Friends HUG | Girls Friend Hugs

Love is one of the most abused, misused and overused word of all languages. It normally expresses a feeling or emotional connection but can cover an expansive range of meanings from superficial waffle to heartfelt revelation. It is used in such diverse ways that its true meaning can be lost in a wilderness of self-centered superficiality exposing vulnerable patterns of living and longing resting upon conditionality, where the apparent giving contains a demand for its return.
The word love is potentially losing its value to express the sincerity of a genuine connective link of one to another. Unseen conditions are subliminally being imposed upon its unconditional nature, requiring a positive acknowledgment in order to maintain itself, creating conditionality. However, for love to be honest it must be unconditional; as every other form of expression demands its return.

Love not returned creates rejection that easily converts to anger and retribution. Conditional love is a double-edged sword used to protect oneself and slay others that infringe that protection.Expressing what love is not, is easy. Expressing what it is, uses words to convey a meaning but the words are never it. No matter how eloquent love is expressed, the words rarely capture the true depth of intensity they are attempting to convey, as all words live with their restrictive meaning, and genuine love is unrestricted or unconditional. Consequently, language is imbued with its own limitation that can only point at a meaning. If that pointing is taken as what it is, the meaning has been missed. If words cannot adequately express love, then how is love communicated?Expressing love normally follows the well trodden path of giving something to demonstrate that love exists. The big gifts are intended to convey a big love, while something handmade creates a more intimate and personal message. However, these are all ‘things’. Even if the intent of the giving is well founded the ‘things’ over time, no matter how expensive or personal, gradually lose their significance as they appear to contain an inherent value-elapse date. The ‘things’ used to express love live within the immediate and appear to hold no sustaining power.Expressing love, if not contained in words or things, is reduced to acts. Acts of love, at first blush, appear to be contained within the willingness to do anything at anytime for the one loved. However, that is conditional in the guise of unconditional. If the acts are repulsed the conditional aspect arises, creating depression founded upon rejection; or creates exterior superficial acts of apparent disinterested bravado harbored within a potential boiling cauldron of hostility.Acts of love, to carry any real sense of honesty, are always unconditional where the giving is not even thought about as giving. The act is self-contained, existing within the simplicity of the doing. Surprisingly enough those acts are normally not the big ones you tend to read about, but the little ones that go unnoticed by everyone expect the recipient. Tiny acts of being supportive, acts of kindness, empathy, thoughtfulness and patience reveal an open and unguarded nature conveying a connection that bonds the heart of the giver to the heart of the receiver. That unity is bonded by a silent trust contained within that unguarded act, allowing both the giver and receiver to be condition free. The moment the giving is response (condition) free, the receiver exists in the same freedom, as he or she is equally response free. That dual freedom embodies an unseen mutual trust as a foundation for that connective liberty. The response to the act of giving is then contained within the giving. It is unconditional. This entire process occurs within a bond of knowing silence where not one word is used or necessary. It is identical to when a little child looks into the eyes of a parent or sibling, for no particular reason gives them a hug and walks away. It can be a melting moment in ones existence and not one word has been spoken, but that silence thunders a gargantuan connective intensity. Underlying that intensity is an all-pervading trust that is silently communicated by the action.How often in ones lifetime do those moments occur? When they do, they are treasured above all else. Years later all the gifts and ‘things’ are forgotten, but that one moment is not. That moment is an expression of love, as the giving is contained within itself. By being contained (unconditional), it allows the doors of an unspoken personal connection to pulsate into life of its own volition. The giving has not conditioned a response; it frees or releases the receiver to be in resonate accord with the giver, and it all occurs in silence.The same process occurs with whatever or however you conceive a creator source. The ‘things’ you may do in an attempt to connect to that creator fails in comparison to a connection arising out a non-physical ‘silent hug’, and leaving it at that. That ‘silent hug’ is a giving that is returned by the giving. It is all self-contained or unconditional. Many try to love a creator, doing acts to demonstrate that love. No matter how good and beneficial they are, they miss the point. The ‘missing the point’ is felt, as you may feel good about yourself for doing those activities but you do not necessarily simply feel good. The ‘yourself’ is included in the act, which is a slippery method of establishing a sense of inclusion, restricting the act and the result, potentially enhancing the self-importance of the giver. It is a form of backhanded conditionality.That ‘feel good’ feeling standing on its own only arrives when the giving or doing is unconditional, and it does not arise because of what is given or done. The conditional may make you feel good about yourself, but the unconditional ignores that self. With no sense of self doing or giving, the act turns inward at the same time as it moves outward, converting it into the heartfelt sensation of feeling good, as there is no sense of self there to claim it as its own. The act connects straight to your creator source, bouncing back as a confirmation, simply making you feel good. It is a ‘silent hug’ that is simultaneously hugging the giver and receiver, bonding one to the other in that sharing moment.Remove the sense of self from the action and you have removed the barrier between the action and its confirmation. With the sense of self in control, that self will always absorb the confirmation energy to uphold itself, thereby, missing the confirmation as that self just feels good about itself but does not necessary feel good. There is no ‘silent hug’.Understanding the word love must have an intellectual foundation to stand upon or it will always wither and die. All your actions in the physical world parallel or stand upon that foundation, and are confirmed by not allowing your sense of self to strengthen with the action. With the sense of self, that requires recognition for the action, not present; the action contains no barriers allowing a confirmation energy to engender the essence of your being. And it simply feels good, identical to a ‘silent hug’.The next time you feel isolated in a large universe and want to establish the reality of a creator force, give someone a ‘silent hug’ by a simple act of kindness or thoughtfulness. Those simple acts come as a surprise to the recipient as no one expects them anymore, which has to be a condemnation of the direction our civilization is taking. By perpetuating those acts of thoughtfulness, compassion, kindness etcetera, you also no longer feel isolated in a large universe, as those acts create an unseen bond that you can feel, as they simply feel good, which is confirmation. You give a ‘silent hug’ and it is silently returned, which is love in action.There are few tips and tricks before setting gymnastics moves with music. Music has the ability to create positive vibes around you. Energetic music passes enthusiasm on the performers, thereby boosting their performance. Gymnastics floor music can be devoid of lyrics but its melody has the ability to enhance the agility of your body. There are various ways to learn how to acquaint your body with the particular music. Gymnastics floor music provides a background music that appeals to the viewers as well. Read more on history of rhythmic gymnastics. Good gymnastics floor music provides a medium that enables graceful movements, thereby enjoying the sport to the maximum. There has been a considerable improvisation on gymnastics performance techniques. Earlier more stress was laid on the techniques, but today introduction of music has accentuated the grace of performing the art. Gymnastics clubs and coaching centers play floor music in a routine. With subtle choreography, the performance becomes more entertaining. Basically the music is more instrumental than lyrical. Check out the following tips and tricks practiced by performers on gymnastics floor along with music. You might also like to know about facts and objectives of gymnastics.The floor music varies depending on the type of art you are performing. It can be artistic, trampoline, rhythmic or tumbling. Music for sports gymnastics also vary. The most popular types played on gymnastics floor are pop, hip-hop, classical or rock music. Techno music from Germany and England are very much played on gymnastics floor. Authentic folk music from China, Rome, Italy, Greece are also loved by acrobatic performers. The youngsters of this generation is more fond of hard rock to semi-hard rock as gymnastics floor music. They derive immense energy and enthusiasm out of this. Check out the following list of some popular gymnastics floor music.The Renaissance, which means ‘Rebirth’, marked the end of the Medieval Period or the Dark Ages in European History and heralded the beginning of an extraordinary cultural upheaval in Art, Science and Technology that was influenced by a resurgent interest in the Classical Works of Ancient Greece and Rome. Since the Italian City-States of Florence, Venice, Milan, and Ferrera were the great Maritime trading powers of the time, they had become extremely wealthy and could indulge in cultural pursuits, and it was under them that the Renaissance Age took root. In complete contrast to the earlier Church supremacy, artists, musicians and the aristocratic families that nurtured them began gaining in influence, and their socially progressive ideas and inventions filtered down amongst the rest of the society.Development of Music in the Renaissance –The Musical Renaissance, which occurred between 1430 to the late 1620s, began in Flanders mainly, which then comprised of modern Belgium, Holland and France, and by the late 16th century had moved base to the richer Italian cities.Since the Classical Works were fashionable, the musicians closely followed the Greek Philosopher Plato’s diktat about words being more important than music, and so mainly composed music for singing rather than for just instrument playing. There were some oddballs, of course, who quite successfully made the songs sound more musical and the music sound more like words or bird or animal sounds. The musical portrayal of the poetic words used was called word painting, and it made for pleasant listening. The music had both religious and non-religious themes.While the Church was still a musical bastion, musicians and composers were now wooed by the prospects of higher status and pay in the Courts of the various Merchants, Bankers, Princes and Dukes. The development of musical instruments and various musical genres, the inventions in printing technology that facilitated the publication of music sheets and the wide-spreading of public education further boosted the musical phenomenon, and it became a common feature of the civic life. Educated Renaissance people, apart from being knowledgeable about the history, science and culture of the then known world, were also expected to possess a sound musical training.The dynamic changes that Europe was then undergoing brought about fresher musical innovations. Amongst the pioneers were the ‘Camerata’, mainly musicians and poets from the Medici Court in Florence (1580-1590), who tried to revive the Greek drama theatre and instead ended up revising the Renaissance musical philosophy. Dismayed that the contemporary compositions did not meet the Greek theories about the ‘emotion-stirring’ qualities of music that supposedly spurred people to war or calmed violent lunatics, the Camerata decided that the problem was the emphasis placed on the meaning of individual words rather than on the whole thought and they deliberately created a new music style to amend this. The former Polyphonic compositions (many voices singing the same text at different times) that left the listeners somewhat confused about both the words and their emotional content were replaced by the new, more expressive Monody (music comprising of a single vocal part, usually with accompaniment). This was a departure from the accepted Renaissance style, placing more importance on the text than on the music in a vocal work, and led to the development of the Opera and the beginning of the Baroque era in music.The free exchange of musical ideas that was now possible produced spectacular advances in music composition. Various musical genres evolved, with a distinctive emphasis on vocal polyphony. The harmonious effect created by several voices singing different musical lines like soprano, alto, tenor and bass, and the repetition or ‘Imitation’ of musical lines to make the composition complex were two main characteristics of the polyphonic technique. The religious music included Masses and Motets, the secular music had Motets, Madrigals, and Songs. Many of the Instrumental Works like the Canzona, Ricercare, or Fantasia evolved from vocal music, but solo and ensemble music was written for some specific instruments as well.Sacred Music –Sacred Music was composed during the Renaissance for performing mainly at the Roman Catholic Church services. Evolving from the Gregorian chant and sung in Latin by an ‘A Cappella’ choir (without instruments), this extraordinarily spiritual music has a soaring and poignant grandeur. The various kinds of Sacred Music include Hymns, Nocturnes, Psalms, Songs or Cantata, and Antiphons (verse or song chanted or sung in response to the rituals). Many beautiful compositions were written especially for the Holy Week (the week before Easter). These feature the splendid, classical hymn ‘Gloria laus et honor’ (supposedly the spontaneous composition of the imprisoned Bishop of Orleans in 828 A.D. that so moved his captor that he immediately pardoned and released him), the ‘Ante diem festum’ gospel, the ‘Christus factus’, the beautiful ‘Miserere’ Psalms, the joyous ‘Victamae Paschales Laudes’, and many others. Some of the composers of this genre were Guilliame Du Fay (1397-1474), Josquin Deprez (1450-1521), Giovanni Pierluigi da Palestrina (1526-1594), and William Byrd (1540-1623).Madrigals –One of the most admired choral styles of the Renaissance, the secular and poetic Madrigal evolved in Italy around 1520 from polyphonic music or ‘fugue’ as it was also known. But unlike the polyphonic music that was arranged in parts for several voices/ instruments, the vocals were sung together in the Madrigal with instrumental accompaniment and without repetitions in words or music. Initially influenced by the Greek poetry of Petrarch, Madrigals later adapted works of the contemporary poets. Their sheer popularity inspired thousands of publications in Italy alone and, after 1588, in England as well. Ciprian de Rore (1516-1565), Orlando di Lasso (1532-1594), Luca Marenzio (1560-1599), Carlo Gesualdo (1566-1613), and Thomas Morley (1557-1602) were some of the famous composers of the Madrigal.
Friends HUG | Girls Friend Hugs