact and easy to make
if you know some basic woodworks.
A couple of hours job at best.
12. Lift Top Coffee Table with Hidden Drawer
This lift top coffee table with a hidden drawer storage
is one of our favorite, multifunctional furniture pieces.
It has a hinged top to the table
that can be lifted and pulled towards
the couch or your favorite lounge chair.
And the storage drawer is hidden underneath it.
Keep it in the gaming room
and you have a place to store your joysticks,
cables and PlayStation accessories.
Add some caster wheels to the bottom
and its portable.
Add a wood composite top
and you can even cart it outdoors during parties.
It might sound like a cumbersome design
but this DIY tutorial grabs your hands
and takes you through each step in astute detail.
11. Folding Bed Bench (Hidden Cot)
Hosting guests can be a real challenge
in a small apartment as sleeping space is scarce
and most of the times,
guests end up cooling their heels
on the floor on flimsy mattresses.
This folding bed bench is a dream come true
for smaller homes.
As implied by the name,
it's a combination of a bed and a bench.
When not required,
the zigzag leg pieces fold away
into the dimensions of the main frame
instantly converting into a functional bench.
It's easy to fold and unfold
that you'd be tempted to have as many of these
at home as possible.
The sleek dimensions make it a great console table
as well.
10. Solem table keeps cables tidy
with hidden storage in each leg
If only we could do away with cables forever.
This smart table design almost manages
to pull it off
by neatly concealing the cables in the legs.
More importantly,
the cables are protected by a layer of felt,
they don't get tangled
and the structural integrity of the table
is not compromised.
No mean feat, eh?
Yet, the design is so practical and easy to make
that -I believe- any beginner woodworker
can reproduce it at home.
9. Flexible furniture collection using felt composite
If this amazing design of flexible furniture
were to go mainstream,
then we wouldn't have space-hogging wooden clunkers
in homes anymore.
These are minimalistic yet attractive.
And they are made from simple wooden frames
that can be made in minutes
combined with felt pieces that are curved,
rotated and glued together.
From simple desks to coffee tables to baby cradles,
the possibilities are endless.
8. 3 simple hacks to Hide home ugly stuff
Be it electrical boxes or ungainly cables,
some of the visible things around home
can be just plain grotesque.
Unfortunately, you cannot do away with them.
So hide them with these easy to make plywood boxes
which can be tailored to look like
floating books or shelves.
Within a couple of hours,
you can completely hide everything
that looks out of place at home.
7. Storage Coffee Table with Acrylic Top
Storage compartments in coffee table tops
bring out the functionality in an unused aspect
of the furniture piece.
With this acrylic top,
it becomes an aesthetic addition as well.
It can very easily become the focal point
in your room.
You can create geometrical shaped compartments,
as many as you want to
and store everything from decorative stones
to books and keys in it.
As complicated as it sounds,
the table with the see-through top is very easy to make.
I love the mid-century modern staining on it as well.
6. Catchbowl by Torafu Architects
This one is our personal favorite.
It's so simple yet so effective
as it uses a universal element of home architecture,
corners.
This is a creative catch bowl.
It divides a hemisphere (half of a sphere)
into three quarters and one quarter.
The three quarter part fits into the convex corner
while the other one fits into a concave corner.
The versatility of the shelves
allows them to be used to park anything on it.
And it looks out of this world.
5. Clopen Shelf
From Torafu Architects,
the guys behind the Catch Bowl
comes this amazing floating shelf
which they call the Clopen Shelf.
The Clopen shelf is an incredibly sleek floating shelf
that hides a thin storage compartment.
The lack of handles on the face
makes it impossible to detect
that it hides storage in it.
And how do you pull the shelf out?
Using magnets concealed in corks or dowel pieces
that can be attached when needed
to pull the drawer out.
There's so many ways in which this can be customized.
We "in the house" wanted to uproot
all the floating shelves in our home
and convert them into similar ones.
4. Midcentury side table hack by sugar and cloth
Midcentury furniture designs are rad.
Aren't they?
Take this simple side table for example.
It looks stylish, is compact enough for small spaces
and has a hidden storage compartment
for remote controls and other small details
that tend to be an eyesore.
You can make this on a weekend within a few hours
and it uses simple things like tapered legs,
a cakepan (yes you head this right)
and a round wooden circle.
I can't wait to see your own versions
that you guys come up with.
3. Wall Coat Rack with Hooks and Hidden Storage
This dainty little storage compartment
remains hidden behind a ubiquitous looking
wall coat rack.
And because pulling out or opening a hinged
compartment with a heavy wet coat on it
can be impractical,
this one uses sliders instead.
Just slide it to the sides to reveal a compartment
that can be big enough for your sunglasses
or your keys.
You can add an unlimited number of shelves
to the compartment
and make it as long as you want to.
2. Cover the wall niche without sacrificing on storage
If your home has more wall niches
than what you can appreciate,
then here's an excellent way to cover them up
without resorting to outdated design techniques.
This one uses a mirror to cover the niche
and the mirror is mounted on sliding rails,
flush against the wall
which lets you slide it to a side
to reveal the storage inside.
I would go one step further
and add floating shelves to organize the storage.
You can even add sleek floating shelves
with hidden drawers to amplify the functionality.
From mobile phones to keys to calendars,
there are tons of things which can be hidden
in this niche.
Not to mention that the mirror makes your room
appear bigger.
Before we get to number 1,
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1. Floating shelves with hidden space
Pull out drawers on floating shelves
are so passé
(Psst…I still love them).
But here's an even better hidden floating shelf
storage system.
This one divides the floating shelf into two parts.
The entire outer part is the actual shelf
and can be pulled outwards as one unit
along with the stuff that's parked on it.
The inner drawer remains hidden
and has ample space for some of the bigger stuff
that lies around home begging to be organized.
All it takes is less than four hours to rig this up.
Closing thoughts
Smart multifunctional furniture fixtures like these
free up some much-needed space in small homes
without the aesthetics going for a toss.
Which ones have you installed or want to install
in your home?
Share your thought using comment area.
I'd love to hear them.
That's it my fellow YouTube Consumer.
I hope you enjoyed my countdown through this list.
Before you go,
like this video or share it with anyone close to you
in your social media account.
Come back again next time with more organizing
and décor videos,
And lastly, Until next time, Thanks for watching.
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لقطات من رحلتي الى كوريا ♥ Clips of my trip to South Korea - Duration: 4:06.
【Ｉｔ＇ｓ ｎｏｔ ｓｏ ｂａｄ】
【Ｉｔ－－ＩＴＳ ＯＫＡＹ】
【Ｉ．．．．．】
【Ｉｔ＇ｓ ＮＯＴ ｏｋａｙ】
【Ｙｏｕ ｋｅｅｐ ｓａｙｉｎｇ ｔｈａｔ】
【Ｂｕｔ ｙｏｕ ｄｏｎ＇ｔ ｋｎｏｗ ｗｈａｔ ａｒｅ ｙｏｕ ｄｏｉｎ＇】
【Ｎｏｗ ｗｅ ａｒｅ ｇｏｎｎａ ｓｕｆｆｏｃａｔｅ ｏｒ ｓｔａｒｖｅ】
【Ｉｎ ｔｈｅ ｂｏｔｔｏｍ ｏｆ ｔｈｅ ｏｃｅａｎ】
【Ａｎｄ ｏｎｌｙ ｍｙ ｐａｒｅｎｔｓ ｗｉｌｌ ｋｎｏｗ ｂｅｃａｕｓｅ】
【Ｊｕｓｔ ｂｅｃａｕｓｅ ｎｏ ｏｎｅ ｅｌｓｅ ｃａｒｅｓ ａｂｏｕｔ ｍｅ】
【Ｉ＇ｍ ｇｏｎｎａ ｄｉｓａｐｐｅａｒ】
【Ｗｉｔｈｏｕｔ ｅｖｅｒ ｍａｋｉｎｇ ａ ｓｉｎｇｌｅ ｆｒｉｅｎｄ】
【Ｗｉｔｈｏｕｔ ｅｖｅｒ ｍａｋｉｎｇ ａ ｓｉｎｇｌｅ ｆｒｉｅｎｄ】
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