Tuesday, January 5, 2016

TB Joshua Comes Out, Drops Shocking Prophecies

TB Joshua Comes Out, Drops Shocking Prophecies

TB Joshua
Popular and respected Nigerian Prophet, T.B. Joshua has released a list of predictions for the New Year 2016, particularly directed towards the continent of Africa and our Nigeria.


Known for unconventional ways, TB Joshua shunned protocol by cancelling his yearly ‘crossover service’ and opted to address members live on his Emmanuel TV from an undisclosed location.
The founder of the Synagogue church began: “There will be large scale scarcity, shortage of food. As a state, country, continent, we have to go back to the farm to arrest, to alleviate the forthcoming situation.

“I encourage the governments of all nations to invest in agriculture and to grant loans to deserving citizens to augment this effort,” he went on.

Joshua, who was recently named one of the world’s most famous prophets by an American ranking website, spoke about Africa, citing the continent’s inability to manage its teeming resources as its major bane. “The continent of Africa – how much have we disappointed God,” he soberly noted.

“Africa is supposed to be the breadbasket of the world. We are supposed to produce a large quantum of food for the world. This is our natural resource base. Food should be our primary export to other continents, food in exchange for technology,” he continued.

Moving on to the political scene, he called on African leaders to “quickly arrest the political situation.”

He stated that the frequency of terrorist attacks in the continent would increase. “More African countries will be under siege by terrorists because of pros and cons in choosing leaders. Mishandling of electoral processes will create a conducive atmosphere for terrorists.”

Joshua stated that people will stop investing in politics because of “limited resources and challenges”, adding that this would pave the way for those with genuine intentions to run for political office.

“When you are genuinely called to do the job, you will do it because of your love for it and not because of money,” he stated.

“This year, do what you love. There’s money in love. Money in love brings peace and tranquillity,” he further admonished.

Joshua’s prediction closed with a prayer for Nigerian President Muhammadu Buhari. “He has good intentions but a king’s intentions cannot be carried out properly without the support of the subjects. He needs your support to lead us out of the valley,” the cleric stated.

“The president will do everything to reject revaluation of the naira – which is a good idea from a good leader. But there will be overwhelming pressure which he will not be able to resist. Nigerians, support and pray for your leader. The future is crying for help,” he vividly described.

“The annihilating ocean of whiteness”: J. D. Schraffenberger on Scott Russell Sanders’ “Cloud Crossing”

“The annihilating ocean of whiteness”: J. D. Schraffenberger on Scott Russell Sanders’ “Cloud Crossing”
by Renée E. D'Aoust
ScottRussellSanders_Credit- Steve Raymer_Oct_2010.1
Scott Russell Sanders (photo credit Steve Raymer)

For years I’ve regularly taught Scott Russell Sanders’ 1981 essay “Cloud Crossing” to my creative writing students because I admire it deeply—both thematically and on the level of craft—and am enriched each time I return to it. Like many (most?) good essays, it’s deceptively simple; nothing dramatic really “happens” as Sanders recounts a short hike up Hardesty Mountain (not far from Eugene, Oregon) with his one-year-old son Jesse strapped to his back. Too often, I find, students’ first instinct is to write about a momentous Occasion, an important Event, some memorable Incident, which is why I’ve learned of the deaths of so many loved and loving grandparents over the years—because these are intensely emotional moments marked as significant by ritual. Sanders demonstrates clearly that essays need not be about Big Experiences at all. They can be quiet and mundane, internal, familiar.

TheFourthGenre_cvrIn his co-edited textbook The Fourth Genre: Contemporary Writers of/on Creative Nonfiction (which includes Sanders’ “Cloud Crossing”), Michael Steinberg notes Judith Kitchen’s list of five things that her writing students often “deny themselves”: retrospection, intrusion, meditation, introspection, and imagination, adding to this list: reflection, speculation, self-interrogation, digression, and projection (335-6). Sanders does not deny himself any of these techniques. While on top of the mountain, he observes “nine concrete piers that once supported the fire-tower” that is no longer there, but he doesn’t stop at what is immediately present. Instead, he imagines “the effort of hauling materials up this mountain to build this tower,” asking what became of it, realizing finally that it must’ve burned down:

The spectacle swiftly fills me: the mountain peak like a great torch, a volcano. The tower heaving on its nine legs. The windows bursting from the heat, tumbling among the rocks, fusing into molten blobs, the glass taking on whatever shape it cooled against.

There should be nails. Looking closer I find them among the shards of glass, sixteen-penny nails mostly, what we called spikes when I was building houses. Each one is somber with rust, but perfectly straight, never having been pried from wood. I think of the men who drove those nails, the way sweat stung in their eyes, the way their forearms clenched with every stroke of the hammer, and I wonder if any of them were still around when the tower was burned. (59)

Sanders conjures the burning tower and reanimates the men who built it not through observation or experience, and not even through research—but through imagination, speculation, supposing what might have been. We nevertheless get to experience as readers the “great torch” of the tower. We get to feel the “stroke of the hammer.” None of these things “happen,” but thinking makes it so.

Another reason “Cloud Crossing” finds its way onto my syllabi is that it was first published in the pages of the North American Review and subsequently reprinted in his 1987 collection The Paradise of Bombs, along with eight additional essays originally from the NAR. I mention this fact because I now happen to edit the North American Review here at the University of Northern Iowa, and I try to introduce my students to the literary publishing world whenever I can profitably do so, especially in the context of a magazine where they themselves have an opportunity to work. Returning to the original magazine publication also allows us to compare versions of the essay and ask questions about revision. In the case of “Cloud Crossing,” the original is much the same as the subsequent versions, with a notable exception. At the end of the essay, as Sanders begins the drive back home, his son is crying inconsolably in the back seat. The original version from the NAR:

But nothing comforts him, or comforts me, while we drive down the seven graveled miles of logging road to the highway. There we sink into open space again. The clouds are a featureless gray overhead. Jesse’s internal weather shifts, and he begins one of his calm babbling orations, contentedly munching his cracker… (59)

The revised version:

But nothing comforts him, or comforts me, while we drive down the seven graveled miles of logging road to the highway. There we sink into open space again. The clouds are a featureless gray overhead.

As soon as the wheels are ringing beneath us on the blacktop, Jesse’s internal weather shifts, and he begins one of his calm babbling orations, contentedly munching his cracker… (193)

Sanders the essayist makes two significant changes here: he breaks for a new paragraph and slows our reading down by adding the introductory clause “As soon as the wheels are ringing beneath us on the blacktop.” Why do you suppose he’s made these changes? I ask my students. What new effects have been introduced? Has anything been lost? I tell my students there’s a chance that Sanders had indeed included this clause all along, but space constraints in the magazine compelled him to truncate the ending. Teaching the essay while acknowledging the original publication context sometimes leads to larger discussions like these of the literary publishing world. I also find it interesting and sometimes instructive to look at what else was published alongside a piece that appeared in a magazine. “Cloud Crossing,” for instance, is joined in its issue of the NAR by Barry Lopez’s “The Man Who Had Maps” and Bobbie Ann Mason’s “Old Things.” Are there aesthetic or thematic similarities among these pieces of prose? How is Sanders’ essay different at the level of genre from these short stories?

As a writer in complete control of his craft, Sanders’s work offers excellent examples for students to emulate:

Fascinated by his leaf, Jesse snuggles down in the pack and rides quietly. My heart begins to dance faster as the trail zigzags up the mountain through a series of switchbacks. Autumn has been dry in Oregon, so the dirt underfoot is powdery. Someone has been along here inspecting mushrooms. The discarded ones litter the trail like blackening pancakes. Except for the path, worn raw by deer and hikers, the floor of the woods is covered with moss. Fallen wood is soon hidden by the creeping emerald carpet, the land burying its own dead. Limegreen moss clings fuzzily to the upright trunks, and dangles in fluffy hanks from limbs, like fresh-dyed wool hung out to dry. A wad of it caught in the fist squeezes down to nothing. (57)

The energetic verbs (snuggles, zigzags, clings, dangles, squeezes), vivid images (powdery dirt, worn path, creeping moss), and fresh metaphors (blackened pancakes, burying its own dead, fresh-dyed wool) enliven this passage. Perhaps more impressively, however, Sanders moves from showing the reader a scene in the dramatic mode (Jesse snuggling, his heart dancing, the trail zigzagging) to telling the reader information in the narrative mode (Autumn has been dry, someone has been here) to playing linguistic music for the reader in the lyrical mode. Listen to the subtly overlapping assonance and consonance make Sanders’ prose sing: the “e” sounds of limegreen/clings/fuzzily; the “z” sound in clings/fuzzily; the short “u” sounds in fuzzily/upright/trunks/fluffy; the long “a” sounds in dangles/hanks; the “ng/nk” sounds in dangles/hanks, trunks/hanks/hung. Listening carefully and analyzing the specific ways this sentence is lyrical offers a range of examples for students to try themselves. In this one short passage of prose, we can observe the three main things writers do: show, tell, and sing.

I also like teaching “Cloud Crossing” because it’s a thoroughly ecological essay. Sanders takes us on a mountain hike with him, but this is not an idealized, romantic landscape. He tells us outright that “this is no literary landscape.” There is, furthermore, “[n]o peace for meditation with an eleven-month-old on your back,” and at the top of Hardesty Mountain, he admits, “There is no dramatic feeling of expansiveness, as there is on some peaks, because here the view is divided up into modest sweeps by Douglass firs, cottonwoods, great gangling heaps of briars” (58). To be sure, Sanders is renewed by the awe and wonder his son experiences, but the essay is driven by guilt and fear rather than by a sublime transcendence of being in the natural world. “And I realize that carrying Jesse up the mountain to see clouds,” he tells us,

is a penance as well as a pleasure—penance for the hours I have sat glaring at my typewriter while he scrabbled mewing outside my door, penance for the thousands of things my wife has not been able to do on account of my word mania, penance for all the countless times I have told my daughter Eva no, I can’t, I’m writing.

Sanders’ fear is born of “the long entropic view of things.” The essay begins by noting, “Clouds are temporary creatures,” and it ends with a meditation on human ephemerality: “Even while I peek at [Jesse] over my shoulder he is changing, neurons hooking up secret connections in his brain, calcium swelling his bones like mud in river deltas” (59). This realization leads to panic: “everything I know is chalked upon a blackboard, and, while I watch, a hand erases every last mark” (59). “Cloud Crossing” is not primarily an essay of place—though it certainly is that, too, as it grounded in the specificity of Hardesty Mountain and Sanders’ writerly attention to his environment—rather, it’s an essay of time. When we talk about ecological writing, we tend to focus on place—for good reasons—but we often neglect other ways of thinking ecologically and being in environments. If the main insight that ecology has to offer us is the inevitable interconnection of all things, these interconnections should carry us into the prehistoric past and into the distant future as well—so that we can understand more deeply who we are as humans, so that we can imagine new sustainable futures for those yet unborn.

“Cloud Crossing,” then, is a beautifully crafted and pedagogically useful essay. But I will not be including it on my next creative nonfiction syllabus. When I’ve taught it in the past, it’s been from Root and Steinberg’s The Fourth Genre, which I’ve required my students to buy. I liked the textbook because it’s both an anthology of essays by writers whose work I admire as well as a collection of thoughtful essays about the genre itself. But of the 56 writers in the current (6th) edition, only three are people of color: Judith Ortiz Cofer, Edwidge Danticat, and Dagoberto Gilb. Looking over previous editions of The Fourth Genre, I have discovered eight other people of color who have been included in the tables of contents at one point or another. Only one Native-American writer has ever been included, (Linda Hogan) and (unless we count Danticat, who is Haitian-American) no African-American writers (zero) have been included. (I should pause here to note that my analysis is obviously subject to some error because I can’t know for certain how all of these writers identify racially or ethnically. I stand firmly by the point, however. And besides, even if I’ve overlooked a few people of color in my count, it would do very little to change the overwhelming whiteness of the anthology.)

What are we to make of this lack of diversity? I don’t think it’s peculiar to The Fourth Genre because glancing through a few other anthologies of creative nonfiction, I find a similar predominance of white writers in the tables of contents. Should I be surprised? Probably not. But should I blame Root and Steinberg—and countless other editors—for their blind spots when these have been exactly my own blind spots as a teacher and writer? How can I complain about a white man’s essay in a textbook when it is, as I’ve said, beautifully crafted and pedagogically useful? How can I complain when I am myself a white man whose work has been included in such publications?

It’s true that we suffer from what Junot Diaz calls “the unbearable too-whiteness” of creative writing as a discipline in higher education, but is it also true that creative nonfiction as it is taught in writing classrooms is even whiter than poetry and fiction? That’s my suspicion, which means that I’m going to retire Scott Russell Sanders’ “Cloud Crossing.” I come to this decision not because I believe in fulfilling some arbitrary quota of people of color in a textbook or anthology (though it might surprise you to be reminded that the United States is only 62% white—The Fourth Genre, however, is 95% white), not because it’s the “right” thing to do, and not as liberal white-guilt penance, but because art is better when it is diverse, because white people (teachers, editors, writers) fool themselves if they think their literary taste and judgment have not been deeply (if unconsciously) formed by their own whiteness, because the current state of literary affairs excludes the voices of people of color not maliciously but systemically, because like Diaz, I want “[t]o create in the present a fix to a past that can never be altered.” Instead of Sanders’s work, who has been and will remain a literary hero of mine, I will teach James Alan McPherson’s “Umbilicus” or Langston Hughes’ “Salvation,” as Chauna Craig and Suzanne Cope have suggested respectively on this very blog. I will seek out and teach the essays of Martín Espada and bell hooks and Leslie Marmon Silko and N. Scott Momaday and the countless other people of color whose work has remained in my own blind spot for years.

“Cloud Crossing” is about change. Early in the essay, Sanders tells us that his child “is changing cloud-fast before my eyes. His perky voice begins pinning labels on dogs and bathtubs and sun.” Like most writers, he is acutely aware of language (“word mania”), and like most parents, he is amazed by the utterance of his child’s first few phonemes. On their hike, Jesse points to the sky and says “Ba! Ba!” Sanders corrects him: “‘Moon,’ I say. ‘Ba! Ba!’ he insists. Let it stay a ball for a while, something to play catch with, roll across the linoleum.” The essay implicitly asks us to consider how language represents the world around us. How we decide which label gets affixed to which thing. This is a linguistic question, a literary question, and it can quickly become a political question, too—words, writing, literature, art: what forms will our lives take? What sentences will contain our understanding of reality, truth, history?

“Cloud Crossing” ends in terror as Sanders descends the mountain, “down through vapors that leach color from ferns, past trees that are dissolving. Stumps and downed logs lose their shape, merge into the clouds.” The terror here is dissolution, the erasure of difference, the loss of shape and definition. As they finally leave this featureless cloudscape, Sanders listens to his child’s “calm babbling orations”: “The thread of his voice slowly draws me out of the annihilating ocean of whiteness. ‘Moon,’ he is piping from the backseat, ‘moon!’” The label has stuck—“moon!”—for Jesse as it has for us. How might we now draw ourselves out of a different but no less annihilating “ocean of whiteness”?

Works Cited

Diaz, Junot. “MFA vs. POC.” The New Yorker. April 30, 2014. Web.

Sanders, Scott. “Cloud Crossing.” North American Review 266.3. (1981): 57-59. Print.

Sanders, Scott Russell. “Cloud Crossing.” The Fourth Genre: Contemporary Writers of/on Creative Nonfiction. Ed. Robert L. Root, Jr. and Michael Steinberg. 6th ed. New York: Pearson, 2012. 188-93. Print.

Steinberg, Michael. “Finding the Inner Story in Memoirs and Personal Essays.” The Fourth Genre: Contemporary Writers of/on Creative Nonfiction. Ed. Robert L. Root, Jr. and Michael Steinberg. 6th ed. New York: Pearson, 2012. 333-36. Print.

***

Schraffenberger_author_pic (2) (2)J. D. Schraffenberger is editor of the North American Review and an associate professor of English at the University of Northern Iowa. He is the author of two books of poetry, Saint Joe's Passion (Etruscan Press) and The Waxen Poor (Twelve Winters Press), and his other work has appeared in Best Creative Nonfiction, Brevity, Notre Dame Review, Poetry East, Prairie Schooner, and elsewhere. His essay “Ecological Creative Writing,” co-written with James Engelhardt appears in Creative Writing Pedagogies for the Twenty-First Century (Southern Illinois University Press 2015), and his manifesto “Our Discipline: An Ecological Creative Writing Manifesto” is forthcoming in the Journal of Creative Writing Studies.

Renée E. D'Aoust | January 4, 2016 at 12:01 am | Categories: Uncategorized | URL: http://wp.me/p5jYWA-nd
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What You Don’t Know About the Abortion Fight Before Roe v. Wade

What You Don’t Know About the Abortion Fight Before Roe v. Wade
by Lily Rothman
On Sunday, April 16, 1972, ten thousand people gathered in New York’s Central Park to protest New York’s liberal abortion law. The Supreme Court’s decision in Roe v. Wade was still nine months away, but the battle over abortion was already raging. Yet the divisions did not fall neatly along partisan or ideological lines.

In New York, the state with the highest number of legal abortions, the polarization was especially acute. It had been a Republican legislator and Republican governor who had been chiefly responsible for the legalization of abortion in the state two years earlier, and many of New York’s Republicans—including Governor Nelson Rockefeller—were still strongly supportive of abortion rights. But it was also a Republican who was leading the charge to reverse their actions. Democrats were equally divided.

The media portrayed the pro-life movement as a Catholic cause, but by 1972, that stereotype was already outdated. In Michigan, for instance, the fight against a referendum to legalize abortion was spearheaded by three Protestants—a gynecologist, a white Presbyterian mother, and an African American woman who was a liberal Democratic state legislator. In Minnesota, the leader of the state’s pro-life campaign was a liberal Methodist whose physician husband was a member of Planned Parenthood. In Massachusetts, one of the leading pro-life activists was an African American Methodist physician who had been the first black woman to graduate from Harvard Medical School. And even in New York, where Catholics accounted for the vast majority of the movement’s activists, there was more religious diversity than the media often acknowledged, partly because Catholics had joined forces with Orthodox Jews. In fact, one of the keynote speakers at the April 16 pro-life rally in Central Park was an Orthodox Jewish rabbi who served as president of the Rabbinical Alliance of America. One of New York City’s most vocal pro-life advocates was a liberal Lutheran minister who was best known for his protests against the Vietnam War and his advocacy of civil rights.

Perhaps most surprisingly, at the time the protest took place, the pro-lifers were winning. Only a few years earlier, their campaign had looked like a last-gasp battle against the forces of progress. They faced opposition from the women’s rights movement, newspaper and television media, the medical and legal establishments, mainline Protestant denominations, ecumenical religious organizations such as the National Council of Churches, and political leaders in both major parties. Yet the pro-life movement had figured out a way to defy the international trend toward abortion legalization and defeat several efforts to liberalize state abortion laws.

The right-to-life movement had faced nearly insuperable challenges in the late 1960s, when a wave of sixteen states legalized at least some forms of abortion within a three-year period. But then the pro-lifers regrouped, changed their strategies, and figured out how to win legislative battles. In 1971, twenty-five states considered abortion legalization bills. Every one of them failed to pass. In 1972, the pro-life movement went on the offensive and began campaigning for measures to rescind recently passed abortion legalization laws and tighten existing abortion restrictions. In the wake of the Central Park protest, the New York state legislature voted to repeal New York’s liberal abortion law and was thwarted only by Governor Rockefeller’s veto.

The size of the backlash against abortion legalization surprised many supporters of abortion rights. What had happened? How did a small, beleaguered Catholic movement manage to create a massive ecumenical coalition of grassroots activists and stop the march of abortion legalization?

. . .If the opponents of abortion had based their opposition merely on religious teaching or the seemingly arcane principles of natural law—as Catholics had when campaigning against contraception—it is unlikely that the pro-life cause could have withstood the forces of the sexual revolution, the feminist movement, and the social changes of the 1960s. But because the pro-life movement grounded its arguments in the language of human value and constitutional rights, it was able to attract a politically and religiously diverse coalition that actually gained strength over time. The pro-life movement succeeded because it drew on the same language of human rights, civil rights, and the value of human life that inspired the struggle for African American freedom, the feminist movement, antiwar protests, and the campaign for the rights of gays and lesbians.



Reprinted from Defenders of the Unborn: The Pro-life Movement before Roe v. Wade by Daniel K. Williams with permission from Oxford University Press, Inc. Copyright © 2016 by Oxford University Press.

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Monday, January 4, 2016

Shalom Think and rise above what people say you are

Don't mind if the people you love can't stay glue to you, do not worry. God will bring all that concerns you to your way when it is time... so don't force anybody to stay with you, if anybody feels its his/her time to live you, brother just shuck your head and stand tall as if you don't mind. Rise above everything and stand Tall and Fly like an EAGLE Higher and Higher everyday....
I like it when people tell me i don't need me anymore, thats were my SPREADING parade starts and no man can shut me down.... Hahaha..... Glory.... Its happening everywhere I Go.....
www.shalomodion.blogspot.com or http://www.shalom6.wordpress.com for more details

http://www.universityontop.com/edu/p-3/


Walden University’s Master of Social Work (MSW) Program Receives CSWE Accreditation

December 30, 2015 admin


Minneapolis—December 15, 2015—Walden University has announced the Council on Social Work Education (CSWE), the sole accrediting agency for social work education in the U.S., has approved Walden’s online Master of Social Work (MSW) program for accreditation.

Council on Social Work Education (CSWE)
CSWE’s Commission on Accreditation is responsible for developing accreditation standards that define competent preparation for professional social workers and ensuring that social work programs meet these standards.

“We are very proud of this achievement, which demonstrates the value of Walden’s MSW program and that our graduates have received a social work education reflective of peer CSWE accredited MSW programs,” said Dr. Savitri Dixon-Saxon, associate dean of Walden’s School of Social Work and Human Services. “The CSWE accreditation streamlines the state licensure process for our graduates, and provides greater access to professional opportunities to use their skills and knowledge to impact the quality of life for all populations.”

With an emphasis on advanced clinical practice, Walden’s online MSW program is designed to build skills that prepare students to critically apply social work theory and methods to assess and intervene in situations involving individuals, families and groups. The program features two 4-day, in-person residencies and customized case studies interwoven throughout the program to provide students with real-world experience and help prepare them for a career in social work.



“Social workers need to be part of teams that tackle many problems people encounter in society today. The ability to create these teams, both within and outside the realm of social work, and to operate and lead them requires a level of knowledge and skill that can only be obtained with advanced degrees,” said Dr. Barbara Solomon, a social work pioneer and longtime Walden board member who dedicated her 50-year career in social work to empowering minority and underserved communities. “Walden’s MSW students are across the nation and around the world and able to share and learn from each other in the online classroom. They are able to cross boundaries to understand and address critical social issues wherever their knowledge and skills in effecting positive social change are needed.”

The MSW program is offered through Walden’s School of Social Work and Human Services and is designed to provide students with the skills needed to take the next step in their careers as professional practitioners and change agents in social work and human services. Other degree programs in the school include the BS in Human Services, MS in Human and Social Services,Doctor of Social Work (DSW), PhD in Social Work and PhD in Human and Social Services.

For more information about the MSW program, visit www.WadenU.edu/MSW.

About Walden University
For 45 years, Walden University has supported working professionals in achieving their academic goals and making a greater impact in their professions and their communities. Today, more than 52,000 students from all 50 states and more than 155 countries are pursuing their bachelor’s, master’s, or doctoral degrees online at Walden. The university offers more than 80 degree programs with more than 400 specializations and concentrations. Walden University is accredited by The Higher Learning Commission. For more information, visit www.WaldenU.edu.

Walden is the flagship online university in the Laureate International Universities network—a global network of more than 80 campus-based and online universities in 28 countries. For more information, visitwww.laureate.net.

One thought on “Walden University’s Master of Social Work (MSW) Program Receives CSWE Accreditation”
HTTP://WWW.GAMES.CHECKITDAILY.COM/PROFILE/DESSIEPETRE
December 31, 2015 at 3:24 pm
Strawberry – I’ve never had a strawberry whey before, although
not what I expected.

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Believe in yourself... http://www.shalom6.wordpress.com

Learning a lot today from the thought of others, taking lessons and winning all the way as i SPREAD in all directions today..... Believe in yourself and make good use of what GOD has given you to handle in life and never allow anyone neither friends or family stop your DREAM from SHINNING all around the world. Kill the friendship if it hurts your dream, kill the desires if it stop you from fulfilling your call on earth. No matter what you do, believe in the Lord and trust in the power of his might.... Take friends away who do not inspire You to SUCCESS and keep your Dream Flying and SPREADING IN 2016....
GOD Bless You All.....
Learning a lot today from the thought of others, taking lessons and winning all the way as i SPREAD in all directions today..... Believe in yourself and make good use of what GOD has given you to handle in life and never allow anyone neither friends or family stop your DREAM from SHINNING all around the world. Kill the friendship if it hurts your dream, kill the desires if it stop you from fulfilling your call on earth. No matter what you do, believe in the Lord and trust in the power of his might.... Take friends away who do not inspire You to SUCCESS and keep your Dream Flying and SPREADING IN 2016....
GOD Bless You All.....
Follow shalom at www.shalomodion.blogspot.com, http://shalom.wordpress.com or http://launchersblog.wordpress.com for more talks..