Flight of the Conchords: ‘A Kiss is Not a Contract’

r8dkid – Lyrics:

A kiss is not a contract
But it’s very nice
It’s very niceJust because you’ve been
Exploring my mouth
Doesn’t mean you get to take
An expedition further south, noA kiss is not a contract
But it’s very nice
It’s very, very niceJust because we’ve been
Playing tonsil hockey
Doesn’t mean you get to score the goal
That’s in my jockeysJust because I’m in a two man novelty band
Doesn’t mean it’s all about poontang
I can’t go around loving everyone
I just wouldn’t get anything doneYou can take me out to dinner
That might be quite nice
You could buy me a burrito
And some beans and rice
But that won’t get you into pant’s paradiseThey call it a fly
Because it takes you up to heaven, oh ohA kiss is not a contract
But it’s very nice
It?s very, very niceI’m only one man, baby, pretty baby
We’re only two men, ladies
Oh babies, oh, pretty babies

Source: LyricFind
Songwriters: Bret Mckenzie / Bret Peter T Mckenzie / Jemaine Clement
A Kiss Is Not a Contract lyrics © BMG Rights Management, Words & Music A Div Of Big Deal Music LLC


Though the Wisconsin-Born Architect Called the City a ‘Pig Pile’ and ‘Inglorious Mantrap,’ It Made Him a Superstar

by ANTHONY ALOFSIN | FEBRUARY 23, 2020 (zocalopublicsquare.org)

The Guggenheim Museum in New York City is architecture as sculpture—a smooth, creamy-colored, curved form that deliberately defies its square, gray urban context, and succeeds by harnessing the pure abstraction of modernism to the archaic form of the spiral. It proclaims the authority of the architect. It says to the public: It’s my art. Learn to live with it. It stands alone as the built confirmation of the architect’s supremacy as artist.

The Guggenheim is also the defining symbol of the legacy of its designer, the legendary American architect Frank Lloyd Wright. Through his work and the force of his personality, Wright transformed the architect into artist—a feat he never could have accomplished without a long, complex and rich relationship with New York City.

Today, Wright is best known as a pop icon, a flamboyant individualist with a chaotic love life who routinely bullied clients and collaborators—all in the service of his powerful personality and homegrown American aesthetic. But there was more to him than that. Wright was the first true star of his field, and his vision and success liberated generations of architects in his wake, from Frank Gehry to Zaha Hadid to Santiago Calatrava, inviting them to move beyond utilitarian function packed in square boxes to explore sculptural forms with autonomy.

Less known is the role New York City played in his vast influence as an artist. Wright complained shrilly about the city, calling it a prison, a crime of crimes, a pig pile, an incongruous mantrap and more, but this was the bluster of someone who protested too much. New York forged Wright’s celebrity as an American genius, resurrected his career in the late 1920s, and ultimately set him up for the glory of his final decades and beyond.

Wright got his start far from New York. Born into a dysfunctional Wisconsin family in 1867, he weathered his parents’ divorce but dropped out of college. He became the righthand assistant of the architect Louis Sullivan, a pioneer in Chicago’s efforts to create a distinctive American architecture, and in the 1890s started his own practice in Chicago, and Oak Park, Illinois.

By 1909 Wright had revolutionized domestic architecture, opening up the interior spaces of houses and harmonizing them with the landscape. He spent much of the 1910s in Japan designing the Imperial Hotel. Upon his return to America in the early 1920s, he found his career in shambles and his personal life in disarray, and spent much of the decade trying to reestablish his practice and his personal equilibrium. His brilliant projects went mostly unbuilt, and the yellow press covered his messy divorce and daily exploits. In the early 1930s Wright began to reemerge to acclaim in the public eye. In the last two decades of his life, his built work proliferated, and he rocketed to international fame.

Wright lived almost 92 years, so he had a long time to establish this fame—and he is experiencing one of his periodic resurgences of popularity today. Wright’s houses are once again in vogue (after decades of going in and out of fashion) and two chairs from the early Prairie period recently sold at auction for hundreds of thousands of dollars. What’s more, the architect is enjoying renewed status as a cult figure, revered by his followers for his independence and individualism—the inspiration, at least indirectly, for Howard Roark in Ayn Rand’s The Fountainhead. Wright’s latest generation of fans are rushing out to buy a recent biography that revisits the tragic and notorious fires at the architect’s compound at Taliesin, his home and studio near Spring Green, Wisconsin. They gather enthusiastically on the Internet, posting snippets of Wright’s writings on Twitter. Some still refer to him reverently as “Mr. Wright.” He’s a cash cow for the eponymous foundation which, having just announced closing his unprofitable school, licenses his name on everything from tea cups to ties.

Wright’s detractors have a lot to talk about these days, too. Wright was the sort of old white male who makes easy target practice, a famously arrogant figure who often alienated the very clients he relied upon to bring his architecture to life. A recent exhibition at the Museum of Modern Art reminded visitors of strands of racism and misogyny in his work. Wright and his last wife, Olgivanna, exerted domineering control over apprentices, even dictating who married whom.

But all the focus on Wright’s sensational biography—whether it elevates him to pop icon status or hoists him overboard as a monstrous egomaniac—avoids the serious question: beyond the hype, what is Wright’s legacy? That brings us back to New York.Wright might have always remained identified with the Prairies, but he needed New York to confirm his superstar identity. New York, in turn, needed Wright to announce the future of architecture.

Although Wright wanted to portray himself as unique and self-created, he was part of a long tradition of seekers that continues today, artists of every stripe, in all media, who recoil at the terrors of New York while seeking to know it, to celebrate it, and to use it to find out who they are. A series of prominent American writers saw New York as a “terrible town” (Washington Irving) with skyscrapers that erupted in a “frenzied dance” (Henry James). For Henry Adams, New York had an “air and movement of hysteria.” Hart Crane, the poet, wrote Alfred Stieglitz in 1923 that “the city is a place of ‘brokenness,’ of drama.”

Interwoven into these complaints was an acknowledgment that New York spurred creativity and transformed artists. Herman Melville badmouthed New York at length. But during his first stay there, from 1847 to 1851, the city’s vibrancy and burgeoning publishing industry turned him from an unknown into a great popular success. Not only was Melville’s career transformed but, according to his biographer, the “pulse” of his energy increased. Melville remained tethered to the city and its publishers for the rest of his life, and he died there.

Wright had a similar response to New York: repulsion and irresistible attraction. He first visited the city in 1909 anonymously but his most transformative experience there began in the mid 1920s when, fleeing his estranged wife, Miriam, he took refuge with his lover, Olgivanna Hinzenberg, and their infant in Hollis, Queens, in 1925. A year later he returned. This time he went to Greenwich Village, home of his sister Maginel, a successful illustrator.

Wright’s stay of several months occurred as he was struggling to rebuild his practice and his reputation. All his projects—from an innovative office building in Chicago to a spiral shaped “automobile objective” for motoring tourists in Maryland—had fallen away. He had high hopes for “San Marcos in the Desert,” a lavish resort in Arizona, but it had no secure funding. Building new projects in New York could be a way out of debt.

New York offered energy, culture, and connections. His visit to the city enabled him to reconnect with his client and close friend William Norman Guthrie, the iconoclastic rector of St. Mark’s-in-the-Bouwerie at East 10th Street and Second Avenue. Guthrie wanted to reform religion by making it inclusive and global. He invited New York literati to the church, and introduced his followers to rituals and practices such as services from Hindu swamis and Native American leaders, and, to raise cosmic consciousness, Eurythmic dancing by scantily clad young women. Guthrie’s work set the stage for the 1960s counterculture in the East Village.

Wright designed two visionary projects for Guthrie during the 1920s, an immense fantastical modern cathedral, attached to no particular site, and a pinwheeling skyscraper to be located on the church’s grounds. The feasibility of the cathedral and the skyscraper’s scale in the neighborhood mattered little to Wright. Their role was to confirm the architect’s creative imagination. The skyscraper in particular became a vehicle in Wright’s publicity campaign against European modernism from 1930 onward (he pushed the argument that he had originated what Europeans followed). The skyscraper’s model became a set piece in all his exhibitions, and visitors today can see it at the Museum of Modern Art.

At the same time Wright was designing the St. Mark’s projects, he began forging a network of connections that would propel him forward. A circle of young modernists—including the critic Lewis Mumford and the designer Paul Frankl, known for his “skyscraper furniture”—championed and honored Wright. Mumford defended Wright in his writings and would insist Wright be included in MoMA’s epochal International Style exhibition of 1932. Frankl extolled Wright in books and saw to it that the American Union of Decorative Artists and Craftsmen recognized the architect with an honorary membership.

The city’s more conservative, established practitioners welcomed him too, if somewhat belatedly. The buzz surrounding Wright led publishers to seek essays and books from him. Wright wrote a series of essays for Architectural Record that articulated the nature of modern materials and building practices. Princeton University published lectures he gave there, in which he expanded his theory of modern architecture. He also wrote for mass market publications like Liberty magazine. Intertwined with the publications were a series of exhibitions of Wright’s work that raised awareness of his architecture domestically and internationally.

By 1932, when Wright’s Autobiography debuted to critical acclaim, the Depression had devastated the careers of most architects, but Wright’s would only advance. He conceived of his masterwork, Fallingwater, in 1936, while he was developing a new type of middle-class American home that he called Usonian. He was one step away from the pinnacle of his career.

Wright wasn’t living in New York when he designed Fallingwater—he worked from Taliesin—but throughout this period he remained connected to the city and its institutions, including MoMA. By 1943, when he received the commission to design the Guggenheim Museum, Wright knew the city and its challenges intimately. The project would encounter problems with the city building department, protests from artists who thought the building might compete with their art, and pushback from obdurate museum directors whose agendas differed from Wright’s and that of the late founder, Solomon Guggenheim.

By the early 1950s Wright and Olgivanna spent so much time in New York that they remodeled and moved into a suite at the Plaza Hotel. Unlike his first visit to Manhattan, this time around Wright basked in glamor. He entertained Marilyn Monroe and Arthur Miller as clients, gadded about with Hollywood star Ann Baxter (who happened to be his granddaughter), and appeared on television for interviews with Mike Wallace and Hugh Downs. He even showed up on “What’s My Line,” a quiz show where blindfolded celebrities tried to guess the guest’s identity.

Could New York be the Gotham we prize without the Guggenheim? Could Wright have become the figure we know today without New York? No, to both questions. Wright might have always remained identified with the Prairies, but he needed New York to confirm his superstar identity. New York, in turn, needed Wright to announce the future of architecture—for better or worse—from the world capital of culture, and to set the stage for the visionary projects of the 21st century.

Without each other, these two institutions, the city and the man, would be altogether different.

ANTHONY ALOFSIN is the Roland Roessner Centennial Professor of Architecture at the University of Texas at Austin. He is the author of Wright and New York: The Making of America’s Architect.

Concerned Baby Starting To Worry Lethargic, Distant Mom Not Suffering From Postpartum Depression At All

February 24, 2020 (theonion.com)

SAN CARLOS, CA—Growing gradually more concerned that this was just his mother’s normal state, local infant Lucas Garrison reportedly had started to worry Monday that his lethargic, distant mom wasn’t suffering from postpartum depression at all. “Huh, that’s weird—I thought for sure that all the mood swings, insomnia, and crying would go away, but I guess this is somehow her actual personality,” said the nervous 6-month-old, adding that while he was relieved his mother wasn’t suffering from a debilitating mental illness, he was less thrilled to learn the distant look in her eyes and total inability to bond with him would actually be permanent. “At first, I told myself, okay, these baby blues will go away in no time. But six months later, I can confidently say that there’s no treatment for this at all—she just hates me, herself, and everyone around her.” At press time, Garrison’s mother told reporters she was growing more and more concerned that her crying, screaming child wasn’t just doing that because he was an infant.

Amazon Empire: The Rise and Reign of Jeff Bezos | FRONTLINE

FRONTLINE PBS | Official An inside look at how Amazon CEO Jeff Bezos built one of the largest and most influential economic forces in the world — and the cost of Amazon’s convenience. This journalism is made possible by viewers like you. Support your local PBS station here: http://www.pbs.org/donate Love FRONTLINE? Find us on the PBS Video App where there are more than 250 FRONTLINE documentaries available for you to watch any time: https://to.pbs.org/FLVideoApp Subscribe on YouTube: http://bit.ly/1BycsJW#JeffBezos#Documentary#frontlinePBS

Jeff Bezos is not only the richest man in the world, he has built a business that is without precedent in the history of American capitalism. His power to shape everything from the future of work to the future of commerce to the future of technology is unrivaled. As politicians and regulators around the world start to consider the global impact of Amazon — and how to rein in Bezos’ power — FRONTLINE investigates how he executed a plan to build one of the most influential economic and cultural forces in the world.

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What Is Stockholm Syndrome?

The term Stockholm Syndrome was coined at the end of a six-day bank siege. What is it and why is it cited time and again in hostage situations?

BBC News|getpocket.com

  • Kathryn Westcott

Police snipers opposite Kreditbanken where Jan-Erik Olsson held workers hostage for six days. Photo from AFP.

Most people know the phrase Stockholm Syndrome from the numerous high-profile kidnapping and hostage cases – usually involving women – in which it has been cited.

The term is most associated with Patty Hearst, the Californian newspaper heiress who was kidnapped by revolutionary militants in 1974. She appeared to develop sympathy with her captors and joined them in a robbery. She was eventually caught and received a prison sentence.

But Hearst’s defence lawyer Bailey claimed that the 19-year-old had been brainwashed and was suffering from “Stockholm Syndrome” – a term that had been recently coined to explain the apparently irrational feelings of some captives for their captors.

More recently the term was applied in media reports about the Natascha Kampusch case. Kampusch – kidnapped as a 10-year-old by Wolfgang Priklopil and held in a basement for eight years – was reported to have cried when she heard her captor had died and subsequently lit a candle for him as he lay in the mortuary.


Natascha Kampusch was kidnapped as a 10-year-old by Wolfgang Priklopil.

While the term is widely known, the incident that led to its coinage remains relatively obscure.

Outside Sweden few know the names of bank workers Birgitta Lundblad, Elisabeth Oldgren, Kristin Ehnmark and Sven Safstrom.

It was August 23, 1973 when the four were taken hostage in the Kreditbanken by 32-year-old career-criminal Jan-Erik Olsson – who was later joined at the bank by a former prison mate. Six days later when the stand-off ended, it became evident that the victims had formed some kind of positive relationship with their captors.


Patricia “Patty” Hearst
    •    19-year-old American newspaper heiress Patty Hearst was kidnapped and held hostage by little-known group the Symbionese Liberation Army (SLA) in 1974
    •    She was apparently brainwashed into accepting their ideas
    •    In April 1974 she was caught on CCTV helping the group to rob a bank
    •    She went on the run, but was caught by the FBI
    •    Hearst was sentenced to seven years in prison, but was released after three years
    •    She was pardoned in January 2001 by President Bill Clinton

Stockholm Syndrome was born by way of explanation.

The phrase was reported to have been coined by criminologist and psychiatrist Nils Bejerot. Psychiatrist Dr Frank Ochberg was intrigued by the phenomenon and went on to define the syndrome for the FBI and Scotland Yard in the 1970s.

At the time, he was helping the US National Task Force on Terrorism and Disorder devise strategies for hostage situations.

His criteria included the following: “First people would experience something terrifying that just comes at them out of the blue. They are certain they are going to die.”

“Then they experience a type of infantilisation – where, like a child, they are unable to eat, speak or go to the toilet without permission.”

Small acts of kindness – such as being given food – prompts a “primitive gratitude for the gift of life,” he explains.

“The hostages experience a powerful, primitive positive feeling towards their captor. They are in denial that this is the person who put them in that situation. In their mind, they think this is the person who is going to let them live.”

But he says that cases of Stockholm Syndrome are rare.

So, what went on in the bank on Stockholm’s Norrmalmstorg square that enabled the captives to experience positive feelings towards their captors, despite fearing for their lives?

In a 2009 interview with Radio Sweden, Kristin Ehnmark explained: “It’s some kind of a context you get into when all your values, the morals you have change in some way.”

It was Ehnmark that, according to reports, built up the strongest relationship with Olsson. There were even erroneous reports afterwards that the pair had become engaged.


Employees taken hostage in the bank’s vault by Jan-Erik Olsson.

In one phone call from the bank’s vault to the country’s prime minister Olof Palme, Ehnmark begged to be allowed to leave the bank with the kidnappers. One of Olsson’s demands had been the delivery of a getaway car in which he planned to escape with the hostages. The authorities had refused.

Telling Palme that she was “very disappointed” with him, Ehnmark said: “I think you are sitting there playing chequers with our lives. I fully trust Clark and the robber. I am not desperate. They haven’t done a thing to us. On the contrary, they have been very nice. But you know, Olof, what I’m scared of is that the police will attack and cause us to die.”

American journalist Daniel Lang interviewed everyone involved in the drama a year later for the New Yorker. It paints the most extensive picture of how captors and captives interacted.

The hostages spoke of being well treated by Olsson, and at the time it appeared that they believed they owed their lives to the criminal pair, he wrote.

On one occasion a claustrophobic Elisabeth Oldgren was allowed to leave the vault that had become their prison but only with a rope fixed around her neck.

She said that at the time she thought it was “very kind” of Olsson to allow her to move around the floor of the bank.

Safstrom said he even felt gratitude when Olsson told him he was planning to shoot him – to show the police understood he meant business – but added he would make sure he didn’t kill him and would let him get drunk first.

“When he treated us well, we could think of him as an emergency God,” he went on to say.

Stockholm Syndrome is typically applied to explain the ambivalent feelings of the captives, but the feelings of the captors change too.


Police officers wearing gas masks escort Jan-Erik Olsson from the bank.

Olsson remarked at the beginning of the siege he could have “easily” killed the hostages but that had changed over the days.

“I learned that the psychiatrists I interviewed had left out something: victims might identify with aggressors as the doctors claimed, but things weren’t all one way,” wrote Lang.

“Olsson spoke harshly. ‘It was the hostages’ fault,’ he said. ‘They did everything I told them to do. If they hadn’t, I might not be here now. Why didn’t any of them attack me? They made it hard to kill. They made us go on living together day after day, like goats, in that filth. There was nothing to do but get to know each other.'”

The notion that perpetrators can display positive feelings toward captives is a key element of Stockholm Syndrome that crisis negotiators are encouraged to develop, according to an article in the 2007 FBI Law Enforcement Bulletin. It can improve the chances of hostage survival, it explained.

But while Stockholm syndrome has long been featured on police hostage negotiating courses, it is rarely encountered, says Hugh McGowan, who spent 35 years with the New York Police Department.

McGowan was commanding officer and chief negotiator of the Hostage Negotiation Team, which was set up in April 1973 in the wake of a number of hostage incidents that took place in 1972 – the bank heist that inspired the film Dog Day Afternoon, an uprising that came to a violent end at Attica prison in New York and the massacre at the Munich Olympics.

“I would be hard pressed to say that it exists,” he says. “Sometimes in the field of psychology people are looking for cause and effect when it isn’t there.

“Stockholm was a unique situation. It occurred at around the time when we were starting to see more hostage situations and maybe people didn’t want to take away something that we might see again.”

He acknowledges that the term gained currency partly because of the bringing together of the fields of psychology and policing in the field of hostage negotiating.

There are no widely accepted diagnostic criteria to identify the syndrome, which is also known as terror-bonding or trauma bonding and it is not in either of the two main psychiatric manuals, The Diagnostic and Statistical Manual of Mental Disorders and the International Statistical Classification of Diseases and Related Health Problems (ICD).

But the underlying principles of how it works can be related to different situations, say some psychologists.

“A classic example is domestic violence, when someone – typically a woman – has a sense of dependency on her partner and stays with him,” says psychologist Jennifer Wild, a consultant clinical psychologist at the University of Oxford.

“She might feel empathy rather than anger. Child abuse is another one – when parents emotionally or physically abuse their children, but the child is protective towards them and either doesn’t speak about it or lies about it.”

Forty years on and the term is evoked nearly every time an abductee is found after many years out of public sight. Some argue that its very nature implies a criticism of the survivor – a weakness perhaps.

In a 2010 interview with the Guardian, Kampusch rejected the label of Stockholm Syndrome, explaining that it doesn’t take into account the rational choices people make in particular situations.

“I find it very natural that you would adapt yourself to identify with your kidnapper,” she says. “Especially if you spend a great deal of time with that person. It’s about empathy, communication. Looking for normality within the framework of a crime is not a syndrome. It is a survival strategy.”

This article was originally published on August 22, 2013, by BBC News, and is republished here with permission.


FEBRUARY 21, 2020 by JON CHRISTIAN (futurism.com)

Science Guy

Noted TV personality and public science advocate Bill Nye made an unusual pitch for NASA funding this week: We should fund the space agency because its research could nail down whether humankind is descended from ancient life on Mars.

“If life started on Mars first, it’s extraordinary but not crazy to suggest that you and I are descendants of Martians. That is an extraordinary hypothesis,” he said in a new interview with Politico. “It’s not that much money to change the course of human history.”

Big Pitch

As the head of the influential Planetary Society, Nye is lobbying Congress to crank up the funding for NASA. He told Politico his top priority is supporting the space agency’s upcoming Mars rover mission, which will attempt the first-ever feat of sending Martian rock samples back to Earth.

“The first thing every congressman said is… Are they worried about contaminating the Earth with Martian dust?” Nye told the site. “My answer is yes! If you thought of it, they thought of it. Those rocket scientists thought of it.”

Space Case

Even more fundamentally, Nye sang the praises of space as an ideological project that represents hope and progress for humanity.

“Space is optimistic,” he told Politico. “If you stop looking up and out, what does that say about you? Whatever it is, it’s not good.”

More on Bill Nye: Bill Nye on Terraforming Mars: “Are You Guys High?”


FEBRUARY 21, 2020 by VICTOR TANGERMANN (futurism.com)

Brain Jar

In a new interview with British magazine The Face, singer and visual artist Grimes revealed her wild plans to travel to Mars.

When asked if she’d “rather go to Mars or upload your consciousness to the cloud,” the renowned musician — and Elon Musk love interest — couldn’t make up her mind. But she settled on a spacey alternative.

“I guess I’d like to upload my consciousness, and then when it’s technologically possible, have my consciousness live in some kind of humanoid vessel that can speak and move freely, and then that body can go to Mars and other planets with my mind inside it,” she pondered.

Promo Tour

It’s been a turbulent couple of months for the Canadian performer. First, she made an appearance at the 2020 Game Awards and then announced she was having a child.

Her long-awaited fifth studio album called “Miss Anthropocene” also dropped today, to widespread fanfare.

Grimes also spoke of her new “digital avatar, aka my digital self,” which she calls “WarNymph,” a freaky-looking computer generated alien humanoid with enlarged eyes, copious amounts of virtual cosmetics, and wearing the newest duds by fashion house Balenciaga.

Identity Potential

This avatar takes the brunt of the grim bullshit humans have to put up with in 2020.

“The avatar allows us to play to the strengths of digital existence rather than be a human trying to navigate a world that isn’t made for us,” she told the magazine. “For example, the digital body can age, die, respawn, change her face… There’s so much identity potential!”

“I wanted to untether my digital self from my humanity,” Grimes said. “WarNymph can take on the burden of the new world. I can live more freely IRL.”

READ MORE: Grimes says going to Mars is one of the ‘main things I’m trying to do’ — and it’s also the goal of her boyfriend Elon Musk’s rocket company, SpaceX

More on Grimes: Grimes: Humanity Is At The “End of Art, Human Art”


September 4-7, 2020 (Labor Day Weekend)

Mariott Westin Hotel
10600 Westminister Boulevard
Westminister, Colorado 80020

For questions, contact:

Pam Rodolph, PRODOLPH@GMAIL.COM, 918-214-1623

Richard Hartnet, quantumspirit@ecentral.com, 303-437-3218


“Have you seen this person?”

“This is the City – Los Angeles, CA. I don’t carry a badge and my name’s not Friday, but here are the facts:

My name is Lashonda Bates. I live in Skiatook, Oklahoma.

Let me tell you about my trip to California and my first Prosperos Assembly almost two years ago. It was an unforgettable experience in more than one aspect. There were times of joy in site seeing, and there were trials in truths. It is hard to describe and sum up the feelings that arose during this trip, but I will try my best to demonstrate the feelings of passion that arrived in discovering the meaning of “being”.

The first day in California was a very warm welcome down at the ballroom of the hotel. We shook hands and we hugged. Not a single person in the room went without a hug and a simple “aloha”. “Aloha” was the theme. The center of the atom that we call “The Prosperos”. This was an exciting event. The thirst for knowledge, and most of all, love, was in the air. Everyone came together, shared stories of the past when The Prosperos was in it’s infancy. Laughter overpowered any other sound in the room. All I can describe is how warm it felt in that welcome. That night we had an elegant dinner in the ballroom. The setting was incredibly calming. We had great, deep conversations that got even deeper after a few glasses of wine. Everyone was relaxed, as they should be. I, myself, ended the night with some much needed quiet time in a bubble bath. I have to note that the hotel’s bathtubs were extremely roomy!

The next day was the beginning of the real fun, the start of the Assembly of the

Prosperos. The first lesson that caught my attention was on “Saturn Cycles” as I learned I had entered mine, which explained a lot going on in my life. I was already having so much difficulty in this cycle. It felt like everything was crashing down around me. I was desperate for answers on how to change out of the destructive pattern that I had found myself in.

There were many great speakers during this assembly. There was so much to take in that you literally felt full in the stomach of your knowledge. That is the only way I can describe this particular experience of learning. It’s important to have an open mind during these assemblies. Set your judgment aside and just listen. Meditate on the words, feel yourself in the scenarios and stories. Just open your mind and imagination, because there is so much more to life than what you see and feel with your physical senses.

Another reason that it is important to set your ego aside is the fact that these

assemblies are incredibly intimate. Those who are veterans of the Prosperos have already been through the trials and they have let their “hair down” per say and they share some very intimate things in their life. They share things that will bring you to tears, because their portrayal of it is not a portrayal, it is RAW, it is REAL. And you will feel it in the fibers on your bones. And you will want to feel it, too, the releasing of the hidden splendor. It’s something I am still working on to this day. And I will admit, that I have a long way to go.

Before the assembly started there was a class of Thai Chi instructed by the Dean of the Prosperos, Al Haferkamp. The class was held in the mornings at 7 am, for 1 hour. Unfortunately, I was never able to make it to the class. The time difference between California and Oklahoma was too much for me in the beginning. But, after another remarkable demonstration from Al, I have began practicing Thai Chi for better health, physically and mentally. His demonstration of Thai Chi was a lot about “flow”. “Flow” is a simple word, a simple meaning, but in reality, a true flow is a trying reach. I would like to say that every single one of us who are in the Prosperos are either:

A)Practicing the flow or;

B)Eager to reach the flow in order to practice it on a regular basis.

I enjoy using the techniques that I have learned so much. It has helped me

immensely. I still have a ways to go, but I will say that the journey is extraordinary. Everyday is a new beginning, the past does not define you as a person, nothing defines you but YOU. And that’s what has been the biggest asset that I have gained from this knowledge. And like I said before, I still have a lot to learn, and a lot to gain. I couldn’t be more thrilled.

The rest of the trip was amazing. We went sailing on Al’s sailboat. We had great conversations, more stories and teachings. The view was amazing. The air was pure. Feeling it on my face was relaxing, and I took a chance to meditate on things.

A part of my shell was peeled away on those waters, as I let go of things that I allowed to hold me back. I was on my way to freedom, thanks to the “flow” of those waters.

After Assembly, we stayed in a quaint town, Morrow Bay. The mornings were absolutely stunning to watch. The sun and all of it’s colors, showing it’s magnificence while I enjoyed my simple cup of coffee. We ate at little restaurants that had so much personality. The people we met were so welcoming. To end, I will say there was a lot of driving, but we did get to see some sites, and we walked on Venice Beach and got souvenirs for our family and friends. We had such a great time, and I look forward to going again sometime. California is a wonderful place, with some wonderful people with a warm welcome. I hear Denver is a match for such hospitality.

Aloha to all the new people I met and all of you I hope to meet.

After searching for the missing person, named Lashonda Bates, for sometime, the case has been closed. The detective bureau received the following message:

The Lashonda you are looking for is gone forever. She has a look alike, but they are not the same. And I hear this new Lashonda is a better version of her former self!”

Some of the following mug shots are rumored to be of (now) ascended masters. The rest are on our watch list for those trying to escape:

Thank you *Beth Kuper for all the pictures. I will be using more in future flyers.

*Beth Kuper is looking for a roommate at this year’s assembly. She has a reservation beginning Friday night ( September 4) through Monday morning (September 7). Please contact either Beth at bethkuper@gmail.com or myself at prodolph@gmail.com .


Cosmic Intention Therapy

Heather C. Williams, H.W., M.
Cosmic Intention Therapy A Two-Day Class Becoming a Self-Directed Individual rather than an impulsive reactor
DATE: Saturday & Sunday, April 18 & 19, 2020 TIME: 10:00 am – 5:00 pm LOCATION: The Park Hotel, Madison, Wisconsin FEE: $95 (new); $45 (review)
What is the Cosmic Intention? It is the Impersonal Self within us all. Today, we are living in a time of profound change. We must be willing to break with patterns of the past and WAKE UP to our true (higher) potential. We must stretch our minds toward the PRINCIPLES of the UNIVERSE to understand the COSMIC Intention and to experience the fulfillment of our dreams.
Why is it worth your time to understand the Cosmic Intention? The HUGE PROBLEMS that we face in our world today (climate change, plastic in the ocean, animal extinction, gun violence, war, etc.) are due to our neglect (personal and our cultural) of understanding the meaning and purpose of our common good and the principles of the larger reality. As you consciously align your personal self with your Universal Self – you will become a more “Self-Directed Individual”; able to respond from conscious choice rather than from habit.
What will you receive from this class? A full two day class (with lecture, drawing/writing exercises, open discussion and video). A class workbook A FREE 1-hour Mentor counseling session
TELL ME MORE about Heather’s CIT CLASS! Heather is a Prosperos High Watch Mentor, an artist, and author of Drawing as a Sacred Activity
CONTACT HEATHER: email: heather@drawingtogether.com – phone 760-213-6060
LEARN MORE:https://theprosperos.org/events/cosmic-intention-therapy-class
REGISTER: https://www.theprosperos.com/payments-etc/mad-0220-cit-1

Thane Walker:“The future will not care how long it took you to create it – only – is it beautiful and is it great?” Margaret Mead:“Never believe that a few caring people can’t save the world. That’s all who ever have!”