Do Campaign Communications Matter for Civic Engagement

Who killed civic engagement? During the last decade multiple voices on both sides of the Atlantic have blamed campaign communications for fuelling public cynicism. In particular, political actor accounts claim that links between politicians and voters have been weakened by the adoption of professional marketing techniques, including the mÈlange of spin, packaging and pollsters. In contrast, media actor accounts hold journalistic practices in campaign coverage liable for growing public disengagement from civic affairs, and this thesis has developed into something of an unquestioned orthodoxy in the popular literature. The arguments are hardly new, but are these claims correct? Previous work by the author has argued that the process of campaign communications by politicians and journalists has not contributed towards civic disengagement (Norris 2000). This chapter, based on analysis of long-term trends in political communications in American election campaigns from the Eisenhower era in 1952 until the Bush-Gore contest in 2000, confirms that the indictment remains unproven. The chapter draws upon fifty years of National Election Surveys. Many popular commentators suggest that the American public was exceptionally disenchanted by the 2000 presidential election but, in contrast, this chapter demonstrates that, (i) contrary to popular opinion, the electorate did not display exceptional levels of disaffection in the 2000 campaign, in fact according to the standard indicators, American faith and confidence in government has been progressively restored in successive elections from 1994-2000; (ii) overall levels of political activism, interest in elections and public affairs, and attention to the news media display trendless fluctuations in successive American campaigns during the last twenty years, not a steady secular decline; and lastly that (iii) at individual-level, channels of campaign communications directly initiated by politicians and indirectly mediated by journalists are positively associated with levels of civic engagement. To develop this argument, Part I briefly summarizes the theoretical framework including conceptual models of how the process of political communications in election campaigns has been transformed over the years and theories about how these developments may have fuelled public cynicism. Part II examines whether there has been a long-term  decline in civic engagement in the United States, as many claim, monitoring trends in party canvassing, campaign activism, political interest, trust in government, and attention to the news media, drawing from the series of surveys in the American National Election Studies. Part III examines the impact of attention to the campaign on public engagement, with models conducted at individual-level. The conclusion outlines the theory of ëa virtuous circleí to explain the pattern we find. Rather than mistakenly criticizing the process of campaign communications, the study concludes that we need to understand and confront more deep-rooted flaws in American democracy. The Theoretical Framework At the most general level, campaigns can best be understood as organized efforts to inform, persuade, and mobilize. Using a simple model, campaigns include four distinct elements: the messages that the campaign organization is seeking to communicate, the channels of communication employed by these organizations, the impact of these messages on their targeted audience, and the feedback loop from the audience back to the organization. Some messages are conveyed directly from politicians to voters, such as through door-to-door canvassing, advertising, and Internet websites, but most are communicated indirectly via the prism of the news media. This process occurs within a broader social and political environment. Effective campaigns also include a dynamic feedback loop as campaign organizations learn about their targeted audience and adapt their goals and strategies accordingly. Indeed the most dramatic effect of campaigns may be evident at elite rather than mass levels, for example if electoral defeat leads towards parties adopting new policies and leaders. Understood in this way, campaigns essentially involve the interaction of political organizations, the news media as prime intermediary, and the electorate. Studying these phenomena systematically is difficult because effective research designs require analysis of dynamic linkages among all three levels and often data is only available at one, namely post-election cross-sectional surveys of the electorate. Although we commonly think of elections as the prime arena for political campaigns in fact these come in a variety shapes and forms, such as AIDS prevention and anti-smoking campaigns by public health authorities, environmental recycling campaigns by environmentalists, and attempts to win hearts and minds in the debate between transnational advocacy groups and anti-globalization movements and government and business proponents of free trade in the ëbattle for Seattleí or Quebec. Campaigns can be regarded as ëpoliticalí when the primary objective of the organization is to influence the process of governance, whether those in authority or public opinion and behavior. As other chapters in this volume discuss, the primary impact of this process may be informational, if campaigns raise public awareness and knowledge about an issue like the dangers of smoking, or problems of the ozone layer. Or the effect of a campaign may be persuasion in terms of reinforcing or changing public attitudes and values, such as levels of support for the major parties or the popularity of leaders. Or campaigns may have an effect upon mobilization, - the focus of this study ñ typified by behavior such as voting turnout and party volunteer work. Many accounts emphasize how the process of campaign communications has been transformed during the twentieth century, but nevertheless the impact of these changes upon the contents of the messages has not been well established, still less the impact of the process upon mobilizing or demobilizing the general public. Many fear that common developments in election campaigns have undermined their role as mobilizing processes. The last decade has seen growing concern in the United States about civic disengagement fuelling a half-empty ballot box. The common view is that, faced with the spectacle of American elections, the public turns off, knows little, cares less and stays home (Nye et al 1997; Ladd and Bowman 1998; Putnam 2000). Similar fears are widespread in many other democracies (Pharr and Putnam 2000). The growth of critical citizens is open to many explanations that have been explored elsewhere (Norris1999), linking public confidence with levels of government performance and value change in the political culture. One of the most popular accounts blames the process of political communications for public disengagement, especially the changing role of politicians and journalists within election campaigns. The idea that typical practices in campaign communications have fostered and generated civic malaise originated in the political science literature in the 1960s, developed in a series of scholarly articles in the post-Watergate 1970s, and rippled out to become the conventional wisdom today. The chorus of critics is loudest in the United States but similar echoes are common in Western Europe. There is nothing particularly novel about these arguments but their widespread popular acceptance means that the evidence for these claims deserves careful examination. Two main schools of thought can be identified in the literature. Political actor accounts emphasize the decline of traditional fare-to-face campaigns, eroding direct voter-politician linkages, and the rise of ëspiní and strategic news management by politicians, reducing public trust in parties and confidence in governments. Journalist actor accounts stress the shift within the news media towards covering political scandal rather than serious debate, policy strategy rather than substance, and conflict rather than consensus. These development can be regarded as complimentary, with the shift towards strategic news management by government prompting a journalistic reaction, or as two autonomous changes. Campaign demobilization? In theorizing about these developments, campaigns can be understood to have evolved through three primary stages. Pre-modern campaigns are understood to display three characteristics: the campaign organization is based upon direct and active forms of interpersonal communications between candidates and citizens at local level, with shortterm, ad-hoc planning by the party leadership. In the news media the partisan press acts as core intermediary between parties and the public. And the electorate is anchored by strong party loyalties. During this era, which predominated in Western democracies with mass-branch party organizations at least until the rise of television in the 1950s, local parties selected the candidates, rang the doorbells, posted the pamphlets, targeted the wards, planned the resources, and generally provided all the machinery linking voters and candidates. For citizens the experience is essentially locally-active, meaning that most campaigning is concentrated within communities, conducted through more demanding activities like rallies, doorstep canvassing and party meetings. Modern campaigns are defined as those with a party organization coordinated more closely at central level by political leaders, advised by external professional consultants like opinion pollsters. In the news media, national television becomes the principle forum of campaign events, a more distant experience for most voters, supplementing other media. And the electorate becomes increasingly decoupled from party and group loyalties. Politicians and professional advisors conduct polls, design advertisements, schedule the theme de jour, leadership tours, news conferences and photo opportunities, handle the press, and battle to dominate the nightly television news. For citizens, the typical experience of the election becomes more centrally-passive, in the sense that the main focus of the campaign is located within national television studios, not local meetings, so that he experience becomes more distant. Lastly post-modern campaigns are understood as those where the coterie of professional consultants on advertising, public opinion, marketing and strategic news management become more co-equal actors with politicians, assuming an increasingly influential role within government in a ëpermanentí campaign, as well as coordinating local activity more tightly at the grassroots. The news media fragments into a more complex and incoherent environment of multiple channels, outlets, and levels. And the electorate becomes more dealigned in their party choices. The election may represent a return to some of the forms of engagement found in the pre-modern stage, as the new channels of communication allow greater interactivity between voters and politicians. Post-modern types of communication can be conceptualized to fall somewhere between the locallyactive dimension of traditional campaigns and the centrally-passive experience characteristic of television-dominated elections. Case studies suggest that political campaigns in many nations have been transformed by the widespread adoption of political marketing techniques, although countries have not simply imported American

Blade Runner – Future Vision

Scott’s “Blade Runner” did not have it easy. The director of “Black Hawk Down” in 1982 was not just predominantly friendly film criticism and also faced a tough competition: Spielberg’s “E.T.”. No “Oscar” was seen far and wide, only two nominations. “Blade Runner” is a “visually, but also dramatically fascinating,” futuristic “, a” science fiction western “that revolves around the question of what humanity ultimately makes – photographed in a gloomy, dirty world of the year 2019 “Shadows” (1980), Fred Zinnemann’s “High Noon” (1952), and “Metropolis” (1927) are all the more obvious ,

With the introduction, the film begins: “At the beginning of the 21st century, the Tyrell Corporation introduced robots into the” Nexus “phase, creating a completely identical human being – the replicant. These artificial humans of the Nexus 6 phase were stronger, more agile, and at least as intelligent as the genetics engineers who created them. Replicants were abused as slaves in the dangerous exploration and colonization of other planets.

After the bloody mutiny of a Nexus 6 combat group in a colony on another planet, replicators were banned from returning to Earth, threatening the death penalty. Special police units – the ‘Blade Runner’ – were ordered to kill any replicator discovered on Earth. One did not call it execution, but ‘pull it out of circulation.’ “Blade Runner Holden (Morgan Paull) is waiting for Leon (Brion James) in a dreary room. Leon enters the room, seemingly confused, almost frightened, while Holden, smoking a cigarette, makes his strange questions ice-cold. He performs the Voightkampff test. Leon is getting more nervous from question to question. Suddenly, he pulls a weapon and gives two shots to his counterpart after Holden has asked him to tell him all the positives to his mother. Holden is dead. Rick Deckard (Harrison Ford) is unemployed and alone. He was a Blade Runner some time ago. One sees him sitting on the street, reading the newspaper, waiting. He is hungry and is waiting for the snack bar to get free on the other side of the road. He has hardly eaten anything when suddenly the policeman Gaff (Edward James Olmos) stands behind him and ultimately calls him to drive with him to Polizeichef Bryant (M. Emmet Walsh). Bryant looks at Deckard briefly and gives him – who is no longer working for the police – an order: six replicas killed 23 people and would be illegally on the earth. He needed him to kill her. Deckard has no choice. Either he’s back with him, or he has to be afraid of his life. “If you’re not a cop, you’re little people.” Bryant tells Deckard that the Nexus 6 replicas have a lifetime of four years, because they are so equipped that they can develop their own emotional world over time. He could convince himself of this risk.

In the Tyrell Corporation, he is to test a replicator. Deckard does not know he is facing one such when he first sees Rachael at Tyrell (Joe Turkel). Rachael also thinks she is a human being. Over a hundred questions, Deckard calls Rachael. When she leaves Tyrell’s office, Deckard asks Tyrell, “She’s a replica, is not she?” Tyrell said yes, but one that had implanted memories – more human than man, more perfect than man. So she does not know she is not a human being.

When Rachael is standing in front of his doorstep and offers him his help, she leaves Deckard reluctantly and makes her realize that she can not be a human being. He tells her about “her” childhood, which is really the expression of implanted memory of another person , The replicators Roy Batty (Rutgerhauer), Leon and Pris (Daryl Hannah) are looking for a way to get to Tyrell. They assume that Tyrell is the only one who can extend their lifetime. The “eyewitness” Chew (James Hong) refers her to Tyrell’s co-worker, J.F. Sebastian (William Sanderson), a designer of artificial life. Pris makes contact with Sebastian and Roy forces him to lead her to Tyrell. However, Roy explains that there is no way to extend her life. Tyrell must pay with his life. During this, Leon Deckard threatens. Shortly before he wants to get his eyes out, Rachael Deckard saves Leon by a targeted shot. Deckard himself finds the serpent Zhora (Joanna Cassidy) and can kill her: he shoots her from behind. There are only Roy and Pris, the Deckard with Sebastian in the apartment track. And Rachael, to which Deckard developed a ambivalent relationship. He seems to love her …Scott’s science fiction is filled with intentional associations, hints, references to religious myths, etc. These associations are not staged, merely indicated, named, and left to the viewer to draw his conclusions. “Blade Runner” is one of the few films in the film history, which is also one of the “wildest” speculations – also because they refuse to offer any solutions , Reflections, interpretations. The world that Scott shows is a dark, torn, steamy, smoking, wet, cold, machine world. The huge video commercials preach superficially, but on closer inspection rather sarcastic commentary on this world, which seems to have been divided into people of flesh and blood here, in skin-covered artificial replicas there. A devilish industrial estate covers the globe. Smog and fire have evidently been laid down forever over the living and their cities. The streets are filthy, it almost always rains, the building in which Sebastian lives is almost completely decayed. Bright artificial light seems to be the only source of brightness. The figures live largely from their artifacts. But this is, in a sense, not a homogeneous world. It consists of the relics of different epochs and decades, especially of the 20th century, with regard to clothing, interior decoration of the rooms, buildings, a miscellany framed by Vangelis music. Like thousands of layers, history piles up in the images, dead, and seeming, which seems to evade explanations, solutions, answers. The association to Kubrick’s “2001: A Space Odyssey” is sometimes striking, not in the way of narrative, concrete visualization, but in the overwhelming feeling of a world in which people seem to hide from their own development without them awareness.

At all, “Blade Runner” is not a narrative, not a drama in the current sense. The end point and the starting point are almost identical. When the hunt ends, nothing has changed. Or is it? This world shows Scott to the excess. The camera rushes through it as if we were part of this world. And we are somehow too. The eye plays a special role. The eye seems to be the only means of grasping this world, but actually conceals the secrets of this bombastic art-product “world”. People can recognize replicas just about the eye, its metallic luster – they believe. But is this the ultimate truth? Even this is not really safe in this world. Tyrell, Chew and the snake-maker wear monstrous spectacle frames to see better. Through them we also see. But what do we and she see and is that “the reality”? Or which? The eye also stands for the camera, the film. Scott’s camera is part of this hodgepodge of eyes that are supposedly not cheating. Seeing is, on the one hand, the almost one, at least the most important, possibility of understanding the world; on the other hand, this vision is held in a subjective sphere, which renders the person of knowledge lonely. It is “only” his recognition of the world, which he perceives through the eye, which itself separates through a membrane inner and outer.

The eye also means being seen. The replicants like the people but want to hide themselves, the one because they do not want to be killed, the others because they want to kill. Pris paints her face, her eyes color, plays a doll in Sebastian’s apartment, as Deckard is on her trail. She hides herself. Everyone is hiding. The replicants appear – not only once – as an artificial reflection of the human, which seems lost. However, the recognition of the replicas over the eyes itself is doubtful. The question test is doubtful. Over a hundred questions, Deckard raises Rachael and is not sure afterwards whether she belongs to the replicants. Deckard already belongs to the doubters in this world, which he himself belongs to. He does not want to take responsibility for the consequences of technological development. That’s why he’s no longer a Blade Runner. His superficial hardness, which he had learned as a policeman, as a hunter, now serves him as a protective shield. He has failed and he does not even know how far he has failed. In the end, when he enters the elevator with Rachael, he can no longer be sure whether he is not a replica himself. Scott also leaves this question open, but he places it, he confronts the viewer with the possibility. Perhaps Deckard belongs, perhaps all the others who consider themselves to be human belong only to another sort of replicant. Finally, even Rachael can not recognize by herself whether she is human or replica.

The initial scene between Leon and Holden, this futile, lethal process of “knowing”, reproduces itself in the conversation between Deckard and Bryant, later between Roy and Tyrell. It just seems to be one thing: to recognize, to search for reality and truth. The boundaries between man and replicator are becoming increasingly clear. The difference seems to be an invention, production of ideology. The replicants appear like their oppressed and their life-oppressed oppressed, who as if they fall from heaven-on the earth in a kind of revolt want to strip their colonial status. Tyrell, the most powerful man, has to pay for it: a father’s murder, which Roy does to him by squeezing his head in his eyes, taking a look at him, and life. Is seeing really as important as Scott tells us? Or is there already a huge fallacy here – potentiated by the power of the visual in the film? (1)

The replicant does not represent Scott as dull, unfeeling, technically “barbaric” figures, but as ambivalent as humans. In Rachael, this is the most obvious, the replica who can remember, who insists Deckard the words she does not know: “Kiss me, I want you, put your arms around me.” These words does not know Rachael because she is in their (implanted?) memory do not occur. When she asks him if he ever did the test, she tells him that he too can not be sure to be human. They look into each other’s eyes, are lonely – also a hint in the film, which is always emphasized: the loneliness of all the characters – but for a brief moment in the other, are reflected, do what has lost this world seems – a “certain” certainty, reliability.

Roy, too, is not the brutal machine that he might appear at first. When his time has expired, he saves his life on the hunt between him and Deckard. While Deckard initially showed a very distant relationship with Rachael, culminating in the fact that he was forcing her to flee from a kiss on the wall violently, from this point onwards, both relationships are changing. Ultimately, they no longer see a serious difference between themselves , From the “It”, which Rachael was to Deckard, has become a “you,” the unintelligible for Rachael, the erotic, not just the sexual, has become part of her memory. The relationship between Roy and Tyrell is different: Roy is looking for life, the longer life, his clock threatens to run off. His “father” tells him that he can not help him. From a “technicistic” relationship between father and son results the murder. Roy kills Tyrell because his father did not give him a life, but only a certain death without a life in freedom, an existence without vitality.

The dream of life is “Blade Runner”, but only the dream. Neither the people – who may be replicas – nor the replicas – who are perhaps (mutated?) People – the most hotly controversial issue that has been and will be discussed intensively – see (eyes!) Another way to live through violence. With two exceptions: the “miraculous” rescue of Deckard by Roy and the unicorn that Deckard appears in the dream as he looks at his family photos. The unicorn symbolizes the innocence and purity, the feminine principle of the receiving and instinctive, the unconditional love, also for the healing of wounds, the resurrection of the unicorn, assuming that it places its head in the womb of a virgin and thereby loses its wildness Dead, nature (according to the mythical being, when a poisonous river touches the horn, the water would have been pure again). The unicorn was hunted and exterminated. It is precisely this longing for innocence, love, and purity – in this form an “absolute” desire, a fantasy for perfection, but also the longing for a fundamentally different life – in a brief moment at Deckard.

“Blade Runner” could be a lot of writing, interpreting, feeling. Some think the film manipulates exclusively by its visual power, but does not contain much more. So a typical example of the power of the images, the glare? Also! But the deconstruction of these images reveals, in my opinion, central moments with regard to the question – not the answer – what constitutes humanity. These include the importance of remembrance as a major instigating moment, the lostness in the pseudo- objectivity of the “post-industrial” age, the illusion about the power of technology and the illusion about the impotence of the “technological” social fabric, feminine and “the” male view, which is not necessarily manifested through personalization on gender, about loneliness and connectedness, separation and context – and perhaps more. Also, by the way, how we (also movies): see. “Blade Runner” has the “advantage” – like few other films in the sea of ​​the (cinema) pictures – to be able to reveal new discoveries at every sight. That depends on each and every individual.

Sample Endnotes in MLA Style

If you indent your paragraphs, the entire essay is typed double-spaced. Title of essay centered, 1” (2.5 cm) margin on all four sides, page number at upper right hand corner ½” (1.25 cm) down from the top.

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Endnotes must be listed numerically and consecutively, both in your essay and in your Endnote citation. Endnote numbers must be superscripted. In your text, add a superscripted number immediately after the quote or reference cited with no space.

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It is recommended that you use Endnotes in place of Footnotes. This will eliminate the need to allow sufficient space to accommodate all the required Footnote entries at the bottom of the same page where your citations occur. If your instructor has no preference, use the much simpler Parenthetical Documentation in place of Footnotes or Endnotes.

Jones 1

Tracy Jones

Mr. K. Smith

ENG-4GN-01

18 April 2006

The Many Facets of Taboo

The World Book Encyclopedia defines Taboo as “an action, object, person, or place forbidden

by law or culture.”¹

An encyclopedia of the occult points out that taboo is found among many other cultures

including the ancient Egyptians, Jews and others.²

Mary Douglas has analyzed the many facets and interpretations of taboos across

various cultures. She points out that the word “taboo” originates from the Polynesian

languages meaning a religious restriction.³ She finds that “taboos flow from social

boundaries and support the social structure.”⁴

In reference to Freak Shows at circuses, Rothenberg makes the observation that

people who possess uncommon features and who willingly go out in public to display

such oddities to onlookers are acting as “modern-day taboo breakers” by crossing

the “final boundary between societal acceptance and ostracism.”⁵

In traditional British East Africa, between the time of puberty and marriage, a young

Akamba girl must maintain an avoidance relationship with her own father.⁶

Looking at taboo in a modern society, Marvin Harris gives an interesting example of the

application of cultural materialism to the Hindu taboo against eating beef.⁷

Begin your Endnotes page by centering the title Endnotes or Notes 1″ (2.5 cm) or about 6 lines from the top of the page. Double-space your entries, indent each Endnote citation 1/2″ (1.25 cm) or 5 spaces from the left margin, do not indent subsequent lines, add a superscripted Endnote citation number at the beginning of each citation, leave one space after the superscripted number, and list entries in the same numerical order as they appear in the text of your paper.

For samples of numerous other Endnote citations, please see MLA Handbook for Writers of Research Papers, 6th ed., pages 300-313.

Endnotes

¹Alan Dundes, “Taboo,” World Book Encyclopedia. 2000 ed.

² “Taboo,” Occultopedia: Encyclopedia of Occult Sciences and Knowledge,

Site created and designed by Marcus V. Gay, 18 Jan. 2005 <http://www.occultopedia.com/

t/taboo.htm>.

³ Mary Douglas, “Taboo,” Man, Myth & Magic, ed. Richard Cavendish,

new ed., 21 vols. (New York: Cavendish, 1994) 2546.

⁴ Douglas 2549.

⁵ Kelly Rothenberg, “Tattooed People as Taboo Figures in Modern Society,”

1996, BME / Psyber City, 18 Jan. 2005 <http://bme.freeq.com/tatoo/tattab.html>.

⁶ Sigmund Freud, Totem and Taboo (New York: Random, 1918) 17.

⁷ Marvin Harris, “The Cultural Ecology of India’s Sacred Cattle,” Current

Anthropology 1992, 7:51-66, qtd. in McGrath, “Ecological Anthropology,” Anthropological

Theories: A Guide Prepared by Students for Students 19 Oct. 2001, U. of Alabama,

18 Jan. 2005 <http://www.as.ua.edu/ant/Faculty/Murphy/ecologic.htm>.

If your instructor considers your Endnotes to be adequate documentation, you may not be required to complete a Works Cited, References or Bibliography page. Otherwise, a separate page must be added at the end of your paper entitled: Works Cited, References, or Bibliography to include all of the citations already listed on your Endnotes or Notes page. See example below.

Works Cited

Douglas, Mary. “Taboo.” Man, Myth & Magic. Ed. Richard Cavendish. New ed.

21 vols. New York: Cavendish, 1994. 2546-2549.

Dundes, Alan. “Taboo.” The World Book Encyclopedia. 2000 ed.

Freud, Sigmund. Totem and Taboo. New York: Random, 1918.

McGrath, Stacy. “Ecological Anthropology.” Anthropological Theories: A Guide

Prepared by Students for Students. 19 Oct. 2001. U. of Alabama. 18 Jan. 2005

<http://www.as.ua.edu/ant/Faculty/Murphy/ecologic.htm>.

Rothenberg, Kelly. “Tattooed People as Taboo Figures in Modern Society.”

1996. BME/Psyber City. 18 Jan. 2005 <http://www.bme.freeq.com/tattoo/

tattab.html>.

“Taboo.” Occultopedia: Encyclopedia of Occult Sciences and Knowledge.  Site created

and designed by Marcus V. Gay. 18 Jan. 2005 <http://www.occultopedia.com/t/

taboo.htm>.

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beautiful words for girls 7/2017 (ARTİCLE)

The world in 2 Color roses, one red and the other white, reds, you left I miss you, I miss you, if you get a white Shroud. You think I miss you, in the depth of the longing of love what happens when her legs dirt devil Remember me, in the cool of a fall. I didn't like you yesterday because yesterday is over. I don't like you today because it ends today. Your love, tomorrow never ends. Roses are always on their hands you're hungry, but the spines sank. Love always find you, but hitting you. Your heart always filled with happiness, but to make me forget.  You sometimes pitch-dark night, my sun, so that will give you the courage to live life, sometimes happiness, sometimes and always my love is the only reason.  When I held you, the sea was able to. When I held you, my heart undercurrent, I'd love to go on the back of mosses Yesil stuck for days.  Chichewa you're in the desert you; lose you; if I would water with my tears dripping in my eyes for you if you were to lose; I wouldn't cry for you.  Someone near me with him, and he has denied everything even though you're convinced you've captured the heart of offered by moved him though, I know you you'll think of me tonight.

beautiful words for girls 6/2017

 One day a wind. Don't forget me my love for you the way you love me in a pinch of fisildarsa ear. Imagine a lonely night who have the hope of the helpless, lips the rain on the streets, you only you're mine, sweetheart. Although in the Rose Garden passed life, I believe, rose to the top even though you smell I can smell that rose from my death worth dying for rose. You'll be the sun that wears yellow, she wears marine blue, you'll be you'll be in mourning black, who knows maybe one day you'll be mine wears white. Rose petals with daisies embellished your bed with your dreams, love dreams and all the nightmares that I got over with the most beautiful cover you see. Light a light so dark that sometimes life happens you drop it you won't find a thousand. But with the smile of someone you love forget.

nice words for girls 5/2017

How should I, my darling, you looked so beautiful and my eyes, love will not die, I suppose. He asked if I had your coffee sweet. I thought it would be a shame when you have in front of me. I'm too shy, I can't say I live the loneliness, they say you love that words aren't enough. His head nestled against my chest there is a single enemy: the time that subsistence goes. Though all the seas ink and all trees pen in the world, though I can't write your poem, though.

nice words for girls 4/2017

If I trust you with my heart, will you protect? Heaven on the tip of my tongue, my passion now at the end ‘your life will you be?  You shoulder the burden of my heart it's not. On my skin it's not me. Transported back to the heart is heavy.
Me if on this street, in this neighborhood, in this city, if you can't find, baby I've had. The river, your eyes, Lashes Bridge, while passing through the ropes come off full of going to get the place that I fell your lips. Deciduous quoted in red below the silence between the lines drawn and my initials of my youth.