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May 12, 1995     The Message
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May 12, 1995

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/ / . / / 0 The Message -- for Catholics of Southwestern Indiana May -- On The Record-- What undermines a relationship UNTIL THE END OF TIME When I was young and/The world belonged to me/I thought that love/Meant pain and jealousy/It was a cross on my shoulder/Oh Lord, now I feel/So much older By CHARLIE MARTIN CNS COLUMNIST Time had a way of making me see/My lonely life has taken/Its toll on me/Now I feel the emptiness/And I don't want/To live like this Now I've heard stories/I've heard songs Telling me believe my heart/Don't wait too long/But words they don't ring true/Until there was you (REFRAIN) Never will I lose/This heart's desire/Ever will I feed/Our love's fire/Only when I know/That you'll be mine/Until the end of time How do I trust what/I'm beginning to feel/How deep, my soul/How much can I re- veal/I'm lost in love's mystery/Caught between time and eternity Now there's a door/That opens wide/Slowly I will find my way/And reach inside/But I couldn't make it through/Until there was you i (REPEAT REFRAIN TWICE) And when I see/The light of love shine/In your eyes when/They meet mine/Only then I'll know That it's you and I/Until the end of time Written by M. Jones/L. Gramm/B. Turgon Sung by Foreigner Copyright (c) 1995 by Rhythm Safari Foreigner had many great songs quite a long time ago. Now you have a chance to get acquainted or reacquainted with their great sound through their recently released CD, "Mr. Moonlight." Getting airplay offthe new disc is "Until the End of Time." The song describes how a person's experi- ence of love and relationships can evolve over time. When the person in the song was "young and the world belonged to me," love was mostly "pain and jealousy." Apparently, this attitude brought him only "emptiness." Now he knows that "I don't want to live like this." While he doesn't tell us what changed in his ap- proach to love, he recognizes that something is dif- ferent in his current romance. He is less cynical about love's possibilities and even believes that "it's yotr and I until the end of time." Clearly, certain attitudes can sabotage the hap- piness brought into our lives by loving relation- ships. Let me discuss some of those attitudes. 1. Expecting the relationship to make you hapPY. Genuine happiness comes from within a person. While being in a caring, affectionate and enduring re- lationship often adds to our happiness, it will not : make up for what is lacking in our own life. Looking for someone else to make you happy never works. 2. Failing to like and enjoy yourself... . I 11 i mLiki:::yPetr::l_h::Yh:rfuirgandf r :: i: !0 relationship. When we are not ki , nu u-,,--- "]'ill ing, forgiving and appreciative of ourselves, we are [ not likely to bring these qualities into a romance. I 3. Being jealous and possessive. - Such behaviors are rooted in fear and mistrust. : L They lead a person to treat another in controlling i | i|l and manipulative ways. Consequently, beingjeal" i![i ous steals III  away the fresh air of life between two , : dp people. Fear stifles the relationship. .  Je 4. Holding on to angers and resentments, u, : All of us get hurt in relationships. H0wevet' co :i  I!I! injuries tttng blame move past these emotional stuck in resentment erodes affection, have atti: J We all make mistakes. Most of us also tudes toward relationships and behaviors that need to be addressed and changed. ' We can use our mistakes as avenues for learpAng'  : Then we realize what the song asserts, namely, that... there is a "door" to lasting and satisfying love. i , (Your comments are always welcome. Please addreSS Charlie Martin, RR 3, Box 182, Rockport, IN 4763M (PG) The Adventures of Priscilla, Queen of the Des- ert, A-W (R) Andre, A-I (PG) Angels in the Outfield, A- II (PG) Baby's Day Out, A-II (PG) Barcelona, A-III (PG-13) Belle Epoque, O (R) Blankman, A-III (PG-13) Blue Sky, A-III (PG-13) Camp Nowhere, A-III (PG) The Chase, A-III (PG-13) City Slickers Ih The Leg- end of Curly's Gold, A-III (PG-13) Clear and Present Dan- ger, A-III (PG-13) The Client, A-III (PG-13) Color of Night, O (R) Cops & Robbersons, A-III (PG) Corrina, Corrina, A-II (PG) Crooklyn, A-III (PG-13) The Crow, O (R) A Dangerous Woman, A- III (R) The Dark Half, A-III (R) Double Dragon, A-III (PG- 13) Drop Squad, A-III (R) Ed Wood, A-III (R) The Endless Summer II, A-II (PG) The Firm, A-III (R) Forrest Gump, A-III (PG-13) Four Weddings and a Fu- neral, A-IV (R) * * * Getting Even With Dad, A-III (PG) A Good Man in Africa, A- III (R) Greedy, A-III (PG-13) Guarding Tess, A-II (PG-13) * * * Hoop Dreams, A-II (PG-13) The Hudsucker Proxy, A- II (PG) * * * I Like It Like That, A-IV (R) I'll Do Anything, A-III (PG- 13) Imaginary Crimes, A-II (PG) In the Army Now, A-III (PG) Iron Will, A-II (PG) It Could Happen to You, A-III (PG) Jason's Lyric, O (R) Kika, O (No rating) * * * Lassie, A-II (PG) Like Water for Chocolate, A-III (R) The Lion King, A-I (G) Little Giants, A-II (PG) The Little Rascals, A-II (PG) Look Who's Talking Now, A-II (PG-13) Love Affair, A-II (PG-13) The Mask, A-III (PG-13) Maverick, A-III (PG) Me and the Mob, O (R) Milk Money, A-III (PG-13) Mother's Boys, A-III (R) My Father the Hero, A-III (PG) * * * Natural Born Killers, 0 (R) The Next Karate Kid, A-II (PG) North, A-II (PG) * * * On Deadly Ground, O (R) One False Move, A-IV (R) Only You, A-II (PG) * * * The Pagemaster, A-I (G) The Paper, A-III (R) PCU, A-III (PG-13) The Pelican Brief, A-III (PG-13) Princess Caraboo, A-II (PG) The Puppet Masters, A-III (R) Quiz Show, A-II (PG-13) Rapa Nui, A-III (R) Reality Bites, A-III (PG-13) Radioland Murders, A-III (PG) Renaissance Man, A-II (PG-13) The River Wild, A-III (PG- 13) The Road to Wellville, A- III (R) The Scout, A-III (PG-13) Second Best, A-II (PG-13) The Shawshank Redemp. tion, A-IV (R) all, A-III (it) Silent F - , A" . ,1,! A Simple Twist of ] II (PG-13) Sirens, O (R) .""' Sleep With Me, 0 (It) Speed, A-III (It) 13) Stargate, .A-III (pCr _. Striking Distance, A.I, II (10 . * A.II Terminal VelocitY' (PG-13) Tombstone, O (1t) A" Trapped in paradise' III (PG-13) Trial by JurY, A.III (I{) True Lies, O (it) , , * A.III The Wedding Gift, (PG-13) lqig t" Wes Craven'S NeW mare, A-III (It)  .tlber t ,71..t, s Eating "" "' 3) Gra e. A-Ill (pCrl -s  P" " n DoVe When a Ma Woman, A-III (It) -:, , - _,. A.II(t'u ) Widow s ye _., o('rlo With HonorS, A.lll '-- yatt Earp, 0 (pCrl3) NEW YORK (CNS) -- Here is a list of recent videocassette releases of theatrical movies that the U.S. Catholic Confer- ence Office for Film and Broad- casting has rated on the basis of moral suitability. The first symbol after each title is the USCC classification. The second symbol is the rat- ing of the Motion Picture Asso- ciation of America. USCC classifications: A-I general patronage; A-II -- adults and adolescents; A-III -- adults; A-IV -- adults, with reservations (this indicates films that, willie not morally offensive in themselves, are not for casual viewing because they require some analysis and explanation in order to avoid false impres- sions and interpretations); 0 morally offensive. MPAA ratings: G -- general audiences, all ages admitted; PG -- parental guidance sug- gested, some material may not be suitable for children; PG-13 parents are strongly cau- tioned that some material may be inappropriate for children under 13; R -- restricted, under 17 requires accompany- ing parent or adult guardian; NC-17 -- no one under 17 ad- mitted (age limit may vary in certain areas). The Accompanist, A-III i i ii i i i 00alntenance/Janitor IDc00ltlon ii i i i o00ecretar#- Experienced and proficient in use of computer. Duties include general secretarial work plus maintenance of computer data base for Agency statistics. Send resume to: CATHOLIC CHARITIES Court Building, Suite 603 123 N.W. 4th Street Evansville, IN 47708 i iii i i i i iii i St. Joe School/Parish (County) has an opening for a Maintenance/Janitor. Applications will be taken until May 31st. Forms can be picked up at the rectory or school office. Salary depends on qualifications and experience. Further questions, call (812) 963-3335. i i i i i i i i ii iiilll ill i ii ii