Advaita Vedanta (IAST Advaita Vedānta; Sanskrit: अद्वैत वेदान्त [əd̪ʋait̪ə ʋeːd̪ɑːnt̪ə]) is considered to be the most influential and most dominant sub-school of the Vedānta (literally, end or the goal of the Vedas, Sanskrit) school of Hindu philosophy. Other major sub-schools of Vedānta are Viśishṭādvaita and Dvaita; while the minor ones include Suddhadvaita, Dvaitadvaita and Achintya Bhedabheda. Advaita (literally, non-duality) is a system of thought where "Advaita" refers to the identity of the Self (Atman) and the Whole (Brahman).
The key source texts for all schools of Vedānta are the Prasthanatrayi—the canonical texts consisting of the Upanishads, the Bhagavad Gita and the Brahma Sutras. The first person to explicitly consolidate the principles of Advaita Vedanta was Shankara Bhagavadpada, while the first historical proponent was Gaudapada, the guru of Shankara's guru Govinda Bhagavatpada.
According to Śankara and others, anyone seeking to follow the philosophy of Advaita Vedānta must do so under the guidance of a Guru (teacher). The Guru must have the following qualities (see Mundaka Upanishad 1.2.12):
Ramesh S. Balsekar (May 25, 1917 – September 27, 2009) was a disciple of the late Sri Nisargadatta Maharaj, a renowned Advaita master. From early childhood, Balsekar was drawn to Advaita, a nondual teaching, particularly the teachings of Ramana Maharshi and Wei Wu Wei. He wrote more than 20 books, was president of the Bank of India, and received guests daily in his home in Mumbai until shortly before his death.
During his early life, Ramesh always felt he was enacting some role in a play that must, and would, end soon. Deep within, he believed that there had to be more to life than merely getting ahead of the other man.
The answer came soon after his retirement when he had an encounter, which soon led to daily meetings, with the well-known sage, and his Guru, Sri Nisargadatta Maharaj. For Ramesh the total understanding that 'no one does anything' happened in 1979. Ramesh began translating most of the daily talks held by Nisargadatta Maharaj. He himself began teaching in 1982. The 'command' to talk was given by his Guru, he says. He began his talks or 'conversations' with smaller groups and gradually, the number of visitors who came to listen to Ramesh began to grow. Since then, he has written many books and held several seminars in Europe and the USA. He continued to give discourse and answer questions in his Mumbai home until shortly before his death.
Jeffrey Douglas Foster (born January 16, 1977) is a retired American professional basketball player who spent the entirety of his 13-year career with the Indiana Pacers of the NBA.
Foster was born in San Antonio, Texas and graduated from James Madison High School in San Antonio in 1995. In senior year, he joined the varsity basketball team in high school. He attended Southwest Texas State University and finished college nine credits short of a degree in finance. With the Southwest Texas State Bobcats, Foster averaged 12.8 points and 10.2 rebounds in his junior season and was part of the All-Southland Conference Second-Team in 1998.
He was selected 21st overall by the Golden State Warriors in the 1999 NBA Draft out of Southwest Texas State University, but his draft rights were immediately traded to the Pacers in exchange for Vonteego Cummings and a future first-round draft pick.
Foster was part of the Pacers' 1999–2000 Eastern Conference championship team, though he played only 19 games that year as he was fourth on the Pacers' depth chart at center behind Rik Smits, Sam Perkins and Zan Tabak. In his second season he played in 71 games, gaining a spot in the rotation as the Pacers rebuilt for the future. He averaged 3.5 points and 5.5 rebounds per game while averaging only 16.2 minutes per contest.
Rupert Spira is an English studio potter. Born in 1960 he first studied pottery with Henry Hammond and later with Michael Cardew at Wenford Bridge Pottery from 1980 to 1982. His early work was reminiscent of these early influences being in a very traditional Bernard Leach style. This work is mostly practical in nature taking the form of teapots, functional vases and other culinary ware.
He later moved to set up his own pottery in Shropshire where his style changed from a functional to a more minimalistic style. While he continues to make and sell functional pottery he is now known for his more recent studio pottery. His best and most recognizable work contains poems, both self written and by Kathleen Raine the celebrated British poet. The poems are either scratched into the glaze in the sgraffito style or written as embossed letters either in a square block or in a single line across the surface of the vessel. These works vary in size from prayer bowls only a few centimetres across through to huge open bowls 50 cm or more in diameter. He is also known for his cylinders which are often made as part of a series and while beautiful in their own right were made to be exhibited as a group. These also vary in scale from a few centimetres in height through to the largest being a meter or more high. He works mainly in simple white, off white and black minimalistic colors but he does also occasionally make deep redly glazed bowls and very distinguishable yellow tea sets.
Sri Ramana Maharshi (Tamil: ரமண மஹரிஷி) (December 30, 1879 – April 14, 1950), born Venkataraman Iyer, was a Hindu spiritual master ("jnani"). He was born to a Tamil-speaking Brahmin family in Tiruchuzhi, Tamil Nadu. After experiencing at age 16 what he later described as liberation (moksha), he left home for Arunachala, a mountain considered sacred by Hindus. He lived at the mountain for the rest of his life. Although born a Brahmin, he declared himself an "Atiasrami", a Sastraic state of non-attachment to anything in life and beyond all caste restrictions. The ashram that grew around him, Sri Ramana Ashram, is situated at the foothill of Arunchala, to the west to the pilgrimage town of Tiruvannamalai.
Sri Ramana Maharshi maintained that the purest form of his teachings was the powerful silence which radiated from his presence and quieted the minds of those attuned to it. He gave verbal teachings only for the benefit of those who could not understand his silence (or, perhaps, could not understand how to attain the silent state). His verbal teachings were said to flow from his direct experience of Atman as the only existing reality. When asked for advice, he recommended self-enquiry as the fastest path to moksha. Though his primary teaching is associated with Non-dualism, Advaita Vedanta, and Jnana yoga, he recommended Bhakti to those he saw were fit for it, and gave his approval to a variety of paths and practices.
[DJ Quik]
Ay, come here miss lady
Check it out, well meet me half way there now
Damn, check this, look
I already know your name is Sheila
Cus I seen you in the front of Players Magazine in the main edition
And it aint gon' kill you if you give me yo number
What's happenin? Can we hook up later or something? Thank you
I like the way that you don't say much
And when the homies give you phone numbers you don't stay in touch
With that proper little mystic about your ways
About your style that got your boy dazed
Now I'm diggin in my game so I can see where you at
And I'm pushin all the buttons that make you come exact
I know you recognize I'm young and I'm gifted and black
That should be enough to have you sprung and fidgety in ya cat
But yet you play it off swell
To see if I'ma give up on the pursuit of your tail
But even if you knew that aint all I wanted was just to bone it
I'm still detectin ego trippin baby you own it
But you don't understand I know parts of you that you do not
And I can penetrate right down through your through-through spot
Because I'm talented and young and I got a lot wealth
And I'm the bomb baby, now what you tell me ‘bout my self?
[Dionne Knighton]
Whateva U Do
You make me wanna touch myself
Whenever I'm with you cus you got it (Who go it?)
And I'm gonna make you give it to me (Yeah sing it to me)
Whateva U Do
You make me wanna touch myself
Whenever I'm with you cus you got it (Say what?)
And I'm gonna make you give it to me
[DJ Quik]
C'mon, we can go to my house we don't need the hotel
Now lay down by my fireplace and drink Sip & Dale
While I massage your feet, and yo massage my neck
And I won't make a move on you ‘long ass you got self-respect
Now check it, I wanna see what you look like in spa
With nothing on yo body but yo panties and bra
Grand Mar in ya flava down your neck and your back
Aha, didn't know the Quiksta could do it like that
You actin different on the liquor baby girl is that you
The ways your eyes sparkled when I bit yo tattoo
You're rugged but soft baby you're sowed up with fears
And you gotta like pleasure and pain with your naval peers
But I appreciate you lady cus your makin me wait
Even though that little game you playin is much outta date
I'ma save it for next time and I hope you will too
Cus I like the way you do what you do, baby girl
[Will Hudspeth]
Whateva I Do
I make you wanna touch yourself
Whenever I'm with you cus I got it (Girl do you know how bad I am?)
You make me wanna give it to you (Now give it to me)
Whateva I Do
I make you wanna touch yourself
When ever I'm with you cus I got it
You make me wanna give it to you
[DJ Quik]
You know you want it I can see it ya face
That you would rather be somewhere with me takin off your lace
To a bikini shavin pubic
I'm a diamond he's cubic
You gave him yo love and he blew it
Move, let me do it
Because my love is like fire and ice I'm like bitter sweet
Me and my peaches, and you and yo pretty feet
Knowin that if I lick it, tell me then I get closa
While I'm urgin you to drink this Mamosa
Because you know that I got the skills that make you get them crazy leg spasms
By helping you to reach multiple orgasms
Ya hear me? Now feel me, you know what's happenin
So hit me on my hip when you wanna get it
And I'll be over there twenty minutes to hit it
Just as long as you stay cool and you stay true
And just keep on doin Whateva U Do, baby girl!
[Dionne Knighton]
Whateva U Do
You make me wanna touch myself
Whenever I'm with you cus you got it (Who got it?)
And I'm gonna make you give it to me (Sing it to me)
Whateva U Do
You make me wanna touch myself
Whenever I'm with you cus you got it
(I know what I can do)
And I'm gonna make you give it to me
(I wouldn't make records about it if I didn't)
Whateva U Do (Damn come here)
You make me wanna touch myself
Whenever I'm with you cus you got it
(Come here let me feel you, give me a hug)
And I'm gonna make you give it to me
(C'mon baby, maybe we can go to the beach)
Whateva U Do (You know like)
You make me wanna touch myself (Just play in the water)
Whenever I'm with you cus you got it
And I'm gonna make you give it to me
…Whateva I do whateva I do
I'm gonna make you oh
Oooh
Oh whateva I do
Yeah yeah yeah
Oooh
Whateva I do ooh yeah
Oh yeah, I'm gonna make you girl
Oooooh
You want to grow up to paint houses like me, a trailer in my yard till you're 23
You want to be old after 42 years, keep dropping the hammer and grinding the gears
Well, I used to go out in a Mustang, a 302 Mach One in green.
Me and your Mama made you in the back and I sold it to buy her a ring.
And I learned not to say much of nothing and I figured you already know
but in case you don't or maybe forgot, I'll lay it out real nice and slow
Don't call what your wearing an outfit. Don't ever say your car is broke.
Don't worry about losing your accent, a Southern Man tells better jokes.
Have fun but stay clear of the needle. Call home on your sister's birthday.
Don't tell them you're bigger than Jesus, don't give it away.
Six months in a St. Florian foundry, they call it Industrial Park.
Then hospital maintenance and Tech School just to memorize Frigidaire parts.
But I got to missing your Mama and I got to missing you too.
So I went back to painting for my old man and I guess that's what I'll always do
So don't try to change who you are boy, and don't try to be who you ain't.
And don't let me catch you in Kendale with a bucket of wealthy-man's paint.
Don't call what your wearing an outfit. Don't ever say your car is broke.
Don't sing with a fake British accent. Don't act like your family's a joke.
Have fun, but stay clear of the needle, call home on your sister's birthday.
Don't tell them you're bigger than Jesus, Don't give it away.
Verse 1 (Joe Flizzow)
I'm always tellin' my moms and pops not to worry to much
they always tellin' me to slow down and not to party to much
sometimes I be like hey, now why ya'll folks buggin?
I'm makin a decent livin' I ain't slangin' or thuggin'
at first I didnt understannd though I was man enough
frontin' like I'm to tough to be sharing love
used to take em for granted, including my two little brothers
treat my home like a hotel and ignoring my mother
but now I realised that i can't live without em
take away my money, honeys aiyo even the stardom
but can never take away my love for my blood (whut)
my big brother Farez doin' sit ups to loose his gut
Iman wanna emcee and spin records at the same time
while Ash wana be a rockstar, you doin fine
keep ya head up all the time know I'm feelin for you
and always keep it real whatever ya'll do...ONE LOVE
Chorus 2x
you are my sunshine, you are my rainbow
after the rain has gone
Verse 2 (Malique)
I spread love to all my peeps that help me make it happen
ain't talkin' 'bout the fools I knew after I started rappin'
I'm talkin''bout the folks from back then when I was wack
friends and fam that kept me steady laugh when I was steady slackin'
y'all usta call me a different name, and yo it's still the same
ain't nothing changed, y'all never took advantage of my fame
I got y'all free tickets to shows, y'all never asked for it
but still y'all pay and stand in backrows and see me mash for it
mom and dad y'all still cuttin' those paper interviews
don't see you daily but trust me daily I think of you
I know I promised to be a lawyer in a court suin'
I'm sorry now but thanks for bein' proud of what I'm doin'
it's impossible to spit love in 16 bars
so imma cut this short just to let you know who you are
mom and dad, bro, sis and Tim, just know I love you
wish y'all were here so I could just breakdown while I hug u, ONE.
i've been around
i know the game
what i have found
it's all the same
inside your house
beneath the mud
all made of sand
there will be blood
on the floor
it's on the floor
on the floor
all around your house
it's on your hands
on your hands
on your hands
its all on your hands
something had to change
you glued yourself to me
sell me something new
another weekend
with the glitterati
who? who?
who do you voodoo?
who? who?
i voodoo you
bang bang baby
you're going down
you've got blood on you
and you're going to die
i got the time
i got the time
i got the time
yeah i've got the time
on the floor
you're on the floor
on the floor
and you're going to die
diluted to the core
you step onto a scene
where you sell your soul
for just one shot
at clubbing with the gliterati
who? who?
who do you voodoo?
who? who?
tell it to me!
i voodoo you
who? who?
who do you voodoo?
who? who?
i voodoo you
bang bang baby
you're going down
you've got blood on you
The thought of that's unthinkable
Black and white's unlinkable
A rich white snake in the grass
He sees some blacks
He'll kick their ass
As grits are to potatoes
As chicken is to steak
As soul food is to white food
As bean pie is to cake
He was raised on white food
And he's a great physician
But soul food's got the soul
And that's why there's some great musicians
White food and white ways
Is all he's ever been
The only point he's made is on the