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Some eyewitnesses on Monday insisted that a female banker, Yinka Johnson, accused of crushing an official of the Lagos State Traffic Management Agency, was not culpable.
Detectives attached to the Homicide Section of the State Criminal Investigation visited the crime scene on Monday for an on-the-spot assessment.
But as soon as the team arrived, scores of eyewitnesses told the detectives, led by Mr. Solomon Ogochukwu, that the LASTMA official was crushed by a commercial bus driver while he was attempting to cross the road.
One of the witnesses, Simon Eze, said, "The banker was driving against traffic and was attempting to navigate to the other side of the road when she was accosted by LASTMA officials.
"The lady pleaded with them but they were adamant. Even one man in a red car alighted from his vehicle to plead with them but the officials refused and went to get a towing vehicle.
"As one of the officials attempted to cross the road, he was crushed by a commercial bus but he did not die on the spot. The LASTMA officials suddenly blamed the banker and accused her of killing their colleague."
The witness said the commercial bus driver whose vehicle was damaged, stopped for a while but later sped off.
Another eyewitness, Ilonze Benjamin, said the LASTMA officials could be careless at times in their bid to enforce traffic laws by jumping in front of moving vehicles.
Benjamin described the spot where the accident occurred as "very dangerous," adding that many people had lost their lives on the spot.
He said, "The LASTMA official was not crushed by the lady. He had seized the car keys and was attempting to cross the road when he was hit.
"The modus operandi of LASTMA extortion is that they seize car keys of errant motorists and walk far away from the vehicle so that the motorist will follow them. After the motorist follows them to a corner, they collect bribe and allow the culprit to go.
"Those LASTMA guys have been doing this for a long time now but unfortunately, the deceased did not look well when he was crossing the road."
PUNCH Metro observed that detectives and LASTMA officials set up objects on the road to illustrate how the accident occurred, while pictures of the scene were also taken.
But an unidentified LASTMA official insisted that the banker crushed his colleague.
As witnesses pointed out inconsistencies in the official's claim, one of the officials burst into tears, accusing the witnesses of conspiring against the officials of the agency.
"Many of these so-called eyewitnesses were not there when the incident occurred. My colleague was killed by the woman. It's because members of the public don't like us that is why they are ganging up against us," he said.
A resident, who craved anonymity, urged the state government to install CCTV cameras along the expressway for security reasons.
"With the new traffic laws in Lagos State, CCTV has become necessary in order to save citizens from being framed by traffic officials and policemen," she said.
Some of the witnesses later wrote statements and handed them over to the detectives.
The General Manager, LASTMA, Babatunde Edu, had in a statement on Friday – the day the incident occurred – accused Johnson of killing the official, Hameed Balogun, while she was driving against traffic along Lekki-Epe Expressway.
The GM had said, "Balogun was killed by the banker along the expressway while he was carrying out his official assignment at his duty post at Mega City, Ajah area of Lagos.
"The banker, an employee of IBTC drove in a Green Landrover SUV with number plate CY 276 LSD against traffic from Mega Chicken inward toll Plaza two and was intercepted by three officials of LASTMA.
"Johnson started driving recklessly in order to escape and in the process ran over the officer. The deceased was rushed down to Germaine Hospital where he later died as a result of injury sustained from the accident."
Source: Naija.ng


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Did Ford's market research indicate that ensuring its new Maverick V6 appealed to left-handed drivers would increase sales? Maybe. Because the top model of this sports utility vehicle comes only with automatic transmission - and, uniquely in recent memory, the column shifter lives on the left side of the steering column.
This also means that the action is reversed compared to a conventional column shift: 1-2-D-N-R-P rather than P-R-N-D-2-1. It takes a moment to get used to - especially as the first time you drive the Maverick, you will inevitably grab the shifter rather than the indicator stalk while easing through your nearest major junction. Turning right will drop you into neutral, while turning left might see you find the second slot in the transmission quadrant.
Nothing else will provide such a surprise. This is a Ford/Mazda joint venture; the previous model was produced in partnership with Nissan. Left-hand-drive Mavericks come out of Ford's Kansas City plant, while right-hand-drive models are sourced from Mazda in Hofu, Japan.
You don't need a degree in forensic science to figure that the Maverick is Japanese-built. Interior fit and finish are exemplary. Surface textures and colours are semi-matt, impressively consistent from panel to panel. There's no chrome. In a Maverick with a black interior, your world view turns unrelentingly monotone. Even the leather seat facings favour that weirdly unnatural, almost airbrushed feel pioneered by Lexus and the odd plutocratic Nissan.
According to Ford, its design team "wanted to create a driving environment of functional simplicity without sacrificing style". They succeeded. The new Maverick is resolutely simple within: no cubby or stowage slot is lined, and the vast console box has but the flimsiest protection on its floor. Your stuff will fidget.
Front cupholders are simple dimples, with a plug-in, modular ashtray. The rears flip out of the centre console with some aplomb but, once deployed, don't line up parallel to the floor, which seems silly. This quirk makes them fine for taming cans and bottles, but loading a full cup tempts immediate spillage.
A glass-capped power sunroof has the largest opening area of any Ford SUV, impressive given that some models in the US are approximately the size of a British starter home. There's some clever detailing in the luggage bay, with stretchy nets on the side panel and slung across the widest part of the cargo area to stop shake, rattle and the other thing.
Best of all is a rear hatch with an openable rear window: buttons on the exterior latch thoughtfully marked "door" and "glass" make its operation a cinch.
The latest Maverick, then, is a genteel 4x4. Not, as some Americans deride small 4x4s, a sports futility vehicle, but definitely closer to a soft-roader than true off-roader. And usefully versatile daily transportation - especially if you are left-handed.
- Previous Inside job: Chrysler Grand Voyager

subset: commoncrawl


text:
In Moscow, St. Petersburg, Essentuki, Tiflis, Constantinople, Berlin, Paris, London, Fontainebleau, New York, and Chicago
With a foreword by Joseph Azize
Author: Gurdjieff, G. I.
Binding: Hardback
Publisher: Book Studio
Publish Date: 2014
Pages: 464
Size: 5.5″ x 8.5″
The talks in this volume are not verbatim transcriptions. In the early years of Gurdjieff's exposition of the fourth way teaching, he rarely allowed notes to be taken during his talks. The majority of his early talks were written down after the fact by pupils who were present, either individually or collectively, and should be taken as recollections of what people believed Gurdjieff to have said.
The provenance of the talks are library archives, private collections, and individuals from all around the world. They have been arranged chronologically and are presented in this edition for the first time in their entirety.
Over one hundred authentic talks, unaltered and unexpurgated.
Illustrated and fully indexed with exercises, sayings and aphorisms.
Buy from Amazon: UK | USA | Canada | France | Germany | Japan
Joseph Azize Reviews: Gurdjieff's Early Talks


text:
Rolling Stone and Zellner
Kathleen Zellner has been quite active on Twitter today, posting no fewer than three tweets. Actually, she posted four tweets, but quickly deleted one of them to make a few revisions before reposting, according to one of my sources helping me keep an eye on things. Below is the tweet in question, her first one of the day…
Changing power balance: Trial: State 53 witnesses-25 days. Defense 7 witnesses 1 1/2 days. Now: Real evidence will free SA#MakingAMurderer
— Kathleen Zellner (@ZellnerLaw) April 8, 2016
What was it that was revised? My source, who said he saw it only briefly, seemed to think that it made mention of a three extra witnesses that Zellner now has who didn't testify on Steven Avery's behalf during the original trial. This makes sense in the context of the tweet that was posted. After all, if the defense has gained three new witnesses, that must be the shift in power dynamics that she was originally referring to.
If so, the question then becomes, who are these three additional witnesses? Wouldn't it be sensational if one of the was Mike Halbach? That would sure shake things up, wouldn't it? If Ryan killed Teresa, and Mike wasn't involved, he would have every reason in the world to testify against Hillegas if he happened to know something. Even if he were involved, so long as he isn't the one who killed Teresa, he might have a reason to testify against Ryan.
I also wonder whether one of those witnesses might be Scott Bloedorn. If Ryan had been lying about any of the things he'd said on the stand, Scott would be in a unique position to know. He would also have been in a unique position to about Teresa's relationship with Ryan, so it should be interesting to see how things turn out.
Zellner's last post of the day referred to a recently published article in Rolling Stone magazine by Amerlia McDonnell-Parry in which it is speculated that Avery might be freed without having to endure the vagaries of yet another trial. Interestingly, the name of Ryan Hillegas appears.


text:
- Description
DetailsWith superbright LED flashlight. Official licensed Ford product
- Additional Information
Additional Information
Part No RIC5500.50 Product Group Wheel Spacers, Studs & Nuts Stock Status Available From Stock Catalogue 2017 Page Click HERE to view this part on page 148 of our 2017 catalogue Brand Logo
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text:
An early morning before sunset, on the Plage de la dune du sud.
Île du Havre-aux-Maisons, Îles d, Québec, Canada
The slow moving sea water is keeping the beach sand wet and glossy. An algea is stuck in the sand due to the water's movement. Moving clouds against a pinkish sky creates a sense of motion.
Keywords : Bleu ∙ Blue ∙ Pink ∙ Rose
© Jonathan Tessier


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Q&A Eightfold Concrescence
My creative work is personally concerned with seeing, perception, constructive sensation, serendipity, complexity, reflection, randomness, improvisation, consciousness, intuition, assembly, patterns, pattern-making, symbols, cognition, archetypes, mystery, ad hoc narratives, self-awareness, pure experience, epiphany, spontaneous apprehension, underdetermination, pareidolia, abduction, 2nd order cybernetics, enantiodromia, learning, unlearning, yin/yang, enaction, and neurophenomenology, and other stuff.
Over two decades, my research and studies have come to be primarily organized around experiential learning, adult development, 2nd order social cybernetics, serendipity, enactivism, and, Analytical Psychology. All of these concerns either inflect or are woven deeply into my creative process.
Several associates were invited to submit questions to the artist.
What kind of message would you like to communicate to your audience through your art projects?
What message are you hoping to deliver through your art?
Each piece is designed to evoke a meaningful experience on the part of its so-called receiver, or viewer.
Allow me to set the background. A usual expectation of the viewer is that he or she is to receive a meaning encoded by the author in, or into, the artwork. The artwork is definitively about this meaning, or, it contains authorized messages. Although the viewer's approach to the experience of meaningfulness is not required to attend either solely, or firstly, or predominantly, to liberating the author's message from where this message is, in effect, encoded and potentially operationalized, the conventional way of understanding what the viewer may choose to do is: the viewer is to decode the message, or messages, sent to the viewer by way of the vehicle, the so-called unified object, constituted by the artwork.
This is only part of what I understand is the normal way of explaining what are the central purposes of a piece of art, when it is a given that the artwork's author hopes to convey messages which the artist originates An artwork also reflects the concerns of the artist. Additionally, those concerns are always tangled up in rich arrays of contexts. For example, it is often the case that a piece of art is socio-culturally engaged, and such pieces almost are required to align their coded messages with specific cultural concerns of the artist. Both of these commitments are further contextualized by their coming about in a particular time and place and with an import situated by this place and time.
I do not create and produce art pieces for the sake of sending explicit messages that I have authored.
There is no intentional coding of such messages. There are no opportunities for the viewer to annunciate that he or she has successfully uncovered or discovered any such authored messages of this explicit kind.
In addressing this, I speak hardly at all about about meaningfulness rather than messages. My artistic intention is paradoxical in that I both do not create art to be the vehicle for intentionally encoded types of messages, yet, I do create art to be evocative, to be meaningful, to repose meanings. We would have to go off the map of the current question were we to try and make a go of grasping this paradox. One hint is: there is lots to be decoded in my images.
Because my aim is meaningful experience, in principle, any time a viewer tells me about their experience, and about their apprehension of meaning from their subjective experience, I affirm that what they have captured is true for them, and, critically, is true for the piece. I cannot negate someone's experience in the most typical way, which would be to answer a viewer's query, "Is what I see here, what you intended for me to see?" by responding, "No." I do not intend for the viewer to see anything on my account.
Yet, I do have concerns. These multiple concerns, in turn, are entangled in further concerns, and all of these are additionally made more complicated as a matter of relationships between both concerns and between contexts. This interplay of concerns and contexts are about who I am and what interests me. My art work intentionally refers to many of those concerns, or interests. For example, clearly I'm interested in the nature of human experience and development. These concerns are in my art but these aren't, also, a concern of my art. This is the paradox in a nutshell.
My essential aim is not to try to determine how my concerns can better come to be reflected in my art. It is not my central aim to transmit these many concerns to the viewer. Primarily, I am unconcerned with whether or not a viewer discovers what are my concerns! Secondarily, shared concerns are always fascinating to me.
As you view a photo for the first time and before you work your magic, do you have an intention in mind?
Yes. My concrete intention is to generate choices from which a final choice will be made. My initial artistic intention is that the possible choices each capture a sufficient conjunction of chaos and complexity. I'm aiming to cause a possibly worthwhile pre-assembly of complexity.
There is an alliterative heuristic I have come to devise and use to represent my creative process. The first three elements are concerned with making a choice which will lead to the next phase of the process.
I capture a lot of photographs. I throw out the technical failures. I iterate numerous occasions for the two-fold or four-fold cut. I choose at least one of the cuts, and, sometimes, I will choose several cuts. Once I make the choices, the piece, or pieces, have been delivered into the concrete realm.
My intentions throughout these procedures all aim to coordinate processes. There can be secondary intentions that refers to symbolic or pattern language or specific cultural forms that are part of the set-up for the photograph. For example, in Four Observers, there is a metal sculpture from Thailand. My secondary intention never is precisely articulated, yet, in the example of this piece, I am well aware that my secondary intentions have something to do with choosing the small asian sculpture and setting it into the set-up, (or still-life,) that will be photographed.
Drafts or rehearsals or preliminary versions constitute the concretization of an artwork from out of my artistic practice.
Do you get specific inspiration about content, color, etc, to make a plan or is it more like improv? How do you choose all the elements included in a work?
Improv, yes!
There are two basic states of my 'feel' for an element. First, is that I discover an element out in the wild, say at a garage sale or a leaf lying on the ground, and I immediately feel this element will really play an important role. or be the element around which a piece is centered.
In this first kind of feel, I go about collecting elements and archiving these for future use.
The second kind of feel has to do with pursuing trial and error for the sake of guiding a complex assembly, through a series of iterations. This is especially true for generative pieces. Generative pieces start with me choosing the three to seven source photographs that will, in effect, feed into the programmed tunable routines of the generative application. Those choices are all about predetermining to some extent what content and colors will likely work their way into successful iterations.
When I am working both types of feel at the same time, I am largely intuiting and feeling and recursing via trial and error through arrangements of various elements.
In the background of my current process is the way that my increasing experience also supports more effective intuitions. This reduces the error aspect of trial and error.
The most common occasion for planning is when it becomes necessary to re-shoot a set-up–for any number of reasons–and in this redoing, plan not to make the same errors a second time.
How do you usually get inspiration for your artwork?
I start to play around.
Besides the feel, which arises when I come to possess an element which suggests itself as a centering object in a photograph, the most usual means for coming to inspiration is simply playful imagining, experimenting and messing around. I try out stuff and push into and through little miniature tests and, even sometimes, subjecting set-ups or generative schema to routines.
Two examples of routines are: swapping, and, inverting.
One nifty trick I play on myself is to archive objects and then, upon revisiting the object, to also revisit the original feeling of inspiration. Two objects present a possible synthesis out of their different original inspirations.
Each finished piece is the result of it going all the way through the entire process. Some of the stages of that process are inspiring, others are not. Post-production is a slog that challenges me to sustain high standards and be tenacious about technical details. This is a good point to bring in more of the C-based alliteration.
These last three aspects often begin with an inspired choice, yet, soon enough the work is being fashioned by doing the chores implicit in coalescing, bringing together the technical requirements; creating, referring to finalizing enlargements and various proofing documents, consummating, producing both proofs and editions.
How long does it take you to produce a piece like the ones in your show?
It varies. If one takes into account the discovery of, and management of, resources, then most photographic pieces would encompass the time spent collecting and archiving elements. This time also gets sunk into the photos which underlie generative pieces. I have no idea what this number is because these inventory management tasks are ongoing.
Working backwards, post-production is 2-20 hours per piece.
Iterative time means all the time spent in trial-and-error mode after the assembly of the set-up. In the realm of photography, this is very variable on a per piece basis. 1-5 hours is a likely range. On the generative side, 1-10 hours. I suppose I need not count all the time spent on the 90% of projects that end up in the trash, yet, those provide the necessary learning from mistakes and from retired trials which go into every future piece,
Figuring out the set-up and shooting photographs is 1-3 hours per shoot. I log challenging shoots for the sake of documenting camera settings and environmental factors.
Photographic pieces take somewhere between 4 to 30 hours. The shoot for the various pieces Dave's Buddhist Tree Stump took fifteen minutes, and the photos were superb and the cuts were plain to see. Eightfold Marian Anthropology took over thirty hours.
Could you share a story about a time something unexpected and/or interesting happening amidst a piece's creation, which then changed the piece?
There are so many such stories. Very small unexpected events may have very large consequences. This is something I always knew as a cyberneticist, but it has really been thoroughly hammered home as learning given in my experience of my creative process.
Much of what I manage in my creative process has to do with narrowing and reducing possibilities without also erasing the opportunity the unexpected presents. The singular tonic in noting this is that the actual field of possibility is infinite.(*) This is the principal context for my being open to the unexpected.
When I shot set-ups in the antique green glass I call Shiva, I had no idea the chaotic surface of the deteriorating asphalt driveway–upon which Shiva was placed–would so enthusiastically be integrated into the photographs. Our asphalt driveway has found its way into many finished pieces.
For over a year I would simply iterate symmetries given the orientation of the photograph. Also, I would limit dropping the dividing plum to a small number of options given by only the center of photographs. By accident I warped a photo off the center plum, and realized instantly that this opened up a large field of new symmetries. Where the cut is made always implicated it being anywhere along a dimension of the image, but I was so absorbed in the overtly obvious choices that I ignored the covertly obvious possibilities! This accidental finding soon led me to significantly expand the geometries I previewed and subjected to various test cuts.
This finding also underlies related technical innovations too. One builds upon the other, but first one has to make the fruitful error!
What was the biggest surprise you experienced with the work at the show?
Pieces are proofed in my studio at a size no larger than 19×13 inches. My system is calibrated, so I can zoom in and spy details on the computer monitor. This allows me to work at the pixel level.
My printer produces small proofs for the purpose of deciding what medium will be utilized to reproduce final pieces. It is the common practice of fine art photographers to proof at full size using the medium the final edition will use. I don't do this.
My production printer and I work well together. I sometimes ask for small proofs and slices printed to different media to see what aligns with my sense of a final piece.
Given the chicken-and-egg of my first show, I couldn't produce full size proofs, and, instead produced full size slices/excerpts. Slices showcase small sections of pieces at full scale. I use a slice to confirm color matching, and, printed resolution.
When I pulled the trigger on production of the fifteen pieces in the show, I knew going into it that when these were delivered to the gallery, that I would be seeing the full final pieces for the very first time.
The biggest surprise came when I helped unwrap the pieces at the gallery and flipped them over and saw the faces for the first time and realized my modest (circa autumn 2015,) post-production skills had been up to the task of, for example, taking 14×9" originals up to 70×45" installed pieces.
The large scale of the pieces amplified their engaging qualities. This proved my fundamental hypothesis: that the goal of my work being evocative was well served by the work being large, rather than small. When I unwrapped the largest pieces, even I was overwhelmed!
Seeing my finished pieces for the first time a few days before each was to be hung, permits me to indulge a first social hypothesis: my art's aim to inspire evocative, meaningful, positive experience will be confirmed by its viewers.
Is there a particular audience you are hoping to connect with through your art?
Yes, I'm hoping to connect with the audience able to easily view the pieces and spend the requisite time fully engaging each piece. As the Sufi aphorism puts it: time takes time.
My art is democratic in that my intent aligns with anyone of any age or any quality who is willing to be drawn into their own experience of my art. This is different than the transactional, and often intrasemiotic alignment between a person able to decode on their own the specific messages coded into the piece by the artist. My pieces are built to resist anything like an authoritative interpretation.
It is both a common fact and a remarkable fact of my own intent that I discover unintentionally coded elements in my art long after the piece has been completed. There is literally a psychology of the unconscious and a psychology of experience operating in the background.
One broad theme, and it really is what I would class as a meta-theme, is that the qualification of rewarding experience made possible by my art is the result of the kind of meta-intention that allows me to intend not to intentionally code message or meaningfulness into my work. There is a great deal implied by my intending not to intend.
Still, the concomitant of this paradoxical thrust of this artist is what comes back from a viewer's receptivity to grasp and work through and willingness to complete the art piece with their own unique, and contingent, and novel, and correct-by-whatever-principle, embodied experience.
From the viewing subject's perspective, their own paradoxical situation is brought forth by how it the case that their experience is in no way advantaged by their being able to decode and conceptualize tacit, third order contextual themes. This kind of decoding and its 'reading into the artwork' is not, paradoxically, caused by my artwork. This kind of decoding reflects an approach, it brings its map to the territory of the artwork, but it is not possibly privileged as against any other experience in the territory of the experience of the artwork.
Rather, it is my hope that the viewer's open consciousness will playfully engage the question imposed by the piece, even when, and perhaps especially because, the singular question isn't knowable and cannot be asked; have I got your meaning right?
This kind of experience is accessible by anyone. This kind is a mystical kind.
Will you share a story about what people have seen in one of your pieces?
I wish I could record the experiences of the viewer! It would be neat to have more opportunity to hear reports about experience. Any report promises to take me on a fresh tour of the art work.
Sure, I have learned about what literally popped into somebody's mind. Someone's sons wanted to touch the pieces. If it were up to me, the experience would include touching.
One friend remarked how meditative was their experience of a few of the pieces. Another person found their experience was of being disturbed yet being drawn closer.
The prize goes to a ten year old girl, Zoey, who remarked,
"I had to re-adjust my brain to see farther into your picture."
Do you have daily practices that support your creativity?
Paying attention. I've been a daily, spot meditator/contemplator for 28 years. These two practices are linked. I also keep my eye out.
Much of what fascinates me and concerns me reverberates in my living and creating. Music is part of this, so the language of your questions has already lit upon improvisation, intuition, inspiration. You know me to be a reflective type, right?
Certainly, there are key ongoing investigations about serendipity, pragmatist aesthetics, enactive psyche, archetypal processing, and, as I would put it, the creative conduction of being, that are seemingly practicing me, and overflowing into my creativity!
Rumi! A slender bright reed song. If it should fade, we fade!
What is there before the image?
Lila? . . .a nascent playfulness.
As it happens–and this is true for the mirror symmetry when it is happening on a heavy metal album cover, in a Rorsach blot, or, in a centuries old decorative tessellation at The Alhambra–there is its striking of order.
This symmetrical order is an unusual reduction.
The outward physical order given in symmetry is nothing like the creative order of thinking, feeling, willing, being. But, in that we are experiencing creatures, it is notable when our order of consciousness itself becomes for a moment symmetrical. This and that; if so, not so; given this, this is given too; this side includes this other side. Etc.
This occurrence leaves traces. Those traces are numerous. There are classificatory systems able to conceptually encompass conceptual structures which are notable, for our purposes, for their two-ness, four-ness, fourfoldness, etc.
Such systems of systems include: Buddhist mandalas, the four humors, my colleague David Kolb's Experiential Learning Cycle, C.G. Jung's theory of enantiodromia, each and every theorization of paradox, polarity, dialectic, dichotomy, association, differential abduction, negative capability, etc. All involve the negotiation of a smaller order, a scalar symmetry, out of the greater, larger, more complex, complex.
What of the powerful impulse provided by the desire to see the transformation of chaotic togetherness into coherent togetherness?
There is in the first order a simple way to design this transformative action into a fourfold aesthetic experience and instance a deeply symmetric enaction:
be it / create it / experience it / see it.
The last alliterative C that marks my process is:
The growing together of a many into the unity of a one.
It is "the real constitution of a particular existent." (A.N. Whitehead)
Eightfold Concrescence, Artistic Process Symmetry:
Up until now my interest and exposure to art has been limited to painting, drawing and sculpture. Computer generated art is something that does not immediately resonate. Your work is really the first I have tried to understand and appreciate. But I need some help.
I can understand when someone puts pencil or brush to paper that this is a direct expression from brain to paper or canvas. The transfer to computer does not seem quite so personal but maybe that is me – after all a musical recording has to go through all sorts of electronics before you hear that acoustic guitar. Maybe I need to approach computer art in a different way. Any thoughts?
I'd like to use your question to address a number of assumptions, including a few that are derived from your wondering out loud, but are not assumptions you've entertained here.
Every instance of my creative agency directs itself toward the generation of a flow of provisional stages. The various instrumentalities I deploy to facilitate this process are not less or more instrumental than is an acoustic guitar. A human plays the guitar, plays software, plays a camera, plays a shuffling of materials in a still life. My completed art pieces, then, are "human generated."
The most intriguing assumption you've stated is: when someone puts pencil or brush to paper that this is a direct expression from brain to paper or canvas.
Set aside direct expression. Someone puts pencil to paper–what is put on the paper–is different than the mediation of this 'putting down' when it is facilitated by a simple or complex software routine.
Software 'puts down' the following task on a digital document: it changes the color of single pixels.
If I put a microphone on an acoustic guitar and plug its output into a reverb guitar pedal and then route this pedal's output to an amplifier, the wave form will be altered. If it is a digital pedal it will be interpolated into binary samples and then converted back into an electrical translation of the analog sound that the mic picked-up.
Analog string wave form transduced by electromagnetic pick-up converted to digital stream manipulated in circuitry converted to digital stream interpolated to electromagnetic signal and translated back into impulses that move a speaker cone that produces a acoustical waves.
(Then onto the skin and into the ear, and more transduction, a deeply mysterious conjunction comes about between the now electrochemical intraneuronal transmission and the rising up of the qualia of mentally grasped sound.)
We are here speaking of the evolution of the means for manipulation (or alteration,) means which offload to various technological instrumentalities routines which cause manipulation. The actuality of the set of contemporary tools supposes that this evolution will continue, and, this evolution shows no respect to the idea that there are salutary halting points.
The so-called purist may be troubled by these facts.
Software instrumentalities in the domain of micro-processors boss around the color of single pixels. The file you view on a screen or in person just shows you what the underlying color/gamma designation are, and those designations are the equivalent of a very short descriptive phrase. Complex second order routines alter first order single pixels.
There are many questions which arise in noting the details of the growth of the techne embedded in the instrumentalities artists deploy. This is true for any art form. We do not expect visual artists to put down strokes on the cave wall.
Concerning this evolution, there aren't any significant 'stopper' controversies in the visual art world, but, as I see it, there does arise a specific, albeit insipid, objection to digital art. This objection has come to be amplified in recent years because many people carry around and use mobile phone cameras. Before this recent era of mobile photography and so-called prisma, there was Photoshop, and its machine facility.
But, for this to make sense as an objection, it has to object to something real. So, the objection, really a family of objections, attaches itself to a sort of meta-ethic in aesthetics that hold that art cannot be produced by only facile procedures, by machine facility. In describing it this way I'm breaking it down and suggesting that the objection to using processors to manipulate those single pixels almost entirely has to do with the contrast between facilitating manipulation using processing power with the absolute command of, as you spoke of it, putting pen or brush to paper.
There's a Turing problem concealed in this. How do we tell the difference? Watson plays chess really well. Clouds in the sky are beautiful. The sunset. Lilies. You see?
I read a series of comments on an internet thread a year or so ago where a bunch of painters came to mostly agree that art which uses processing power should rightly credit the software. Literally these folks thought the processing power and particular scheme for pixel manipulation was a co-author.
While recognizing what apparently is driving this objection, the objection would hold that Fender and Marshall and Maxon are co-authors of Eric Clapton's music. The objectors don't seem to me to have thought through the situation of techne and instrumentality in the creation of art.
Still, the place for facile manipulation of pixels itself is in a fascinating larger context having to do with the interplay of uniquely effective digitally applicative instrumentalities in the making of the so-called unified art object. This is to say that some of what is derived from processing power for the sake of manipulation speaks of capabilities and outcomes which are not achievable any other way.
The problem of the facile and facility is behind the contemporary concern with how certain manipulations have as their result mimicry of non-digital techniques. (Twas ever thus.) The question of who is properly described as being an artist does not get decided by analysis of what tools the creative person uses.
(That there are vested interests that believe such arbitration is sensible and justifiable is a sociological problem in the art world, not an aesthetic problem given by theorizing art practices.)
What I term the paradox-of-the-facile is evident in the realization that a given piece of digital art is not then bettered by something exactly like it having been produced by the absolutely masterful hand in the creation of a unified analog artwork. By virtue of this understanding there arises a symmetry: the faux watercolor manipulation of the analog piece is the equivalent of the faux analog rendition of the digital original.
Implicit in this is the idea that the goal of artistry is not exclusively obtained by the "planning out" of the "putting down." An art object reflects any number of approaches. Many are heuristic approaches. Others include a factor of randomness. Others include methodical imprecision.
So, among the profound conundrums, or integrities, given by machine processing of pixels, is the one that informs my own work. This is: under-determination.
I do not masterfully or certainly or surely control every last element and micro-element that comes to be represented in the image. (At the other extreme is the total control of all elements in the unified art object.) But, I do invoke either a change or a prospect for change at the pixel level.
Think of how this is in music where the score controls everything but the player's ultimate approach to the written music. In music, also, there exist crucial and revealing contrasts between the player who simply controls by virtue of her playing exactingly what is to be produced, with players who conduct their playing using a more generative approach. Yet, it is music all the same.
We do not have to work hard at all at coming to recognize the operations of underdetermination, or chance, or error, or serendipity, or intentional minimization of control, in any art form. Roughly, what I note is the ineluctable relationship between contingency, agency, and what actual overt and covert, grounded and backgrounded, socially constructed, fortuitous, etc. systems come to be instantiated in the unified art object. In a way, it is helpful to state that these systems exist behind the scenes!
There are other systems that are related to the action at the tip of the brush and in the feel of the artist. Only negative capability is up to the task of disentangling all that bears down on art making. What surely is not part of the process? Consider the social precedents in learning, in the actuality of both imagination and inspiration, or the ecological precedents, of which the weather and what side of the bed one arose from are not necessarily trivial contingencies!
This defeats any idea that the art creator is controlling absolutely and wholly every last element, or, absolutely controlling what she is putting down on paper. It is never simple.
(The aesthetics of aesthetics has yet to be worked out. The creativity of creativity has yet to be worked out.)
What is missing from the critique of instrumentalities is the contextualization that is provided by consideration of the art object as a contingent manifestation of a flux of human-intentional, and ecological, (implying everything else,) systems. This contextualization is robust enough to seriously consider that it can hardly be the case that an art object is caused by, for example, "when someone puts pencil or brush to paper [that this] is a direct expression from brain to paper or canvas."
And, this is just as much true for the painter painting a painting. In light of this, that I am lightly touching upon here, a question for any artist is:
"What in your art did you have little or nothing to do with?"


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Miracle on 23rd Street
Linden is hosting its fabulous "Miracle on 23rd Street" event this Friday, December 2.
Festivities begin at 6 pm.
The tree lighting–of Arlington's oldest and tallest spruce–is at 6:25 pm.
Santa arrives at 6:30 and 50/50 raffle is at 8.
Come out for holiday cheer and support our neighborhood non-profit!
Full details: Read more
Category: Uncategorized


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Employee Appreciation Day Planned Sept. 19
All employees are invited to participate in the University's Employee Appreciation Day at the Carrier Dome on Saturday, Sept. 19, when the Orange football team hosts Central Michigan. Kickoff is at 12:30 p.m. All University employees attending the game are eligible to receive a game day gift, a concessions coupon for a free hot dog and drink, and free parking in the Skytop parking lot.
University employees are invited to purchase up to four tickets to the game at $5 each. They also may order up to four free youth tickets as part of that day's "Take a Kid to the Game" promotion, which enables children 12 and younger to attend the game free when accompanied by an adult.
To order your Employee Appreciation Day tickets online and for more information about the special event, visit the Office of Human Resources website at http://www.humanresources.syr.edu. The deadline for ordering tickets is Wednesday, Sept. 16.
The concessions coupon and parking passes (for those without a University permit) will be available at the Office of Human Resources in the Skytop Office Building during business hours from Thursday, Sept. 10, through Friday, Sept. 18. Employees should bring their game tickets with them to HR when they come to pick up their food coupon and parking pass. The tickets can be downloaded and printed at home.
For help ordering tickets and for answers to questions about Employee Appreciation Day, contact Sarah McAndrew in Human Resources at email@example.com or 315-443-2364. If you have questions about football tickets, please call the Carrier Dome Box Office (315-443-2121, and press 0).


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Event and nightclub space availble to hire for filming, music videos, photo shoots and much more.
LON1748 : London, United Kingdom
Within the M25:
Travel Zone: 1
Bars | Pubs | Clubs | Night Clubs | Event Venues (including Race Courses)
Suggested Searches: green room, dance floor, stage, bar, event space
CLICK HERE to register yourself to make use of our FREE location management tools! Create shortlists, book Opportunitys and manage your projects/locations.
Add this location to an existing shortlist by selecting it from the list below and clicking "add" or create a new shortlist to save locations you like in by clicking the "create shortlist" button.
9 meter wide LED stage screen
Dedicated outside broadcast area with permanent cabling to the venue
5HD cameras throughout the venue
Three phase power in the venue itself
No time restrictions for loading
Ample parking for all forms of transport
Onsite catering, restaurants, hotels and health club
Late license for night shoots
Luxury green room
Different seating areas including some booths
Type a query in the search box below then select your location
Call Us! (Local Rate) 0844 669 5245 or Click Here :)


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The Behaving Badly star made sure to give the Amazing Spider-Man 2 starlet and her boyfriend Andrew Garfield major props on Instagram when she posted a shot of herself and friends blocking their faces with charity-emblazoned signs.
"Thank God for Emma and Andrew. What are you up to on your Sunday folks?," she captioned the shot, which showed her clad in a bathing suit (and showing off some cleavage) as she held up a "Unicefusa.org" sign.
So what is she talking about exactly? Emma and Andrew famously outsmarted the paparazzi twice by doing the exact same thing (minus the swimwear), when they promoted their charities by holding handwritten signs in front of their faces.
"Good morning! We were eating and saw a group of guys with cameras outside. And so we thought, let's try this again. We don't need the attention, but these wonderful organizations do ---," Emma's sign read, when they made the move in June.
"www.youthmentoring.org, www.autismspeaks.org, (and don't forget) www.wwo.org, www.gildasclubnyc.org. Here's to the stuff that matters. Have a great day!" Andrew's sign continued. They did the same thing back in September 2012 when they realized they were being photographed as they grabbed lunch in NYC.
Selena isn't the only one who took a page from the lovebirds. Anne Hathaway and her hubby Adam Shulman also did when they copied the trick in July.
Want More? Like us on Facebook
Gallery | Romancing the Stone: Emma Stone and Andrew Garfield's Cutest Pics


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Registration for HB-10 is now open
Happy to announce that registration is now open for HB-10 at https://www.regonline.com/hbioinfo10
H.bioinfo is now an ISCB affiliated group
Happy to announce that Hellenic Bioinformatics is now an ISCB affiliated group.
H.bioinfo conference
For registration, preliminary programme and abstract submission, please check here.
H.bioinfo conference: 19-21 November 2016
28 October: registration closed; reached max. capacity


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I just want to say a quick thank you to everyone who continues to support our thrift store. I'm hearing some confusion as to what we do and how we work so I will hopefully clear things up.
We are a "not for profit" business, started by the Baptist Church. All of our donations come from the community and all of our proceeds go back into the community.
We keep the cost of our items very low so everyone in the community can afford them and we are more than willing to help out those in need.
All of our staff are volunteers (mostly from the church but also from the community). The church doesn't charge the thrift store rent or utility, but the thrift store does pay 10 percent to the church to help cover heating, electricity, cleaning supplies, etc.. 90 percent goes back into helping the community.
So far it has contributed to the food bank, student bursaries, library snack program, and others.
The goal of the thrift store was to be able to meet needs in our community in practical ways.
Thank you to everyone who continues to bring us good clean clothes to sell, to our wonderful shoppers, and to those who help us see where financial needs in the community are.
Lori Madsen


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Well...since we have had a little extra time on our hand with over 20 inches of snow outside, I thought I would toy around with some options for my chalkboard. I don't have photoshop, so I had to do it a bit differently. I used a picture of our house before I did the drum pendant, so that you could see the kitchen. This is the view form the front door of our little casa.
Here are some rough (and I mean rough) mock ups:
-this one is showing up a little bright. It would be a lot more muted)
What's your vote???
I am curious to hear what you think. : )


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Smartasses Radio May 5, 2014
Smartasses Radio! With your host, the creator of Smartasses Magazine, voice actor Johnny Video!
On this episode, we are joined by former major leaguer turned film producer, Billy Sample, plus the host of Legends TV and Legends Radio, Evan Ginzburg! Don't forget, your hosts will also bring you your normal weekly dose of Geek News, and Celebrity Voice Impersonation humor.


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Very nice to stay here during summertime. Perfect location at the harbour. Good breakfast and dinner. This is a good hotel (not luxury) located at a top summer spot. Main reason for going here is the location in Sandhamn.
Getting you more information on this room
Getting you more information on this room
"In the back it might be quieter - Live music was there for VERY late by the water"
"All rooms are located away from the slightly noicy main building, so all good."


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Fleischmann, Dominique S.
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|DOI (Digital Object Identifier) Link:
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|Look up in Google Scholar
In his paper [The iteration of polynomials and transcendental entire functions. J. Aust. Math. Soc. (Series A) 30 (1981), 483–495], Baker proved that the function f defined by f(z) = z+(sin?z/?z)+c has a Baker domain for c sufficiently large. In this paper we use a novel method to prove that f has a Baker domain for all c>0. We also prove that there exists an open unbounded set contained in the Baker domain on which the orbits of points under f are asymptotically horizontal.
|Item Type:
|Journal Item
|Copyright Holders:
|2008 Cambridge University Press
|Academic Unit/School:
|Faculty of Science, Technology, Engineering and Mathematics (STEM) > Mathematics and Statistics
Faculty of Science, Technology, Engineering and Mathematics (STEM)
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|Colin Smith
|Date Deposited:
|24 Apr 2009 15:25
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|14 Oct 2017 18:06
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Off-Duty Police Can't Get Class Cert. In Ralphs OT Fight
A three-judge panel ruled that Los Angeles Superior Court Judge Richard L. Fruin Jr. hadn't abused his discretion when he certified the class in its fight against International Services Inc., which hired and paid the officers, but denied plaintiff Mark Barrueta's...
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12DoDM: Day 1 – Die Hard
REMINDER: I'M NOT FIXING ANY TYPOS BECAUSE I'M DRUNK AND IT WILL MAKE THIS RAMBLING MORE SILLY AND INSTRESTING
So. As I promissed on the last episode of Harms' Way, We"re going to kick this whole "12 Days of Drunkenmass" off right. Right here. Right now. We're starting with a film that I have never, ever seen. Given my 27 years of existance, this may come to some sort of shock. But hey.
Die Hard? Believe it or not. This is. LEGITIMATELY the VERY first timer that I've EVER watched the film, Die Hard. Forreals. This is the first time I've ever even TRIED to watch the mpovie. This is rthe firstime I've ever even CARED about trying to watch this movie.
The point is.
Fuck you, Nick Mundy. I'm watching. For the VERY first time. ANY movie 9in this series that should take note of the phrase:
"Some Habits… Die Hard."
Let's Christmas this shit up.
- Random late 80's/early 90's busniessman's all like.. giving al quada some secrets about taking off shoews ans shit.
- 1988. What else happened that year? Hrmph.
- Uh oh. That same businessy cunt that Bruce Willois just talked to on the airplane is THE businessy cunt that he's got to kill and shit. Because. Business. Right?
- Tha's my predictionj anyways.
- 80's hairdos. WHY?!
- So. Paulina just probes. This immigration debat began LONG before Donald Trup entered the race.
- Tom Hanks hates that that dude took all of those luggade carriers right now.
- Bruce Willis, alright, fine… it's is first time in a limo. But. WHY does he sit in front?~
- SO, very, VERT dumb right off the bat.
- But apparently. ONLY cops sit in the front seat when they've got limo services. #AllLivesMatter.
- The terminal that Jon McClain uses does its bnest XBox One impression.
- if all the crazy, shoot-em-up nonsense starts now. I'ma be pissed.
- Cocaine users are involews here.
- Some sort of "racist" Japan joke happened just then.
- I'm pretty sure this phrase makes sense here. Already.
- God damn it. The shoot-em-up bit about this movie is already about to begin. At this Chirstmas party. As if it were written in 2015 or something.
- Npo need for Kevin Smioth with thos pockey huck refgerences.
- Something about John McClain's daughter?
- God damn it. John McCalin's about to go to war at this facility. Sigh.
- Nein! Nein! Nein! Nein1 Nein! Nein! Nein! Nein! Nein! Nein!
- Atomatic weapons. If nly Ronald Reagaan had taken care of this problem. DANG DARN DANG IT!~!
- And… God damn it. The whole movie takes place in this one building. For fuck sakes.
- No wonder the NES game was such shit.
- You HAD to drag Alan Rickman into your shit. Didn't you?
- This opens another conundrum. Who dictartes that Aln Rickman is the BEST ONLY villain, EVER?! ILLUMINATI~! 2012~!
- And. Seriously. At this poiunt. I'm asking. How in the living CUNT could ANYONE consider this to be a "Chirstmas" movie.
- Alan Rickman is coming up though, 2012~!
- I'm Alan Rickman and I approve this message.
- Alan rickman's lke… lety's freeze shit. RTight? Because. That's TOTAL Villainay~!
- But then. DUN DUN DUNNNNN~!
- Alan Rickman makes some footsteps to disrupt this… plan? Plan? Is there one?
- Yes. There IS a plan. And briuce Willis is there to STOP IT!
- This mostly dies into a Smithe/Kingpin/Spider-man/90's Animataed Seriesnmess awesomethings. Becuas.e "Smithe" was just on screen. Before John McClain putr a gun to his head.
- Then. Tumblew down the stairs. Becauise. WHy not?
- I've still not seen any evidence as to why this is a "Chirstmas" moviel. Seriously. I've seen nothing.
- Buttons~@! BOOM~!
- Alan Rickman is pro-choice.
- WHOA~! Alan Rickman just, ironically, said, "Ho ho ho." CHRISTMAS~!
- Something about pizzas. Which is what I'd rather be doing right now. Eating pizzas.
- Guns~!
- Shooting~!
- Violence~!
- Ban them~!
- Alan Rickman is proving to be a cunt?
- And Bruce Willis is lighting a lighter in the vemtilation system. Things.
- Sti.lll. Legit. NO sign olf Christmas in sight.
- Something about cops. But. Gasp. ONLY glack lives matter! DUH?!
- WHOA~! Random dudes said merry Christmas~!
- Then… some black dude starts singing "Let It Snow." As if they were as "racist" as the MCU currently is.
- Something about… ambul;ances?
- Something about feet? Mauybe? Really. Nothing makes sense. Just. Random shooting and things.
- Something about missing bagsa on the tarmac? No. But…
- Random bells ringing. Sleightness. Stiuffs. CHRISTMAS~!@
- Cops in the arrea are all like, "OMG~! did you know about Jon McClain?!" "NO?!" "Neither did I?!" THings.
- Fucl this pl;ot.
- The Family Ties dad just got pissed. And it had NOTHING to do with urkel this time.
- And I mean.l If Die Hard can't hold my attention. Then… what's yhe point. Innit?
- Excited
- Fascinated
- Amused
- Bored
- Sad
- Angry


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This Moose Belongs to Me by Oliver Jeffers
Our review of This Moose Belongs to Me by Oliver Jeffers – another quirky and fabulous picture book.
Our review of This Moose Belongs to Me by Oliver Jeffers – another quirky and fabulous picture book.
Our review of The Great Granny Gang by Judith Kerr – knocking down one negative stereotype, but reinforcing another.
Our review of The Paper Dolls by Julia Donaldson and Rebecca Cobb – a beautiful and moving picture book.
Our review of Zoe & Beans: Hello Oscar! by Chloe & Mick Inkpen
RoRo and I were very lucky to be invited to a little party to celebrate the 30th birthday of Dear Zoo at the Macmillan offices in London.
Badger the Mystical Mutt is a chapter book suited to newly independent readers. Our review tells what RoRo (5) thinks of it and my opinion.
Reviews of two lovely picture books from Maverick Books – Sparkle's Song and The Fearsome Beastie.
This is a Book Week guest post from Joanna, aka Mrs M, aka Madamding. It's no real secret that I love a cookbook. At the last count my kitchen shelves were groaning under the weight of approximately 250 books. Whilst I may have hundreds of books, I still tend to …
I hope you've enjoyed Wednesday's book reviews and have found some new books to take on holiday with you, or just to add to your to-be-read pile. The day started with some holiday reading recommendations from Elizabeth Buchan and then continued with reviews of the books I've read recently, Sister …
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On and off when I change my daughter's diaper she will start clawing at herself. Really scratching like she's very itchy. I'm always careful to make sure there's no poop inside her as I heard that can lead to an infection.
I've leaned down when this has happened to try and see if there's an odor or something to let me know something's wrong? Nothing. It's not red, except from scratching. Nothing looks inflamed either.
I've never had a yeast infection so I don't know much about them. I've heard that they can be itchy and sometimes you smell. I don't know anything else though (other than garlic is a natural cure for it).
Anyone know what it might be? Should I talk to her doctor about it? She has a physical on Tuesday morning.
Asked by amethystrse at 8:46 PM on Jun. 29, 2008 in Preschoolers (3-4)Level 2 (13 Credits)
Answer by Zooming at 8:52 PM on Jun. 29, 2008
Answer by SAHMinIL at 8:49 PM on Jun. 29, 2008
Answer by 2autisticsmom at 8:53 PM on Jun. 29, 2008
Answer by tburnett1105 at 11:29 PM on Jun. 29, 2008
Answer by princezzmommie at 12:10 AM on Jun. 30, 2008
Answer by princezzmommie at 12:11 AM on Jun. 30, 2008
Answer by jaes347 at 4:07 PM on Jul. 1, 2008
Next question in Preschoolers (3-4)
Which movie do you recommend for a 4 year old boy? Kung Fu Panda or Wall E?
Next question overall
(Babies (0-12 months))
I have a 6 month baby and I am pregnant again...


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On Monday 8th and Tuesday 9th of May we had a meeting with the head of the IARC-monographs Kurt Straif in Lyon to discuss our project research and how it could impact the practices of IARC. IARC is short for the International Agency for Research on Cancer.
In their monographs, a committee of the world leading experts will meet after months of preparation, and then for 10 days (and often nights), assess the evidence pertinent to whether a certain agent (for instance, coffee, red meat or radio frequencies) causes cancer. Basically, each agent is categorised into one of five different groups ranging from "causes cancer" to "probably not causing cancer". One of the key practices of IARC is to consider evidence of mechanism alongside epidemiological studies in humans. This is necessary not only because there is virtually no randomised controlled trial available in cancer research, but also because exposing humans to agents that are under suspicion of causing cancer is clearly unethical.
Now, observational studies are subject to confounding, chance and bias. To rule out these possibilities, IARC devotes a subgroup of experts to assess the evidence of mechanisms. Furthermore, another subgroup reviews the evidence pertinent to animals. If an agent causes cancer in animals, this is already an indicator that it causes cancer in humans. The more similar the mechanisms in humans and in the particular animal species considered are, the more relevant the results in animals are to humans (here is also a role for evidence of mechanisms to play). Finally, the three subgroup results (mechanistic, animals and epidemiology in humans) are put together to arrive at an overall evaluation of the carcinogenicity of the agent. The preamble to the monographs gives detailed guideline how all of this should be done.
In this connection, some of our project members co-authored the "Evaluating Evidence of Mechanisms in Medicine: a handbook for practitioners" (see Jon's blog for more information). This handbook aims to improve our understanding of how evidence of mechanisms is best considered in practice. And thus, we think that some of the insights developed in this document could supplement the preamble of the IARC-monographs. We discussed our handbook with Kurt and compared the methods proposed there with those advocated by IARC.
All in all, I think those two methods are very similar in highlighting the importance of evidence of mechanisms for hazard identification. However, while we are in broad agreement, there were also important differences between our two approaches. Some concerned the correct picture of causality and some concerned the most appropriate categories for classifying agents according to their cancer risk. During our discussions, however, I think these differences became smaller. We also agreed that there is need for more detailed guidance on how to best evaluate evidence of mechanisms.
Thanks to Kurt for his very insightful comments and for hosting us. We learned much in these two days and took a lot away to think about. We are looking forward to our next meeting, which we all agreed will not be too far in the future.
Words by Christian Wallman.


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Chef Greg's Gazpacho
Gazpacho is a delicious, chilled, tomato-based vegetable soup. I make this soup year round because it always reminds me of Summer. My interpretation is slightly spicy (you can increase or decrease the seasoning) and filled with chunks of vegetables. Even though the recipe has quite a few ingredients, it's very fast and easy to make. To quicken the chilling time, refrigerate the juice and vegetables ahead of time. Garnish the soup with croutons and chopped chives, if desired.
☆☆☆☆☆ 0 votes0
1 Hr 30 Min
- 3 c
- tomato juice
- 3 c
- v-8 juice (spicy)
- 3 medium
- cucumbers, peeled, seeded, and chopped
- 2 medium
- red onions, chopped
- 1 large
- red bell pepper, chopped
- 1 large
- yellow bell pepper, chopped
- 2 large
- green bell peppers, chopped
- 1 1/3 c
- olive oil
- 6 Tbsp
- red wine vinegar
- 6 clove
- garlic, finely chopped
- 1 can(s)
- chopped tomatoes - large
- 1 Tbsp
- fresh lemon juice
- 1/4 tsp
- cayenne pepper
- 2 Tbsp
- italian seasoning
How to Make Chef Greg's Gazpacho
- 1Combine one cup tomato juice, one cup V8 juice, olive oil, lemon juice, garlic, one chopped cucumber, one red onion, one half red bell pepper, one half yellow bell pepper, and one green bell pepper, in food processor and puree.
- 2Pour puree into container and add remaining ingredients.
- 3Chill in refrigerator at least two hours (overnight is best)
- 4Serve cold with garlic croutons.
About Chef Greg's Gazpacho
Course/Dish: Other Soups, Vegetable Soup
Main Ingredient: Vegetable
Regional Style: Spanish
Dietary Needs: Vegetarian, Wheat Free


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Cut the Rope 2 v1.8.0 + Mod – popular game Cut the Rope Android + trailer
The regular version + mode version (unlimited money and power ups)
Play offline
Yes, maybe you are also users who want to keep the game Cut the Rope has been going on that long ago announced the release of the second version of the game Cut the rope to Android and iPhone OS AS reached the ears! Seen a few hours before the release of the second version of the game called Cut the Rope 2 in the Android Market, and we decided to give you this beautiful game!
Some of the features Android game Cut the Rope 2:
* Includes the 120 steps to collect candy diverse
* Meet new characters to assist you in unexpected trip
* The new elements of the game such as weapons, cups , rockets and water
* Designed in accordance with the laws of physics to experience a different game
* Ability to cut the rope attached to the candy with a touch and swipe
* Collect stars in the ropes attached to the candy
* Having too little compared to its stunning HD graphics
* Free of charge and no ads and no need to internet and play them offline
* Ability to share pictures and privileges Facebook
Changes in version v1.8.0:
* Update Easter + various bug fixes and improvements
Free Download Link
If you like super beautiful game Cut the Rope 2 on your Android phone to be after this post SOFDL you do not miss out and get it for free with one click!


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Howard's way sinks Leeds
Steve Howard's late penalty saw Leicester hit back from a goal down at Leeds to secure victory.
Last Updated: 24/08/10 10:24pm
Steve Howard's late penalty saw Leicester hit back from a goal down at Leeds to secure victory in their Carling Cup second round clash.
The Whites took the lead as in-form striker Davide Somma, who bagged a brace against Millwall on Saturday, headed home.
But Richie Wellens restored parity for the Foxes 20 minutes into the second half before Howard slotted home from the spot after Neill Collins was penalised for handball.
The game came to life after a poor first quarter when Leeds goalkeeper Shane Higgs was forced to punch a fierce drive over the top from Dany N'Guessan after the Leicester man made room to turn and shoot from the edge of the box.
Max Gradel, making his first appearance of the season after a four-game ban, was looking lively for Leeds against his old club and his powerful right-footed drive was tipped over the top by Foxes goalkeeper Conrad Logan after half an hour.
Within a minute Gradel had laid on the opening goal when his superb first-time cross from the right was expertly glanced home by Somma.
Bradley Johnson almost doubled Leeds' advantage in the 44th minute but his angled shot after advancing into the left-hand side of the box floated just too high.
Leicester had to scramble the ball away from danger right at the start of the second half after Gradel stole into the box from the right and Higgs then spilled a low, swerving shot from Gallagher at the other end but gathered at the second attempt.
Gradel jinked his way into the box from the right side again in the 57th minute but could not apply the finish which his trickery deserved.
Leicester were not out of it though and Dutch full-back Michael Lamey's well-struck shot from 25 yards needed a flying block from Alex Bruce to prevent it testing Higgs.
The visitors levelled when some poor control from Johnson handed them possession on the edge of the box and two slick passes presented an opportunity to Wellens, who made no mistake with a low finish.
It took a stunning point-blank save from Higgs to keep Leeds on level terms five minutes later when he somehow blocked Howard's close-range effort from Gallagher's low cross from the right.
Morrison did brilliantly to head clear a Gradel cross under pressure from Somma, who then rifled over with his left foot after receiving possession from substitute Sanchez Watt.
The decisive moment came when a seemingly innocuous set-piece floated forward, bounced up and struck Leeds defender Collins on the arm, and Howard made no mistake from the spot.


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A few weeks ago, I posted a column on employee empowerment that used the example of a Girl Scout selling cookies outside a medical marijuana dispensary in San Francisco. It generated vehement response in some forums, many excoriating the parents of the girl for exposing her to immoral activities.
Why? Use of marijuana for physical and behavioral issues requires a prescription, and is an accepted therapy in California. In Colorado, where recreational use is permitted, Girl Scouts are forbidden to sell in front of pot shops, just as they are from selling in front of bars, night clubs, adult video stores, or any other business whose patrons must be 21 or older. That makes sense, and is consistent. No scouting council (as far as I know) forbids them from selling in front of physician offices or hospitals, both of which dispense powerful, and legal, drugs.
Morality differs from place to place, and shifts over time. Smokable intoxicants have been legal in Holland for decades, just as nude bathing is in Germany. I don't hear claims that the Dutch or Germans are immoral as nations.
On the other hand, few of us would defend stoning or amputation, forced marriage of pre-teen girls or honor rape as moral acts, yet they are legal and considered righteous in parts of the world. Some business owners claim a moral right to refuse service to gays and lesbians, but I'm personally not clear on how that differs from the not-so-far-gone practice of denying service based on skin color, when some people claimed that allowing races to fraternize was immoral. We can agree to disagree.
Business ethics, on the other hand, are pretty close to universal (although perhaps not universally observed). I know of no jurisdictions where it is permissible to sell poisonous or dangerous products labeled as safe. Nowhere can you legally contract for goods and services with no intention of paying, or collect payment with no intention of delivering. Honesty and integrity are the underlying assumptions in every business transaction, from the smallest to the biggest.
The dictionary says that ethics are the application of moral principals. That is true, but in business, my moral compass doesn't have to agree with yours as long as my ethics do.
Hunting in a Farmer's World: Celebrating the Mind of an Entrepreneur, is an ownership book, not a management book. "John Dini's writing is crisp, peppered with good data and concise, pointed stories, revealing how deeply he knows the head, heart and guts of entrepreneurs." (Read more reviews)


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Reuters Staff
1 Min Read
Feb 9 (Reuters) - Global Unichip Corp:
* Says it will pay cash dividend of T$3.5 per share for 2016
Source text in Chinese: goo.gl/dN0pJ0
Further company coverage: (Beijing Headline News)
All quotes delayed a minimum of 15 minutes. See here for a complete list of exchanges and delays.
© 2018 Reuters. All Rights Reserved.


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Even though most of the 2010 recruiting has been done UAB will have three visitors on campus this weekend. Two of those visitors are already committed to the Blazers and the third prospect has been...
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You are here: Home » Blog » myBatik Collection » myBatik Kuala Lumpur » WE OPEN ON LABOUR DAY. business as usual 8am till 5pm, enquiry call 0162203190 / 0123887343 or email: firstname.lastname@example.com
Published on 30 April 2016 by admin in myBatik Kuala Lumpur, myBatik NEWS, myBatik Workshop
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Location: Foreign Animal Disease Research2012 Annual Report
1a. Objectives (from AD-416):
This research project seeks to address the threat of an introduction and subsequent outbreak of African Swine Fever (ASF) into the United States through a comprehensive research program aimed at countermeasure development. Specific objectives include: 1. Development of challenge model for ASF to characterize pathogenesis and evaluate novel countermeasure products. 2. Determine the immune mechanisms of protection induced by attenuated strains. 3. Determine the role of viral proteins in virulence/ pathogenesis/ protection through functional genomic analysis.
1b. Approach (from AD-416):
1. The development of a challenge model for ASF will be accomplished through challenging pigs with virulent ASFV via different routes (oral, nasal, and intramuscular) and at varying doses. The goal is to develop a system of viral challenge that accurately simulates natural infection. Model efficacy will be evaluated by characterizing viral dynamics in live animals and post-mortem samples. 2. The immune response to challenge with attenuated strains will be determined by analyzing the onset of protection. Comparative studies will be conducted using virulent and attenuated stratins focusing on temporal, anatomic and phenotypic characterization of ASFV distribution. Pro-inflammatory chemical mediators will be analyzed and cytotoxic T lymphocyte activity studied to determine mechanisms of immune response. 3. Bioinformatic analysis will be conducted on ASFV proteins to determine their role(s) in virulence/pathogenesis/ protection. Further analysis will be conducted to determine the host–virus interaction at the genomic level using microarray technology.
3. Progress Report:
The goal of this interagency agreement is to develop countermeasure strategies against the introduction of African Swine Fever Virus (ASFV). ASF is endemic in Africa, Asia and Europe, and although currently disease free, the United States faces an increased risk through international commerce. We aim to identify the role of viral proteins in the induction of the antibody and cell mediated immunity in different ASF strains to aid in further vaccine development efforts. In FY 2012 efforts began and will continue into FY 2013 in the following areas; the optimization of the detection of ASFV from tissues, blood and secretions and begin the characterization of the temporal dynamics of controlled direct inoculation of pigs with ASFV via oronasal and intramuscular routes. We will investigate the onset of protection after the infection with the attenuated virus strain. An analysis of the tissues and cell types involved in early replication of the attenuated vaccine strains compared with virulent parental ASFV will be conducted. Bioinformatic analysis of the protein function in the virulence/pathogenesis/protection processes will be conducted.
4. Accomplishments


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Developed by F J Benjamin and launched in Singapore in year 2002, RAOUL is undoubtedly one of the fastest-growing fashion brands in Asia. Introduced as a men's shirt brand it soon made a name for itself in the competitive menswear market with boutiques mushrooming across the region. The brand quickly evolved to include a women's line in 2005 along with a comprehensive collection of leather goods and accessories.
Evoking ultimate lusciousness RAOUL reinforces its position as the leader in accessible luxury – offering quality, style and innovative fashion at its best value.
Innovative, stylish and luxurious defines RAOUL. And so it continues to mold the styles of men and women into an elegant and carefree fashion. Exclusively distributed by Stores Specialists, Inc., RAOUL ushers in the latest collection for Fall Winter 2009, and brings with it its effortless style alongside a palette that has set it apart season after season.
RAOUL Ladies
Classic and whimsical, this woman is spontaneous. She wants to be taken seriously, wants to seduce and be pampered all at once. This is the RAOUL ladies Fall-Winter 2009 collection – expressing sophisticated fashion sense with a bohemian twist. The collection exudes a rich Parisian attitude, and tribute was made to YSL with a swanky tweed pantsuit.
Rich colors, paisley and jewel prints, lace and fur dominate the collection. Vintage "hippie" looks entwined with modern style and high fashion result in a collection of revamped classic looks with seasonless designs. The lady charms with evening wear that is effortlessly put together with modern relevance.
RAOUL's signature shirts and shirt dresses are reworked in printed silk chiffons and satins, as well as metallic coated lace. Distinctive details are added, such as bold collars, pleats on sleeves and ribbon-tied cuffs that accentuate feminine flair. Uniquely printed chiffon blouses give a relaxed feel and express individualism and fashion forwardness. The 80's inspired shoulders add sculpture to dresses and jackets.
To establish the look of elegance, rich and luxurious furs, tweed and boucle fabrications such as silk chiffon and satin, liquid jersey, and metallic coated lace are used together with the colors of terracotta, plum, purple, teal and navy – anchored by brown, grey and black. Eye-catching accessories come in the form of black, white and transparent Resin bangles, Swarovski pearls and diamante necklaces, open-toe heels with ruffles, T-bar wedges, pumps with leather pleats and "Royalty" bags in calfskin, lasered leather-lace and chain embellishments.
RAOUL Men
Drawn from the decade of the bigger and bolder, the 80's was the inspiration for RAOUL Men this season. The mood is strong and emphasis is given to the shoulders with details such as pleats, folds and extra fabrication to create the distinctive look. Shirts are tapered at the waist for a fitter profile. Colors are rich and bold – purple, ink blue, maroon with black and grey. Paisley print is the key pattern.
RAOUL suits are offered in the collection for the first time. Merino-wool is used for the luxe factor and is reflective of the opulent decade when power suits and jackets were the key items to complete every outfit
In the Philippines, Raoul is exclusively distributed by Stores Specialists, Inc. (SSI) and is available at Greenbelt 5.


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Another grey day here in Nashville. Blergh! (<– Which I now say all the time thanks to 30 Rock.)
I slept in a little bit and made it out for four easy miles. Is it too late for Christmas lights? I think so. We're halfway through January, people!
BUT it's never too early for Chocolate. Fun fact: There is a fancy chocolate factory only a couple of miles from our house! I ran by and admired the magical churn of butter, sugar, and cocoa.
I really zoned out on this run and it was over before I knew it. Sometimes solo runs seem to drag on forever, and sometimes they fly by! I guess it just depends on where my mind is at in the morning. Anyone else with me?
Speaking of getting in the zone, on Sunday I went into chef mode to make one of my all-time favorite recipes: Cook's Illustrated's baked eggplant parmesan! I have the Cook's Illustrated cook book (which everyone should have!) but you can cheat and use the re-published recipe here.
This recipe is NOT for a weeknight because it takes forever to carefully tend to the eggplant. And if you are a blogger, it will take another 5 minutes to try and figure out how to make a messy red and white cheese blob look somewhat attractive for photos.
First you dry the eggplant slices in salt for at least 30 minutes first (I did mine overnight), then coat them in flour, egg, and breadcrumbs. Then you toast them for a half hour solo in the oven to really crisp them up before layering them with homemade sauce (I follow my own recipe, not Cook's Illustrated's), parmesan, and mozzerella. Then you put the whole shebang back into the oven. It's a labor of love.
We served ours with simple steamed broccoli on the side. Hit the spot!
Off to do the work thing and then I'm basically saying it's the weekend. Right?
- Any other Cook's Illustrated fans out there? What's your favorite recipe?
- Solo runs = boring or not?
- Chocolate: white, milk, or dark?!


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The term Gender, asserting itself as a social and cultural construction of the defining attributes of men and women emerging as a fundamental category of analysis in a relational perspective.
The Arts have been exploring this category in very different ways to interrogate and expose cultural patterns of sexual difference, but also themes that address multiculturalism among other themes of identity incidence.
Kimiko Yoshida, Japanese painter and photographer, amplify women trough her art, a feminist stance of protest against contemporary clichés of seduction, against voluntary servitude of women, stereotypes of "gender" and determinism of heredity. Chimamanda Ngozi Adichie, the Nigerian book author: We should all be Feminist says, "The problem with gender is that it prescribes how we should be rather than recognizing how we are ". This collection isn't particularly literal with her references; the mystical turn was mainly suggested by female freedom thru different kind of arts. Just like Sascha Braunig Canadian surrealist artist, his collection shows us some abstract shapes that force the viewer to consider the figure in lieu of uncanny pattern.
Is a high-functioning but also unpredictable with artful surprises: hemmed stripes creates a organic 3D shapes, the painterly styles, shorts and skirts punctuated by ruffles.
Some minimal styles revolves around the concept of "forget about likeability", putting an unexpected spin into small details. "It feels that care as gone into something".
Bearing that woman keenly in mind is the source of this high function collection, which is rather sexy too, with all the strapless cocktail dress and tops stripes following the cuts translating the drama of shadow.
Knitted silk, nylon, cotton with metallic print, painterly nappa, Changeant,seersucker viscose, printed muslin.
Black, white, blue indigo, metallic blue, coral, mustard.


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A DUTCH yachtsman was pulled to safety by sailors on-board a Royal Navy warship, after his boat burst into flames.
HMS Mersey was on routine fishery protection duties off the Yarmouth coast when she heard a frantic mayday call from the yacht Pimpernel.
The only known facts were that the vessel was on fire and that it was in the area.
Working with other nearby vessels, Mersey's company found the yacht and prepared fire fighting, first aid and search and rescue teams as they moved to assist.
As the ship approached, the crew saw the yacht was ablaze and explosions were visible from several miles away.
The yacht was destroyed and Mersey's sailors scoured the sea for survivors, finding the only occupant of the yacht in the sea.
He was picked up by sailors and taken to HMS Mersey, where a first aid crew discovered he was in shock, but otherwise unharmed.


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"Looked in the paper today -saw black faces in black veils – holding up black and white pictures of a black man / killed by white cops with black guns / in the black of night as he stood in the / white halls of his Boogie Down Bronx Building – still. 'He fit the description of a black rapist' said the white lawyers when the blacks came. He clutched a black wallet as the bullets rained – his white brain on the floor. Clear tears poured / like blood in the aftermath of disaster – and this black man is no more."
– by motion, from Black & White – Motion In Poetry, 2002
Seeing this image at African Voices' The Artivist Rises Exhibit immediately bought these words back to me, from a poem I wrote long ago, 'Black & White', and the moment I saw a picture of women marching with small #photos of #AmadouDiallo in ninety-nine, NYC. This image from those protests is now on the walls and pages of AfricanVoices, in 2015. #thestrugglecontinues #daretowin #motioninpoetry #blacklivesmatter


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In this video, viewers watch as adult education instructor S.J. Brennan introduces the terms "numerator" and "denominator," connecting these terms to her students' everyday understanding of "parts" and "whole." She provides several examples to reinforce the connection. Connections to prior knowledge help students learn new terms.
These resources are part of KET's Math Instructional Strategies: Number Operations collection.
© 2018 PBS & WGBH Educational Foundation. All rights reserved.
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Hello , lately i encountered this problem with my camera app which when i open the app a black screen pops out and then it says the Unfortunately, Camera Has Stopped !!
the problem will not disappear untill i reboot the device then God knows how long it will take to come back !!
as i said the problem came recently !!
I want to was ask if i force close google services sometimes it warns me the app may misbehave or something so is there any connection !!
I feel sometimes google screwed us with cheap hardware :(
here is a screen shot :
Attachment 105056


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My new non-discovery!
How many of you out there have discovered TWOP? That is – Television Without Pity? Never heard of it, huh? Well, here is the link www.televisionwithoutpity.com so you can check it out for yourself! Or you can read on a little more and get the scoop before you check it out!
Television Wihout Pity is simply a way to find out about the over one thousand TV shows on cable , TIVO, satellite or aliens-ate-my-TV networks (that last one is a joke for the slow!) that you may have missed during the week. TWOP gives you a little recap of (and ersatz critiquing of) all your fav television shows. Of course, if you feel particularly deprived why not program your VCR to record the bugger that you can't live without? Just a thought.
Well, most people never miss "their show" but occasionally when life gets in the way of your television watching you can use t his wonderful internet device to find out what you missed , with or without the critique. Everything is written in a professional way so you won't be reading some ranter's blog on what they hate about your favorite soap and the world in general. Many of the recaps are hilarious so if you haven't developed a funny bone concerning your show, you may want to s kip it altogether!
If you do visit it, be prepared for the inevitable. You're going to be completely overwhelmed by their database and wander around aimlessly for awhile (used to be called "surfing"!) but it is well worth it to find out that , as I'm writing this, there are about 951 channels to choose from, in as diverse programming as C-Span's Writing About History (pour Florent!), Starz will be bringing up the rear with The Lord of the Rings (didn't say which part of the Trilogy, of course!) The Little Zoo that Could will be on Animal PLanet and MTV's My Super Sweet 16 will also be coming on shortly.
That bit of information can be seen in the meevee.com part of TWOP and if that doesn't entertain you then you just don't know how to live, but I'll bet you don't weigh over 150 pounds!
Sarcasm, just one more service I offer!
The Castle Lady
Proverbe du jour: Teach me to feel another's woe,
To hide the fault I see;
That mercy I to others show,
That mercy show to me. -Alexander Pope
On Monday we'll go back to the castles of Northwest England. Promise.
Daw Zveedawnya!
6 Responses to My new non-discovery!
Tiffany, Don\'t even go there! I\'m telling you right now you\'re barking up the wrong tree and I ain\'t just a whistlin\' dixie! Next time you go by people\'s monikers double check. I\'m not the only Castlelady but I\'d like you to know that the distinction is: I am THE Castle Lady and this is the only web presence I carry by that name. I\'d also like you to know that I am a strict fundamentalist Christian. Period. Thanks for hearing me out! Over and out.
Hi !
Wel, how could we not be curious about this TWOP when we read your article ?!!! I\'m going to visit the site, it seems quite interesting.
For your comments, I\'m going to answer you. Gagspo (his nickname is G@ET too) has been fired by his miss :). He is quite in a bad and began to drink 😐 !!! … I\'m quite sad for him but that\'s a friend, a real one and I\'m trying to help him each day.
A manga is a "Bande dessinée" but done by japenese. It\'s often smaller and the drawing are very different than a typical drawing. You have to try YOUR manga. There are so many subjects abording in mangas that you must find YOURS. Me, that\'s vampires, alchemy and religion/devil … That\'s GREAT !! A whole story in mangas is often divided into lots of "tomes" …. it can be 5 books or 50 … depend on the story.
I recomand you to try to find one, really. Perhaps you\'ll not like it, a friend hate them, but, it\'s good to try. I\'ve began read them … 7 monthes ago … AND I\'M ADDICT !!! XDXDXD Sooooo fun to read and to re read.
See you soon, I hope.
Grosses bises. *smacky*
You\'ll have to tell me more about that "Tiffany" … your history and relation seems to be … chaotic … I like that. There are all kind of people on the net. Sometimes the connexion is good (for us ;-)), sometimes, it\'s not … visibly for T. 😀
Bye !
Thanks for stopping by my space and leaving the witty comment about "la computer". I thought the joke hilarious because it\'s mine and my husbands personalities completely.
peace out, girlscout! ~tora
I asked for your breton sentences … well, for "Krouin ma c\'hont post elektronek", my grand parents, speaking breton perfectly, didn\'t know what that means. BUT, for Pennarbed, it means "le bout du monde" … the end of the world.
Here it is !
See you.
Hi !
I saw "la computer" … really fun, and I agree with you, it\'s definitly feminine XD. Thanks for the quotes too, they are going to be used a day or an other 😉
But, I havne\'t understand your comment about "l\'esprit d\'escalier", what is that ? Could you explain me please ? Thaaaanks 🙂
And, finally, thanks for the photos 😀
See you later.


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Family Travel Question:
Q | Can you suggest some attractions and a nice but reasonably priced hotel in New York City?
I'd like to take my three kids and myself to New York City on Memorial Day weekend. Can you suggest some attractions and a nice but reasonably priced hotel? -Amy, MA
A | Attraction and hotel recommendations in New York City
By Amy Whitley - Pit Stops for Kids
We just returned from New York City, where we had a fabulous stay at Affinia 50. A boutique hotel in the heart of Manhattan (midtown), what made Affinia 50 stand out for us was the amount of space we had (family suites include full kitchens, living spaces, and a separate bedroom), and the way it caters to families. It's 2nd floor 'club room' was available to guests only, and included lounge space, flat screen TVs and video games, wines and snacks in the evenings, and family events (such as a Wii Sports Night or Movie Night) planned for various days of the week. Affinia 50 also has a full-time concierge, and extra perks in the form of themed travel kits delivered to your room (some at no charge): we choose a free 'walking tour kit' which included a iPod Nano (on loan) loaded with walking tours of the city, a pedometer (which the kids loved using to track our mileage through the city), guidebooks, and more. The staff was wonderful, as was the location: we could easily walk to Times Square, Rockefeller Center, and Central Park. Room rates are similar to other Manhattan hotels, but you get much more 'bang for your buck'.
If you browse my 'New York city series' section of Pit Stops for Kids, you'll find a number of articles on New York City attractions and destinations. Our favorites included Central Park, Ellis Island, and the various museums, but we also had a great time biking across the Brooklyn Bridge! No matter what you plan to do in the city, public transportation is a must: it's not only the fastest and cheapest way to get around Manhattan, it's an adventure in itself for kids!


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Lyrics of these songs consists of censored words but I like the music and beats (Its basic music though) and obviously the way Spanish sounds in it. But I had some Spaniards giving me "what a nasty person!!!" look and I got to know the meaning of lyrics at that time. Is it fine in Latin America to sing these songs or to dance on them?
My group of South American (except Mexicans ;P ) friends told me not to "Me gusta todo de ti" or "Metela sacala" or "El no te da". A friend from Bolivia told not to sing them at all.
Do you think Reggaeton is low standard or low taste in music?
- Reggaeton is low standardVote A
- Don't sing those "bailando hacemos el amor con ropa"Vote B
- It is normal to sing or like ReggaetonVote C
- You are nastyVote D
- Reggaeton is coolVote E
Most Helpful Girl
catchy tunes, which makes people want to sing... but explicit lyrics...
and i believe most reggaeton is by puertoricans/dominican/colombian not mexican.
and they all have sex involved in one way or another in their lyrics... just the same as most rap/hip hop and r&b... which is why I tend to dislike all that. D: but somtimes i'll be singing just cause it has catchy tune... :/11|00|0
You got the essence of it. The catchy tunes. Basic but catchy. Makes you want to dance on them.
Thank you for MHG! :]!
I found this song... that i'm not sure if it falls under reggaeton, but seems like it... and it has catchy tune lol i kind of like it. :p!
and he's sooooooo cute! <3 !! his Spanish accent is so hot xD
I liked it actually. Have it in my playlist now. It is Reggaeton with those lyrics and video and music. :)