The Perks Of Being A Wallflower

The Perks Of Being A Wallflower The Perks of Being a Wallflower takes us to adolescent places we either know or remember well: the heart-fluttering first crush or the high-school obsession with an SAT score. Yet despite the familiar material in The Perks of Being a Wallflower material that will be especially recognizable to those who have read the young-adult novel on which it is based the disjointed but refreshingly earnest movie ultimately establishes itself as a charmer. While Stephen Chbosky directing from his screenplay, based on his 1999 book occasionally leans a little hard on the overtly sentimental, he succeeds at the most important element in any film about that bumpy path from pubescence to adulthood: He makes us feel young. Charlie (Logan Lerman of Percy Jackson the Olympians: The Lightning Thief), having recently lost his best friend to suicide, is entering high school with no acquaintances and no notable romantic history but an enormous appetite for making mix tapes and reading every classic work of fiction that his affable English teacher (Paul Rudd) slips him for extra credit. When Charlie meets Patrick (Ezra Miller) and Sam (Emma Watson) seniors, stepsiblings and self-defined misfit toys he suddenly finds himself with two spirit guides willing to usher him into a world of Rocky Horror Picture Show screenings, marijuana brownies and the first glimmers of unrequited love. One could argue that Chbosky adheres to his original work a bi t too closely; there are moments in Perks when scenes flow abruptly from one to the next, as if the filmmaker is racing to squeeze the most crucial plot points into a 103-minute running time. Still, the performances by the charismatic young actors particularly the uber-confident Miller compensate for any missteps. The other star of the movie is the soundtrack, which, in keeping with the early-90s setting, spills forth a parade of melodies from the Cocteau Twins, Cracker and the Smiths. That makes Perks a film designed both for nostalgic Generations and the text-addicted kids of today. It is a movie for anyone who has ever ridden in a car beside his closest high-school friends with his hair whipping in a liberating weekend-night wind and his heart filled with a sense of the infinite. According to Charlie, since the dawn of motion pictures, music has played an integral part of the cinematic experience. Before the advent of talkies, music quickly became a necessary tool to aid the narrative. These conventions have become moviemaking standards and are still used today. The use of music is a vital part of a movie. It helps create the emotion in the viewers; where as a film with no music would be flat. Not only is it used to convey the emotion but to: heighten drama, establish time, advance the story or even mislead the viewers. Since the movie the perks of being a wild flower was written in the late 90s, the directors choice in music was well suited for the movie. For example, in the scene where the trio enters the tunnel and Sam (Watson) stands up; all of a sudden the song Heroes by David Bowie come on the radio and later or ends up being blasted through it. This song is significant there because Sam was standing up in the car while entering the tunnel, which gives the viewers the feeling that even for one day they could be heroes and lovers. If any other song was played in place of that, it would not have created the same feeling. Similarly, the song Asleep by Smiths is one of the many songs that Charlie likes to listen to. This song fits well in this movie because the lyrics of the song repeat itself, as it does in Charlies playlist. Acting is equally or even more important than sound. Just because the sound is great doesnt make much difference if the actors and the acting is not there. The roles of Sam, Patrick and Charlie are played equally talented teens. Sam played by Emma Watson was an outstanding performance by her. Ms. Watson is known for her character, Hermione from the Harry Potter Series. Although she has an accent, she worked on it and strived to sound like any old American teenager. Emma Watson was a good choice for this role because of her short hair; she fit the character as a rebellious, doing whatever they want kind of teenager. Logan Lerner plays the role of Charlie, a lonely soul, does a fantastic job in playing in playing the part. He is famous for is fabulous role in Percy Jackson and the Olympians. Charlie is a delicate character and has to be portrayed in a delicate manner. Although, other roles were important, the most critical role in the movie is that off Charlies. Mr. Lerners character h as to quickly gain attraction and be likeable by the viewers; otherwise the movie would seem pointless. Another major character in the movie, Patrick played by Ezra Miller, is to help guide the other characters to final destination so to speak. Millers ability to be comical and serious fits the character he played. He does an outstanding job as a scene-stealing, impossibly cool, life-of-the-party, openly gay senior Patrick. The three actors did a phenomenal job at playing the part. In my opinion, The Perks of Being a Wildflower is a fantastic movie that takes me back to my high school days. I can relate to the movie because I too was a lonely freshman entering high school, with the hopes of making one friend other than my physics and math teachers. However, this movie falls into a lot of clichà ©s. Just because this movie is set in the 90s, doesnt make the bells and whistle gays and drug abuse, more superior to other films in the same genre. The teen-film genre about a teen trying to fit in with others is a popular genre, but what made me like this movie is the personal connection I felt with the character Charlie. Being one of his first films, the author and director of this book and movie, Stephen Chbosky, does a phenomenal job at representing the book. Being based on a book, there are some differences between the two to a certain extent. For instance, in the book Patrick and Charlies relationship is much tenser than that portrayed in the movie. If I had to guess, the director probably didnt have enough screen time to have that scene develop, or perhaps to have a more emotional connection to the director. All in all, this movie was fantastic and would recommend anyone to go watch. One thing I know for sure is that I wouldnt mind watching it a second or third time.

American Indian Conjuring

Conjuring is said to be the second-oldest profession in the world, and may well be the oldest of the theatrical arts. It was the carefully guarded weapon of the priesthood used to establish a belief in supernatural powers among an uninformed public (Randi, 1992, p. XI). The dictionary defines a conjuror as â€Å"a person who practices legerdemain [sleight of hand]; jugglerâ€Å". (Webster’s College Dictionary, 1992, p. 281). Another source defines conjuring as the art of â€Å"producing the appearance of genuine magic by means of trickery and deception† (Randi, 1992, p. XI). Anyone who attended Sunday school as a child can recall the biblical account of Aaron’s battle with two sorcerers in Pharos’s court. In the story, each of the magi cast down rods that became snakes. The secret to the trick was the snakes had been drugged or hypnotized which made them look like sticks, then became mobile when stroked by the conjurors (Randi, 1992, p. 1). Eunios, a Syrian, stopped a rebellion of Sicilian slaves about 135 B. C. with his awe provoking fire breathing. He claimed a Syrian goddess had made him immune to fire. Florus, the chronicler, had other ideas. He insisted that Eunios had the fiery substance secreted in nut shells in his mouth (Christopher, 1962, p. 6). In 1865 Robert Houdin, a French magician and clock maker, prevented a rebellion in Algeria with legerdemain. The French government asked the magician to discredit the Marabouts, an Arab religious faction who were using magic to incite a rebellion. He proved his illusions were more powerful than the magic of the Marabouts, thus stopping talk of rebellion (Magic History n. d. ). The line between natural and supernatural is often poorly drawn. Among the American Indian people, sleight of hand feats, simple tricks, and snake charming were invested with mystical significance during tribal rites. Witch doctors and medicine men used the devices of entertainers to increase their reputation and influence (Christopher, 1962, p. 6). In this work, I will investigate the various means American Indian shamans employed to deceive the people into thinking they had supernatural powers. I will then expose their methods of prestidigitation and conclude with an examination of the loss of the art. Though American Indian hamans for centuries had often matched and surpassed the far more widely known fakirs of Calcutta and Bombay, few stories about their skill appeared in either the national or the international press, and this for a very sound reason: The Asian conjurers, lauded by travelers, performed in public for the money the could collect from their roadside shows. The American Indian’s magic was reserved for their tribe; few whit e men had an opportunity to study it. If a rare outsider tumbled on to a secret, he was swiftly inducted as blood brother and sworn to secrecy (Christopher, 1973, p. 69). American Indian shamans were at their best in the open air under the night sky. When tom-toms beat and campfires cast flickering shadows, their strange feats were awe-inspiring to fellow tribesmen as the occasional flashes of lightning that streaked across the sky. The Navajo, like their counterparts in India, made snakes appear under inverted baskets. Pawnee, Hopi, and Zuni shamans made corn and beanstalks grow (mango trees were not available) during harvest rites. The feat in which a Hindu conjurer‘s assistant vanished and reappeared in a large basket was also done by the Apaches. Swords were jabbed through the sides to prove that no one was inside in Asia; the Apaches had a more effective argument; they shot arrows through the fibers (Christopher, 1973, p. 69). In 1871, John Wesley Powell, a geologist and representative of the United States Bureau of Ethnology saw an exhibition of the skill of Cramped Hand and Bent Horn, two Ponca shamans. â€Å"One afternoon, near sunset, about two hundred persons, mostly Indians, stood in a large circle around a tent in which sat the shamans and their assistants. Presently the shamans and the aged chief, Antoine Primeau, came out of the tent and stood within the circle. One of the shamans, Cramped Hand, danced along the inner side of the circle, exhibiting a revolver (Allen’s patent), one chamber of which he seemed to load as the people looked on. After he had put on the cap, he handed the weapon to the chief, who fired at the shaman. Cramped Hand fell immediately, as if badly wounded. Bent Horn rushed to his relief and began to manipulate him. It was not to long before Cramped Hand was able to crawl around on his hands and knees, though the bullet had apparently hit him in the mouth. He groaned and coughed up incessantly, and after a tin basin was put down before him he coughed up a bullet which fell in the basin, and was shown in triumph to the crowd† (Powell, 1894, p. 417). The demonstration was breathtaking, but impractical in battle. This was traditionally done with a real gun and a gaffed round, the bullet having been replaced with a wax casting. The explosion of the charge and propulsion of the fake bullet through the air effectively vaporized the wax within a short distance. The wax bullet can be made to look like lead by coating it with a black substance (Bagai, n. d. ). Cramped Hand had only to secret an identical bullet in his mouth during the falling action, the rest was acting. Much of what we know about the magic practiced by the first Americans comes from missionaries who worked among the Indians in the years when the New World was being colonized by Europeans. French priests reported from Canada in 1613 that the medicine men of the Algonquin tribes were the most formidable opponents they faced in trying to convert the Indians. Twenty years later Gabriel Sagard-Theodat, a Recollect missionary, weary of the daily conflict with people whose customs he did not understand, called the Nipissing redmen â€Å"a nation of sorcerers† (Christopher, 1973, p. 70) There is a fascinating description of a trick by Fray Bernardio de Sahagu in his Historia de las Cosa de la Nueva Espana: â€Å"Seating himself in the middle of the market place at Tianquiztli, he announced that his name was Tlacavepan, and proceeded to make tiny figures dance in the palms of his hands. † No one who witnessed the trick could offer a solution. There is however a simple explanation: the small figures were manipulated by strands of long hair (like modern magicians invisible thread) tied together and attached to the conjurers feet. All he had to do was wiggle his toe and the figures came to life (Gosh, 2006, p. 21). Legends say that the early medicine men could bring miniature images of buffalo and warriors on horseback to life. They worked by the flickering light of a fire at the far side of the tent with observers grouped in a semicircle. At the command of the magician, the clay figures were supposed to have changed to flesh and blood. Then the miniature Indians corralled the buffalo and hurled their spears and shot their arrows with deadly accuracy until the last animal fell with an arrow through its heart. When the drama ended, the figures reverted to clay and were tossed into the fire. Seldom has a puppet show received such praise. Whoever started the story must have imbibed too freely before attending the performance (Christopher, 1973, p. 75). Shamans of the tribes who lived along the St. Lawrence River boasted they could summon the rains or stop storms. They claimed their rites could render fields barren or produce bountiful crops ( Christopher, 1973, p. 0) The Franciscan friar, Louis Hennepin said of the shamans: It is impossible to imagine the horrible howling and strange contortions that these jugglers make of their bodies, when they are deposing themselves to conjure, or raise their enchantments† (Hennepin, 1869, p. 59). Paul Beaulieu, an interpreter for the Ojibwa at White Earth Agency, Minnesota ( First settlement by white people, n. d. ), heard tales of Indian escape artists around the 1850’s. At Leech Lake, Minnesota he witnessed an Indian shaman clad in a breechcloth tied by a committee of twelve men. The shaman’s ankles, wrists and hands were bound; his tied hands were forced down so that his knees extended up above them. A heavy pole was thrust over his arms and under his knees; then his neck was tied to the knees and he was carried into a tent. The structure was built on poles, interlaced with twigs, and covered with strips of birch and canvas (Christopher, 1973, p. 74). The flap had scarcely been closed when strange words and thumping sounds came from within. The tent swayed violently as the sounds increased in volume. When the disturbance ceased, the Indian shouted that the rope could now be found in a nearby house. Cautioning the committee to keep a sharp watch on the tent, Beaulieu sprinted to the house. The rope was there, still knotted. He hurried back, let the other men examine the knots, and then called to ask if he could enter. Permission was granted and he found the Indian seated comfortably, puffing on a pipe (Christopher, 1973, p. 74). No explanation was offered for the astonishing feat. There is however, a way it could have been done, a method so obvious that Beaulieu and the committee would have overlooked it: a secret tunnel with cleverly concealed trapdoors at each end. An assistant concealed in a passage under the tent untied the medicine man, squirmed through the tunnel, retied the ropes, then dashed to the house where the shaman had decided they should be found (Christopher, 1973, p. 77). Alexander Phillip Maximillian, who traveled in the west in the mid 1800’s, wrote of some amazing things accomplished with ordinary objects by Hidatsa and Mandan shamans. â€Å"The medicine of one man consists in making a snowball, which he rolls a long time between his hands, so that at length it becomes hard and is changed into a white stone, which when struck emits sparks. Many persons, even whites, pretend that they have seen this and cannot be convinced to the contrary. The same man pretends that during a dance he plucked white feathers from a certain small bird, which he rolled between his hands, and formed of them in a short time a similar white stoneâ€Å"(Powell, 1894, p. 512). The performance of the bullet catch with Bent Horn and Cramped Hand was also followed by a demonstration of sleight of hand. â€Å"Bent Horn danced around, showing an object which appeared to be a stone as large as a man’s fist, and to large to be forced into the mouth of the average man. Cramped Hand stood about ten or fifteen feet away and threw this supposed stone toward Bent Horn, hitting the latter in the mouth and disappearing. Bent Horn fell and appeared in great pain, groaning and foaming at the mouth. When the basin was put down before him, there fell into it, not one large stone, but at least four small ones† (Powell, 1894 p. 417). A proficient modern sleight of hand artist can change the color of billiard balls and manipulate coins and playing cards on stage with utmost ease, and can do the same with small stones and leaves from trees out in the open. It is not at all hard to see (through practice) how the shamans could manipulate a snowball, feathers or rocks and make them appear as something they really are not. Dr. Franz Boas, an anthropologist at Columbia University (Franz, n. d. ) witnessed a burning alive illusion in northwest Canada. A young Indian girl was nailed inside a large wooden box that was burned in the center of a spacious medicine hut. As the smell of burning flesh permeated the structure, she could be heard singing. Eventually box and girl were consumed, only bones remaining among the ashes of the fire. The keys to this mystery according to Dr. Boaz were a secret tunnel, a long speaking tube, and a dead seal. The girl slipped through a panel that could be lifted in the bottom of the box, crawled through the tunnel to the out side of the lodge, and began her song, which filtered back inside via the tube. Meanwhile, a helper pushed the carcass of a seal through the tunnel and into the box. The charred bones, of course, were those of the seal (Christopher, 1973, p. 77). Complicated advance arrangements and trained assistants were not needed for the oldest and most frequently performed American Indian mystery, the shaking tent. Shaking tent conjuring was always done after sunset with the conjuring lodge put up an hour or so earlier and was taken down before sunrise the next day. The lodge was a small, often conical structure made of hoops and branch poles sunk into the ground covered with animal skins, blankets or cut spruce boughs (Christopher, 1973, p. 77 & 80). Often times the shaman was bound tightly hand and foot and also gagged. Once the tent flap was let down strange things began to occur: the ropes that bound the conjurer were thrown out of the top of the lodge. The tent would shake violently and a succession of strange voices would be heard, supposedly those of animal spirits. Beavers and turtles were among the most common, conversing with the shaman and occasionally with the audience (Beyer, 2009). Many shamans produced the voice of only one animal; others boasted a wider repertoire. The more animals a conjurer had at his command, the more he was honored (Christopher, 1973 p. 80). All of the feats described in the shaking tent can be accounted for. Why was the performance always done after dark? For much the same reason modern magicians use a darkened stage and smoke, to conceal the secret means of accomplishing the miracle. Why was the conjuring lodge put up an hour or so before the performance and taken down before sunrise? The answer is quite obvious: so the general uninformed tribesmen could not inspect the structure and find the secret. As for escaping out of the ropes that bound the shaman, it was a common escape trick. A famous duo called the Davenport Brothers had an act around the same time where they were bound securely in a cabinet which resembled an old-fashioned wardrobe. Suddenly they produced music on guitars and bells and caused ethereal hands and strange shapes to appear. The Davenports were exposed many times, not only by magicians but by scientists and college students. The latter ignited matches in the dark. The flickering flames disclosed the brothers, with their arms free, waving the instruments which until then had seemed to be floating (Christopher, 1962, p. 99). The shamans needed to be in top physical condition (like Houdini) to carry out the first-class performances they presented. The tent is scarcely ever still and at the same time singing, talking and ventriloquism occur (Howell, 1971, p. 50 & 82). While all American Indian conjurers do certain standard things like shaking the tent which, under contemporary conditions, may become the subject of a limited amount of skepticism, some conjurers apparently invent or acquire new tricks. The Saulteaux readily admit that certain individuals have either shaken the conjuring tent, or tried to shake it, with their own hands (Howell, 1971, p. 70 & 80). As it happens, the enclosures used by the tent shakers were not actually as rigid as they seemed. The anthropologist Dr. A. Irving Hallowell emphasized in The Role of Conjuring in Saulteaux Society that â€Å"All I can say personally is that Berens River conjuring lodges were extremely easy to set in motion. They readily responded to the slightest pressure from without, as I can testify. †(Howell, 1971, p. 83) The American Indian conjurers, who reportedly created marvelous wonders, were never willing to travel themselves and exhibit their feats for theater audiences. However, the proprietors of medicine shows, who sold tribal cure-alls to small town audiences in the late nineteenth century, always claimed the man in the war bonnet who displayed the bottles was a celebrated Indian medicine man. Shungo-pavi was billed as a Moki medicine man that performed magic at the Cliff Dwellers exhibit at the Louisiana Purchase Exposition in St Louis, Missouri, in 1904 later played in vaudeville. He wore beaded buckskins, moccasins, and a feathered headdress, but the tricks he performed were not of Indian origin. A bottle and a glass changed places when covered by two tubes; a silk handkerchief vanished; only to reappear tied between two others. He waved an eagle feather instead of a wand when he pronounced his magic words. Occasionally one still hears of a traditional feat being shown at an Indian tribal ritual in the Southwest or a shaking tent in northern Michigan or Canada, but the day of a burned alive illusion in the dark night or of a shaman changing a snowball into a rock in the open air has long past (Christopher, 1973, p. 81).

Ben Carson Essay

English 52 3:00pm class Faith Ben Carson today is a neurosurgeon that once was just a young black kid from the ghetto with no knowledge of anything the world. Today he is one of the most inspiring person in the world, he was the first neurosurgeon to separate conjoined twins from the head, without bleeding to death. He had no dad, and a mom with psychiatric problems. He faced a hard teenage and childhood, in his life he faced problems from racism, anger management, and poverty. This book shows us how having faith with no fear of the unknown, this book ould lead anyone to have a successful spiritual life and career. His faith led him to go through all the struggles and come out successful. Ben Carson had different experiences throughout his childhood, and having faith led him to go through struggles. When he was just a boy, his father left him, his brother, and mother, because of another family he had. As a child Ben tried to figure out why his father had left them for another family, Ben used church as a way to escape his problems.He began to really have faith, when he heard the preacher talk about a missionary doctor; from then on, his faith set him on a path to become a doctor. There also came a time where his faith was put to the test. At 14 years old he struggled with a bad temper. All the hate he felt from his dad leaving him was in his heart, and he had never let it go. One day at school, he sat listening to classical music when one of his friends made fun of him and was going to change the music.Carson, with all the hate he had, he pulled out a pocket knife he had bought and aimed for his stomach, he hit his friend’s belt buckle. He ran home and thought to himself he was crazy. He got home and locked himself in the bathroom and prayed to God to take his temper away and he prayed and sang, â€Å"Jesus is All the World to Me. † From then on his faith only became stronger, and whenever he felt anything negative, going back to this moment made him feel better. God gave him a second chance to life and make more of it. From then on, he knew he was going to be an instrument of God to save people.When he went on a job for the university to recruit students with his current wife, he almost had an accident while falling asleep on the wheel; he felt relieved and thanked God for helping and giving him yet another chance to life. His struggle through Yale University, when he couldn’t find a job, his faith and willingness helped him find one. Even in his junior year, when he had no money, he walked through the university, thinking and asking God how he was going to make it through, and, just like that, he found 10 dollars in the ground. He knew God was guiding him through and watching over him.In another school year, when he also went through rough economic times, he then again walked through his campus to see if he would find money again, but, no luck, his university did a test of honesty and said that all of the test the c lass had taken, had been burned in a fire his whole class, there were notices posted some of the students just said, that they will just say they did not see the post. Carson was the only one left and the teacher and a photographer came to take the picture of the only honest student in class and right then and there the teacher handed him a 10 dollar bill.As he grew older and became a doctor during surgeries and he felt lost his faith helped him and believed God would guide his hands and even though he did have times, he failed, his surgeries he had faith, that made him strong to overcome it. At the end without faith he wouldn’t be where he is at today. In my life, without faith I wouldn’t be where I am right now. Ever since I read this book, it has inspired my faith in a spiritual and professional way. I have gone to church more often and found the peace I was looking for.I no longer have temper issues, either. I have been more successful in my job and will soon be ge tting another job. I have been dedicated more, and I don’t make sudden decisions, which only benefits me. My faith has also made me outgoing in my career. I never give up finding a solution to a problem. There’s a saying that says â€Å"faith can move mountains. † I believe that Ben Carson is a perfect example of this, and it’s an example that I am following step by step in school and work. When I feel frustrated and ngry, I let my faith intervene and help me get through my own struggles, My marriage has also gotten much better. I have set my life goals based on this book and I know I could achieve them. There is a saying that says faith is the last to die, and that’s the difference between hope and faith. I believe those who hope wait around for things to come out good or wait for things to be handed to them are the ones who never step to the world of the unknown because of fear and like of faith. But with faith you have to put in your work and no t give up on your goals.Ben Carson made it from the ghetto to being a successful, respected Neurosurgeon; because of his faith, he never once stopped believing in himself. His mom’s faith in him also helped; she knew he was going to be special. I believe we all have our destiny this life and that God has set a path for us, our choices, decisions and faith are the ones that decide our path. I will follow my own path just as Ben Carson did; I do not where it will take me, but I know that faith will keep me on the right path. Because faith is the last thing to die.

Sometime, Some Time, and Sometimes How to Choose the Right Word

The words sometime, some time, and sometimes are related in meaning, but theyre used in different ways. The adverb sometime (one word) means at an indefinite or unstated time in the future; as an adjective, sometime means occasional or former. The expression  some time (two words) means a period of time. The adverb sometimes (one word) means occasionally, now and then. How to Use Sometime As an adverb, sometime suggests some unspecified point in time. For example, the famous 1930s and early 1940s comedian and actress Mae West was well-known for her quirky line: Why dont you come up sometime and see me? West uttered this phrase, which is often misquoted, while playing the part of a seductive nightclub singer in the1933 film, She Done Him Wrong. She later paraphrased the quip in her next film,  Im No Angel, as, Come up and see me sometime, where she was trying to tempt her costar, Cary Grant, to come up to her room at some unspecified point in time. To use sometime as an adverb—which is far less common in English—employ the term when you mean occasional, as in, Hes a full-time bartender and sometime actor. This means hes nearly always a bartender and not very often an actor. How to Use Some Time Some time is actually a phrase or expression rather than a word and means a period of time or quite a while. Technically, some is an adjective describing the noun, time, which in this case is an idea, rather than a person, place, or thing. An acceptable use might state: I fear that it will be some time before he is able to deal with his memories of the war. The sentence is saying that it will be a long period of time before he is able to grapple with his wartime memories, and possibly post-traumatic stress disorder. How to Use Sometimes Sometimes is actually a compound of the words some and time, but it has a very different meaning and use than its two-word cousin. Remember that used as one word, sometimes means occasionally or now and then. So, to use the term, you could say: Sometimes, he likes to sleep with his boots on. In the sentence, the subject he (possibly a cowboy in a Western novel) does not always remove his footgear before slumbering. Examples Perusing examples will help illustrate how the terms are used, such as in the sentence: Give me a call sometime, and well talk about getting together. In this sentence, a young man or woman might be suggesting that a prospective romantic partner call at some point in time in order to arrange a date. You can also use sometime to mean occasional, or (even more rarely) former, as in: Sammy Hagar, a sometime lead singer for the band Van Halen, was booted from the band when former lead singer David Lee Roth expressed a desire to return to the group. This sentence uses sometime to imply both occasional and former, expressing the fact that Hagar was an occasional and former singer with the famous 1980s rock band. To express a nearly opposite sentiment, use some time as two words: The Rolling Stones have been around for quite some time. Note here the addition of the adverb quite before some time to express the fact that this multi-decade rock group has been around for a very long time. Indeed, it is the longest-performing rock band of all time. How to Remember the Differences Its not difficult to distinguish between sometime and some time because they actually mean such different things. Remember that sometime as an adverb means an indefinite or unstated time, and as an adjective it means occasional or former. Think of these as shorter periods of time. West probably wanted a suiter to visit her only for a single, limited period of time. And Hagar played with Van Halen for a limited period of time. By contrast, some time is two words, so its longer. The words are spaced apart and separated by a space. And thats the meaning of this term—for some time or for a long period of time. However, distinguishing between sometime and sometimes can be trickier. Use this mnemonic device: Sometime a single unspecified period of time or occasionalSometimes occasionally, a few times, now and then So, swap out the definitional words in the famous Mae West line: Why dont you come up at an unspecified period of time and see me? That sentence works because Wests character wanted any potential suitor to come up at a single unspecified time (but only a single time). But if you say: Why dont you come up occasionally and see me? The word occasionally means sometimes—more than once, and probably a few times. Wests character had many suitors in her films, so she certainly didnt want them coming to see her at various times; they might have run into each other. Thats why sometime (a single unspecified time) works here rather than sometimes (meaning occasionally, or a few times). Sources â€Å"Is It ‘Sometime, Sometimes, Or ‘Some Time’?†Ã‚  Dictionary.com.â€Å"Sometime, Sometimes, and Some Time.†Ã‚  Grammarly, 16 May 2019.â€Å"Sometimes vs. Some Times – Whats the Difference?†Ã‚  Writing Explained, 8 Feb. 2018.