Well, there's one more on the list and this fella is on the list because he's been linked with us, he's played in the Premier League, he's good statue, good footballer and it is Abdullah Dukhory at Wafford. Now, I know I'm just going to give you the plus points and then you can prove the idea all you want. Yn ymlaen i fy mod i chi yn gweithio yn ardu i am y gymrydd, felly mae'n griffledd yn ymryd eich gwneud yn y ffordd, ond mae'n 5 o 6rwydd. Rwy'n cael ei wneud o'i'r p plant, o'n rhoi'r p plant. Rydw i'n gwybod尔 yna'r delim 80 yn ddefnyddio'n gwybod. Ac nid oed yn ni oedd eich pwyfyddiad yn y llaw oes o gyllideb o os i wneud. Efallai'r golyb eich gweithiol i eich gweithio, a roedden ni'n gallu'n gweithio'r party a phon yn y net. Dwi'n arnoch i wneud dros egotau Cymru. Roedd draw lluniau ar ôl. Roedd dros egotau lluniau ar ôl yn Gweinidog. Felly, mae やrchart oarrell fel ar hyn o'r 3 oes ac er mwyn i ddweud 7 oes, mae yna yma fwy o'r 6 oes i roedden yn 4 oes. Ond roedd e'n ddweud yn ers. Rhaid i ddim ni i ystafell gyda ges boeddiad. Rhaid i ddim ni i ystafell os yn dweud y gallu wneud a fydd yn 5 oes ti. Mae gwasanaeth gyrdd yn unig gyrdd, neu yn oed yn dweud ychydig. I get it, I get it. I think if he played an arm of field, he wouldn't be able to play with goldmage probably because neither of them can do that job. If you put three in there then maybe you could, if you had one who could do the job on those, I think that would be quite a nice mix of him field. I think if you put him in with someone like Santa Maria or Sangari or even Alan maybe, I think he'd be fine. So that's their all the plus points for me. The goal thing is huge, I think, and the Premier League experience because he's somebody who, if you've got five goals from a central position in the field for everything, it would make a huge difference. He's good on the ball as well, a good runner. So they're all the positive stuff for him. Negative stuff is he's going to be 28 this season. Waff had probably won £25 million, I guess, for him. Maybe they won him off the club now and off the wage bill, who knows. I still don't think £25 million is that much of a stretch for someone with Premier League experience who's different from what we've got. Go. For example, right, if we were looking for someone to play with Gabamon, then that would probably be all four, maybe.  The issue is right now is now Gabamon being fit. I've still got Tom Davis, because I'm going to say Gomez, I've got Gilffy Sigardsson, hopefully not all of them next season. He goes to that category, though, because he is in the defence in the field. I don't mean wrong, he can't play defence in the field, but I think that Puey is the ball when he's in the field. He's the structure of that midfield, and what we need is someone to add structures in the midfield. But shouldn't we be looking for two? No, I agree with that part of it, but the problem is I think we need two defence in the field. Not only that, because Gabamon can play box-to-box last season, if I mind, he played as a box-to-box, because Pierre Conde played defence in the field. It's really key, though, that if you play them in Gomez, we're still going to have the same structural problems. Obviously, Gabamon, I've done it wrong too, but if I go on the basis that it's probably going to be only one. I think we need two. I've got no doubts about that, but I go on the basis that it'll only be one because I don't think we're signing five players, and I think we need four positions. So, if it's one, it can't be him being the one, because he doesn't have that structure, that screen in the back four, the ball when he's in the field. We'll just look at his numbers a second, similar numbers to Tom Davies in terms of tackles, which don't go wrong. I think he's better than that, because he can't win the ball. Pressing, good, because we pressed in the sleep. So 13.3 per game. Presses in the middle third. That's his main issue. He's better as an off-ball runner into the box rather than someone in build-up. Now, if he was playing with Gomez, fine, but I think if they may feel, I think, and I actually don't think he's that great technically, he's good technically. I don't think Sangari's much worse though, which is the funny point about him. I think under pressure, to Corey, he can sometimes make the bad decisions, the wrong pass. So that's why I have that, that the issue is that he's better than that. Even if he's Sangari, not being good enough technically or whatever, we'll move on from there. I think to Corey's good player, and what you do say about us in getting in the box is really key, because we just don't have that. We haven't had that since probably Osmond or Kale, if Kale wasn't a fit for him. But yeah, the similar type of player, got near the box and scored four or five a season every season in Osmond's case. It's just that, again, this is more, the talents, yes, the fit, no. And that's, I think, like I say to people, we can have all the talents in the world.  And sadly, at this point in time, a box to box would feel that like to Corey of his type isn't the right fit for what we need. But he is a good player, there's no doubting about that. I think sadly for him, a move probably is coming a year and a half, too late maybe. If he moved him to Silver's Fife, he would have been a good player. A move probably is coming a year and a half, too late maybe. If he moved him to Silver's Fife a season, so Osmond, I think he was one of the three players, Mr Richard and Andrew Curio. Where's he now? We're going to come and if he got them then, great, imagine him and go on again, you know what I mean? That would have been perfect, but we didn't. And I think he's a bit, I think he'll probably get a good move somewhere, but I don't think it's right time for him in Evan any more. 1.76 progressive ones. Which is his key, because you can drive, if you watch him, there's been a couple of times where he's picked the ball, and he ended up in the box nearly. You can do that, a big powerful runner, strong, taxed the space well, knows how to put defenders on the back foot. Again though, Andrew Gomes should be that type of midfield for us. We'll see whether that happens, but I think we need someone to add. The key is cutting down on the amount of easy chances that come through midfield, because you're leaving too much pressure on your centre backs. What if we went for two though? Would that make it easier for you? If it was him in Santa Maria, then yes, because then you'd have the four, then you'd have Gabarman, who can play defensive of the field, you'd have Santa Maria, so you'd have them two, and then you'd have the two box-to-box players, and then you've all scocked Gabarman, who can play with any of them, really, because he can play both positions. Then yes, but I don't see... But not if he's a one, if it's a one then no. That's fair enough. 27 as well, you know, if you get before your deal there, he's a light starter. Don't he start by your first team football? He's doing 22-23 anyway, so he's got a lot of mileage left. No, that's fair enough. If you're talking about one position, one sign, and then no, he probably isn't. If it's going to be two and you're looking to match it up, then I think he makes sense, because he's got the experience, there's no need for him to acclimatise, he knows the game, gets up and down, can he compete? Yes, he can. He's got something we haven't got, which is goals in him, which we don't have. Makes a massive difference, I think. That's fair enough.


What's up everybody, Jason here for Jasper's casebricks.com. We just sold out a quick round of number block that unlocks Cup Hockey picker team number 25 This is for the devil stars ducks and blue jackets in that break and again works like any other round of number bug break on our website But only for these teams in this specific break of picker team number 25 cup So let's quickly randomize customer names and the numbers and again, you guys know how it works. Let's roll it One and a two three times. Good luck to down a jack to rich one two three Two and a one three times Jack down the jack boom Three times zero three nine one two Zero down to three So Jack has zero Nicholas with five Jack with four well in with nine Nicholas was seven as well as eight Two rich with one six and Jack with three So Jack anywhere down just for these teams will be yours. Any one of ones will be for you rich Now coming up in a separate video guys is Cup Hockey appreciate it


Welcome to today's presentation. We're going to be going over the brief introduction to sex addiction treatment. Now there's a lot more to sex addiction treatment obviously than we can go over in an hour, but it's important to hit the highlights in some cases to understand the differences between straight-up substance abuse addiction treatment and sex addiction treatment because there are caveats like there are with gambling addiction and eating disorders and other things like that that we have to attend to in order to make sure our clients are achieving their highest level of recovery and success. So over the next hour, we're going to define sex addiction, discuss similarities and differences between drug addiction and sex addiction and explore some interventions that might be used with clients who are talking about having either sex or pornography addiction issues. So just like any other addiction, sex addiction would be an activity used to escape from negative feelings, whether it's physical pain, emotional pain, boredom, despite experiencing negative consequences. And that's the caveat there. People continue doing this behavior, whatever it is, despite experiencing negative consequences. And when we talk about sex addiction or pornography viewing or, you know, anything like that, just about anything that we talk about, there's a range of normality. And, you know, some people engage in behaviors that are more or less right or left of center. And that's okay, if it is between consenting adults and it is something that is not causing them negative consequences. As far as an addiction, the definition is concerned. So similar to other addictions, sex addiction and pornography watching causes a dopamine surge which leads people to experience a rush or a high of, you know, certain magnitudes. Cravings, the person will start having cravings for that dopamine rush when talk about people with sex addiction or pornography viewing.  Because their cravings become so strong. It's similar to those cravings that people have for cocaine, methamphetamine, etc. Because they're changing the neurochemical balance in their brain. And their brain is adapting to that higher level of the dopamine. So when they don't have that higher level of dopamine, they're feeling less than happy, they're feeling less than what we would call quote normal for them. Triggers and condition stimuli are also there for people with sex addiction. And I've noticed over the past, you know, 20 some odd years, what we see on TV has gotten progressively explicit. So just watching TV in the evening can create triggers for people. Certain smells, sights, sounds, music, there are a variety of things as well as emotional states that can trigger someone to want to engage in sexual behavior, whether it's because they're wanting to engage in sexual behavior, or it's because they're wanting to feel better.  If the pornography viewing, if these addictive behaviors start at a younger age, they found that the adolescent brain just is not designed to handle internet porn, because there are varying levels of explicitness varying levels of shock value in the internet porn. And you can keep hitting the enter key. And it's never ending novelty. It's not like, you know, back in the olden days when dad had a playboy or a penthouse or something and there was one centerfold. People can literally spend hours or days going through the amount of internet porn that's there and never see the same image twice, which means they become desensitized to some of the more routine sexual behaviors. And they start looking for more extreme types of behaviors, whatever it is that does it for them. And you know, that depends on the person which direction they go. But eventually we find that a lot of people who engage in internet porn or sex addiction tend to expand past their comfort zone and start looking at things that are more extreme, more challenging in order to get that rush because they're the sex itself is not providing the rush anymore. The orgasm itself is not providing the rush anymore. So looking for another way to increase that rush, kind of like when people start combining drugs in order to chase that high. These brain changes can, you know, be undone or rewired or re-routed. But it does take time. And there's a whole website called yourbrainonporn.com. And I believe it's in the resources for this class that has some videos that explain the neurobiology of what may be going on. And it also explores some of the side effects of sex and pornography addiction, including things like erectile dysfunction because the range of normal behaviors or average routine behaviors, whatever words you want to use that occurs in face to face meetings is very small compared to the range of what someone can see online.  So you can see how the brain kind of gets spoiled, if you will, into expecting new partners and new experiences with every single click of a button. This can lead to a lot of problems. I mean, financial problems is just only part of it. You know, there's a lot of free porn online. But there are a lot of people who end up getting fired from the job or end up going to jail. In the case of child pornography and some other things, because of porn. But there's also emotional problems. You can actually have too much sex. Yes, you can, believe it or not. When the body has basically exhausted that reward system, there is nothing left to give. And so that rush of dopamine just doesn't mean anything anymore, even if there is dopamine left to put into the synapses. The nice thing is, again, it does the body can recover. Once it says, Okay, the floods over, we're going to go back to this normal, steady state of occasional trickles of dopamine instead of tidal waves. That takes anywhere from, you know, three months to a year for most people.  You know, there are a lot of things that people become addicted to that start out as recreational. They don't start out as, Oh, I need to numb the pain. But then the person has a really exciting experience from it. So when they're feeling down, when they're feeling blue, they want that reward, they want to feel that excitation again. So they go back, it's kind of like, Oh, I know how to feel better. Let me go back and do this again. Sex addiction differs from other addictions, partly because it's a biologically driven urge. We are designed to procreate. If we don't procreate, our species doesn't survive. So one of the interesting things is that there's something called the Coolidge Effect, where and it's not just men, it's men and women get bored with the same partner after a period of time. Now, does that mean that we are doomed to be in not to be in monogamous relationships? No, it just means you have to be aware of the fact and kind of try to keep it interesting. But the Coolidge Effect basically says that the and they talk about it on the website, your brain on porn, in terms of lab rats. After a while, a lab rat will get bored with its partner, and it'll want to go engage in sexual activity with other partners in order to diversify the genetic pool. Most people can't abstain forever.  So what do we do? One of the things that we talk about, and we're going to talk about it in interventions is telling people that, okay, maybe masturbation is not something that you want to engage in all the time, eight, nine, 10 times a day. Let's restrict it to if you feel like you can do it with your current human partner in a monogamous relationship. So put some restrictions on when and where it can be done. Initially, most people who have been who either have sex addiction or pornography addiction may not be able to get aroused in that sort of situation. After a period of time and therapy and recovery and yada, yada, yada. And that's the stuff that we don't have the time to go into right now. They will find that they are able to have a fulfilling sexual life without the addiction part. The other unique thing about sex addiction is sex is socially sanctioned. And even to some extent, pornography is socially sanctioned, or we wouldn't have playboys, pent houses and, you know, goodness knows, I think hustler was one other. I don't know if it even still exists. You know, I'm aging myself now. But those were the things that, you know, my father and his father probably had is somewhat socially sanctioned as a right of passage in some cultures for young men, especially to view pornography. We do find in certain studies that men tend to be more visually engaged than women do. Men tend to want to view things more often than women do. Women are more about experiencing feeling, talking, that sort of stuff. Many women are not as enthralled by simple two dimensional pictures.  So it's a matter of what your preferences are, but understanding that our society has really expanded its horizons and made things a lot more explicit. And children are being exposed to this a lot sooner. So what are some symptoms needing more of the same substance or activity to get the same high? The dopamine system, like I talked about earlier is self regulating. When you flood it, it's going to shut down some of those floodgates. So your body doesn't get overstimulated. Until it realizes or is confident that it's not going to be flooded anymore, those floodgates are going to stay closed. The brain is protecting itself, which is really cool.  Okay, so we need to rebalance our neurotransmitters. The other thing to consider, and I've just talked about dopamine, but there are a lot of other chemicals that are involved in the reward process. And it's a balance. They regulate one another. Serotonin, GABA, norepinephrine, dopamine, acetylcholine, understanding how all of those interplay with one another, and some of them bolster the other ones, other ones, they act kind of antagonistically. So it balances it out. It's important to understand that it's not always about more, more, more. In response to worsening problems in the person's life, they also may seek out the porn or the sex more often, because they just need to escape.  So they're chasing the high, just like we see with other addictions. But things like with other addictions, things outside of that one behavior are probably continuing to fester and maybe actually worsened significantly by the revelation that the person has an addiction, either sex addiction or pornography. So this causes the desire for engaging in the behavior more.  You can go through and watch, like I said, different types of porn, different genres of porn, different, whatever. It's a really, really financially beneficial market if you're into that. So knowing that it's out there and knowing how to access it. One of my friends texted me the other day, he was out in the field. And one of his friends had sent him a link to something that was on Reddit. And I don't even remember what it was. And he just texted me. He's like, Have you ever been on Reddit? No. He's like, Oh, my gosh, there is so much porn. And for him, that's a huge trigger because, you know, pornography is one of his fallback coping skills or whatever.  So understanding that people can get sucked in and they may intend to spend 30 minutes looking at it and spend three hours unsuccessful efforts to cut down the biologically driven urge for stimulation, as well as procreation. But also that need to feel okay, because you're not getting without artificially raising your your reward levels, your happy chemicals. Your happy chemical level is going to be low. And really understanding how that regulatory process works is key to understanding any addiction and understanding the cravings in any addiction. Once people really start to use and their brain adapts, then they have to continue to use to feel normal. Their baseline is raised. So if they don't give it that extra dopamine, if they don't give it that extra cocaine, in order to get the dopamine, they're not going to feel like the rest of us feel spending significant time and or resources like money, thinking about preparing for acquiring using or recovering from use. Like I said, it's a multi billion dollar industry.  People can spend an inordinate amount of money or time, because it's something, you know, and at this point, it's often the only thing that really provides them that sense of escape and euphoria. I don't want to say joy because joy has more to it than that. And continued use despite consequences in one or more areas of life due to the addiction. Relationship issues.  You can understand where if your partner is having relations with other people on multiple occasions, how that can be hurtful. But with pornography addiction, it is similarly damaging to the relationship. And it's important not to minimize that. When you're talking with the significant other of the addict, it's important to understand what it means to him or her, that the significant other was engaging in lots and lots of pornography usage. And that's the whole of the class again.  Like I said, it's a multi billion dollar industry so it can cause financial problems. If you get fired from your job because you're downloading porn, that's going to cause financial problems. Work problems just covered that anxiety, motivation and depression. Motivation. Motivation is that desire, that urge to do something. Dopamine is our motivating chemical. If you're out of dopamine, you're out of motivation. You know, there's very little motivation to get up and do the next thing, especially if it's not nearly as rewarding as, you know, what you've been doing. So going to work starts to lose its appeal. Going to class starts to lose its appeal, helplessness and hopelessness. When nothing seems to do it for you anymore, when there's no motivation, people start feeling helpless, hopeless, blue, gray. I find it interesting how we use different colors. But anyway, I digress, which can also lead to a certain level of anxiety. If once people start seeing how much problem that the pornography or sex addiction has caused, and or, you know, if they're engaging in sexual behaviors with other people and using risky sexual practices, there can be a lot of anxiety about health problems. Anxiety about other people finding out what would they say if they knew. Those are all things that the person with sex or pornography addiction has to deal with. So just bearing in mind that it's not a simple thing to issue to deal with in therapy. This is something that is actually more pathologized by society in many ways than alcoholism. So it's important to kind of wrap our heads around that. And what does it mean when Jim Bob's pastor or Jim Bob's boss or Jim Bob's mother finds out about this addiction is driven by survival mechanisms.  People don't wake up in the morning and go, Hey, I want to really screw up my life today. They wake up and they're like, I can't go another day feeling this bad. I need something to make the pain stop. And that's when I fall back sometimes to things in the past, other behaviors they've tried in the past which have made them feel better, whether it's drugs, sex, gambling, exercise, food. Another safety mechanism or survival mechanism is the elimination of threats. If they are with drawing into themselves, if they're isolating, then they don't have to worry about rejection, they don't have to worry about counting on somebody and being disappointed, because their addiction is always there for them. It's them and their addiction. And that's all they need.  But we find when people get into an addictive mindset, they may not be eating healthfully and taking care of themselves, because they are so driven. And, you know, we've all heard of the rat studies with cocaine, where they've stimulated the pleasure centers of the brain and the rat has continued pushing that lever to get another hit until it died of starvation. You know, poor rat, but it's important to recognize that there are certain things that will override certain desires that will override others. So what do we do? Well, one of the things that we can do is have people what we call reboot, they need to give their brain a rest from the rush. Stepping back and let's see, Terry Cruz, there were some articles that came out about a month ago. CREWS was a football player and he's an actor, but he came out as somebody who's dealing with sex addiction. And he had talked about, he didn't use the word reboot, but taking a sex time out. And he and his wife agreed to abstain from sexual relations for a certain period of time. That's not for everybody to go extended periods of time, but it is important when people come in to help them understand that their brain is used to going a thousand miles an hour. And it can't do that anymore. It's burned out. It's not able to keep that pace up. So it needs to rest. You need to let the engine block cool off. So how can we make that work for you? Helping them understand that it's a the brain's normal protective reaction. If they're having erectile dysfunction or sexual dysfunction, these urges, et cetera, help them understand the function of those so they can understand, okay, my neurochemicals are out of whack. My brain wants them to be in balance. And in order for them to be in balance right now, the only way to do that is through these dysfunctional behaviors. So how do I get it re regulated? So my brain is operating at what it used to operate at. And I try to stay away from the word normal as much as possible. But it's baseline is usually a better word. So what do we do during this period? Encourage the person to be kind to themselves. They need to take care of themselves so their brain can recover, get adequate sleep, which may be really hard in early recovery, just like from any other addiction. While the brain is recovering, the person may feel very edgy. The cravings may be very strong. So it may be worth having them talk with their primary care or their psychiatrist about pharmacological interventions. One interesting thing is that certain serotonin re uptake inhibitors, your typical SSRIs, some of them are more well known for their sexual side effects of reducing libido. And they found in patients with sex addiction during the early recovery process. Sometimes it's helpful to deal not only with the depression, but also to reduce their libido so they can get more sleep and help their body and brain recover faster. Not everybody wants to take a pill. I totally get that. But that is one option that's available to people. Adequate nutrition. The body needs the building blocks to make the chemicals to rebuild, you know, all this stuff. Exercise. Exercise is a good way to not only get a natural endorphin rush, but also to shake out some of the tension, some of the anxiety and help people get rid of all that, quote, nervous energy so they can sleep. And when I say exercise, I'm not talking about an aerobics class or boot camp or anything like that. For some people, that means walking the dog. And if that's what it means, great. For others, they can turn on the music at home and they can rock out in the living room. Great. Whatever it is that's exercise for them, something to get their blood moving. Finding activities to occupy their time. Boredom is devastating in early recovery for anybody. For anybody, whether it's from addiction, anxiety, depression. When the person gets bored, they have time to sit and really analyze all the things that are wrong or all the things that they want or the fact that they're edgy. So encouraging people to keep a list of things that they can do to prevent boredom. That's part and parcel of your early relapse prevention plan. Having an emergency plan. When you feel triggered, what are you going to do? Also, when you feel when you're, you know, going through your day, if you start to feel bored, what can you do? Identify and eliminate or recondition things. Pardon me that trigger your cravings. People places things including TV shows, emotions and times of day. Those are going to be important to consider when working on a relapse prevention plan. Certain people are going to bring out the more animalistic behaviors in you. Certain places may remind you of it. Driving home from work if you've got to drive past the strip club or just being on the computer. One of the things that I find frustrating or interesting or I don't even know how I find it. But there are a lot of online support groups for people with pornography addiction. And my first thought is the last place this person needs to be right now is online. So it's important to understand that. And then there are also certain times of day when hormones naturally ebb and flow. Helping the person understand that and how to deal with it. Their emergency plan. When they feel triggered, who can they call? What can they do? They need to keep it either in their wallet, in their purse, on their smartphone, somewhere where it's always with them. Encourage them to engage in competing behaviors. What does that mean? That means when they feel triggered, they need to do something where they can't engage in the target behavior. So when we're talking about sex addiction, when they feel triggered, they need to go out and do something where they can't engage in masturbation or sex. Walk in the park. You know, sometimes you would say go to the gym, but seeing people run around and scantily clad outfit may not be the thing for your client. They need to identify things that they can do.  You know, there are things that can be libido crushers figuring out what those are. They're good to have in your back pocket. Identify the function of this behavior and develop alternatives. One of the things that they talk about in a lot of the sex addiction recovery workbooks is the fact and is the same basic issue that people with a variety of addictions deal with. That negative self-talk. And one of the books I read, they called it hecklers in the gallery. It's like you're performing and every time you say something, every time you do something, somebody heckles you. Well, these hecklers are the old tapes that you've got from the past that you're replaying. So silencing those hecklers is going to be one of the first things that you need to do. The other thing that patients need to do early on is to play the tape all the way through. For example, yes, it would would be great if you could go to a bar hook up with somebody and have an hour of passion. Okay, fine. Whatever however you want to put it. The tape doesn't stop there. What are the ramifications? Once you do that, how do you feel? What are the consequences? Yada, yada, yada. So have them play the tape out in its entirety. We do the same thing with people who have addiction to alcohol. One drink sounds like a grand thing. But ultimately, we know it's not going to be one drink. One drink is never enough. So it's going to be three, four, five, then somebody's going to have to call you a cab. Then your spouse is going to find out that you were drinking again, and that's going to cause an argument and play it all the way out. By the time you finish playing the tape out, 99% of the time the person realizes, yeah, this is not something I really want to do. Another part of rewiring is only to allow themselves to experience sexual pleasure with a single other person in a monogamous relationship. Now, that's the ideal that we're going to set up here. Each person is going to have their own ideas about what healthy sexuality looks like. So I don't want to be culturally insensitive. But for the most part, this is what we're going to be looking at, trying to encourage people to restrict their activities to humans. And in a monogamous relationship, I'm not necessarily saying married. You know, that's a personal decision people have to make. But not just go into a bar and hooking up with any human that will hook up with them. Understanding that during the rewire, there may be a period when the person can't get aroused. This is important to help the person understand as well as their partner. Because we don't want their partner if their partner finds out they've been watching hours and hours of porn. And then they're together physically. And the addict can't get aroused. The partner may feel rejected. And the addict may feel inadequate. And then we've just kind of complicated the situation. It's really, really important that both parties understand what's going on. This arousal thing is going to take a little while to come back because the brain, the brain circuitry is broken. And I try not to get too into neurochemicals unless they really want to go there. But understanding it's not about desire necessarily, or mental connection. It's about how the brain's working and the physiological ability to get aroused. Procreation is genetically programmed. Once your brain recovers, arousal will be possible again. It's not gone forever. Your brain's gonna eventually come back around. But it's important to understand on that note. It's also important to help clients understand if they do start taking medication. And there are other medications, not just SSRIs that have libido bashing qualities. But if they start taking a medication, and they find that their libido is not coming back up where they think it should be, they need to talk to the doctor. There could be something a little bit wonky. Or there could be other medications that would achieve the same goal that wouldn't have those side effects.  Person has low dopamine. They're depressed. They're exhausted. They're frustrated. They feel helpless and hopeless. How do we address motivation? Well, goal setting is my favorite part now. We want to get them excited about something. We want them to see that recovery is possible. So we need to focus on small goals. And we need to focus when they come in for that assessment, not for session one or session three for the assessment, they need to walk out with some tool, some something that is going to help them start getting on their way to recovery. Even if it's just keeping a baseline log of when they feel their urges to use and what they do. So goal setting, where do you want to be at the end of the month? Where do you want to be in three months, six months and a year? So we want to look at that. The other thing you can do is look at asking the miracle question. If you woke up tomorrow, and you didn't have the compulsion to engage in this behavior anymore, what would be different? Another way to ask the question before this problem started. And you were happy. What was different? The key to that is you were happy. Because the problem, the addiction, the use is merely the tip of the iceberg. The problem started before that and the use ended up coming in to finally go I can't take it anymore. So we need to go all the way back to when the person was happy. Well, it's different. What can you know, what needs to change what needs to stay the same? Decisional balance exercises. And we go through this every class, but they're important. It's important to understand the benefits and the drawbacks to the addiction. What are the benefits to watching porn? Eight hours a day? What are the drawbacks? Yeah, we're going to talk about the benefits. What does it do for you? Because we have to figure out a same another way to meet those needs. What it does is rewarding enough that the person is willing to sacrifice just about everything else in their life, for whatever that reward is. So we need to know what it does for them. And we also need to look at the benefits of recovery. And the drawbacks to recovery. Recovery can be hard.  So we need to figure out how to minimize the suckiness for lack of a better clinical term. Make recovery rewarding, make it more rewarding than the addictive behavior. And it takes time to figure out what that is for that person. Because a lot of times, they've become so detached from themselves, they quit feeling so long ago, that they don't even know what their triggers are anymore. It's just like I just don't, I don't feel anything. And we need to put in rewards. What is it that would make you feel like you accomplished something this week? And what can you do to celebrate? What are the rewards? You know, and self satisfaction sounds great. But that is not reward enough. I am sorry, it just isn't. What do you really enjoy doing? And what rewards can be kind of there? Sometimes it can be going out to a movie. Sometimes it can be going out on a date with their significant other. There's a whole host of different things, but we need to make recovery rewarding. And we need to make recovery fun. So yeah, at the end of the week, if you've made it and you haven't used, you haven't slipped, and you want to go to a roller coaster park, that sounds great.  And my response is, yes, they are and they've forgotten how to tap into that little kid inside, which is why life wasn't fun anymore. They need to learn how to have fun without sex. Novel concept. Clients need to learn to be mindful. And we teach mindlessness from the time kids are knee high to a grasshopper. We don't teach them to be mindful of when they eat, when they need to do anything, except when we're potty training, then we're, we're really big on mindfulness. But other times, do we really focus on teaching kids? Are you hungry? Or do we teach kids? It's dinnertime, sit down and eat. And obviously, food is different than sex. But mindfulness is important to understand how you're feeling. Because we tend to develop a habitual pattern of acting or reacting, if you will, to certain emotions. Each individual person has a way of reacting when they're bored, when they're stressed, when they're angry, you know, any emotion, understanding how you do it. And what would be good for you, or how it would be better to do it is important. Living in the present instead of the past or in the future. In 12 step circles, we say if you've got one foot in the past and one foot on the future, you're squatting on the present.  So encouraging them in session when they start talking about the past or the future. Bring it back to now. How is this impacting you now? Why is this an issue for you now? And what can we do about it? Because this thing that happened back when you were 12. Yeah, you can't change that. That's in the past, it's done. But this resentment you're holding onto is eating away at you. Now that you are 22, instead of 12, you have different skills, different needs, you're more independent. What can you do to deal with that resentment? So you can better use your energy for something that makes you happy, instead of just staying mad. We need to teach clients observation and awareness skills, external skills, be aware of the triggers in the environment. If they were neglected or abused, or exposed to trauma as children, there may be some triggers in the environment that are really anxiety provoking. There may be triggers in the environment. We all have that song that we listen to and are remind us of our first love or something that makes us really sad. Having people be aware of those, and figure out how to deal with them. But also the good things, we don't want to just focus on all the bad triggers. What are the good triggers? Because if you're surrounding yourself with good triggers, then there's less room for the bad triggers. So what things do you like to be surrounded by? What things make you happy? You know, I like critters. So being surrounded by pictures of little animals and memes with little animals and anything that's cute, anything that's nature oriented, that makes me happy. It doesn't necessarily make my son happy. He'd rather be surrounded by images of F 14 fighter jets and stuff. But you know, whatever it takes, knowing what makes you happy and calm, knowing your own vulnerabilities and assets. What do I mean by that? Vulnerabilities are those things that happen that make you more vulnerable to relapse from addiction relapse into depression, relapse into anxiety, anger management issues. Some of those are sickness, tiredness, low blood sugar, poor nutrition, dehydration. We all have things that we know make us cranky. And sometimes it's just getting up on the wrong stinking side of the bed. That's a vulnerability. But if you're observant and aware, you can say, you know what? I got up on the wrong side of the bed today. So everybody just give me a wide berth for about 30 minutes until I get my head together. But we also have assets. What things can you do that make you less vulnerable? For me, it's exercise. If I go to the gym in the morning, it helps me get my blood flowing clears out the cobwebs. I'm great for the day. And that that helps a lot eating regularly. That helps me a lot. One of my vulnerabilities, I am really sensitive to lack of sleep. So I know if I don't sleep well, it's gonna be a long day. And I know to plan for that and not put too much pressure on myself in order for me to get. Now I can't even talk in order to set up the situation where I would get frustrated. We want people to learn how to describe what's going on. Once they are observant and aware, then they need to start using descriptive words. How does it feel? What does it look like? What is it reminiscent of? Help them accept without judgment, how they feel, you feel how you feel it is what it is. It doesn't mean you have to act on it. And it doesn't mean any more or less about you as a human being, it just means. But what does it mean? And then you can decide how to deal with that. Once a person observes, they become aware, they can describe what's going on, and accept it without having to just immediately react. Then they can act with awareness, they can make a reasonable decision about is this worth my energy? Or is this getting me closer to my goal? Or is this gonna set me back? Which is purposeful action, acting with the purpose of getting moving forward in life, instead of being stuck, staying backwards or just getting lost along the way. Clients need to learn to stress tolerance, how to cope with crisis situations, and urges in healthier, less destructive ways. So when you feel those urges, what can you do? Urge surfing is one, helping clients learn that urges, cravings, thoughts, panic attacks, all those things tend to crest within about 15 minutes, and then start to dissipate. So what can you do for that 15 minutes? Have them identify alternate activities that are less problematic for those 15 minutes? When I work with people who are engaged in self mutilation, self harming behaviors, instead of cutting, holding ice cubes in both hands is extremely painful. But it doesn't permanently hurt them. And it doesn't even temporarily hurt them. What does it do? It gives them a pain to focus on that's not inside their head, but it's in their hands. It's a pain that they've learned how to control. Now is this how I want them to cope for the rest of their life? No. But it is certainly better than cutting, shooting up, going out and getting drunk, whatever the options are. Active distraction for that 15 minutes do 15. And doing 15 is just choosing something going out on a walk, taking a bath, playing with the dog, cooking dinner, whatever it is for that person, they can help distract them for 15 minutes. And then after 15 minutes, if that urge is still there, then they need to take more aggressive steps. Most of the time, the urge will have crested and be long gone by the time they're finished. These are things we can give clients in the assessment.  So let's identify three things you can do when you get the desire to watch porn. And let's identify three things you can do to make your home safer. So you don't have access to that porn. And that includes mobile devices. And let's identify three things because I like threes. Three things you can do that you're going to enjoy. You know, part of recovery is learning to love life and learning to enjoy life again, not just stop doing whatever you're doing. So what are you going to do instead? If you're not watching porn, what are some things you would like to do? What's on that bucket list that you haven't gotten to? That gives clients something to focus on. And that active engagement helps sort of propel them toward doing something positive. In and of itself, it has some intrinsic rewards, and it'll often help get them through the first couple of weeks with a few slips here and there sometimes. Emotion regulation, helping clients manage and tolerate their emotions is crucial. One of the reasons people use, or one of the results of people using and getting their neurotransmitters all wonky, is that emotions seem just unbearably huge. There's no glad. There's no irritable. It's euphoric or rageful. There are, there's no middle ground. Helping clients learn to tolerate their emotions, learn that they don't have to respond to every fight or flight reaction. Matter of fact, it's better not to. It's better to do that 15 minutes, get an awareness of what's going on and then decide how to handle the situation. Most of the time. Except that sometimes you can't change or reduce the intensity of the feeling. If you find out something devastating, you're going to feel devastated. And yeah, that is an intense emotion. And you may not, it may not be something you're going to make less devastating. So how do you deal with it? Besides getting drunk, or watching porn, or going out and hooking up with somebody? How do you deal with it? It's not going to make it go away right now. And those are the skills that clients will learn throughout treatment, skills and tools that they've used in the past to deal with emotions. And we're just going to sharpen those a little bit, and maybe add a couple new ones. They need to identify what makes their negative emotions worse. So when you're already angry, what tends to stoke that fire? And let's stay away from that. But likewise, when you're angry, what starts to diffuse it? How can you diffuse it?  And it's hard to stay mad, even at him.  That just kind of takes the wind out of my sails. So understanding what does it for you?  It's just not possible. encouraging people to have things available that they find funny. encourage people to get support and see the obnoxious silver lining. And I usually put it to them exactly that way. At first, when you're angry, the last thing you want to do is start looking for the silver lining and things. As you move through recovery, you'll realize how much less energy you spend if you're willing to look at the silver lining. And they need to learn interpersonal effectiveness. So they can maintain healthy relationships, act assertively, take good care of themselves. And remember karma. If somebody is negative, and nasty and hateful and angry, from a therapist standpoint, I'm saying, Okay, that person is really afraid, and really unhappy and feeling really anxious.  Anger is a power power move.  When you're anxious all the time, there's so much energy tied up in being anxious. If you've spent time around somebody who tends to be anxious, or, you know, has some other high drive tendencies. As a friend, you know how exhausting that can be over time. And if you're around somebody who has these negative traits, you either end up taking them on, or you have to back away. So karma, when I'm talking about it here, is the fact that like begets like. So if you're kind of negative and nasty, you're probably going to be surrounding yourself with negative and nasty. When you start to feel better about yourself and about other people, you're going to be surrounded by people who tend to be more positive and empowering. So sex addiction has similarities and differences with drug addictions.  Yet that is a choice your client can make, obviously. The younger the brain changes occur, the greater the possibility for actual brain damage, rewiring or short short circuiting or whatever you want to call it. The awesome thing is over time, the brain can find workarounds or fix itself. So it's not hopeless. But if somebody starts viewing porn at eight, and they come and see you when they're 28, the time for their recovery is going to be longer than someone who started using or viewing internet porn at 20, and came to see you at 40. Because there's just so much more brain development going on at eight. Anti-depressants can be helpful in the short term. Any of your dialectical behavior therapy interventions can also be extremely helpful. We talked about those with the stress tolerance and mindfulness. And as with any addiction, the reason someone started and continues to use needs to be addressed. The use is the coping skill. It's a dysfunctional one, but it's a coping skill. So what is maintaining that use besides the physical physiological effects of the substance? Once we remove those, what's maintaining the addiction? We need to deal with that and help people figure out that they are strong enough and they are good enough and they are worthy of living a happy, healthy lifestyle.


A list actor Bradley Cooper might live in a luxury Manhattan townhouse worth over 13 million dollars, but that is far from the only home in his real estate portfolio. In 2021, he bought a place on the West Coast in the Pacific Palisades area of LA. It's reported that Bradley owns two other homes in California, one in Venice Beach and the other he bought in 2009, close to his latest spot. Also, Mike and I dropped our very own house tour of our new home we moved into this year. So go ahead and subscribe to our personal channel if you want to see where we're living and more of what we're up to. And once you watch, let me know what you think of our house. In these videos, we don't reveal any addresses and even though I've done a house tour of my own place, please do not show up at any private residences because it's not safe for anyone. Bradley Cooper is an actor and filmmaker who's received many awards over his career, including two Grammys and nine nominations for Academy Awards. He's been on the Forbes Celebrity 100 list time and time again, and with his films grossing a total of $11 billion worldwide, Bradley is also ranked among the world's highest paid movie stars. While he owns a stunning Manhattan home which he spends a lot of time at with his young daughter, Leah, when he's not working, he's also by coastal. He maintains properties in Los Angeles as well, including an estate he just purchased last year and an off-market deal in the gated community of Pacific Palisades. This $4.8 million home was kept on the down low but it boasts over 4,000 square feet of space with some other structures on the property as well as a lot of trees and greenery for celeb style privacy. Hey guys, it's Kara the Vampire Slayer back with another exclusive house tour here on Famous Entertainment, today looking at where Bradley Cooper calls home. Don't forget to like, subscribe, and hit me up on Instagram to chat. Now let's get into this video. Bradley Cooper's latest real estate purchase went down in May 2021 in an off-market deal, so there aren't too many photos of the home floating around out there. From what we can see, the cottage-style abode is a bit on the modest side but still super charming. The actor dropped $4.8 million on this home located in the exclusive Pacific Palisades community in Los Angeles. A neighborhood much loved by celebs situated on the coast between the Santa Monica Mountains and the Pacific Ocean. What more could you ask for? It's reported that Bradley's new property boasts a main residence with 4,400 square feet of space spread over a single floor as well as a detached two-level guest house with two one-bed, one-bath apartments each suite with its own kitchenette. Also on the ground, there's a separate two-car garage. The property is shrouded by trees as well as big gates for security while the lot spans 0.63 acres of land. Inside the main home, there are four bedrooms and three bathrooms, but because the property hasn't been on the open market since 2015, it remains unknown how the interior rooms look. We can see the stunning grounds of the home which are forest-like, offering mature trees and greenery among these, old oak, sycamore, and fruit trees. This outdoor oasis has amenities of its own including shaded patios, a quay pond, and a sprawling deck to dine or entertain outside the pool and spa which is surrounded by stone. The exterior of Bradley's home is made up of wood paneling that matches with the lush estates. While this specific policy to home is a secluded escape, let's not forget that Bradley usually calls a mansion-like town home in the West Village of New York City home. So why don't we check out that place next. In 2018, Bradley picked up his main residence in the West Village neighborhood of Manhattan while he was still with his ex, Irina Shay, whom he shares daughter Leo with. The sophisticated town home cost the actor a whopping 13.5 million dollars, but that's to be expected in New York City considering the amount of space this home offers. His stunning home boasts a classic red brick exterior while inside, there's 4,000 square feet of space divided between 5 floors. Furthermore, at the time of purchase, Cooper was hoping to have some extra space for his mother to stay over and with 6 bedrooms and 4.5 baths throughout, there's more than enough room. During the pandemic, it was said the actor was holed up here alongside his daughter and his mom for quite a while. His town house was once a 4-unit rental building, but it was purchased by an investment group in 2010 for 4 million dollars and they converted it back to a single family home, giving the place a total gut renovation. While the interior of the pad is all new, it maintained the historic and warm charm from the structure's 1905 roots. The living room is upscale, cozy, boasting wide plank barn floors that have been refurbished, as well as French windows looking out to the yard.  However, considering Bradley doesn't drink, I don't think there's going to be much use for that amenity. In his kitchen, there's a soapstone island, along with stainless steel appliances like a sub-zero refrigerator and white cabinets, and the rustic wood ceiling beams add some contrast to the room. Considering the home is fitted with all the best smart home technologies, there are also iPads on each level of the home that connect to speakers too, including the ones located in the kitchen. Another media room is cozy and classy here with a large TV and mahogany built in shelves where Bradley might display his warts, and other highlights in the home include a basement-level den and a grand parlor with 12-foot ceilings. His master suite is open and spacious, offering a cooler color palette than the rest of the interiors, with gray walls as well. Here, there's even a fireplace in the center of the bedroom, which is perfect for cold New York nights. The ensuite bath matches the bedroom, continuing with the gray walls, along with a gray slate shower and separate cast iron tub with skylight overhead. In Manhattan, any outdoor space is a literal luxury, so it seems that paying over 13 million dollars at least secured Bradley his very own backyard in the concrete jungle. His yard offers white birch trees, hedges and greenery, a grill area, and a ping pong table. Not to mention, the location of his home is a bonus too, being close to upscale Manhattan shops, restaurants, and entertainment. We don't know much about Bradley's other homes, but years ago he did purchase a smaller residence in the Venice Beach area of Los Angeles. From what we can see, it's a contemporary affair designed in a loft style, with glass walls, and 9- to 18-foot ceilings throughout. There's an open floor plan, boasting 2,198 square feet of space, as well as two bedrooms, a loft-style bedroom, and two baths. Located in the Dog Town station building, the unit costs him 1.25 million dollars and stands at three levels. This building has 35 units and is zoned as live workspace, so it's said that Bradley uses this property as an office for his production company, Indiana in 22nd. Other features in this super modern townhouse include polished concrete and hardwood floor underfoot, a gated garage entry, as well as a stunning private rooftop deck overlooking the city and ocean. Alright everyone, now we've checked out a few Bradley Cooper's properties, most notably his main residence in Manhattan. After seeing where this A-Lister lives, what did you think? Did you like his super lux town home in the Big Apple? Be sure to let me know your thoughts in the comment section below. Thanks for tuning in and before you go, make sure you hit that subscribe button if you haven't. Follow me on Instagram to chat and I'll see you all in another video. Bye!


Ukraine successfully destroying Russian boats with tactical UAVs. The Ukrainian Defence Forces have successfully used one-way tactical unmanned aerial vehicles to destroy motorboats, on which the Russian occupiers travel amid increased fighting in the Delta of the Nipro River. The United Kingdom Defence Ministry said this. Since the start of July 2023, there has highly likely been an increase in fighting around the lower reaches of the Nipro River, as well as intense combat on the eastern bank around the small Ukrainian bridgehead near the ruined Antonovsky Bridge. Small units of Russian and Ukrainian troops have also been contesting islands in the Nipro Delta. Both sides are using small, fast motorboats and Ukraine has successfully used tactical one-way attack uncrewed aerial vehicles to destroy some Russian boats, the agency said. The ministry added that Russia faces a dilemma in deciding whether to respond to these threats by strengthening its Nipro group of forces at the expense of the stretched units facing the Ukrainian counter-offensive in the Saparetsia region. It should be noted that unmanned aerial vehicles have been the stars of Ukrainian battlefields since the beginning of the war, detecting and destroying Russian forces. After the role of unmanned aerial vehicles in the Ukraine war expanded dramatically since Russia invaded 16 months ago.


Frost was born in 1879 I think, Hart Crane in 1899, representing almost another generation from Frost. Auden was born in 1906, Bishop in 1911. He was the latest, the youngest in our syllabus, almost two generations distant from Robert Frost. When I was a freshman at Yale in 1976 in April, Elizabeth Bishop came to read at Yale. She's in a sense a part of our world in a way that the poets that we've been reading really aren't quite. She was good friends with John Hollander, Penelope Lawrence on our faculty, Sandy McClatchy and others. She filled the Art Gallery Lecture Hall, you know, 400 people. And this is at a moment, interestingly, when she was not yet at the height of her fame. She would become, by the end of the century, a figure as prominent, as often read and widely read and esteemed as any of the poets we've been reading, which is a remarkable event in literary culture because Bishop would have seemed to herself and to others through the course of most of her career as an interesting poet, but not as a major figure. And surely she was herself uncomfortable with that kind of stature. She was, I think it's fair to say, excruciated by public occasions, including this one that I'm referring to. Listen to her read. I think there are some recordings of her on the Center for Language Study website. Bishop has a kind of exaggeratedly ordinary voice in the sense of very private voice that she was willing to put on stage, but always only uncomfortably. So in this particular reading I'm remembering, she had read for about twenty minutes and then looked across the stage with these 400 people in front of her at her host, Penelope Lawrence. Is that enough, Penny? She said. Of course, people wanted a lot more and a lot more of her, but she was reluctant to give it and uncomfortable giving it. Bishop, in a sense, belongs to poetry after modern poetry, poetry after modernism. And in September I'm going to give a lecture course on poetry after 1950, and we'll start with Bishop to pay a lot more attention to her than we have room to do in this course. But Bishop belongs to, in any history of modern poetry, and she provides, I think, an important endpoint to the work that we've been doing together. She provides, in a sense, a kind of extension of certain strains of modern poetry and also at the same time a kind of critique of them. Bishop went to Vassar and she was on the literary magazine there. And in 1929 I think she interviewed the important guest on the campus, T.S. Eliot. I would have liked to have been in the room. She wrote, well, I guess what I want to highlight is the fact that Bishop was in college reading Eliot and having Eliot visit when she's really forming herself as a writer. She wrote a paper for one of her courses called Dimensions of the Novel. In this essay involved a reading of Eliot's essay, Tradition and the Individual Talent, which you've read and which we've talked about. Bishop liked it. She was interested in it. In her account of the way in which she uses Eliot, she accents certain aspects of his ideas and downplays others. Let me quote from that essay. She says, this is on your handout, a constant process of adjustment, and that's Eliot's word, adjustment, is going on about the past. Every ingredient dropped into it from the present must affect the whole. Remember Eliot writing about that in Tradition and the Individual Talent, where he talks about how the new work reshapes everything that's gone before? Now, what Mr. Eliot says about the sequence of works of art in a tradition, in history, and this is Bishop's extension of Eliot's idea, seems to be equally true of the sequence of events or even of pages or paragraphs in a novel. But I know of no novel that makes use of this constant readjustment among the members of any sequence. So what Bishop's doing is applying Eliot's idea of sequence in Tradition to the way in which literary work might itself unfold. That is, where every, as it were, new moment in a novel here, she's talking about a novel, affects the kind of readjustment of what's gone on before. It is, as she's imagining it, a literary form in which there is a kind of continual reorientation required by both Eliot and writer. She takes over specifically that phrase constant readjustment, identifies this as a kind of poetics, if you will. This is really an important idea in modern poetry generally, and you could look at Eliot's own poetry in, for example, as exemplifying something of what Bishop is describing. That is, a poem that unfolds, disclosing at every point, new principles of order and perspective. It's an idea that is, in that sense, central to modern poetry, but Bishop takes it and she pushes it in her own work much further. She creates in her poetry a radically relative point of view that is adjusted to a kind of metamorphic and decentered world, as she sees it, a world that is living in change. That phrase you might remember from the very end of Primitive Like an Orb, Stevens's great late poem. Bishop is, in many ways, a Stevensean poet, a poet of change, constant change, but significantly in Bishop's imagination, as in Odin's there are no Stevensean giants, no major men, no large men reading. The poet in Bishop's poetry describes the world rather than creates it. The poet is not like God as the poet is in Stevens. The poet is much more like an ordinary person, a woman on stage in a skirt, speaking uncomfortably, if you like, to a large audience in an ordinary voice. Her poetry is, in fact, full of ordinary people. This links her to Frost. There are, well, generally few emblematic or archetypal figures, such as you find in Yeats or in Moore's poetry, or often, for that matter, in Odin's. There is, in Bishop, really no sublime, no Yeatsian ascent out of the foul rag and bone shop of the heart. There's no cranian verticality, no Icarus-like ascent of the sky. Instead, Bishop's poetics of description are what I would call a kind of horizontal poetics that moves laterally, that is earthbound and is concerned with, in a sense, this is her primary recurrent trope, mapping the world, giving an account of the earth's surface. It's a perceptual poetics that she's concerned with, something she calls geography, or sometimes travel. The poem that really inaugurates Bishop's mature writing, and that she placed first in her first volume of poetry, in the southern and south, and that subsequently was placed first in all collected volumes of her poems, is the poem called The Map. It's a kind of preface to her work, and it's an inevitable place to start thinking about her. So let's look at it together. A poem written in, I believe, at least begun by New Year's Eve 1933 as Bishop left college. Maybe you seniors will write your own map next year. She didn't collect it in a book until 1946, which is her first book publication. Like Stevens, like Frost, she's slow to gather her first poems. The poem begins with a marvelous, limpid clarity. Land lies in water. It is shadowed green. Are they shadows or are they shallows at its edges, showing the line of long, sea-weeded ledges where weeds hang to the simple blue from green? Or does the land lean down to lift the sea from under, drawing it unperturbed around itself? Along the fine tan sandy shelf is the land tugging at the sea from under. It's a deceptively declarative, flat voice, a voice of description. It is interestingly impersonal and intimate at once. It's as if we were so close to her she need not introduce herself. We are invited to look over her shoulder with her at the map. She doesn't, as I say, introduce herself or her subject really here. She just starts. The poem represents itself as happening now, as if it were recording the mind in action, a process, an action of perception. The poem was gathered first for publication by Marianne Moore, who was Bishops' friend and mentor, a friendship described in Bishops' long, beautiful, funny memoir Efforts of Affection that I asked you to read when we were reading Moore, an essay that tells you a lot about Moore but also tells you a lot about Bishop. Moore, as her mentor, gathered this and two other poems and had it published in a volume in which an older poet presented a younger as a teacher or mentor would present a protégé. Moore says about Bishops' poems a number of interesting things. I've sampled just these sentences on your handout. Some authors do not muse them themselves, but by contrast Bishop does. They, those other authors, think like the vegetable shredder which cuts into the life of a thing. Miss Bishop is not one of these frettingly intensive machines. Yet, the rational considering quality in her work is its strength, the rational considering quality, assisted by unwordiness, incontorted intentionalness, phrases that only Mary and Moore could have produced, the flicker of impudence, the natural unforced ending. These are important qualities of Bishop's writing, although to highlight them is to risk a sort of misperception. If Bishop presents herself as a kind of rational considering intelligence in these poems, what she very rapidly uncovers is fantasy and the fantastic or fabulous or metaphorical. Just so, her poetry of emotion and description, rather than giving us a kind of poetics of objectivity that we might associate with pound and imagism, very quickly turns back on the perceiving subject to ask questions about the process of perception itself and to suddenly become a poetry very much about subjectivity. You can see this going on already in the lines that I've quoted here. Bishop no sooner says one thing than she elaborates it or questions it. Shadows or are they shallows, she says. She's formulated one idea and then she asks a question about it and then a further question about that. This is very much an image, a poetics of a mind in action, a mind thinking. That is the drama that Bishop shares with us. In another early statement, this in a letter to a poet, Donald Stanford, she quotes a literary critic on Baroque, that is 17th century prose, which she liked. This quotation is also on your handout. There, that is the writers of Baroque prose, their purpose was to portray not a thought but a mind thinking. They knew that an idea separated from the act of experiencing is not the idea that was experienced. The ardor of its conception in the mind, that's my misprint, is a necessary part of its truth. The ardor of the conception in the mind is what Bishop wants. Arder, that's an important word, it suggests passion, a certain amount of heat, emotion and heart. In Bishop's case, this ardor is communicated sometimes through the deceptively cool manner of self-interrogation and in particular through the grammatical form of the question. Here in this very first paragraph of her poetry, Bishop is asking questions. There's a kind of level of clarity and detail in her observations that makes what she's looking at interestingly unstable and uncertain. She turns back on it, asks questions about it. You could contrast Bishop's questions with Yates' great rhetorical questions, a form that we stressed in reading later in the Swan and other late Yates poems. In general, thinking about Bishop's relationship to Yates, you could say that Romance Quest, which is this essential structure that's behind all of Yates' poetry, Romance Quest has come down in Bishop to the act of asking questions, raising questions. Here in this poem and very frequently in other Bishop poems, questions specifically about boundaries, about the way in which we categorize and frame the world, how we draw lines and separate and connect things at the same time. As we do, one thing seems to turn into another. Opposites interact, opposites are involved. Notice the pair of opposites that she's stressing here, land and water. These are primary categories that her poetry centers itself on over and over again. Bishop is a poet of the seashore. There are poems throughout her career that station themselves on the beach in particular, a place of unstable, uncertain, dynamic boundary. You can see the same kind of play of similarity and difference between terms in Bishop's poetry on a formal level already working here in this first stanza. It is rhymed poetry, isn't it? But what an interesting set of rhymes. Green edges ledges green under itself, shelf under. These are rhymes where it seems as though words are a little too close together. They're repeated, green, or maybe a little too far apart. In the second stanza, then the rhyme scheme gives way entirely. This is like Bishop, to set up one pattern and then drop it. The shadow of Newfoundland lies flat and still. Labrador is yellow where the Mooney Eskimo has oiled it. We can stroke these lovely bays under a glass as if they were expected to blossom, or as if to provide a clean cage for invisible fish. The names of seashore towns run out to sea, the names of cities cross the neighboring mountains, the printer here experiencing the same excitement as when a motion too far exceeds its cause. These peninsulas take the water between thumb and finger like women feeling for the smoothness of yard goods. Then the rhyme scheme returns. Again, it's a peculiar one that includes not just a rhyme but a repetition of particular words. Mapped waters, she says, are more quiet than the land is. Lending the land their waves own conformation and Norway's hair runs south in agitation. Profiles investigate the sea where land is. Are they assigned or can the countries pick their colors? What suits the character or the native waters best? Topography displays no favorites, north as near as west. More delicate than the historians are the mapmakers' colors. It's a poetry like aspects of Yates, like aspects of Moors that presents itself with a kind of resolute clarity and simplicity of lucidity, of language that sometimes seems to feel like prose. There is lyric power here, but it's got at through a language, again, close to that of ordinary life. As Bishop observes the boundaries that she's talking about here, the sea and the shore, she's also concerned with another set of opposed terms in ones that will follow her throughout her poetry, and that is the difference between the real and representation and the ways in which representation, that which is represented, can take on a certain kind of reality itself as she fancifully allows the forms of the map to follow her. The map really becomes a world and not only a representation of it, and the poet plunges really imaginatively into it, takes us with her, as she does, entering the versions of life that it suggests to her. In that third stanza there, though, as she returns to the peculiar rhyme scheme, there's a certain kind of holding back, a gathering of her intelligence and reflection on the process that she's been engaged in. What emerges there is a kind of key idea, the one I've already mentioned, geography or topography here. Geography, topography, they display no favorites. They represent a poetics that is non-hierarchical in its orientation, and again this is a link to Moore. Bishop is interested in a point of view that takes no sides, except to suggest to insist on the relativity of all cognitive categories, north as near as west. It always is, right? That is, it's as near to the perceiver whose perspective is constantly shifting, constantly readjusted. I talked about perspectivism in Auden. Well, Bishop has a hold of the same idea and will make it even more central, make it more thematically central to her work than even Auden. The opposition that she ends with is the one between the historian and the mapmaker. She presents herself here clearly on the side of the mapmaker, one whose colors, colors of rhetoric, are more delicate than the historians. On the side of the historian, who could we place? Perhaps Yates, perhaps Pound, perhaps Elliot, certainly Bishop's great contemporary Robert Lowell. Bishop presents herself as engaged in a poetics of geography and of mapmaking that is more delicate than that of the historian. In that word delicacy there is certainly some implication of gender. The opposition between the mapmaker and the historian, well, it would be too simple to call it an opposition between woman and man, and yet gendered terms are there in Bishop's language, I think. This poem, as I suggested, is composed in 1933, after Bishop has left Vassar, has made friends with Moore, who will be a central figure in her life. If, in some sense, emotion might exceed its cause, might lead Bishop to get carried away, there were lots of reasons why this might be so. Bishop grew up at first in Nova Scotia. She is a Canadian poet, as much as an American poet, a poet of uncertain national identity, as you might say. Her father died when I believe she was five. Her mother, in grief, went mad and was institutionalized, and Bishop was separated from her, so that she grew up very much as an orphan. Much has been made of her biography. I wouldn't encourage you to, because Bishop herself treats it as an important frame and resonance for her poetry, but not as a rule as its subject. There is, I think, simply the important point to be made that here is a poet who grew up with a certain primary sense of dislocation and disorientation, and an acute sense of divided identity. Biographical facts that, in a sense, lead us very quickly into the ethical and cognitive problems that are central to Bishop's work. I think to this problem in particular, how do you hold yourself together? It's an important one, and one that we all, in various ways, struggle with. Bishop finds various ways to raise that question, to figure it and explore it. One early, amusing and suggestive instance is the poem called The Gentleman of Shalat, and I'd like to look at that with you to get a little more sense of Bishop's poetics and some sense of her early self-conception as a poet. Remember the idea that she's taken from Elliot. She wants to imagine a kind of writing that would include time in it, that would include change in it, in which the organization of the whole would be constantly subject to readjustment, a text that would incorporate flux, a text that would be determined locally rather than by some global and general perspective. The, I think, unstable orders of a poem like Prufrock are important for Bishop and that Prufrock is in fact a figure behind this one of Bishop's, The Gentleman of Shalat. Bishop's character is a kind of dandy like Prufrock. Bishop is also at the same time playing with Tennyson at his poem, The Lady of Shalat. A kind of gender switch has occurred in Bishop's poem. What does it mean? Well, I'll leave you to ponder it, but I think that one way to understand her joke here, I'm not going to write about The Lady of Shalat. I'm going to write about The Gentleman of Shalat. One way to understand her joke here is to suggest that this poem is in part about what it means for Bishop to be a sex-changing poet. It implies that that meant for her a certain kind of gender switch, a sex change, and one that might introduce a certain amount of stress, as well as comedy. Well, let's listen to some of it. Which eyes, his eye, which limb lies next to the mirror? Her joke is that The Gentleman of Shalat, like The Lady of Shalat, is fixated on a mirror, but the mirror that is in place here is one that, as she'll describe it, goes down the body, splits this figure, creates a kind of divided figure. Which limb lies next to the mirror? For neither is clearer nor a different color than the other, nor meets a stranger in this arrangement of leg and leg and arm and so on. To his mind it's the indication of a mirrored reflection somewhere along the line of what we call the spine. He felt in modesty his person was half looking glass for why should he be doubled? The glass must stretch down his middle, or rather down the edge, but he's in doubt as to which sides in or out of the mirror. There's a little margin for error, but there's no proof and if half his head's reflected, thought he thinks might be affected. This is poetry that presents itself as light verse. In that way it's again like much of early Odin, and yet it is a poem that is secretly very serious. Much of the lightness as well as the seriousness of the poem depends on its formal organization. These lines are, well aren't they, about half as long as a normative line of poetry? And they're rhymed, but they're rhymed in a most interesting and playful way. In fact, the poem has a lot of play in it. The pleasure that it gives is one of a certain mild exhilaration and uncertainty of a pattern that includes and that, in fact, tolerates or even generates dramatic change in line length and surprising rhymes. The gentleman is in a sense trying to hold himself together. The idea is repeated by the poet trying to hold her lines in rhymed couplets. Bishop is in general a very interesting poet technically. Here as elsewhere, how relaxed, how unpretentiously casual, how disorientingly casual even the voice is. There isn't here or elsewhere in Bishop Frost's tension between speech and meter. Rather, as in this case, each keeps getting adjusted to the other. It's important. There's almost no blank verse, no iambic pentameter in Bishop. The canonical heroic meter doesn't appear here except I think possibly in one or two examples. There are, in Bishop, free verse poems. There's meter and rhyme. There are often poems that move in and out of these forms, much as the map begins in rhyme, moves out of rhyme and returns to rhyme. The poems don't seek Moore's highly idiosyncratic, crafted, formal arrangements. Instead, Bishop's practice is probably closest to Auden's, who's got a form for every occasion, form for every purpose. But Auden's forms are always, in a sense, preset, drawn from an existing repertoire. What is right for this occasion? A ballad. I will do a ballad. A sestina, elegiac quadrains, et cetera. This is the way in which Auden presents himself. And Auden adheres strictly to his forms, and he uses those forms to shape and interpret the occasions of his writing. In Bishop's case it's really just the other way around. What she does is alter her forms under the pressure of the occasions of her writing, her purpose and subject. Nothing in Bishop is preset. Everything is provisional, in the process of being remade, in the process of constant readjustment, on a technical level, as well as on the perceptual level that I began by talking about. This is a vision really of what the world is like and how writing might respond to it. All of these things are going on in this little poem, the Gentleman of Chalotte, and with a sense of comedy. If the glass slips, he's in a fix, only one leg, et cetera. But while it stays put, so long as we accept this provisional arrangement, he can walk and run and his hands can clasp one another. The uncertainty, he says, he finds exhilarating. He loves, and here's that phrase from the essay on Eliot, that sense of constant readjustment. He wishes to be quoted as saying at present half is a kind of motto that Bishop might have adopted too. Let's look at another version of this figure, this time not a person but a creature. I mean specifically the sandpiper who appears in a much later book, Questions of Travel, from a book written largely in the 1950s and early 1960s. Sandpiper is on page 131. Again, it is a poem that takes place on the shore. Instead of the Gentleman of the Dead, in his fussy way and yet practical way, getting along in the world, we are introduced to a finicky bird. The roaring alongside he takes for granted and that every so often the world is bound to him. He runs to the south, finical, awkward, in a sense of controlled panic, a student of Blake. Another poem that is stationed on a shifting boundary, the boundary of the tide. Bishop is engaged here in a kind of playful, revision of the visionary innocence celebrated by William Blake. I quote the lines on your handout that Bishop is referring to. To see a world in a grain of sand, this is the beginning of auguries of innocence, and heaven in a wild flower hold infinity in the palm of your hand in eternity in an hour. Well here Bishop is sort of thankfully saying, well what kind of figure is really Blakey and what kind of figure wants to see the world in a grain of sand? Well, a sandpiper looking for his food. The beach hisses like fat on his left, a sheet of interrupting water comes and goes and glazes over his dark and brittle feet. He runs straight through it watching his toes, watching rather, this is again Bishop, correcting her, proceeding by correcting her perception, watching rather the spaces of sand between them where no detail too small, and again the sandpiper like the poet is focused on detail, the Atlantic drains rapidly backwards and downwards. As he runs he stares at the dragging grains. The world is amiss and then the world is vast and minute and clear. The tide is higher or lower. He couldn't tell you which. North is near as west. His beak is focused, he is preoccupied, looking for something, something, something. Poor bird, he is obsessed. The millions of grains are black, white, tan, gray, mixed with quartz grains, rose, and amethyst. The poem's own structure shifts interestingly in terms of its line lengths and Bishop's ways of using enjambment or end-stopped lines. The world is, well, the world is a place of vast forces, of roaring, of mist, and yet it's also minute and clear, all these things at once or in succession. The bird's perspective can't tell us whether the tide is higher or lower because he is, as it were, in the picture. It's always wherever it is. It is a position, again, a constant readjustment. What is he looking for? Something, something, something. A calculatedly vague word, a word that we see frost using in, for once then, something. Instead of moving here towards generalization, the poem moves towards more detail, towards a list, a series, finally, of colors simply. In a sense, Bishop moves away from the black and white to other shades, shades that involve a series of colors. The question is really how can the world be seen serially? How can it be made, how can it be seen as a series of perceptions and yet able to cohere? This is a fundamental question of Bishop's poetry. It is, as it were, the complement of the question, how can you hold yourself together? Well, how can you hold the world together? How can you hold the world that you perceive together? Bishop's great poem on this subject is the travel poem, Over Two Thousand Illustrations and a Complete Concordance, which I promise to talk about on Monday.


Ladies and gentlemen, the President of the United States. Thank you all. This just happened for you. Thank you. I can't top that. Well, thank you all very much, and welcome to the White House complex. White House complex. That's what our opponents have after eight years out of power. You know, for eight years, this White House has been guided by your vision and your ideals and what an eight years has been. So much achieved in so many areas. Reminds me of what a Hollywood great Sam Goldwyn, one of the founders of MGM, once said when he got worked up about a script, Sam Goldwyn had a way with words. He said, that story is wonderful. It's magnificent. It's prolific. Well, wonderful, magnificent, and prolific. Describe the eight years of what the press and ever tires of saying is the most conservative administration to come to Washington in generations. Well, of course, for some of us, a generation is forever. We all remember the inflation and stagnation that the taxes and the spending and regulations of liberalism gave America in the late 70s. We remember how the liberals used the sign of failure to tell us that America needed more of their old, bitter medicine. Imagine, less than a decade ago, some in this town were saying seriously that the way to make America grow and the way to get people back to work harder was to raise taxes. And we remember that somehow our leaders had lost sight of a faith, a basic fundamental faith that has guided Americans since that day more than 200 years ago, when a small group of men, meeting in Philadelphia, signed their names to a document that began, We the People. Yes, it was a faith in the people they lost, a faith in the basic goodness, decency, and wisdom of the American people, and what our founders called the American experiment. We conservatives brought that faith back to Washington, and today America is in the longest economic peacetime expansion on record. More people have been at work this year than ever before on record. We're in an entrepreneurial boom unlike any the world has ever seen. That boom has produced a technological flowering that is unmatched not only in the world but in world history. Conservative writer George Gilder has pointed out in the entire industrial revolution, productivity increased by a factor of 100. Already, micro-electronics have skyrocketed the productivity of information-based industries by more than a million. No wonder America is exporting more than ever this year. And no wonder that when you look at the potential employment pool in the United States, and that's everyone, male and female, 16 years of age and up. Think of it, everybody in the United States over the age of 16, including retirees and everything else, that pool, the proportion of it that is at work, is higher than ever before in our history. 63.6% of them are employed. But that isn't all that putting our principles to work is meant for this nation we love. It's meant judges on the federal bench across our country who know that every criminal is not a victim of society and that equal justice means justice for the victims of crime. It's meant a federal government that knows that the true measure of quality and education is in a simple yet profound question that our good friend Bill Bennett asks over and over again to the great consternation of the National Education Association. He asks, what works? Well, it's meant an administration that is fighting for the rights of families, for the rights of parents to protect their children from the evils of drugs and pornography and for the rights of the unborn. It's meant waging still other unfinished battles to put work into our welfare system, to make choice a part of our system of education and to allow God back into our classrooms. He never should have been expelled in the first place. And it's meant around the world in America that once again stands up for its principles that has embraced a forward strategy for freedom that will proclaim the gospel of democracy and liberty from every mountaintop and that in this world this dangerous place knows that the one road, the only road to peace is through American strength. We've come so far, who would have believed when I took the oath of office seven and a half years ago that almost for the first time, since the end of the Second World War, the Soviet Union would today be pulling out of a nation, Afghanistan, and not clothed in victory. And still, my friends, all we've done, all we've achieved, all the promise for the future that we've opened up for our nation could be lost in just a few months. Our opponents are putting together a campaign that is subtle and clever. The American people understand what liberalism means and don't like it. So our opponents plan to go to the voters in Cognito. They're putting on political trench coats and sunglasses. We'll never even in the lowest whisper mumble the L word again. Yet how other than liberal would you characterize a governor who in the last five years increased his state's spending twice as fast as the federal governments and more than a third faster than the average for all the other states? You know, it's bad when a state legislative leader in his own party says, quote, there hasn't been any will to control spending, unquote, in the governor's administration. And what do you call a governor whose tax is $115 million and declares it a victory? Out and out liberal. Yes, all that the American people need to do is a little comparison shopping to see the truth. Our opponent's candidate has fought for weekend furloughs for dangerous convicts, including drug dealers. Our candidate has led the fight against drug smugglers. Their candidate favors abortion on demand. Our candidate is pro-life. Their candidate is opposed requiring the pledge of allegiance and allowing prayer in schools. Our candidate, well, he and I both find it hard to believe that anyone could take these positions. It's no secret who I believe should pick up the lease around here in January. Again and again, these past eight years, I've admired George Bush's strength. Again and again, his leadership has been a key to our successes. In 1983, deployment of Pershing II and ground-launched cruise missiles in Europe was in doubt because so-called peace groups in several NATO countries opposed it. George Bush, my request, flew to Europe. And one stop was Royal Albert Hall in London, where a well-known British leader of the opposition to deployment stood up and said he had children and grandchildren. Couldn't we stop deployment for their sake? The vice president replied that he also had children and grandchildren, and he too wanted a world safe from war. But to achieve that world tomorrow, he said, NATO must be strong today. And after he spoke, the tide in Europe shifted, and thanks to him, deployment went forward. And here at home, while his opponent was vetoed mandatory prison sentences for drug-bushers, George Bush stands in the front of our battle against illegal drugs. With quiet strength, he brought together agencies that had rarely cooperated, and the result of his and other efforts has been tons of cocaine and marijuana seized and almost three times as many federal drug prosecutions last year as there were in 1980. Yes, this is the kind of man I want to follow me, someone who will take over our battle forward, who will speak our gospel truly, and will do the work that is yet to be done. When the Chief Justice asks the next president to solemnly swear to preserve, protect, and defend the Constitution of the United States, the man I want taking that oath is President George Bush. My friends, we have you and I, given America a new era of hope, a new age of promise, and a new dawn of opportunity. Around the world, people look to our nation and what it stands for today. Dare we turn back? Dare we sit on our hands? And how do we tell the freedom fighters that America will no longer care? How do we tell all those who pray for peace that the policies that brought the first agreement to reduce and eliminate an entire class of U.S. and Soviet nuclear missiles are policies of the past? And at home, how do we tell the millions who have escaped poverty and record numbers that our nation will return to the policies of the 70s, policies that sent the poverty rate soaring? And how many are aware, how much attention has been given to the fact that for the first time in all these years, the rate, the number of people living under the poverty line is going down instead of every year going up. How do we tell families that those who sat in the nation's driver's seat in the late 70s are back behind the wheel? Several years ago, I said to you that we could spark a great prairie fire that would sweep across this nation and the world. Well, my golly, we have. Others would like to extinguish the flame of hope, but if we stand together, it won't happen. America will know a new morning of growth and the world will know a new birth of freedom. So it's up to us. And in reality, it's up to you. We've got to send our man there to the White House. Yes. But also, let's send him what you sent me when I first came here. Now, six years, but that was a Senate, one House of the Congress. The House of Representatives has been in the congressmen and in the Democrats' hands for all but four of 56 years. And one Democratic president had a Republican Congress for two years, Harry Truman. One Republican president had a Republican Congress for two years, Dwight Eisenhower. Then I did have, fortunately, those six years with one House at least. And without it, we never could have attained all that we did in our economic recovery or in our build-up strength. And that's very evident in what is going on now in those two years where they're back in control in both houses. So let's send a president who's saying the things we believe, and then let's see if we can't send a lot of people up here with him that will not be working against his doing those things that he told us he wanted to do. Well, I know I can depend on you, and I thank you all very much. God bless you all.


A federal lawmaker representing Oyi Ayamellum Federal Constituency Anambra State in the House of Representatives, Vincent Ofumelu, has decried the exclusion of Anambra and Enugu from the National Agricultural Growth Scheme. Ofumelu, u spoke at a press briefing in Abuja said that the exclusion of the two south estates from the program is unacceptable according to him many farmers in the two states who are currently in need of intervention would end up disappointed if the states are not included in the scheme. Ofumelu, u spoke at a press briefing in Abuja said that the exclusion of the two south estates from the program is unacceptable according to him many farmers in the two states who are currently in need of intervention would end up disappointed if the states are not included in the scheme. Ofumelu, u spoke at a press briefing in Abuja said that the exclusion of the two south estates from the program is unacceptable according to him many farmers in the two states who are currently in need of intervention would end up disappointed if the states are not included in the scheme. Ofumelu, u spoke at a press briefing in Abuja said that the exclusion of the two south estates from the program is unacceptable according to him many farmers in the two states who are currently in need of intervention would end up disappointed if the states are not included in the scheme. Ofumelu, u spoke at a press briefing in Abuja said that the exclusion of the two south estates from the program is unacceptable according to him many farmers in the two states who are currently in need of intervention would end up disappointed if the states are not included in the scheme.