ప్రభాత భేరి

అందం, ఆనందదాయకం ప్రభాతం. తెలతెలవారుతున్న వేళ గరికిపాటి దర్శించినట్టు 'కాల మహా స్వరూపునకు కమ్మని స్వాగతమీయ, పక్షి బృం/దాల ప్రపంచమునకు పతాకము నూపగ' నిద్రలేవడం ఓ మహానుభూతి. దివినీ భువినీ ఏకంచేసే ఆ రవికిరణాలే ప్రకృతికి అలంకరణాలు. అరుణారుణ అవతరణలూ జనతా జాగరణలూ అవే. పగలంతా అలసిసొలసిన సమస్త ప్రాణికోటీ రాత్రయ్యేసరికి నిద్రలోకి జారుకుంటుంది. తెల్లవారేలోగా మేలుకుంటేనే అనుదిన జీవన ప్రక్రియ సజావుగా మొదలైనట్టు. మరి నిద్రాముద్ర అంత సులువుగా వదులుతుందా? పడుకున్నదే తడవుగా పగలూ రాత్రీ తేడా లేకుండా ఆవరించే కలల నిద్ర మరో తరహా. పగటి నిద్ర ఎటువంటి అనుభవాన్నిచ్చినా, రోజువారీ పనికి అది చేటన్నది పెద్దలమాట. 'కాంతిప్రియా తేజోమయా త్రిలోక దీపా ప్రణవ స్వరూపా' అని కవి గాయక వైతాళికులంతా స్తుతించే దినకరుడి స్పర్శ అత్యంత ఉత్తేజకారకం. ఆ కిరణ స్ఫురణ అయినా రాకుండా నిద్రాదేవి ఆవహించినట్టు మొద్దునిద్ర పోవడమంటే అదెంతో నిర్భాగ్యమే. అతి నిద్రాలోలత ఎంత అనర్థమో భీముడంతటివాడికి ఆనాడే బహు ఘాటుగా చెప్పాడు బావ కృష్ణుడు. 'పరమార్థం గానలేక వ్యర్థంగా చెడతాడు' అనడంలోనే చురుకూ చరుపూ ఉన్నాయి.

బండనిద్ర అనడంతోనే కుంభకర్ణుడే గుర్తుకొస్తాడు. 'అవమాన ముద్రకు ప్రథమ కారణం నిద్ర' అన్నారు శ్రీనాథ మహాకవి. అదెంత దుఃఖహేతువో ఉదాహరణ సహితంగా వివరించారు మరో కవి జక్కన. ఎప్పుడూ మనిషికి ఆరోగ్యమూ భాగ్యమూ తగినంత నిద్ర మాత్రమే. ప్రకృతి ప్రసాదితమైన ఆ వరాన్ని సవ్యంగా వినియోగించుకోవడం అతనిలోనే ఉంది. సూర్యోదయానికి ముందే అమృత ఘడియల్లో కళ్లు తెరవడం పరమ విశిష్టం. రామచంద్రుణ్ని ప్రభాత సమయానికే నిద్రలేపిన గురుదేవుడు బోధించిందీ 'ఉత్తిష్ఠ' ప్రత్యేకతనే. బ్రాహ్మీ ముహూర్తంలో మేలుకుంటే కలిగే ఉన్నతి, సత్వగుణ సంపత్తి, పవిత్రత, శక్తిసంపన్నత అంతటినీ శుశ్రుతాది మహానుభావులూ అధర్వణ వేదవిజ్ఞాన మహనీయులూ ఆనాడే చాటారు. సుఖసంతోషాల చిరునామా- నిద్రించడంలో కాదు, నిద్రనుంచి లేవడంలోనే ఉంది. 'సూర్యనారాయణా వేద పారాయణా లోక రక్షామణీ దైవ చూడామణీ' అంటూ సాగే స్తోత్రగీతానికి ధ్వని సహకారం వినిపించేది జీవన గడియారంలోనే! నిద్రాహారాలు ఎంత సహజసిద్ధమో నిద్రనుంచి లేచి జరిపే జీవప్రక్రియలూ అంతే సహజాలుగా రూపొందినప్పుడు, అదే ఉత్తమోత్తమం. లక్ష్మణ సతీమణి వూర్మిళాదేవి సుదీర్ఘకాల నిద్రకు అర్థం, అంతరార్థం ఉన్నాయి. నాడూ నేడూ కొందరు యోగనిద్ర పాటించడంలోనూ విశేషాలూ విలక్షణతలూ కనిపిస్తున్నాయి. అంతేకానీ, ఇప్పుడు కొంతమంది పిన్నలూ పెద్దలూ బారెడు పొద్దెక్కితే కానీ కళ్లు తెరవకపోవడంలో అర్థమేముంటుంది? పరమార్థం ఎక్కడుంటుంది? జీవితంలోని పలు కీలక నిర్ణయాలు సుప్రభాతంలో తీసుకున్నవేనని జాతిపిత బాపూజీ ప్రకటించినా; ఆ వేళ మేలుకోవడమే ఆలోచనలో స్పష్టత, ఆచరణలో పటిష్ఠతకు మూలమని అమెరికా రాజ్యాంగ పితామహుడు జెఫర్‌సన్ వెల్లడించినా ప్రధాన ఆధారం- మెలకువ.

తెల్లవారుజామునే లేచి, కళ్లు విప్పార్చి చూడాలే కానీ... ఎన్నెన్ని సౌందర్యాలు! చెవులు రిక్కించి వినాలే కానీ, విందులందించేలా ఎన్నెన్నో మాధుర్యాలు! వేటూరి పలవరించిన 'కోకిల గీతం, తుమ్మెద నాదం/ గలగల సాగే సెలగానం/ ఘుమఘుమలాడే సుమరాగం' ఇతరులందరికీ ఎదురుకాకున్నా, ఆ సరిసమాన అనుభూతులు తనువును, మనసును ఉల్లాసమయం చేయవూ? ఎవరో పిలిస్తేనో, ఏ శబ్దమో వినిపిస్తేనో మేలుకోవడం కాదు. నిద్రించినా, లేచినా ప్రకృతితో మమేకమైనట్టే ఉండాలి. ఎవరికి వారే తమకు తామే లేచి కళాత్మక రీతిని ఆస్వాదిస్తే, ప్రతి ఉదయమూ సుమధురమే. ఉదయాన్నే నిద్రలేవడం ఆరంభంలో దుర్లభంగా అనిపించినా- క్రమక్రమంగా ఏకాగ్రత, ప్రశాంతత సొంతమవుతాయి. అదొక సమయపాలన, స్వయం క్రమశిక్షణ. 'మేలుకోవడంలో ఏ రోజైనా కాస్తంత ఆలస్యమైతే అదోలా అనిపిస్తుంది, నన్ను వదిలేసి ఈ ప్రపంచమంతా పని మొదలెట్టిందని సిగ్గేస్తుంది' అన్న లోకమాన్య బాలగంగాధర తిలక్ ప్రత్యేకించి నేటితరానికి తక్షణ స్ఫూర్తిదాత. 'పొద్దున్నే పక్షులు సైతం లేచి గూళ్లు వదిలి పరుగులు తీస్తుంటే, మనుషులమైన మనం లేవలేమా?' అనే జ్ఞానబోధ తిరుప్పావైలోనూ కనిపిస్తుంది. బాధ్యతాయుత పాలనగా, కర్తవ్యభరిత నిర్వహణగా అంతా ముందుకు సాగినప్పుడు శ్రీశ్రీ అన్నట్టు 'మేలుకోవడం జీవధర్మం/మేలుకొలపడం జీవన సూత్రం'. అదే అందిపుచ్చుకొన్నట్టు, ఉత్తరప్రదేశ్ యువ విద్యార్థి ఒకరు విభిన్న మోత గడియారం కనిపెట్టారు. నిర్ణీత సమయానికే గణగణలాడే ఆ పరికరాన్ని మీటనొక్కి ఆపాలనుకుంటే కుదరదు! మీద చేయిపడిన తక్షణమే 'జివ్వు'మనిపించి, విద్యుదాఘాత అనుభవాన్ని కలిగిస్తుందది! ఆ తాకిడికి నిద్రమత్తంతా ఒక్కసారిగా మటుమాయమై, చటుక్కున లేచి కూర్చుంటారు ఎవరైనా. అప్పటికప్పుడే చకచకా దినచర్యకు ఉపక్రమించి, చదువుకూ శిక్షణకూ సిద్ధమైపోతారు కూడా. విద్యార్థులనే కాదు... ఇతర జీవనరంగాలవారినీ 'మేలుకోండి, గమ్యం చేరేదాకా ఆగకండి' అని ఉత్సాహపరచే అలాంటి పరికరాలే ఇక ముందుముందు వెలుగు కిరణాలన్నమాట! 
(ఈనాడు, సంపాదకీయం , 27:01:2013)
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Tune in to timeless melodies

Cinema Bollywood’s music enchants the world. Here are the 10 best Hindi songs, according to S. R. Madhu

“Iam bewitched by Bollywood and its music,” says Richard Corliss of Time magazine. Bollywood songs and dances — once an object of mirth — have stimulated academic visits to India, books and PhD theses, and a boom in Hindi language learning. Hindi film music unites our diverse country, as nothing else does. During the past 80 years, thousands of songs have enthralled millions of fans. (Indian cinema was born in 1913, but movies began to talk and sing only in 1931.)

Here’s a list, entirely subjective, of the 10 best Hindi film songs of all time. The main criteria applied:-
the quality of the lyric, 
the melody and the singing; 
the visual appeal of the song; and 
its social impact. 

The list is arranged by chronology, not rank.

1938 ‘Babul mora’

sung by K. L. Saigal

in Street Singer

Music director: R. C. Boral

When Bollywood’s first music icon K. L. Saigal yearned for his screen sweetheart Kanan Devi in the 1938 Street Singer , all of India hummed — and they have been doing so for 75 years. For the recording of the song, Saigal insisted that he would sing live on the street, like street singers, not in a studio. A harmonium was strapped around his neck and the orchestra followed him. Music director Boral was astounded at the impact. The song brings out Saigal’s strengths as a singer — a powerful voice, amazing clarity, phenomenal range and understanding of music.

1947 ‘Awaaz de kahan hai’

sung by Nur Jehan and

Surendra in Anmol Ghadi

Music director: Naushad

Noor Jehan’s voice sounds like a temple bell as she sings ‘Awaz de kahan hai’, a sensational hit of the 1940s. Naushad’s haunting melody is enhanced by Noor Jehan’s rare ability to infuse zest and sparkle into every song. She was Bollywood’s most charismatic singing star between 1942 and ‘47, before she migrated to Pakistan. This song is a duet with singing star Surendra, but he is eclipsed by Noor Jehan’s brilliance.

1952 ‘Man tarpat Hari darshan ko aaj’

sung by Mohammed Rafi

in Baiju Bawra

Music director: Naushad.

This song begins with a resounding ‘Hari Om’, and holds you spellbound with Naushad’s melody and Rafi’s electrifying intensity. It is said that Hindu priests wept on listening to this song. They were amazed that three Muslims — writer Shakeel Badayuni, composer Naushad and singer Rafi — could convey such devotional fervour in a Hindu bhajan. The song and the film inspired a classical music revolution in Hindi cinema.

1955 ‘Pyar hua ikrar hua hai’

sung by Manna Dey and

Lata Mangeshkar in Shri 420

Composers: Shanker-Jaikishen

Hailed as the epitome of romance in Hindi cinema, this Lata-Manna Dey gem is the best of all the Raj Kapoor-Nargis songs in their 16 films together. The doting Raj and the radiant Nargis look like the real-life lovers they were. Close-ups — of Raj’s smile, Nargis’ eyes and the lovers drawing close — highlight the chemistry of the lead pair. So do the famous shots of Raj and Nargis sharing an umbrella in the rain.

1960 ‘Pyar kiya tho darna kya’

sung by Lata Mangeshkar

in Mughal-e-Azam

Music director: Naushad

Hindi cinema’s most splendid paean to love has a luminous Madhubala swirling and swaying to Lata’s immortal voice in the court of emperor Akbar. The song is a triumph of music, technology, choreography and acting (it’s a Madhubala show, but histrionic powerhouses Prithviraj Kapoor and Dilip Kumar are wordlessly eloquent). The shots of Sheesh Mahal’s mirrors reflecting the image of a defiant, dancing Madhubala are fabulous. The song illustrates the “divine madness” of producer K. Asif who made this epic of a movie.

  

1965 ‘Aaj phir jeene-ki tamanna hai’

sung by Lata Mangeshkar

in Guide

Music director: S. D. Burman

Never has the spirit of joyous abandon come across so beautifully in a film song. Liberated from marital tyranny in Dev Anand’s Guide and free to pursue her dancing dream, Waheeda, enacting dancer Rosy, celebrates with song and dance, lip-synching to Lata’s vocals and S. D. Burman’s enchanting melody. She rides a camel, romps in a hay-laden truck, poses with a temple sculpture, pretends to jump off a cliff. Vijay Anand’s choreography is a treat, The low-angle tracking shot of Waheeda dancing along the ledge of a temple is etched in the viewer’s memory. A song that’s sheer perfection — or very close to it.

 1971 ‘Dum maro dum’

sung by Asha Bhosle

in Hare Rama Hare Krishna

Music director: R. D. Burman

“This song is so powerful that it can make a dead man come to life,” said Kishore Kumar once. Composer R. D. Burman’s instrumental prelude — with the guitar, the transicord and drums — is hypnotic. A sinuous and sexy teenage Zeenat Aman sways to the sultry vocals of Asha Bhosle and the rhythm of many instruments, while an intoxicated young gang gyrates in an ecstasy of pot and smoke. This cult song became the anthem of the Hippie movement, and revolutionised Hindi film music of the 1970s.

1971 ‘Chingari koi bhadke’

sung by Kishore Kumar

in Amar Prem

Music director: R. D. Burman

Composer R. D. Burman was known for his empathy with western beats and his genius with new instruments and earthy sounds. But he was a revelation in the 1971 Amar Prem , particularly in its song ‘Chingari koi bhadke’ — which is quiet and drenched in classicism. The song shows Rajesh Khanna and Sharmila Tagore enjoying a tranquil boat ride on the Ganga under the Howrah bridge. R. D. Burman combines unforgettable melody, the power of the violin, the guitar and the flute, and the voice of Kishore Kumar, to produce magic.

1994 ‘Ek ladki ko dekha’

sung by Kumar Sanu

in 1942 A Love Story

Composer: R. D. Burman

Cinema is said to comprise many arts in a single art: this song is proof. It’s based on Anil Kapoor’s love-at-first-sight reaction to Manisha Koirala. Visually, it’s a procession of painting-quality pastoral images (such as Kapoor mobbed by a flock of sheep shepherded by Koirala blowing a temple conch). The song and the film infused new life into Bollywood melody which almost died during the 1980s. But ironically, Burman died before the release of 1942 , giving the film a cult status.

2002 ‘Dola re, dola re’

sung by Kavita Krishnamurthy,

Shreya Ghoshal and Kay Kay

in Devdas

Music composers: Ismail Darbar

and Nusrat Badr

If you are fond of spectacle, glamour and grandeur, this song is a dream. Producer Sanjay Leela Bhansali presents a dance duet by Madhuri Dixit and Aishwarya Rai (the two stunners featured together in a song for the first time), along with a few score others in a seductively lavish setting, for the 2002 version of Devdas . The song is charming, but the feast is visual rather than aural. An extravaganza without a soul or wonderful entertainment? The public thought it was the latter.

(The Hindu, Metroplus, 31:07:2012)

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This girl is a keeper!!!!

 

 

It happened at a New York Airport. This is hilarious. I wish I had the guts of this girl. An award should go to the United Airlines gate agent in New York for being smart and funny, while making her point, when confronted with a passenger who probably deserved to fly as cargo. 

 

For all of you out there who have had to deal with an irate customer, this one is for you.

A crowded United Airlines flight was canceled. A single agent was re-booking a long line of inconvenienced travelers.

Suddenly, an angry passenger pushed his way to the desk. He slapped his ticket on the counter and said, "I HAVE to be on this flight and it has to be FIRST CLASS."

The agent replied, "I'm sorry, sir. I'll be happy to try to help you, but I've got to help these folks first; and then I'm sure we'll be able to work something out."

The passenger was unimpressed. He asked loudly, so that the passengers behind him could hear, "DO YOU HAVE ANY IDEA WHO I AM?"

Without hesitating, the agent smiled and grabbed her public address microphone. "May I have your attention, please?", she began, her voice heard clearly throughout the terminal. "We have a passenger here at Gate 14 WHO DOES NOT KNOW WHO HE IS. If anyone can help him with his identity, please come to Gate 14".

With the folks behind him in line laughing hysterically, the man glared at the United Airlines agent, gritted his teeth, and said, "F*** You!"

Without flinching, she smiled and said, "I'm sorry sir, you'll have to get in line for that, too."

Life isn't about how to survive the storm, but how to dance in the rain!

(via Facebook- General Knowledge)

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Everybody loves a list, especially their own

NAMAN RAMACHANDRAN, Sight & Sound’s South Asian cinema critic, recalls reading his first Top 10 poll and voting in the latest.

  Some 25 years ago, when I was a teenager growing up in Bangalore, I chanced upon a film magazine at the British Council Library. It was called Sight & Sound and was published by the British Film Institute (BFI). I was captured by the quality of writing and the in-depth analysis of films (to call them mere reviews didn’t seem appropriate) and I thirsted for more. Reading through back issues I discovered the delights of editor Penelope Houston’s masterly writings on my favourite director of all time, Satyajit Ray, particularly her essay on Charulata in the winter 1965/66 issue. The piece, coupled with the corresponding chapter in Andrew Robinson’s 1989 biography, Satyajit Ray: The Inner Eye (also borrowed from the British Council Library), made me watch the film again and again and reassess it with new eyes. That’s when I knew that I wanted to write about films for the rest of my life.

The only problem was that Sight & Sound was a quarterly and I ran out of reading material soon enough. That changed in 1991 when the magazine merged with the Monthly Film Bulletin, also published by the BFI. Subscribing to the magazine from a newly liberal India was a bewildering process involving copious amounts of foreign exchange and RBI clearances and I settled for sourcing issues in second-hand shops. One of the features that fascinated me about the magazine was the once-in-a-decade Greatest Films Top 10 poll, voted for by a medley of international critics. Everybody loves a list, even if it is to compare with one’s own and disagree. Vittorio De Sica’s Bicycle Thieves (1948) topped the first ever poll held in 1952. Thereafter, from the 1962 poll, Orson Welles’ Citizen Kane (1941) reigned at the top for a remarkable 50 years, before being dethroned in 2012.
After working in the media across the world, including a stint as a film reviewer for some Indian publications, I found myself in London in 2000. An internship at the BFI soon led to a job there, working on the Institute’s most ambitious celebration of South Asian cinema ever, titled ImagineAsia. From scouring Bangalore’s back lanes for Sight & Sound , the magazine’s headquarters were now just a corridor across from me and I lost no time in introducing myself to the editor Nick James and impressing upon him my writing credentials. Karan Johar’s Kabhi Khushi Kabhi Gham (2001) broke into the U.K. box office at number three and that’s the first film I reviewed for the magazine and I’ve been writing in those august pages ever since. It continues to be a humbling experience to be able to live one’s childhood dream.
My joy knew no bounds when I was asked to vote in the 2012 poll. Some of the guidelines were: “We realise that this is not the easiest of tasks, but we want you to know that this is a major worldwide endeavour that will help us all to remind people of film’s rich history and to refine what we mean by the best of cinema.
“As for what we mean by ‘Greatest’, we leave that open to your interpretation. You might choose the ten films you feel are most important to film history, or the ten that represent the aesthetic pinnacles of achievement, or indeed the ten films that have had the biggest impact on your own view of cinema.”
I chose a combination of all three and here are my top 10 with brief rationales. (For this exercise, I watched all the films on my long list again with a view to eliminating nostalgia and to see if they had dated or not.)


5. Gandhi: 
Richard Attenborough
Detractors may carp about Attenborough presenting a roseate view of the Mahatma and the omission of some negative facts about him, but the film remains a grand journey populated, literally, by a cast of thousands and guarantees moist eyes by the end of it.

 
The top 10:5. Gandhi


2. Apocalypse Now: 
Francis Ford Coppola
Even though the Redux version added footage and extra depth to Coppola’s masterpiece, the original cut remains one of the greatest films simply because it is tonally brilliant, with not a false note anywhere.


The top 10: 2. Apocalypse Now


8. Sholay: 
Ramesh Sippy
Though derivative of Kurosawa and Leone, Sippy crafted a faultless curry western that set the bar for action, emotion and comedy unrivalled since in Indian popular cinema.
  


The top 10. 8. Sholay 

1. Charulata (The Lonely Wife) :
Satyajit Ray
It was very tempting to include Ray’s Apu Trilogy on this list, but that would have consumed three votes. For me, Ray’s Charulata is the perfect film and I’ve watched it more often than the Trilogy. As Ray himself has said: “The one film that I would make the same way, if I had to do it again, is Charulata.” Good enough for the master, good enough for me.

The top 10:1. Charulata,



7. L’Avventura: 
Michelangelo Antonioni
The austere flip side to Fellini’s exuberance, Antonioni practically wrote the book on disconnection.

 

The top 10: 7. L'Avventura



  6. La Dolce Vita: 
Federico Fellini
Wonderful snapshot of Roman society at the time, a sneering look at hedonism and at the same time an exploration of human emptiness.
 


The top 10:.6. La Dolce Vita



9. Ikiru: 
Akira Kurosawa
Kurosawa, ironically, finds an affirmation of life from his protagonist who is doomed to die.

 

The top 10: 9. Ikuru



3. Sunrise: 
FW Murnau
For sheer visual poetry, nothing comes close.
 


The top 10:3. Sunrise



10. Raiders of the Lost Ark:
Steven Spielberg
Since there is no rule that says commercial cinema cannot be included in lists of the great and the good, Ark makes it in for its sheer joie de vivre and the fact that no action adventure since has managed to even come close to Spielberg’s masterpiece.

 

The top 10: 10. Raiders of the Lost Ark.



4. 2001: A Space
Odyssey: Stanley Kubrick
Though the effects may seem humdrum today in the light of advanced technology, no other science fiction film can capture the majesty and the nothingness of space plus a sense of the existence of a supreme otherworldly power that Kubrick achieved.

 

The top 10: 4. 2001: A Space Odyssey



Alfred Hitchcock’s Vertigo pushed Citizen Kane to second place this year. I’m pleased that two of my choices ( Sunrise and 2001 ) made the top 10. Pather Panchali is India’s only placing in the top 50, at number 42. Nick James said, “This result reflects changes in the culture of film criticism. The new cinephilia seems to be not so much about films that strive to be great art, such as  Citizen Kane , and that use cinema’s entire arsenal of effects to make a grand statement, but more about works that have personal meaning to the critic.” I couldn’t agree more.

Naman also covers South Asia for Variety and the U.K. and Ireland for Cineuropa. His biography of Rajinikanth will be released in Decembe.



(The Hindu, Magazine, 12:08:2012)
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12 Habits of a Happy relationship!

#1 Realistic Expectations

Real relationships aren’t what you see in the movies. They happen because each person values the other and are willing to make an investment of time into the partnership. They understand, not all days are passionate and romantic.. rough spots will require good communication.

#2 Work on Thoughtfulness Every Day

People who are in successful relationships nourish their partnerships regularly. They don’t set their life on cruise control. Ask yourself, “What can I do today to make my partner’s life better?” Little bits of effort every day will accumulate over time and make a big difference. 

#3 Turn Negatives into Positives

Problems in a relationship can be broken down into numbers. If you're both honest with each other and within yourselves, logically look at the negatives and calmly list them. Work together as a team to tackle each negative, one by one. 

  

#4 An Emphasis on Communication and Listening

No one is a mind-reader so your partner won't be able to figure out how you’re feeling. Be specific and clear with yourself on what you want and make an effort to discover what your partner’s needs are. 

#5 Understand: Every Relationship is Different

Don’t compare your relationship to anyone else’s, especially that random couple whose relationship seems perfect. Every couple makes their own love rules, love agreements, and love habits. Just focus on you two, and make your relationship the best it can be! 

#6 Lend Support during the Good Times and Bad

Be there through the good, bad, happy, and sad times too. Trust that you can count on each other, and be available not only when it’s convenient, but when it's needed most.

#7 Love and Respect each Other as Individuals

Our first and last love is self-love. Don’t rely on your significant other, or anyone else, for your happiness and self worth. Only you can be responsible for that. If you can’t love and respect yourself, no one else will be able to either  

#8 Be Loyal and Devoted

True love and real friendship aren’t about being inseparable. Love is about two people being true to each other even when they are separated. When it comes to relationships, remaining faithful is never an option, but a priority. Loyalty is everything.

  

#9 Live with Integrity

Trust in each other and know you haven’t been used or taken advantage of, it creates inner peace and security. Lies fester, but the truth heals or prevents trouble. Live daily with fairness, integrity and reliability.

 

 

#10 Appreciate and Help each other Grow

Having an open appreciation for your significant other leads to a productive, fulfilling and peaceful union. Cheer for their victories. Celebrate their accomplishments, and encourage their goals and ambitions! Challenge them to be the best they can be.

  

#11 Spend quality time Together

Make time for each other. With busy schedules we often forget to relax and enjoy others. Two people can be right next to each other, yet miles apart. Ignoring someone, often hurts more than angry words! Carve out special time for just the two of you once a week.

 

#12 Settle disputes peacefully

When you feel anger, avoid saying or yelling words you can't take back, instead have a planned agreement that you each will back away.

(via  http://bit.ly/ZMVwfP — Via General Knowledge/ Like.com)

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