Another Dead Clown is a small rock band based in Astoria, Queens.

Founded as a sprawling musical collaboration between friends, ADC now consists of Chris O'Keeffe, Gerad O'Shea, Meagan Brus and Ian Deming.

The band also often features an extended cast of family, friends, and brave audience members that participate in live performances and recordings.

Another Dead Clown released their debut EP, "Everyone went home alone." in March of 2012 and their first full-length album, "This May Not Work." on June 25, 2013.


The Saga: 

	It started as a joke between childhood friends.  Another Dead Clown was the pseudonym substituted for the latest sketch of a song or stupid idea - the "band" responsible for trade-school homework assignments, guerilla-style open mic appearances, and leading many a late-night dive bar sing-a-long.  By 2011, Chris was steadily recruiting a coterie of friends and family to join the organization, and the ranks of ADC swelled along with the hours logged in cramped Cambridge apartments, swapping the roughest of demos and amassing an increasing arsenal of backlogged ideas. Gerad, recently transplanted to NYC, had returned to Cambridge, MA a handful of times, rejoining Chris to play songs as Another Dead Clown. To do so, Gerad borrowed Chris's grandmother's heirloom accordion and learned how to play it like a squishy piano.  The guys narrowed the catalog down to focus on a svelte five tracks, largely based around which songs would sound nice with some ukulele and\or banjo on them. Recruiting ur-3133 denizen, Kevin Carranza, to play, who just happened to own one each of the above instruments, was influential on the decision-making process.  After performing as ADC for an assortment of Connecticut house parties (where, somewhat miraculously, nobody got hurt,) and with the encouragement of engineer extraordinaire Christopher Abell, they hit the city to record an EP.  Enlisting the aid of many highly trained and accomplished NYC talents - including future permanent member, and winner of three consecutive "nicest legs in the band" awards, Meagan - glockenspiels, kazoos, fiddles, and washboards were shoved into unsuspecting hands, and the tape rolled. What came out was Another Dead Clown's debut EP, "Everyone went home alone." which would eventually be released in March 2012.

	While Abell was working on turning the resulting tumult into an aurally pleasing artifact, Chris moved to Astoria with the lovebirds, Kevincito got hitched and left for the Left Coast, and Ian decided he was tired of being left out and could probably learn how to play uke since it only had four strings. It was a busy summer. After agreeing to come to practice twice a week and promising never to wear flip-flops or shorts on stage, Ian joined the band. Another Dead Clown's live Astoria debut occurred in November 2012, with the band featuring a baker's dozen of performers, all taking turns on a stage that fit roughly four-and-a-half comfortably. The cast of characters in ADC rotated throughout the following cold months, spent hunkered down learning, practicing, and playing songs in kitchens, basements, and living rooms.  Along the way, the band distilled down to a dedicated four-piece, with Chris, Gerad, Meagan and Ian forming the core of Another Dead Clown. This was around the same time the organization's unofficial mission statement settled into "Friends. Music. Whisky." after some previous permutations of priority. After several near-disasters at live performances, the traditional pre-show announcement, "We are Another Dead Clown, and so are you.  If you don't like what you're hearing on stage, come up and fix it!" was abandoned. The band figured out how to retain the ability to get audience members, friends, and family up on stage to join in the fun without derailing the entire experience. (Establishing the "Tambourine Permit" was a good step.)  After enough shows, and nearly losing Chris to the French Pyrenees, ADC settled into a more intimate lineup, featuring simple arrangements with unique instrumentation provided by band-members and guests alike. They took this inclusive attitude and drove 150 miles north from New York to Ludlow, MA.  After clearing out the barn on Sweet Local Farm of hay bales and assorted agricultural implements, Kevencito flew in from CA, and Abell set up a studio at the farm. Their attitude throughout the process of creating their first full-length album, borrowed from the earliest days of the organization, was, "This may not work, but..." So, borrowing friends near and dear from locales near and far to sing, shout, drum, clap and play, the gang challenged each other to arrange, improvise, and orchestrate often right up until they pressed record. The result: Another Dead Clown's debut album, "This May Not Work."  

	With the album released in June of 2013, ADC has continued to grow, change, and push one other to experiment, get loud, and include any and everyone who might have an interest in helping them make music.  So, if you come to a show, you just might find yourself with a kazoo, ukulele, or harmonica in your hand, playing along.  


ONEHUD is an all round music production project.  Working in and around the Huddersfield Community, supported by ITS ALL ABOUT MUSIC, UNIT 7 & The National Lottery.

Our ideal plan is to create a community music platform for artistic individuals, bringing communities together via the method of music.

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Zacque Adrienne Devbron is the name
precious gem as she is
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for you to lean on
and just a simple girl 
to whom everybody would say
" do you wanna make FRAAANDSHIP? "
I love myself and so
i eat all i want 'till i get choked
and do everything i wish
'till i get tired
I love my family for showing me 
how wonderful the world is
and even more wonderful for
having a gem like me ♥♥hihi
I love YOU
I feel exhausted of non-stop love
they're showing me yet the feeling
of it produces butterflies on my stomch
that make me giggle
I feel sad for what had happened
to my family 
and at the same time
I feel happy and very much lucky
for i know how hard it was and yet
i still made it
I need the love of all the people around me
which my father could not give
I need a friend to whom i could share
all my secrets
a friend who laughs at my silly jokes
and a friend who stays still
NO MATTER WHAT
I need You GOD
I want ice cream,coke float,spaghetti 
and pizza to which i could turn on 
everytime im having a hard time
and no one can ease the pain i bear
I want fancy clothes and jewelries
to let everybody knows im still
gorgeous (hihi..palag?) 
even though my problems are getting
on my nerves and fortunately
i'll never let them give me wrinkles
I want high heels to help me
walk wiith confidence and with my
chin up high and so no one will look 
down on me
I fear nothing but GOD
I believe in a fairy tale
I believe in true love
wherein you will experience fireworks ,
sparks,horses running through your
stomach and butterflies on it and your
soft cheeks turning red
I believe it never dies
I would like to see who i will be after ten years
the precious gem named ZACQUE ADRIENNE DEVBRON
is residing at Quezon city
Proud of being part of DEVBRON CLAN
and im looking forward meeting
this guy who would offer me 
his precious name that perfectly 
fits MINE ......
♥♥♥♥♥

IN A PERFECT TIME
watashi wa anata **

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Oil painting is the process of painting with pigments that are bound with a medium of drying oil—especially in early modern Europe, linseed oil. Often an oil such as linseed was boiled with a resin such as pine resin or even frankincense; these were called 'varnishes' and were prized for their body and gloss. Other oils occasionally used include poppyseed oil, walnut oil, and safflower oil. These oils confer various properties to the oil paint, such as less yellowing or different drying times. Certain differences are also visible in the sheen of the paints depending on the oil. Painters often use different oils in the same painting depending on specific pigments and effects desired. The paints themselves also develop a particular consistency depending on the medium.

Although oil paint was first used for the Buddhist Paintings by Indian and Chinese painters in western Afghanistan sometime between the fifth and ninth centuries,[citation needed] it did not gain popularity until the 15th century. Its practice may have migrated westward during the Middle Ages. Oil paint eventually became the principal medium used for creating artworks as its advantages became widely known. The transition began with Early Netherlandish painting in northern Europe, and by the height of the Renaissance oil painting techniques had almost completely replaced tempera paints in the majority of Europe.

In recent years, water miscible oil paint has come to prominence, to some extent replacing the usage of traditional oils. Water soluble paints contain an emulsifier which allows them to be thinned with water (rather than with paint thinner), and allows very fast drying times (1-3 days) when compared with traditional oils (1-3 weeks).

Contents  [hide] 
1 Techniques
2 History
3 Ingredients
4 Supports for oil painting
5 Process
6 Examples of famous works
7 See also
8 References
[edit]Techniques



Self portrait, at work, Anders Zorn, 1897
Traditional oil painting techniques often begin with the artist sketching the subject onto the canvas with charcoal or thinned paint. Oil paint is usually mixed with linseed oil, artist grade mineral spirits or other solvents to create a thinner, faster or slower drying paint. Because these solvents thin the oil in the paint, they can also be used to clean paint brushes. A basic rule of oil paint application is 'fat over lean'. This means that each additional layer of paint should contain more oil than the layer below to allow proper drying. If each additional layer contains less oil, the final painting will crack and peel. There are many other media that can be used in oil painting, including cold wax, resins, and varnishes. These additional media can aid the painter in adjusting the translucency of the paint, the sheen of the paint, the density or 'body' of the paint, and the ability of the paint to hold or conceal the brushstroke. These variables are closely related to the expressive capacity of oil paint.

Traditionally, paint was transferred to the painting surface using paint brushes, but there are other methods, including using palette knives and rags. Oil paint remains wet longer than many other types of artists' materials, enabling the artist to change the color, texture or form of the figure. At times, the painter might even remove an entire layer of paint and begin anew. This can be done with a rag and some turpentine for a certain time while the paint is wet, but after a while, the hardened layer must be scraped. Oil paint dries by oxidation, not evaporation, and is usually dry to the touch within a span of two weeks. It is generally dry enough to be varnished in six months to a year. Art conservators do not consider an oil painting completely dry until it is 60 to 80 years old.[citation needed]

[edit]History



The Francesco St Jerome by Palma il Giovane, circa 1590. A rare example of oil painting on copper.
Although the history of tempera and related media in Europe indicates that oil painting was discovered there independently.Surfaces like shields — both those used in tournaments and those hung as decorations — were more durable when painted in oil-based media than when painted in the traditional tempera paints.

Most Renaissance sources, in particular Vasari, credited northern European painters of the 15th century, and Jan van Eyck in particular, with the "invention" of painting with oil media on wood panel, however Theophilus (Roger of Helmarshausen?) clearly gives instructions for oil-based painting in his treatise, On Various Arts, written in 1125. At this period it was probably used for painting sculptures, carvings and wood fittings, perhaps especially for outdoor use. Early Netherlandish painting in the 15th century was however the first to make oil the usual painting medium, and explore the use of layers and glazes, followed by the rest of Northern Europe, and only then Italy. Early works were still panel paintings on wood, but around the end of the 15th century canvas became more popular, as it was cheaper, easier to transport, and allowed larger works. Venice, where sail-canvas was easily available, led the move. The popularity of oil spread through Italy from the North, starting in Venice in the late 15th century. By 1540 the previous method for painting on panel, tempera had become all but extinct, although Italians continued to use fresco for wall paintings, which was more difficult in Northern climates.

[edit]Ingredients



Flax seed is the source of linseed oil.
The linseed oil itself comes from the flax seed, a common fiber crop. It is interesting to note that linen, an important "support" for oil painting (see below) also comes from the flax plant. Safflower oil, or the more traditional walnut or poppyseed oil, are sometimes used in formulating lighter colors such as white because it "yellows" less on drying than does linseed oil, but it has the slight drawback of drying more slowly.


Recent advances in chemistry have produced modern water miscible oil paints that can be used with and cleaned up with water. Small alterations in the molecular structure of the oil creates this water miscible property.

A still-newer type of paint, heat-set oils, remain liquid until heated to 265–280 °F (130–138 °C) for about 15 minutes. Since the paint never dries otherwise, cleanup is not needed (except when one wants to use a different color and the same brush). Although not technically true oils (the medium is an unidentified "non-drying synthetic oily liquid, imbedded with a heat sensitive curing agent"), the paintings resemble oil paintings and are usually shown as oil paintings.

[edit]Supports for oil painting



Splined canvas
Traditional artists' canvas is made from linen, but less expensive cotton fabric has gained popularity. The artist first prepares a wooden frame called a "stretcher" or "strainer". The difference between the first and second is that stretchers are slightly adjustable, while strainers are rigid and lack adjustable corner notches. The canvas is then pulled across the wooden frame and tacked or stapled tightly to the back edge. Then, the artist applies a "size" to isolate the canvas from the acidic qualities of the paint. Traditionally, the canvas was coated with a layer of animal glue (size), (modern painters will use rabbit skin glue) and primed with lead white paint, sometimes with added chalk. Panels were prepared with a gesso, a mixture of glue and chalk.

Modern acrylic "gesso" is made of titanium dioxide with an acrylic binder. It is frequently used on canvas, whereas real gesso is not suitable for that application. The artist might apply several layers of gesso, sanding each smooth after it has dried. Acrylic gesso is very difficult to sand. One manufacturer makes a sandable acrylic gesso, but it is intended for panels only, not canvas. It is possible to tone the gesso to a particular color, but most store-bought gesso is white. The gesso layer will tend to draw the oil paint into the porous surface, depending on the thickness of the gesso layer. Excessive or uneven gesso layers are sometimes visible in the surface of finished paintings as a change in the layer that's not from the paint.

Standard sizes for oil paintings were set in France in the 19th century. The standards were used by most artists, not only the French, as it was – and evidently still is – supported by the main suppliers of artist materials. The main separation from size 0 (toile de 0) to size 120 (toile de 120) is divided in separate runs for figures (figure), landscapes (paysage) and marines (marine) which more or less keep the diagonal. Thus a 0 figure corresponds in height with a paysage 1 and a marine 2.[1]

Although surfaces like linoleum, wooden panel, paper, slate, pressed wood, and cardboard have been used, the most popular surface since the 16th century has been canvas, although many artists used panel through the 17th century and beyond. Panel is more expensive, heavier, harder to transport, and prone to warp or split in poor conditions. For fine detail, however, the absolute solidity of a wooden panel gives an advantage.

[edit]Process



A palette
The artist might sketch an outline of their subject prior to applying pigment to the surface. "Pigment" may be any number of natural substances with color, such as sulphur for yellow or cobalt for blue. The pigment is mixed with oil, usually linseed oil but other oils may be used as well. The various oils dry differently, creating assorted effects.

Traditionally, artists mixed their own paints from raw pigments that they often ground themselves and medium. This made portability difficult and kept most painting activities confined to the studio. This changed in the late 1800s, when oil paint in tubes became widely available. Artists could mix colors quickly and easily, which enabled, for the first time, relatively convenient plein air (outdoor) painting (a common approach in French Impressionism).

The artist most often uses a brush to apply the paint. Brushes are made from a variety of fibers to create different effects. For example, brushes made with hog's bristle might be used for bolder strokes and impasto textures. Fitch hair and mongoose hair brushes are fine and smooth, and thus answer well for portraits and detail work. Even more expensive are red sable brushes (weasel hair). The finest quality brushes are called kolinsky sable; these brush fibers are taken from the tail of the Siberian mink. This hair keeps a superfine point, has smooth handling, and good memory (it returns to its original point when lifted off the canvas); this is known to artists as a brush's "snap."

In the past few decades, many synthetic brushes have come on the market. These are very durable and can be quite good, as well as cost efficient. Floppy fibers with no snap, such as squirrel hair, are generally not used by oil painters. Sizes of brushes also are widely varied and used for different effects. For example, a "round" is a pointed brush used for detail work. "Flat" brushes are used to apply broad swaths of color. "Bright" is a flat with shorter brush hairs. "Filbert" is a flat with rounded corners. "Egbert" is a very long "Filbert" and is rare. The artist might also apply paint with a palette knife, which is a flat, metal blade. A palette knife may also be used to remove paint from the canvas when necessary. A variety of unconventional tools, such as rags, sponges, and cotton swabs, may be used. Some artists even paint with their fingers.



Tubes of paint
Most artists paint in layers, which is simply called "Indirect Painting". The method was first perfected through an adaptation of the egg tempera painting technique and was applied by the Flemish painters in Northern Europe with pigments ground in linseed oil. More recently, this approach has been called the "Mixed Technique" or "Mixed Method". The first coat (also called "underpainting") is laid down, often painted with egg tempera or turpentine-thinned paint. This layer helps to "tone" the canvas and to cover the white of the gesso. Many artists use this layer to sketch out the composition. This first layer can be adjusted before moving forward, an advantage over the 'cartooning' method used in Fresco technique. After this layer dries, the artist might then proceed by painting a "mosaic" of color swatches, working from darkest to lightest. The borders of the colors are blended together when the "mosaic" is completed. This mosaic layer is then left to dry before applying details.

Artists in later periods, such as the impressionist era, often used this Wet-on-wet method more widely, blending the wet paint on the canvas without following the Renaissance-era approach of layering and glazing. This method is also called "alla prima". This method was created due to the advent of painting outdoors, instead of inside a studio. While outside, an artist did not have the time to let each layer of paint dry before adding a new layer. Several contemporary artists use a blend of both techniques, which can add bold color (wet-on-wet) as well as the depth of layers through glazing.

When the image is finished and has dried for up to a year, an artist often seals the work with a layer of varnish that is typically made from damar gum crystals dissolved in turpentine. Such varnishes can be removed without disturbing the oil painting itself, to enable cleaning and conservation. Some contemporary artists decide not to varnish their work, preferring that the surfaces remain varnish-free.

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 I need to focus on the value of success.
Energy; managed, regulated and directed in a focused manner on my desire.
Energy values are easy to manage, once I realize how interaction with persons, places and things will affect my
energy values,
 I learn how to respond appropriately and how to put all experience into proper context for my personal best interest.  
All I need to do is practice positive thinking, and that will demonstrate a positive effect in circumstances. 
 With repeated use and greater understanding and experience of use, the mind will actually change and
the experience will actually change as well, for the better.  
The way we think creates the way we feel in the subconscious mind.
  It is a subjective experience. 
I must Involve myself, to Evolve myself.
 We accept all information at the subconscious level as truth. 
 I must feed the truth to the subconscious mind, so that the subconscious mind is always experiencing truth with integrity, 
Truth; develops acceptance, encourages understanding, and then fosters trust.
 The subconscious gives us a feeling that indicates how we may respond to a given circumstance. 
 We must personally decide to put this experience into a context that is for our greater value. 
 At my core is my belief system, which decides what I am attracted to and what I desire. 
 It is the subconscious belief system that is responsible for all desires and achievements. 
 It bears great responsibility for the way I think, behave and desire. 
What I believe is the single most important part of how I choose to feel. 
 I succeed when I decide that I deserve to succeed.
There will be times, when I will have issues come to my conscious mind and challenge me to be responsible. 
 The subconscious mind is saying, "Look at these"  change, resolve, and grow. 
 I will find solutions easily when I am positive, optimistic and energetic. 
 I can accept any truth.
  I am responsible for myself, and to others.  
I speak the truth.  I state clearly, affirmatively as I desire. 
 I am responsible for my feelings.
  I am responsible to others by telling the truth as I know it.
  When I choose to accept responsibility, solutions manifest easily.  Answers come to me easily. 
 Vast amounts of personal energy are made available to me to create the success I desire.  
The past is there for reflection, and I have the experience to learn a lesson.  
The future is an opportunity waiting to happen. 
 Now is when I make things happen.  I think positively.  I act optimistically.  I embrace being energetic. 
 I see opportunities because I am positive, optimistic and energetic. 
 I leave every experience with some value, a lesson,
 A memory that I can keep, for the rest of my life.
  As I am involved in the growth of my life, I evolve myself and others.
  I forgive myself for any past issue and all mistakes,
 I prepare myself for opportunity of the future.  Right now,
 I love myself, I accept myself, I seek to understand myself better. 
 I have confidence. 
 That confidence includes the confidence in the ability to manage my feelings and trust self-control.
  I know that all success is based on my belief. 
 All I need to do is trust in that belief. 
 I trust and know to a level that I refer to as faith. 
 My belief has integrity. 
 My conscious mind is trained to project positive, optimistic, energetic, affirmative, clear truthful thought. 
 I decide.  I am in charge of my thoughts, my feelings, and my actions. 
 I decide, and I direct my thoughts in a focused intention for results.  
The thought I am thinking today will be manifested in form tomorrow. 
So, today I prepare my tomorrow with positive, optimistic, energetic thoughts. 
 I create a better body tomorrow thinking great thoughts, taking responsibility for what I put into my body, today.
 I exercise responsibly; to keep all my physical, emotional and social / spiritual self vital. 
 I will exercise my whole being in the manner and matter necessary to create the best me to be.  I am positive, optimistic and energetic. 
 I really want success in my life, and that starts the movement of desire in my creative thinking process.  
As I dwell on desire, I manifest the energy requirements necessary to develop, manifest, and motivate all of my desired requirements.
  I decide to be positive.
  I deserve success in my life. 
 I value myself highly. 
 I have great respect for myself.
  I have great self-esteem.
  I am worthy. 
 I love myself.
  I accept myself, even when I need to understand myself better.
  I deserve to be happy and successful. 
 The universe is supporting my success, happiness and prosperity. 
 I accept and even embrace adversity, conflict, challenge and personal growth. 
 I have courage, 
I have confidence,
 I turn every situation to an advantage. 
 I create a constant stream of positive thoughts. 
 I only embrace positive, optimistic and energetic ideas.  

Will power; is conscious effort. 
 I decide, 
I choose, 
I get results by choosing my intention.
I speak to my subconscious through my conscious mind.
I say to myself; I can rewrite any emotional patterns, any emotional responses. 
 I can rewrite and recreate positive, optimistic, energetic thoughts, feelings, words and actions. 
 I decide.  I create the positive habit of being positive. 
 I create the habit of being habitually happy. 
I decide.  I create the thoughts and I determine the outcome, because I am positive, optimistic and energetic.
  The more I repeat this, the more I understand and accept this is true for me, the more I experience; it is true for me.  
 I consciously decide to create a habit,
Where there was one habit, another habit can take its place.
  The old habit will always be there as a reminder,
 Now a new habit can be written over the old habit, the old thought can be changed to a new thought, a better thought, a more positive thought; that creates the desired outcome. 
 Thoughts have certain characteristic patterns.
 By the nature of the; “path of least resistance”, all thought patterns want to continue, 
It takes a conscious effort, to change the continuous flow of a thought pattern. 
This conscious effort is referred to as a pattern interrupt.
 We start with consciously becoming aware of a pattern.
 The awareness is brought to the conscious mind that we want to change that habit,
 Then find a habit that is worthy of putting in place, and we put a new habit in the place of an old habit,
Like rewriting over an old recording, we rewrite a better behaviour. 
 Then I repeat the behaviour with the new habit until it gains momentum and becomes its own self-sustaining habit. 
Just as;”when I always think as I have always thought I will always get as I have always got”.
When I repeat behaviour for twenty-one to thirty-seven days, it will become a habit.
 Once I have developed the pattern I can then let go of the conscious awareness of that thought and behaviour, allow it to become a habit, and then put my thinking onto other evolutionary processes.
 I can create a better person at a conscious level because I have created a habit that develops a core belief attachment, and goes to my core belief system, and will activate the habit that I desire, after repeated use. 
 To change a habit pattern, I must implement constant mindfulness. 
 A conscious declaration of change in habit, and replacing the habit with a desired behaviour, will begin the process.
 I will repeat the desired behaviour until the new behaviour becomes the habit.
  It becomes subconscious thought, and I am freed to think other thoughts consciously; and evolve myself in other ways by consciously being aware of my positive, optimistic and energetic attitude. 
 To create positivity, I change the habit by changing the perspective of the behaviour, in the process,
 I develop an optimistic, positive, energetic behaviour that resonates more harmoniously with me. 
 It takes discipline to create change. 
 I must implement conscious decisions each step of the way.  
I seek out new knowledge. 
 I develop skills to be a better person.
  I know that I can be better each day in every way. 
 I will take training when I need to improve my skills.  
When I need to, I will change the way I interact with people for a more positive relationship. 
 It takes energy to maintain the positive thoughts.  It takes courage to maintain the position of moral, ethical right.
I persist in positive thoughts when adversity, challenge, conflict, or emergency circumstance is in front of me. 
 I maintain positive thoughts. 
 When I decide, my imagination manifests opportunities for solution, creates possibilities and demonstrates my ability to succeed. 
 My positive, optimistic and energetic thinking creates the opportunity, and my imagination is developed to manifest solution as I desire. 
 The way I think determines the outcome.
  Success is created with a state of mind. 
 When I think, feel and act with success in mind, that is the outcome I can expect. 
 I have the personal satisfaction of choosing and using my own effort and manifesting that positive, optimistic result. 
 I am self-empowered, I am self-disciplined. 
 I reward myself for effort; I reward myself for hard work. 
 I reward myself for paying focused attention.  My success is a product of perseverance with purpose.
  I develop my mental muscles with repetition and positive reinforcement. 
 I see positive thoughts radiating to me and through me. 
 I see clear white light surrounding all of my thoughts, energizing my physical, mental, emotional and spiritual self 
White light energy eliminates all negativity, all disorder, all disease. 
 I have developed well-defined goals that I will achieve. 
 I have conceived, do believe and will achieve. 
 	At the end of every day I take a moment and I reflect on all relevant circumstances. 
 I celebrate my successes and I forgive mistakes and shortcomings.
  I see tomorrow; I see the energy required to achieve the goals I have set for myself. 
 I let go and I allow myself to be responsible for now and what happens next. 
 I am positive; I am optimistic; I am energetic.  I put all circumstances into a context of full potential for my life and those I love. 
 Everything I do is with the intention of being a benefit for myself and others.  I only seek to think, feel and act in a positive manner. 
 I remind myself anytime I need to be positive: I am positive, optimistic and energetic for myself and to others. 
 I bring positive energy to my environment.
 I demonstrate positivity with acts of kindness toward people around me. 
 Love is in my heart today, and love is really love when I give my love away. 
 I strive for excellence, and play with every part of my being.
  I maintain tranquility, and I enjoy the play. 
 I remember:  "As I conceive and do believe, I will achieve". 
Every feeling is based on how I think, and when I think positively, that is the attitude I create. 
 I create my own place, my own life, my own direction.
 I make my own point.  I recognize it is my own life, and I decide. 
 I am here to demonstrate my purpose, my intention and my message.  
I am my own person, and once I understand how to be fully responsible for myself, to create positive, optimistic and energetic circumstance, then I am achieving my purpose.
  The power that I look to is my subconscious truth.
  I decide what my life looks like.
  I decide the success I experience.  I achieve by writing down my goals, by thinking about how I will achieve those goals that I write down. 
 I will create opportunities to create success with those goals in mind. 
 I conceive clear messages, memories and reminders of success; as I desire success. 
 I remember that visualizing a goal creates energy around that vision. 
 Desire creates achievement through visualizing a goal.  I see the outcome in mind. 
 I visualize my goals in my mind's eye.
 I visualize the outcome already achieved as I have desired. 
 My life force is waiting for my intention to be directed. 
 I have the ability, I have the will and I will decide to do right for myself.  I am positive, optimistic and energetic. 
I have a positive energy field around me that creates an energized magnet. 
 I am magnetic. 
 I demonstrate a magnetic personality.
  I am worthy.  I demonstrate worthiness.  I am positive.  I demonstrate positivity.
  I share positive energy.  I demonstrate the positive attributes of courage, compassion, patience and discipline.  
Adversity develops my greatest strengths, and I am positive, optimistic and energetic in the face of any and all challenge or adversity. 
 I am positive. 
 I know that I can. 
 I know that I will. 
 Because I am... 

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