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How to Be a 3% Man, Winning the Heart of the Woman of Your Dreams Paperback – Jan. 22 2006

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• Print length 270 pages
• Language English
• Publisher Lulu.com
• Publication date Jan. 22 2006
• Dimensions 15.24 x 1.27 x 22.23 cm
• ISBN-10 1411673360
• ISBN-13 978-1411673366
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• Publisher ‏ : ‎ Lulu.com; 2 edition (Jan. 22 2006)
• Language ‏ : ‎ English
• Paperback ‏ : ‎ 270 pages
• ISBN-10 ‏ : ‎ 1411673360
• ISBN-13 ‏ : ‎ 978-1411673366
• Item weight ‏ : ‎ 401 g
• Dimensions ‏ : ‎ 15.24 x 1.27 x 22.23 cm
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Corey wayne.

I'm a life coach. I teach self-reliance. The fundamentals of the science of high achievement. I help people to reach their full potential in all areas of their lives that are important to them.

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How to Be a 3% Man, Winning the Heart of the Woman of Your Dreams Paperback – 22 Jun. 2017

There is a newer edition of this item:.

• Print length 270 pages
• Language English
• Publisher lulu.com
• Publication date 22 Jun. 2017
• Dimensions 15.24 x 1.27 x 22.23 cm
• ISBN-10 1411673360
• ISBN-13 978-1411673366
• See all details

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Product details

• Publisher ‏ : ‎ lulu.com (22 Jun. 2017)
• Language ‏ : ‎ English
• Paperback ‏ : ‎ 270 pages
• ISBN-10 ‏ : ‎ 1411673360
• ISBN-13 ‏ : ‎ 978-1411673366
• Dimensions ‏ : ‎ 15.24 x 1.27 x 22.23 cm
• 1,372 in Marriage Relationships
• 1,398 in Marriage
• 1,640 in Romantic Relationships

About the author

Corey wayne.

I'm a life coach. I teach self-reliance. The fundamentals of the science of high achievement. I help people to reach their full potential in all areas of their lives that are important to them.

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‘the bat-man: first knight’ #3 sets up a new era for gotham city.

A captivating story that focuses on the impossibility of Batman’s enduring crusade.

This review contains spoilers for The Bat-Man: First Knight #3!

Bat-Man was given an ultimatum in the last issue . Will he use a gun in his vigilante justice? What will be the lines he draws? Now, he’s going to decide whether he wants to be known for vengeance or justice. While his decision isn’t exactly surprising, given his decades of history to indicate such, the division created between the two offers an unexplored concept for Batman: what does he represent? In the final issue of this three-issue miniseries, writer Dan Jurgens and artist Mike Perkins deliver a brilliant closing sentiment on their elseworlds story.

There’s a lot to unpack in this issue, and it’s nearly impossible to do so without spoiling most of the story. But there’s still quite a bit that can be discussed. The overarching theme of this story has been split between Bruce Wayne discovering the type of hero he intends on becoming in a quickly evolving world while also seeing how everyday citizens find inspiration and faith in a time of crisis. This was something Jurgens spoke about with AIPT as he intended to parallel the troubles in 1939 to the issues in today’s time. By the time the issue ends, both of these themes find an intersection between the idea of humanity. While Bruce has to decide between leaning into his humanity more than becoming detached from the world, the citizens of Gotham grapple with how to stand up to injustice in their own way. Altogether, the underlying theme of humanity is something well explored in this issue by comparing the weirdness of a man on his own becoming a vigilante to the strength needed for society to band together when faced with hardship.

Mike Perkins continues to depict Gotham City as a living beast in its own right, while merging its intricacies with its citizens. This story certainly benefits from the Black Label format as the pages come to life like scenes in a play. With Gotham as the stage for action, love, and horror, Perkins takes advantage of the paneling to shift between acts in this story. Another strong part of this issue is how well Perkins and colorist Mike Spicer have the shadows overlap with warm colors. There’s an interaction between Bruce and Julie Madison that encapsulate this quite well, as the world seems to fall away in their heartfelt conversation. There’s a brief moment where it becomes impossible to make out Bruce’s eyes, as if he’s truly become one with the shadows he lurks in, and this makes for a more haunting tone that carries along with their dialogue. Altogether, this issue is beautifully illustrated and rides high off of grotesque violence and contrasting somber moments.

So, is The Bat-Man: First Knight #3 good closing issue to this miniseries? Absolutely. Who is The Voice? What happens to these Monster Men? Who is the Bat-Man? By utilizing the extra pages and mature rating of a Black Label book, this issue succeeds in being a captivating finale that wraps up all of its loose ends. Altogether, this issue, along with the series as a whole, has been a great reflection on the early days of Batman while showing how impossible his never-ending battle against crime is for one man.

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Movie Review: Glen Powell gives big leading man energy in ‘Hit Man’

This image released by Netflix shows Adria Arjona, left, and Glen Powell in a scene from “Hit Man.” (Netflix via AP)

This image released by Netflix shows Glen Powell in a scene from “Hit Man.” (Netflix via AP)

This image released by Netflix shows Glen Powell, left, and Richard Robichaux in a scene from “Hit Man.” (Netflix via AP)

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For a guy like Glen Powell, the ascent to movie stardom isn’t really a question. It’s more like an inevitability.

Blessed with that square jawline, those bright green eyes, a flop of dirty blonde hair and the kind of symmetrical smile that would seem suspect if it weren’t so darn charming, he’s a Disney prince before they all became the bad guys. And he’s got the kind of effortless, high-wattage charisma that ensures a career beyond soaps and procedurals, the typical resting ground for the laughably handsome. Powell has something, you believe, going on behind the eyes.

This is all to say that suspension of disbelief is a prerequisite going into “Hit Man,” a decently entertaining action-comedy-romance about a fake hit man from filmmaker Richard Linklater, who co-wrote the script with Powell. It’s making a brief stop in theaters starting Friday before hitting Netflix on June 7.

Based on a “somewhat true story” though it may be, this is a film that asks its audience to buy into the idea that the characters in this film believe that Powell’s face is bland and forgettable. This has everything to do with his character, Gary Johnson, a philosophy professor in New Orleans who lives a quiet, solitary life in the suburbs tending to his two cats, birding, tinkering with electronics and helping the local police install surveillance equipment for sting operations. He drives a Honda Civic and wears ill-fitting polo shirts, knee-length jean shorts and socks with his semi-orthopedic sandals. And, of course, like many hot guys in disguise before him, he’s got a pair of wire-rimmed glasses. Why he dresses like your middle-aged uncle in 1992 is anyone’s guess. Were he in Bushwick, it might not even look odd. But this is a movie and we know that Gary is predestined for a glow-up.

Not that “Hit Man” allows itself to have any fun with the makeover aspect. No, once plain Gary is thrown into this amateur undercover work (by Retta and Sanjay Rao), we only get to see the final looks he wears to meet all the people looking to hire a hit man. He dips into the theatrical for these occasions, sporting wigs, makeup, accents and fake tattoos in his attempt to be what he thinks each specific person thinks a hit man should be, which is moderately amusing.

But besides a brief bit showing him watching a wig-and-makeup YouTube tutorial, his transformations are not exactly investigated. There’s no shopping montage, no Harvey Fierstein-type character helping him find his way around the college theater department’s costume room, and no apparent budgetary concerns or discussions, which seems odd for a guy who is only doing this undercover stuff for an extra paycheck. In a movie that perhaps had a better engine behind it, questions like these might evaporate with the laughter and enjoyment of a fairly silly premise. “Hit Man” does not quite have that, though. Again, that suspension of disbelief is necessary.

Things do pick up with the introduction of The Girl, Madison (Adria Arjona, terrific despite being awfully underdeveloped), an unhappy wife looking to get rid of her cruel husband. Gary meets her as “Ron,” who acts and dresses like the leading man of an action movie, or a cocky off-duty movie star, with well-fitting jeans and tight henleys and cool-guy jackets showing off his inexplicably ripped physique.

And he treats Madison differently than the many other characters he’s helped put behind bars whose stupidity, trashiness and ugliness are all played for madcap comedic effect. She, he decides, doesn’t really want this — a grace he extends to no one else. He talks her out of hiring him to kill the bad husband, whom she promptly leaves without incident before moving into a nice house and beginning a steamy romance with Ron.

Again, questions arise about how this woman whose husband didn’t allow her to work and who was so scared of him that she was ready to hire a hit man has managed to escape so smoothly. But, you know, good for her and good for us because the chemistry between her and Powell is electric and ravenous, up there with George Clooney and Jennifer Lopez in “Out of Sight.”

But the honeymoon only lasts so long and things soon get tricky as Ron starts to become Gary’s dominant character. This all builds to a fairly exciting third act with the introduction of an actual murder and the possibility of being exposed by an increasingly suspicious and crooked cop (played with slimy perfection by Austin Amelio). And you can’t help shake the feeling that it needed something else: a bigger twist, a stickier conflict, some heightened stakes.

“Hit Man” was a movie that got some breathless praise out of the fall film festivals, which might be to its detriment. It’s perfectly enjoyable: a glossy, easy-to-digest Powell showcase that isn’t trying to be anything but fun. But the second coming of the action-comedy-romance, it is not.

“Hit Man,” a Netflix release, is rated R by the Motion Picture Association for “language throughout, sexual content and some violence.” Running time: 115 minutes. Two and a half stars out of four.

Can we think about evil without getting caught up in Christian mythology?

In “The Devil’s Best Trick,” Randall Sullivan examines the origins of evil.

On the morning of Nov. 20, 1961, Michael Rockefeller, the 23-year-old son of New York Gov. Nelson Rockefeller, swam up to a group of Asmat warriors along the southwest coast of New Guinea. In short order, the scion of one of the wealthiest and most powerful families on Earth, a young man universally described by friends and relatives as good, was, as I found while reporting my book “Savage Harvest,” speared, killed, cooked over a fire and eaten.

It’s hard to find a more glaring definition of sin, wickedness and evil — the Devil’s work, if you’re thinking in those terms — than such violence done to a sacred human body. But what if Pep, Fin and Ajam, the men who did the deed, had never heard of God or the Devil, Adam and Eve and the serpent? What if they were acting under their own ancient, sacred laws and a radically different concept of evil? What if the Asmats didn’t consider what they did to Rockefeller a sin at all, but a widely accepted practice that restored the world’s balance and harmony, and permitted an entire community to live in peace after years of suffering?

In “ The Devil’s Best Trick: How the Face of Evil Disappeared ,” by Randall Sullivan, such a question is never asked, much less answered. This literary, historical and on-the-ground “investigation into the inescapable reality of evil and the myriad ways humankind attempts to understand and confront it through the figure of the Devil,” as the publicity sheet proclaims, is one big, sloppy mess that is written strictly from the perspective of the minority of humankind who call themselves Christians, a group that’s been around for the briefest sliver of time. Which matters, in this case, because a book whose purpose is to explore what evil is and why it exists across humankind falls short the second it fixates on this single archetype as expressed in a single myth, to the exclusion of others, while also mostly claiming that myth isn’t mythical at all. “I had long since decided that there is a Devil, a force of evil that human beings can best comprehend by personifying it,” Sullivan writes. “I had come to believe … that all the discord, calumny, and sheer hatred that drive the world were descended from the first break with God that the Devil had made before there was any time to count, let alone human beings to corrupt or redeem. It was all a product of this original separation.”

But the Asmat, along with most of the people on Earth since before there was any time to count, never broke from God, never experienced original separation, either literally or metaphorically. Nor did the Aztecs, who, unbelievably, are the only non-Christian, pre-contact people to enter Sullivan’s narrative with any substance. Even more unbelievably, they do so as forces of evil through the eyes of none other than the Spanish conquistadors Hernán Cortés and Bernal Díaz del Castillo, whose journals are the definitive account of the event.

In 1519, Cortes and 500-odd men landed on the shores of the Yucatán and marched on Tenochtitlan, the capital of the Aztec empire (today’s Mexico City), destroying its temples, killing its priests and imprisoning its ruler, Montezuma (a story illuminatingly told in Álvaro Enrigue’s splendid novel “You Dreamed of Empires”). Sullivan writes that ripping the hearts out of living human beings, eating their body parts, building temples from piles of human skulls and other unquestionably freaky, horrific practices, which amounted to the killing of hundreds of thousands of people, were clearly evil, the Devil’s work.

It’s hard to imagine anyone happily consenting to having their beating heart ripped out on a stone pyre, sure, but thanks to Cortes and the men who came in his footsteps, upward of 50 million people were murdered by guns, germs and steel. In the process, whole complex civilizations like the Aztec and Inca, peoples with their own intricate codes and ethics and morals and arts, were wiped out. If evil is “anything that causes harm or suffering to a sentient being,” as Sullivan writes (citing the religious-studies scholar Jeffrey Burton Russell), the Christians who poured into the New World were archfiends at the Devil’s work compared with people such as the Asmats and the Aztecs, a point of comparison that Sullivan never grapples with.

I’m not nitpicking here. Sullivan is the author of six previous books and a veteran narrative journalist who has long written about crime and war for Rolling Stone and other publications, and he should know better. I wanted so much to love “The Devil’s Best Trick,” but it’s a real head-shaker from start to finish. In the opening pages, Sullivan travels to a remote part of Veracruz, Mexico, the supposed epicenter of black-magic worshipers and witches, or brujos, who weave spells and bring harm, an old and rich element of Mexican culture and of a piece with similar syncretic traditions throughout Latin America. (Think Maximon, the patron saint of prostitutes and bandits in Guatemala, who likes a cigarette or 10 along with his shots of aguardiente and is venerated in the same rooms as Jesus himself.) It’s a promising start, telegraphing that we’re going in deep, on the ground, with a skilled reporter. I was excited!

But just six pages in, he breaks away from Mexico and begins a slog through the Devil’s appearance in Christian theology and literary history that goes on for more than 100 pages, interwoven not with scenes in Mexico, out of which Sullivan yanked us, but with the death of Tate Rowland, a young man found hanging from a tree in Childress, Tex., in 1988. Did Rowland commit suicide, as the police decided at the time, or was he murdered in some kind of satanic cult? How about his sister, who turned up dead three years later? Sullivan digs into the story and rumors of satanic cults sweeping America at the time, over many chapters, in breaks between 1,000 years of theological arguments about the nature of evil in the face of a perfect God (the essential question), and comes up empty-handed. We still don’t know if Rowland was murdered or not, or if any cult was involved, and there’s nothing particularly enlightening or compelling about the events of Childress, period.

Finally, Sullivan takes us back to Mexico, via side roads into Stanley Milgram’s infamous prison experiment and an exorcism that took place in Earling, Iowa, in 1928. At last! But instead of going deep — there’s a whole country and culture of witches and healers, or curanderos, and a cult of Santa Muerte that he could have spent months really getting to know — Sullivan’s total research amounts to one trip of a few days to one place, where he meets with the 78-year-old nephew of a great brujo’s girlfriend, the brujo himself having died in the 1960s, and the equally aged daughter of the brujo’s apprentice, also long gone, both of whom tell Sullivan second- and third-hand stories for a night or two. Sullivan, who can’t speak Spanish, and his interpreter spend more time worrying about being shanghaied by narcos (this, too, is perhaps supposed to be redolent of the Devil’s presence) than they do actually making sense of the historical and cultural role played by healers and witches in Mexico — never mind what all of that tells us about good and evil or the idea of the Devil.

There are hints along this crooked journey that Sullivan was as confused while writing his book as I was reading it. He once mentions deleting most of the text, almost 200 pages, and having to start again. His trips to Mexico and much of his reporting took place in 2015, nine years ago, an indication that he has been struggling over this for, well, a devilishly long time. Who knows? The Devil, of course, works in all sorts of insidious and nefarious ways. Sometimes, we’re told, people sit down with him and make a deal, sell their souls, as the brujos did in Mexico, and as the fiddler did in the Charlie Daniels song, for extra power. If only Sullivan had made such a deal as he struggled with writing this book. But, alas, he never seems to have met him, no matter where he looked.

Carl Hoffman is the author of five books, including “Savage Harvest,” for which he learned to speak Bahasa Indonesia and lived in a remote Asmat village in West Papua, Indonesia.

The Devil’s Best Trick

How the Face of Evil Disappeared

By Randall Sullivan

Atlantic Monthly. 333 pp. $30

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Matthew 16:27 King James Version

27  For the Son of man shall come in the glory of his Father with his angels; and then he shall reward every man according to his works.

Public Domain

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