Hey guys!
Meet Catherine Tate, the best translator ever.
I'm a big fan, and you'll be too.
sábado, 7 de março de 2009
Story of the Liberty Bell...
THE LIBERTY BELL INSCRIPTION:
BY ORDER OF THE ASSEMBLY OF THE PROVINCE OF PENSYLVANIA FOR THE STATE HOUSE IN PHILADEPHIA
THE STORY OF THE LIBERTY BELL At a meeting of the Assembly of the Province of Pennsylvania on or about November 1st, 1751, the Superintendents (Isaac Norris, Thomas Leech and Edward Warner), were instructed to procure a bell of about 2,000 lbs. weight from England. This instruction laid down the prophetic inscription that was to be placed on the bell and stipulated that it should be delivered before the scaffolding around the building in which it was to be hung, was struck at the end of the following summer. Thomas Lester of this Foundry and in these same premises was the Founder chosen, and in September 1752, the bell is recorded as having come ashore in good order. A report dated March 1753 states that after hanging, it became cracked at the first stroke. They endeavoured to return it to England by the same ship, but the Master of the vessel was unable to take it on board. Thereupon, two "ingenious" workmen, Pass and Stow, both of Philadelphia, undertook to recast it. On breaking up Lester's bell, they pronounced it too brittle and modified the alloy by adding 1½ oz. of copper to every 1 lb. of Lester's bell.
They did not appreciate that bell metal is brittle, and relies on this to a great extent for its freedom of tone. They made a new casting which was not successful and, in their second recasting - having learnt the lesson - they restored the correct balance of metal and this is the bell that now hangs in the Liberty Bell Center, directly across from an earlier home, Independence Hall.
Later in 1753 some further dissatisfaction was expressed and negotiations were made with Thomas Lester to recast it for a charge of 2d. per lb. This, however, never materialised and Pass and Stow's second recasting was finally hung in the State House Steeple.
With the threat of British occupation of Philadelphia in 1777, the State House Bell (Liberty Bell) and other bells were hastily removed from the City to prevent their falling into British hands and being made into cannon. Taken to Allentown, the bell was hidden in the Zion Reform Church for almost a year and was returned to Philadelphia in the summer of 1778 upon the withdrawal of the British.
There are conflicting stories as to the causes of the present bell becoming cracked:
One is that it cracked in 1835 while being tolled on the death of Chief Justice John Marshall of Virginia, and that in 1846 an attempt was made to restore the bell's tone by supporting the sides of the fracture, but this was to no avail. The story goes that it was tolled for the last time for Washington's birthday for, by then, the cracks had begun to spread.
Another story which gives more detail appeared in the Reading Eagle in 1911 and was told to the reporter by Emmanuel Joseph Rauch who was then about 86 years of age. He told how, when he was 10 years old in 1835, he was one day passing State House Square when the Steeple Keeper - whose name was Downing - called after him and several other boys, inviting them to ring the bell in honour of Washington's birthday. Downing tied a rope to the clapper of the bell and, thrusting the end of the rope into the hands of the eager boys, instructed them to pull with all their might. After 10 or 12 strokes, there was a change in the tone of the bell which Downing noticed as well and, after climbing into the steeple, found a crack 12" to 15" long, whereupon the boys were told to run along home.
Which of these two stories is true we may never know, but the fact remains that the principal crack is in line with the swing of the clapper and it is an established fact that many bells have been cracked by the improper operation of the clapper in this way.
Good bell metal is extremely brittle: metal up to 1" in thickness can be broken in the palm of the hand by a sharp tap with a 2 lb. hammer. If a bell is struck and not allowed to ring freely, because either the clapper or some part of the frame or fittings are in contact with the bell, then a crack can very easily develop.
The Whitechapel Foundry's connection with the Liberty Bell was reestablished in 1976, the year of the US Bicentennial. First, there was a group of about thirty or so 'demonstrators' from the Procrastinators Society of America who mounted a mock protest over the bell's defects and who marched up and down outside the Foundry with placards proclaiming WE GOT A LEMON and WHAT ABOUT THE WARRANTY?. We told them we would be happy to replace the bell - as long as it was returned to us in its original packaging. Concurrently (ie. from about 1968 to 1976) we also produced around fifteen full-size, twenty four hundred one-fifth size, and two hundred one-ninth size replicas of the bell for the Boston-based Limited Editions Collectors Society of America Inc. Finally, and most pleasingly, Whitechapel was also commissioned to cast the 12,446lb Bicentennial Bell that year, which now resides in Philadelphia with its illustrious predecessor and which bears the inscription:
FOR THE PEOPLE OF THE UNITED STATES OF AMERICAFROM THE PEOPLE OF BRITAIN4 JULY 1976
BY ORDER OF THE ASSEMBLY OF THE PROVINCE OF PENSYLVANIA FOR THE STATE HOUSE IN PHILADEPHIA
THE STORY OF THE LIBERTY BELL At a meeting of the Assembly of the Province of Pennsylvania on or about November 1st, 1751, the Superintendents (Isaac Norris, Thomas Leech and Edward Warner), were instructed to procure a bell of about 2,000 lbs. weight from England. This instruction laid down the prophetic inscription that was to be placed on the bell and stipulated that it should be delivered before the scaffolding around the building in which it was to be hung, was struck at the end of the following summer. Thomas Lester of this Foundry and in these same premises was the Founder chosen, and in September 1752, the bell is recorded as having come ashore in good order. A report dated March 1753 states that after hanging, it became cracked at the first stroke. They endeavoured to return it to England by the same ship, but the Master of the vessel was unable to take it on board. Thereupon, two "ingenious" workmen, Pass and Stow, both of Philadelphia, undertook to recast it. On breaking up Lester's bell, they pronounced it too brittle and modified the alloy by adding 1½ oz. of copper to every 1 lb. of Lester's bell.
They did not appreciate that bell metal is brittle, and relies on this to a great extent for its freedom of tone. They made a new casting which was not successful and, in their second recasting - having learnt the lesson - they restored the correct balance of metal and this is the bell that now hangs in the Liberty Bell Center, directly across from an earlier home, Independence Hall.
Later in 1753 some further dissatisfaction was expressed and negotiations were made with Thomas Lester to recast it for a charge of 2d. per lb. This, however, never materialised and Pass and Stow's second recasting was finally hung in the State House Steeple.
With the threat of British occupation of Philadelphia in 1777, the State House Bell (Liberty Bell) and other bells were hastily removed from the City to prevent their falling into British hands and being made into cannon. Taken to Allentown, the bell was hidden in the Zion Reform Church for almost a year and was returned to Philadelphia in the summer of 1778 upon the withdrawal of the British.
There are conflicting stories as to the causes of the present bell becoming cracked:
One is that it cracked in 1835 while being tolled on the death of Chief Justice John Marshall of Virginia, and that in 1846 an attempt was made to restore the bell's tone by supporting the sides of the fracture, but this was to no avail. The story goes that it was tolled for the last time for Washington's birthday for, by then, the cracks had begun to spread.
Another story which gives more detail appeared in the Reading Eagle in 1911 and was told to the reporter by Emmanuel Joseph Rauch who was then about 86 years of age. He told how, when he was 10 years old in 1835, he was one day passing State House Square when the Steeple Keeper - whose name was Downing - called after him and several other boys, inviting them to ring the bell in honour of Washington's birthday. Downing tied a rope to the clapper of the bell and, thrusting the end of the rope into the hands of the eager boys, instructed them to pull with all their might. After 10 or 12 strokes, there was a change in the tone of the bell which Downing noticed as well and, after climbing into the steeple, found a crack 12" to 15" long, whereupon the boys were told to run along home.
Which of these two stories is true we may never know, but the fact remains that the principal crack is in line with the swing of the clapper and it is an established fact that many bells have been cracked by the improper operation of the clapper in this way.
Good bell metal is extremely brittle: metal up to 1" in thickness can be broken in the palm of the hand by a sharp tap with a 2 lb. hammer. If a bell is struck and not allowed to ring freely, because either the clapper or some part of the frame or fittings are in contact with the bell, then a crack can very easily develop.
The Whitechapel Foundry's connection with the Liberty Bell was reestablished in 1976, the year of the US Bicentennial. First, there was a group of about thirty or so 'demonstrators' from the Procrastinators Society of America who mounted a mock protest over the bell's defects and who marched up and down outside the Foundry with placards proclaiming WE GOT A LEMON and WHAT ABOUT THE WARRANTY?. We told them we would be happy to replace the bell - as long as it was returned to us in its original packaging. Concurrently (ie. from about 1968 to 1976) we also produced around fifteen full-size, twenty four hundred one-fifth size, and two hundred one-ninth size replicas of the bell for the Boston-based Limited Editions Collectors Society of America Inc. Finally, and most pleasingly, Whitechapel was also commissioned to cast the 12,446lb Bicentennial Bell that year, which now resides in Philadelphia with its illustrious predecessor and which bears the inscription:
FOR THE PEOPLE OF THE UNITED STATES OF AMERICAFROM THE PEOPLE OF BRITAIN4 JULY 1976
The Liberty Bell in PA
This famous bell is located in Philadephia, PA about 20 min. away from where I used to live guys! There is a great story of what it represents.Check it out!
quinta-feira, 5 de março de 2009
Le lien
Elle regarde ma main
Elle s’accorde une pause
J’appelle à mon destin
Mon coeur lourd se repose
Je ne sens que le bien
Et le mal se suppose
Le lien
Elle remonte trop loin
Les souvenirs s’essoufflent
Je trouve un peu de moi
Dans cette vie sur ces routes
C’est comme aux bords d’un rien
Que le lien me revient
Enfin
Racontez-moi
Quel est ce lien qui me tient vivant dans ce monde
Rassurez-moi
Si les douleurs nous rendaient meilleurs
Racontez-moi
A ceux qui rêvent sans fin
Qui s’accordent un repos
Comme ceux qui meurent pour rien
Si loin sans une rose
Je me dis que soudain
Mes peurs ce n’est pas grand-chose
Pas grand-chose
Racontez-moi
Quel est ce lien qui me tient vivant dans ce monde
Rassurez-moi
Si les douleurs nous rendaient meilleurs
Racontez-moi
Quel est ce lien qui nous tient vivant dans ce monde
Rassurez-moi
Si les douleurs nous rendaient meilleurs
Le pendu me foudroie
Mais la lune s’interpose
La lutte se fait sans foi
Le jugement explose
L’ermite est au soleil
Et l’impératrice, le monde
Pour moi
Je serre encore les poings et je crie pour demain,
et je crie pour demain
Le lien, le lien
Racontez-moi
Quel est ce lien qui me tient vivant dans ce monde
Rassurez-moi
Si les douleurs nous rendaient meilleurs
Racontez-moi
Quel est ce lien qui nous tient vivant dans ce monde
Rassurez-moi
Si les douleurs nous rendaient meilleurs
Kids being funny
Little girl and monsters:
- I'm gonna kick his ass.
What a lovely girl, LOL.
(REMEMBER, students! As her mother says in the end of the video, "ass" is NOT a nice word! Don't use it, ok?)
Charlie bit my finger!
- That really hurts :(
Isn't his brittish accent the cuttest thing ever?
I just like mommy when she gives me cookies:
- I love you too, I just don't like you all the time.
Well, that's a very intelligent statment, if you analyse it.
I don't know about you, but I laughed a lot with this cute little things.
Have fun u too :)
xxxx,
teacher Bel
- I'm gonna kick his ass.
What a lovely girl, LOL.
(REMEMBER, students! As her mother says in the end of the video, "ass" is NOT a nice word! Don't use it, ok?)
Charlie bit my finger!
- That really hurts :(
Isn't his brittish accent the cuttest thing ever?
I just like mommy when she gives me cookies:
- I love you too, I just don't like you all the time.
Well, that's a very intelligent statment, if you analyse it.
I don't know about you, but I laughed a lot with this cute little things.
Have fun u too :)
xxxx,
teacher Bel
terça-feira, 3 de março de 2009
INTER 1 - Countries and nationalities
Quiz - contries and nationalities:
http://iteslj.org/v/e/ab-countries_nationalities.html
Exercise about country, nationality and language:
http://a4esl.org/q/h/9801/cg-nationalities.html
Don't forget to send me your score!
=)
See you!
http://iteslj.org/v/e/ab-countries_nationalities.html
Exercise about country, nationality and language:
http://a4esl.org/q/h/9801/cg-nationalities.html
Don't forget to send me your score!
=)
See you!
Inter 4 - Passive Voice
Hi, guys!
Since we are studying passive voice we have here some notes about it and then also two exercises:
Use of Passive:
Passive voice is used when the focus is on the action. It is not important or not known, however, who or what is performing the action.
Example: My bike was stolen.
In the example above, the focus is on the fact that my bike was stolen. I do not know, however, who did it.
Sometimes a statement in passive is more polite than active voice, as the following example shows:
Example: A mistake was made.
In this case, I focus on the fact that a mistake was made, but I do not blame anyone (e.g. You have made a mistake.).
Form of Passive
Subject + form of to be + Past Participle (3rd column of irregular verbs)
Example: A letter was written.
Exercises about passive voice:
http://www.englisch-hilfen.de/en/exercises/active_passive/active_or_passive.htm
http://www.englisch-hilfen.de/en/exercises/active_passive/active_or_passive1.htm
=)
See you!
Since we are studying passive voice we have here some notes about it and then also two exercises:
Use of Passive:
Passive voice is used when the focus is on the action. It is not important or not known, however, who or what is performing the action.
Example: My bike was stolen.
In the example above, the focus is on the fact that my bike was stolen. I do not know, however, who did it.
Sometimes a statement in passive is more polite than active voice, as the following example shows:
Example: A mistake was made.
In this case, I focus on the fact that a mistake was made, but I do not blame anyone (e.g. You have made a mistake.).
Form of Passive
Subject + form of to be + Past Participle (3rd column of irregular verbs)
Example: A letter was written.
Exercises about passive voice:
http://www.englisch-hilfen.de/en/exercises/active_passive/active_or_passive.htm
http://www.englisch-hilfen.de/en/exercises/active_passive/active_or_passive1.htm
=)
See you!
MeN dEfInItIoN...kkkkkk
Because of my students of teens 3!!!!
Isn't her voice cool? and so are her videos.
Enjoy it!!!!!
You change your mind
Like a girl changes clothes
Yeah, you PMS like a bitch
I would know
And you always think
Always speak cryptically
I should know
That you're no good for me
'Cause you're hot then you're cold
You're yes then you're no
You're in and you're out
You're up and you're down
You're wrong when it's right
It's black and it's white
We fight, we break up
We kiss, we make up
You, you don't really wanna stay, no
You, but you don't really wanna go, oh
'Cause you're hot then you're cold
You're yes then you're no
You're in and you're out
You're up and you're down
We used to be just like twins, so in sync
The same energy now's a dead battery
Used to laugh 'bout nothing
Now you're plain boring
I should know
That you're not gonna change
'Cause you're hot then you're cold
You're yes then you're no
You're in and you're out
You're up and you're down
You're wrong when it's right
It's black and it's white
We fight, we break up
We kiss, we make up
You, you don't really wanna stay, no
You, but you don't really wanna go, oh
You're hot then you're cold
You're yes then you're no
You're in and you're out
You're up and you're down
Someone call the doctor
Got a case of a love bipolar
Stuck on a rollercoaster
Can't get off this ride
You change your mind
Like a girl changes clothes
'Cause you're hot then you're cold
You're yes then you're no
You're in and you're out
You're up and you're down
You're wrong when it's right
It's black and it's white
We fight, we break up
We kiss, we make up
'Cause you're hot then you're cold
You're yes then you're no
You're in and you're out
You're up and you're down
You're wrong when it's right
It's black and it's white
We fight, we break up
We kiss, we make up
You, you don't really wanna stay, no
You, but you don't really wanna go, oh
You're hot then you're cold
You're yes then you're no
You're in and you're out
You're up and you're down, down, down, down...
Isn't her voice cool? and so are her videos.
Enjoy it!!!!!
You change your mind
Like a girl changes clothes
Yeah, you PMS like a bitch
I would know
And you always think
Always speak cryptically
I should know
That you're no good for me
'Cause you're hot then you're cold
You're yes then you're no
You're in and you're out
You're up and you're down
You're wrong when it's right
It's black and it's white
We fight, we break up
We kiss, we make up
You, you don't really wanna stay, no
You, but you don't really wanna go, oh
'Cause you're hot then you're cold
You're yes then you're no
You're in and you're out
You're up and you're down
We used to be just like twins, so in sync
The same energy now's a dead battery
Used to laugh 'bout nothing
Now you're plain boring
I should know
That you're not gonna change
'Cause you're hot then you're cold
You're yes then you're no
You're in and you're out
You're up and you're down
You're wrong when it's right
It's black and it's white
We fight, we break up
We kiss, we make up
You, you don't really wanna stay, no
You, but you don't really wanna go, oh
You're hot then you're cold
You're yes then you're no
You're in and you're out
You're up and you're down
Someone call the doctor
Got a case of a love bipolar
Stuck on a rollercoaster
Can't get off this ride
You change your mind
Like a girl changes clothes
'Cause you're hot then you're cold
You're yes then you're no
You're in and you're out
You're up and you're down
You're wrong when it's right
It's black and it's white
We fight, we break up
We kiss, we make up
'Cause you're hot then you're cold
You're yes then you're no
You're in and you're out
You're up and you're down
You're wrong when it's right
It's black and it's white
We fight, we break up
We kiss, we make up
You, you don't really wanna stay, no
You, but you don't really wanna go, oh
You're hot then you're cold
You're yes then you're no
You're in and you're out
You're up and you're down, down, down, down...
sábado, 28 de fevereiro de 2009
Quién es el pintor de estas obras?
Conoces al autor de las pinturas de abajo? De dónde es él? Cuándo nació? Cuándo murió?
Busca las respuestas y escríbelas en los comentarios, o.k.?
Busca las respuestas y escríbelas en los comentarios, o.k.?
sexta-feira, 27 de fevereiro de 2009
About the Biltmore Estate...by teacher samuel
Hi guys! I wanted just to say that the site listed below about the Biltmore has a few pictures of this wonderful place to go and visit. I went there once and it is trully a breathtaking experience.
If you wish to find out more about it, you can ask me anytime or surf the web about it! Hope you like it!!
Have a great one!
If you wish to find out more about it, you can ask me anytime or surf the web about it! Hope you like it!!
Have a great one!
quinta-feira, 26 de fevereiro de 2009
STOP! DON'T READ THIS.
Please Don't Read This Poem
Please don't read this poem.
It's only meant for me.
That's it. Just move along now.
There's nothing here to see.
Besides, I'm sure you'd rather
just go outside and play.
So put the poem down now
and slowly back away.
Hey, why are you still reading?
That isn't very nice.
I've asked you once politely.
Don't make me ask you twice.
I'm telling you, it's private.
Do not read one more line.
Hey! That's one more. Now stop it.
This isn't yours; it's mine.
You're not allowed to read this.
You really have to stop.
If you don't quit this instant,
I swear I'll call a cop.
He'll drag you off in handcuffs.
He'll lock you up in jail,
and leave you there forever
until you're old and frail.
Your friends will all forget you.
You won't be even missed.
Your family, too, will likely
forget that you exist.
And all because you read this
instead of having fun.
It's too late now, amigo;
the poem's nearly done.
There's only one solution.
Here's what you'll have to do:
Tell all your friends and family
they shouldn't read it too.
--Kenn Nesbitt
Available on this great website, full of poetry for kids:
http://www.poetry4kids.com/index.php
Have fun, innterlectualls kittehs :)
xoxox,
teacher Bel
Please don't read this poem.
It's only meant for me.
That's it. Just move along now.
There's nothing here to see.
Besides, I'm sure you'd rather
just go outside and play.
So put the poem down now
and slowly back away.
Hey, why are you still reading?
That isn't very nice.
I've asked you once politely.
Don't make me ask you twice.
I'm telling you, it's private.
Do not read one more line.
Hey! That's one more. Now stop it.
This isn't yours; it's mine.
You're not allowed to read this.
You really have to stop.
If you don't quit this instant,
I swear I'll call a cop.
He'll drag you off in handcuffs.
He'll lock you up in jail,
and leave you there forever
until you're old and frail.
Your friends will all forget you.
You won't be even missed.
Your family, too, will likely
forget that you exist.
And all because you read this
instead of having fun.
It's too late now, amigo;
the poem's nearly done.
There's only one solution.
Here's what you'll have to do:
Tell all your friends and family
they shouldn't read it too.
--Kenn Nesbitt
Available on this great website, full of poetry for kids:
http://www.poetry4kids.com/index.php
Have fun, innterlectualls kittehs :)
xoxox,
teacher Bel
sábado, 21 de fevereiro de 2009
sexta-feira, 20 de fevereiro de 2009
A little of how where I studied started.
Bob Jones Jr, the founder of M&G, began building the art collection in 1948. After Carl Hamilton, an art-expert and friend, suggested the idea to him, Dr. Bob discussed the possibility of a University Art Gallery with the Executive Committee. He pointed out that a collection of sacred art would be an excellent complement to the schools of Fine Arts and Religion. The Executive Committee agreed, established an acquisition fund, and empowered Dr. Bob to begin collecting art for the university. The criteria for collecting were determined, since every collection must establish its boundaries in order to create its own unique and useful niche: it would be limited to western religious art.
Because Baroque art was unpopular with museums and collectors in the 1950s, Dr. Bob was able to purchase a number of fine paintings his first year of collecting at astonishingly low prices. The Gallery’s original collection comprised twenty-five paintings and included works by Botticelli, Botticini, Ghirlandaio, Tintoretto, Veronese, and Ribera. These paintings were displayed for the first time on Thanksgiving Day 1951 in a two-room gallery adjoining the Bowen Collection of Antiquities.
After the Gallery’s inauguration, the collection rapidly grew. Three years later, in 1954, the collection had grown to 40 works. By 1962, it held 211 paintings, and by 1991, the Gallery had over four hundred works on permanent display. In 1963, the Gallery acquired seven important Benjamin West paintings from West’s large series “The Progress of Revealed Religion.” During this time of development, the Gallery also acquired the James Cole Collection of Ecclesiastical Textiles and Vestments, and began acquiring valuable furniture and Russian Icon collections.
To accommodate additional artworks, the Gallery moved twice before 1970—first, in 1956 when the Fine Arts Building was constructed, and later, in 1965, when the University’s dining facility was moved. The second expansion of the Gallery into the former Dining Hall was an event of national importance that included a gala event for museum curators, art collectors, and other special guests from around the world. In 1996, the Gallery expanded further by becoming an independent corporation with tax-exempt status called the BJU Museum & Gallery.
The collection gained national prominence when NBC Television broadcast a number of the Gallery’s paintings in three Project Twenty specials. In recent years, numbers of national and international exhibitions have borrowed from the collection. In addition to these special displays, the Gallery daily offers great art to the public, opening its doors to more than twenty thousand people each year.
Because Baroque art was unpopular with museums and collectors in the 1950s, Dr. Bob was able to purchase a number of fine paintings his first year of collecting at astonishingly low prices. The Gallery’s original collection comprised twenty-five paintings and included works by Botticelli, Botticini, Ghirlandaio, Tintoretto, Veronese, and Ribera. These paintings were displayed for the first time on Thanksgiving Day 1951 in a two-room gallery adjoining the Bowen Collection of Antiquities.
After the Gallery’s inauguration, the collection rapidly grew. Three years later, in 1954, the collection had grown to 40 works. By 1962, it held 211 paintings, and by 1991, the Gallery had over four hundred works on permanent display. In 1963, the Gallery acquired seven important Benjamin West paintings from West’s large series “The Progress of Revealed Religion.” During this time of development, the Gallery also acquired the James Cole Collection of Ecclesiastical Textiles and Vestments, and began acquiring valuable furniture and Russian Icon collections.
To accommodate additional artworks, the Gallery moved twice before 1970—first, in 1956 when the Fine Arts Building was constructed, and later, in 1965, when the University’s dining facility was moved. The second expansion of the Gallery into the former Dining Hall was an event of national importance that included a gala event for museum curators, art collectors, and other special guests from around the world. In 1996, the Gallery expanded further by becoming an independent corporation with tax-exempt status called the BJU Museum & Gallery.
The collection gained national prominence when NBC Television broadcast a number of the Gallery’s paintings in three Project Twenty specials. In recent years, numbers of national and international exhibitions have borrowed from the collection. In addition to these special displays, the Gallery daily offers great art to the public, opening its doors to more than twenty thousand people each year.
quinta-feira, 19 de fevereiro de 2009
Penguin joke
A man was walking along Hietzinger Hauptstrasse near Parkhotel Schönbrunn when he found a penguin walking along the road.
So he picked it up and took it to the local police station.
He said to the policeman "I found this penguin on Hietzinger Hauptstrasse, near Parkhotel Schönbrunn. What should I do with it?"
The policeman looked at the man and said "It's obvious what you should do with it! Take the penguin to Schönbrunn Zoo".
The man said "Of course, I'll take it to the zoo" and he left the police
station with the penguin under his arm.
The next day the policeman was on duty in the city centre when he saw the man walking along the street with the penguin by his side. The policeman stopped the man and said "I thought I told you to take the penguin to the zoo?"
The man replied "Yes, I took it to the zoo yesterday. Today I'm taking it to see the Opera House."
quarta-feira, 18 de fevereiro de 2009
terça-feira, 17 de fevereiro de 2009
domingo, 15 de fevereiro de 2009
Creative Ways to Say "Thank You"
Here are some suggestions for thanking people at work, at home, and in the community.
1. When you say "Thank you" tell the person specifically what it is you appreciate and why you appreciate it. "Thank you for going to the Post Office for me. It saved me a lot of time."
2. Send an e-mail note. When I sent a thank you note to my staff in the Pentagon, the energy level shot up.
3. Send a hand-written thank you note. These are noteworthy because so few of us take time to write and mail them.
4. Place an unexpected phone call just to say "Thank you." Connecting verbally adds warmth to your appreciation even if you reach voice mail.
5. Present a small certificate. Half-page certificates take up less space if displayed and are as meaningful as full sized certificates. They tend to draw attention because they are different.
6. Give a single flower from your garden, flowerpot, or florist, with a verbal "Thank you" or a note.
7. Put a candy bar or piece of fruit on the desk of the person to be thanked, with or without a note.
8. Bake some cookies.
Assinar:
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