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Game on: Pacers come out flat as Horford-led Hawks race to 90-69 win, pull to 2-1 in series
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ATLANTA – The Indiana Pacers looked so good in the first two games of the playoffs.
They couldn't have looked much worse Saturday night.
The Atlanta Hawks raced to a 24-point lead by halftime and blew out the cold-shooting Pacers 90-69 in Game 3, narrowing Indiana's lead in the series to 2-1. Al Horford had 26 points and 16 rebounds to lead the home team.
Suddenly, it's a series.
Game 4 is Monday night in Atlanta, where the Hawks have won 12 straight over the Pacers dating to 2006.
"It was just one of those nights," Pacers star Paul George said. "Everything we did was uncharacteristic."
The Pacers manhandled the Hawks in two double-digit wins at Indianapolis, but the roles switched after the series headed south.
"We wanted to show them we're here to play," Atlanta guard Jeff Teague said. "We were not going to back down to them."
This one was over by halftime, the Hawks racing to a 54-30 lead that set a franchise record for fewest points allowed in the first half of a playoff game, and matching Indiana's worst effort in a postseason opening half.
The Hawks changed up their lineup — inserting 7-footer Johan Petro at center and bringing 3-point specialist Kyle Korver off the bench — after getting bounced around on the road. With more favorable matchups and a lot more energy, Atlanta suddenly looked like a team that can challenge the Pacers.
"We were ready to go," coach Larry Drew said. "Before the game, I went in the locker room to give my speech and it was quiet in there. That told me they were focused."
David West led the Pacers with 18 points. George, who averaged 25 points in the first two games, was held to 16 on 4-of-11 shooting.
Indiana connected on a dismal 27 percent (22 of 81) from the field. Taking Smith and George out of the mix, they were 11 of 56.
"We're a very young team," coach Frank Vogel said. "There's going to be some growing pains. We're going to feel this, experience this, and get better from it."
Josh Smith added 14 points for the Hawks, and Teague had 13. But that's only part of the story. Smith was able to take George out of his comfort zone, while Teague put the clamps on George Hill, who had surprisingly averaged 20 points in the first two games. The Pacers guard was held to three on 1-of-8 shooting.
"They came out with a lot of energy, put us on our heels early, and the rest is history," Hill said. "We turned the ball over a lot and we weren't getting to the places that we want to get to on offensive end."
Drew started the little-used Petro at center in hopes of cutting into the Pacers' size advantage, a move that had a ripple effect on Horford and Smith, providing more favorable defensive matchups all along the front line. Horford was able to shift to power forward, while Smith moved over to small forward.
But, after getting manhandled in the first two games at Indianapolis, the Hawks' turnaround wasn't really propelled by a great strategic move.
Petro played only 14 minutes. Korver, who started the first two games, still got the bulk of the playing time with 29 minutes. Instead, this was more about the Hawks coming out with a lot more passion, the very things Drew had been preaching since the start of the series.
"We were ready," Smith said.
After falling behind 8-1 in the opening minutes and calling a quick timeout, Atlanta dominated the rest of the opening half with a display that had the crowd on its feet time and time again, while the Pacers stood around in a state of shock, looking nothing like the team that averaged 110 points and a 16-point margin of victory on its home court. They made four of their first six shots — then missed 30 of their next 36 before halftime, many of them the forced, ugly efforts of a team that turned increasingly desperate as the Hawks seemed to get to every loose ball just a little quicker.
Roy Hibbert missed all four of his shots in the first half. The backcourt duo of Hill and Lance Stephenson each went 1 of 6. The Atlanta defense, which was largely nonexistent in the first two games, contested every shot this time. Not only did Petro bring a more physical presence, Ivan Johnson came off the bench to provide plenty of bruising, quality minutes — not to mention some fierce staredowns when Indiana did manage a rare basket.
But nothing was more telling that when the 6-foot-10 Horford led a lumbering fast break in the second quarter, West sent him tumbling to the court with a hard foul, and Teague came to his teammate's defense. After a bit more shoving and jawing, the teams were separated. The officials reviewed the video and stuck with their original call — a flagrant foul on West, a technical on Teague.
"I don't think it was a dirty play. It was a hard foul. It's playoff basketball," Horford said.
Still, he was impressed by Teague's reaction.
"I was very surprised," Horford said. "I was like, 'Was that you?' I was happy. I was proud. He had my back out there."
For the most part, the game lived up to the nickname the Hawks' PR department has tried to push on the team for years. This was, indeed, the Highlight Factory — most notably late in the first half, when Devin Harris took off on a fast break, glanced over his left shoulder and spotted Smith sprinting up from behind. Harris delivered a perfect behind-the-back pass, and Smith unleashed a thunderous left-handed slam that would've scored a perfect "10" in a dunk contest.
The Pacers, in fact, spent most of the night in a defensive fog. Stephenson fouled Harris on a desperation 3-pointer with the shot clock winding down, and the Atlanta player knocked down all three free throws. Then, after the Pacers made a couple of free throws with 6 seconds left in the half, Harris let the inbounds pass roll nearly to midcourt to save time, then scooped it up and took off for an uncontested layup that sent the Hawks to the locker room with their 24-point lead.
Notes: The Pacers' last win in Atlanta was a regular-season triumph Dec. 22, 2006. ... The Hawks missed six of their first 10 free throws, extending the troubles they had in the first two games. But they bounced back to make 14 of their last 18. ... Petro finished with six points and four rebounds.
Follow Paul Newberry on Twitter at www.twitter.com/pnewberry1963


text:
The enduring unrest in the Middle East is staggering. There is a feeling that anytime, anywhere in the region, another explosive outbreak will occur. News of Syria's massive, violent protests have flooded the covers of newspapers around the world. President Bashar al-Assad's government has been relentless in its desire to crush the uprising, including the use of military force. It's possible this regime will get support from other parts of the region. Namely, Lebanon.
The Syrian-Lebanese relationship is important in the Arab world. Syria is supplying weapons and military equipment to Hezbollah, the Lebanese Shi'a Muslim resistance group, political party, and military force. The U.S. has asked Syria to stop the supply of weapons to Hezbollah, but to no avail. Syria has had significant ties with Hezbollah for decades. Hezbollah and Syria are being investigated by the Special Lebanese Tribunal (SLT) pertaining to the assassination of Lebanese prime minister Rafiq al-Hariri in 2005. This past January, Hezbollah took down the government under Saad al-Hariri, Rafiq's son, by its members and allies resigning from the government cabinet. It was in response to Saad's support of the SLT. Hezbollah's political leaders replaced Saad al-Hariri with Najib Mikati who is the acting prime minister until a new cabinet is put into place. It is evident that Hezbollah holds the strongest role in the development of a new government.
Hezbollah has said that the protests in Syria are a conspiracy against Syria and Lebanon. With Hezbollah having so much political and military power in Lebanon, it is hard to say what role Lebanon will play in the Syrian crisis. The current Syrian regime is of great importance to Hezbollah. It is Hezbollah's strongest supporter in the region. Iran has also had significant ties to Hezbollah and has supported their military efforts as well, which can only complicate things further. Hezbollah official Mousawi stated, "We can say, with great confidence, that we are in a position of power…we feel reassured about facing regional developments. And what we have spent on reinforcement in defending Lebanon makes us confident that we can defend our nation and our people." Defending our "nation and people" may also include defending the current government in Syria. Hezbollah is dependent on Syria and does not want a government collapse. As the days pass, and more violence is afflicted on Syrian protestors, we will have to wait and see what role, if any, Lebanon will play. Lebanon and Hezbollah should not be underestimated. Lebanon could fight to maintain the current Syrian government. The question I want to know is: What would the people of Lebanon do? Would the support of Syria bring about protest and potential war? Is there more violence to come? These are questions we must ask ourselves. Lebanon can not be ignored as it so often is. The U.S. would probably ask: "Well, where's the oil? Is it hurting Israel?" Hopefully, most of us can see the importance of this country beyond those questions. At least that is what I hope.

subset: commoncrawl


text:
We don't have to change what we see.
Only the way we see it.
– Ann Voskamp, One Thousand Gifts
…Dimly lit lights.
…Soft hum of music through the house.
…Watching candles dance on the mantle over delicious fireplaces.
…The stillness of trees outside the window.
…The rhythm of rest – with no threat of breaking.
A weekend away in the mountains of Vermont affords little hardship in counting gratitudes. Moments when the whirl of life has slowed and day's demands have been abandoned; where woodstoves beckon and trumpet melodies offer steady company; all chaos and fluster of days and weeks sits, stilled. Who struggles to count the things they cherish then?
But what of gratitude when stress is raging? When dishes aren't done and schedules overflow; when coffee is bitter and almond milk's gone bad; when no one is seeing the gifts you are giving, steadily giving, of self and life and resource? What of it when no sweet sun streams in window shades cracked – and all that's seen are cracks in table glass?
…the habit of discontentment can only be driven out by hammering in one sharper. The sleek pin of gratitude.
- Ann Voskamp
Gratitude is a decision, not a feeling. Thankfulness is not a matter of circumstance, but of focus. The mindfulness to slow ourselves long enough to consider the subtle gifts of life – the sacred, the simple – takes practice. Our lives are too full – our busyness too blinding – for the gifts of life to bring themselves to our attention without some intentionality. And the probability of meetings running late, traffic backing up, and cranky tantrums raging loudly is unfortunately greater than projects finishing themselves, dinner showing up miraculously on the table, and bags packing themselves for the morning.
How then do we practice gratitude?
"Seeing is … very much a matter of verbalization. Unless I call my attention to what passes before my eyes, I simply won't see it…I have to say the words, describe what I'm seeing. And…if I want to notice the lesser cataclysms of valley life, I have to maintain in my head a running description of the present."
- Annie Dillard
Naming that which is in front of us gives us the capacity to be grateful for it. A thing, a moment, a conversation, a gesture – by naming these things we recognize their meaning and value, allowing ourselves to see more fully the worth they hold. And in naming that which we would otherwise miss, 'the invisible becomes visible.' So, we name those things we relish! – and relish the things we may not value at first glance – till we let ourselves look long and hard enough to see the gift wrapped tightly in each valuable moment.
Over the extended Thanksgiving weekend, my heart was provoked to look long and hard for blessings. My senses, much more attuned than they've been for the past six months – thanks to a serious intake of plant matter, sleeping a regular pattern of seven hours nightly, and daily tasting of movement as a nutrient – were capable of recognizing gift after gift with notable ease! – a cherishable gift in itself!
I began what became a precious record of sweet flavors and precious songs, moments shared with my mother on the driveway, and hours spent with my dad by the fire. As I stood at the counter chopping onions one morning, I realized I was looking – searching – for the next gratitude to count – the next gift to praise God for – the next hidden treasure waiting to be named. And, like little miracles, I found them all through the weekend:
…Garlic in burlap sacks, hanging next to bicycles in the basement.
…Dad's sneezing (and sneezing!), with a body fighting hard to keep him healthy.
…Nervous tummy calmed when being asked to Grace our Thankgiving meal for 22.
…Pain on mile three of the turkey trot, reminding me the gift of running with Dad.
…Later-than-I'd-like night driving, affording headspace to think and pray and sing.
Gratitude for the seemingly insignificant is a seed that plants a giant miracle. Do not disdain the small – the whole of the life – even the hard – is made up of the minute parts. And if I miss the infinitesimals, I miss the whole.
– Ann Voskamp
There is much to see. And much to be grateful for. Here's to adjusting our mind's eyes to discovering such gifts – Thanksgiving weekend and beyond.
Author Ann Voskamp, whom I've quoted through out this post, offers a few magnificent ways to help practice gratitude:
One Thousand Gifts: A Dare to Live Fully Right Where You Are


text:
The Smartphone Caddy II is designed to securely hold iPhone 6, 6s, SE, 5, 4.7" Android Devices, and most smartphones with protective cases. Don't waste time prying your smartphone out of bulky holders or changing between cycling specific phone cases. The Smartphone Holder features a durable elasticated bungee for easy in/out access of your device. Although engineered to withstand heavy road vibrations and other bumps, the secure bungee is still stretch friendly.Delta understands that your handlebars are very precious real estate. That is why they include a stem cap and handlebar mounting bracket with each Smartphone Holder. A clever ratcheting system on each mounting bracket allows you to adjust the viewing angle of your device.Protect your device from rain, sweat, etc.. with the included waterproof baggy. Touchscreen is still accessible while your smartphone is in the bag.A securing cam lock adds additional security to your device during those extra bumpy moments.Compatibility:- Devices/cases up to a maximum: 5.5 x 2.9 x .625 inches (H x W x D)- Handlebars up to 1-3/8-inch diameter
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I've tried several different holders, and by far, this is the vest value, strongest, easiest to use. Mt recommendation, save time and money and just get this!
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text:
The irregular Radeon-Development companion
Issue for 2007-04-25
This page is an accumulation of the events happening in Radeon development, mainly on IRC or on dri-devel. The concept has been shamelessly copied from nouveau and will hopefully be kept up at a frequent rate. But that (as everything in open source depends on time).
Olliver ?McFadden did some work on his tool for reverse engineering lately. He is focussing on comparing the logs of fglrx with the ones from r300. He already found some minor differences and brought up questions about the major differences about the driver internals. While fglrx mainly uses indirect buffers to put data into to the card, r300 uses so called type one packets to transfer the data. Dave Airlie (airlied) explained that there is no big difference (performancewise) in any of these approaches. It's just a different way. Olliver ?McFadden pointed out that this at least creates a very different output between fglrx and r300. It was agreed that we cannot and won't change the driver to mimik fglrx for no real benefit.
Dave Airlie (airlied) started working on RS480. This chipset is R300 based but is some kind of "stripped down". The PCIGart has to be set up differently and it lacks some TnL hardware. He got the modesetting more or less working and got an unaccellerated DDX (2D driver) up and running. He started looking on how to get 3D running. Take a look at the picture to see how glxgears currently look on RS480.
[[!img http://www.skynet.ie/~airlied/dri/gears_rs480.png]
You should known what it ormally it should look like... The main issue seems to be that fact that RS480 does not have any vertex shaders which will require a lot of work to get RS480 to run with the r300 driver. Dave Airlie (airlied) did not go any further yet.
On the modesetting front we got some exciting news lately. Shortly after Jakob Bornecrantz (Wallbraker) and Jesse Barnes (jbarnes) created a drm branch for modesetting, Dave Airlie (airlied) dropped in since he needed it for an X-less GLX setup (called MiniGLX). He got it to work on Intel APG with Intel Graphics. Others (like Kristian Høgsberg or Alan Hourihane) partly reviewed the code and fixed some minor issues. This branch requires the AGP backend to support TTM (the new memory manager). Currently using drm modesetting is only possible on intel hardware. Thomas Hellstrom has a patch for via AGP to add support for TTM. Some people are trying to get Dave Airlie (airlied) to do the R300 work, but they did not have success with it (yet?).
The logging of the #dri-devel channel on irc.freenode.net can now be reached at a new location. Christoph Brill (egore) setup up the logs and thought a simple URL would be usefull.
Currently people are thinking about R300 "marketing". The nouveau driver gained a lot of interest lately. People with ATI cards don't want to see R300 development fall behind and so recently a discussion started about what can be done to get the driver development going faster, better and greater. Trevinho came around on IRC and talked to Jerome Glisse (glisse) about what could be done to increase popularity. A good suggestion by Jerome Glisse was to setup a blog that is aggregated on planet.freedesktop.org that outlines the news like we do here in this TiRDC. Dave Airlie (airlied) is already blogging the "great news" in driver development on his blog, but others don't do it. There was no decision made on how to progress. We will discuss this in a later issue.
The status of GLSL was one of the topics lately. Intel got GLSL done and it seems to work pretty flawless. Arc dropped in on IRC and asked what would be necessary to get R300 to work with GLSL. Dave Airlie (airlied) pointed out that we don't have any specs on how to do that on R300. Olliver ?McFadden also pointed out that GLSL code is converted to vertex- and fragment-programs so we might need to fix them first. He also pointed out that R300 hardware does not support loops, so it would be necessary to unwrap the loops first. Arc was pointed to the Intel sources which are a good source for free 3D development.
Help wanted and needed
R300 does not have any real "marketing". If you can think of anything that will get the driver further, feel free to discuss this on #dri-devel or the mailing lists. It would be also really helpful if people would link to this site and increase the publicity of TiRDC. Jerome Glisse will try to inform some bigger Linux related sites about it. If you got contact to someone who might write something about R300 or DRI development, please inform them about this little site.


text: Stephen Yeazell writes about the history, theory, and dynamics of modern civil litigation. His courses correspond to these interests. He has received the campus's highest awards for his teaching (the University's Distinguished Teaching Award) as well as for his research (the UCLA Faculty Research Lectureship); he was also the first recipient of the School of Law's Rutter Award for Excellence in Teaching. He has served as Associate Dean of the School of Law, as Chair of the UCLA Academic Senate, and as Interim Dean of the School of Law. He is a Fellow of the American Academy of Arts & Sciences.Before studying law, Professor Yeazell did graduate work in English literature and taught English and history in junior high schools in New York City, an experience, he reports, that has made him appreciate the relative calm of even the feistiest law school class. After law school, he clerked for Justice Mathew Tobriner of the California Supreme Court.Professor Yeazell's books include From Medieval Group Litigation to the Modern Class Action (1987); Contemporary Civil Litigation (2009); and Civil Procedure (9th ed., 2012, with Joanna Schwartz).


text: The European Financial Services Sector regulatory landscape for 2016 Share this 24 MAY 2016 By: Michael McKee In a short article it is not possible to be totally comprehensive about everything that the regulators are focused on, and which might affect you, in the year ahead but here are some of the bigger issues of which to be mindful. European law and regulation The Market Abuse Directive 2 (MAD 2) and the Market Abuse Regulation (MAR) will mostly come into force during 2016. The majority of the provisions in this legislation will come into force on 3 July 2016. MAR and MAD 2 extend the scope of the regime and will cover all financial instruments which will be within scope of MIFID 2. However, as MIFID 2 will not be in force until, probably, January 2018 the implementation of MAR and MAD 2 will, in the first instance, ensure that the regime extends to all financial instruments currently within the scope of MIFID as currently in force. The new regime impacts a range of firms but commodity firms in particular should consider it because of changes that will bring more commodity instruments within scope. Anyone trading financial instruments in EU financial markets should ensure that they are compliant. One consequence of the new law is that the UK's Code of Market Conduct is likely to become guidance and lose its binding legal status. The Fourth Money Laundering Directive (4MLD) was published on 26th June 2015 in the EU Official Journal and EU countries have two years to implement it. This means that firms need to start thinking about it during 2016. 4MLD increases the emphasis on risk based approaches introduced by 3 MLD which means, among other things that its scope has been extended beyond financial institutions and casinos to extend customer due diligence (CDD) requirements to gambling businesses generally and high value goods traders. Another change of scope is to include tax crimes as crimes that comes within the scope of 4MLD. There is also a general emphasis on tighter CDD with greater emphasis on enhanced due diligence (EDD) which means it will be less easier to rely on simplified due diligence than currently. Payment Services Directive 2 (PSD2) will come into force during 2017 but 2016 is the year when firms need to begin their implementation programmes. It will have a particularly big impact on banks and payment institutions undertaking international payments between the EU and other countries and in non-EU currencies. There is a major extension of the scope of the current PSD by applying PSD 2 to all transactions in any currency where the payments are within the EU - currently PSD only applies to transactions in EU currencies. Another major extension is that the PSD will apply to "one leg in" transactions i.e. where the bank or payment institution is located in the EU then if it makes or receives a payment to or from anywhere else in the world the EU side of the payment must conform to PSD 2 requirements. The Markets in Financial Instruments Directive 2 (MIFID 2) and the Markets in Financial Instruments Regulation (MIFIR) were to have been implemented on 3 January 2017 but the European Commission has recently proposed that this should be delayed until 3 January 2018. While this may seem an opportunity for firms to take their foot off the pedal in 2016 this is not the case. The reason for the delay is the fact that widespread changes to European market infrastructure will need to be made by trading platforms and investment firms and these will have knock on effects on investors and the "buy side" generally. Consequently during 2016 firms need to begin to think hard about the sort of technology changes that are likely to be required and also closely follow the development of EU secondary level legislation such as the delegated acts which the Commission will publish in the first half of 2016. While much of the European Market Infrastructure Regulation is already in force 2016 sees the beginning of the new central clearing obligations for derivatives and associated margin and collateral requirements. In particular for the largest financial institutions (Category 1 institutions) the clearing obligation will take effect for Category 1 counterparties on 21 June 2016. The clearing obligation for Category 2 institutions comes into force on 21 December 2016. So for institutions in both categories a considerable amount of implementation work needs to be undertaken between now and those dates.


text:
At Novant Health, we support the nationwide effort to ensure that patients coming into the hospital with specific conditions receive recommended care. These recommendations are based on years of research on interventions that have been proven to improve outcomes for these conditions.
We want to eliminate all ventilator associated pneumonia. In our intensive care unit improvement team meetings, we share best practices from each hospital. We promote adherence to safe practices, including: keeping the head of the bed elevated between 30 and 45 degrees, neutralizing stomach acid with medication, keeping a pressure cuff inflated on the breathing tube to block stomach contents, reducing mouth bacteria with oral care and reviewing daily the need for the breathing tube and removing it as soon as is safe.


text:
How did you find these bands?
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Topic: How did you find these bands?
Posted: March 27 2013 at 11:09
I asked my father the other day if he had heard of some of the 70's prog acts I listen to. To name a few, King Crimson, Hawkwind, Gentle Giant, Caravan... And he said no.
This absolutely baffled me, because his music, in general is proggy! David Bowie, Queen, Bryan Ferry. So I suppose, what I'm asking here is, how was it marketed back then? I was told "We didn't have the internet back then to discover music, we just made do''. And it made me wonder, how people found out about these bands? As I'm guessing it was just as niche then as it is now.
Does that make sense?
(By the way, I don't just mean those select few, I mean the whole prog scene, obviously there's a ton of bands/musicians that were active at the time)
Edited by dysoriented - March 27 2013 at 11:15
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|Posted: March 27 2013 at 11:34
I'd have to say (and kudos to the marketing departments), but a lot of the prog bands I followed in the '70s were because of some really striking cover art! It's one of those "the cover's cool so the music must be great!" kind of things.
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|Posted: March 27 2013 at 11:44
I got into prog in the 80s, not the 70s, but it was still pre-internet. I discovered a lot of that stuff by way of the Rolling Stone Record Guide. I read that book from cover to cover several times. Even that had pretty skimpy coverage of prog, but it was a start.
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|Posted: March 27 2013 at 12:13
I met the right people but was never happy with the singles chart so never really liked much "popular" music. Although anyone buying the music press would be aware of anothyer world besides the charts.
Edited by Snow Dog - March 27 2013 at 12:17
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|Posted: March 27 2013 at 12:13
For me it was also the 80's and two things: Asia first which introduced me to Yes and Wetton-era King Crimson, then hearing ELP's "Still... You Turn Me On" on the radio. The writing, the layering of the sound (Greg Lake's production) just made me want to hear more from that band. Got a couple of their albums over the next few days, then just went on to the other prog bands.
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|Posted: March 27 2013 at 12:14
They came to me in a dream one night.
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|Posted: March 27 2013 at 12:32
Mostly word of mouth and luck!
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|Posted: March 27 2013 at 12:35
I donwloaded Arena bij excedent, found King Crimson because it was said to 'progressive rock' like Arena en then I found progarchives.
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|Posted: March 27 2013 at 12:41
For me it was Ummagumma by Pink Floyd. I saw the album and on the back, all the various instruments laid out. I had to hear what it sounded like and I was hooked. Then when I heard Roundabout by Yes on the radio, there was no turning back.
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|Posted: March 27 2013 at 12:41
Ha! Prog was HUGELY popular back then! Singles by Yes, ELP, Focus, Flash and other bands received as much airplay back then as Justin Bieber does today! Rock magazines like Circus were full of news about Yes, Genesis etc.
National tours by prog bands were some of the largest events in rock, filling the largest venues in big cities! Many records were broken by Yes and ELP. My first prog concert was Yes CTTE, 22 September, 1972 (with an unknown band called "The Eagles" opening for them!).
Back then, we had "record stores" and the best ones had many bins of import albums. That is how I learned about Magma, Amon Duul II and other bands in 1973. There were also underground radio stations, like the very progressive and hugely popular TRIAD radio in Chicago. See this page for the history of "freeform radio"
I believe prog was even more popular in the UK! Yes held court at the Marquee Club in London etc.
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|Posted: March 27 2013 at 12:50
Not in the UK it wasn't. Most kids never heard of those bands
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|Posted: March 27 2013 at 12:52
My older brothers found prog for me, and how they found, I don't know.
I did forget a bit about prog in my teenage years, and through a Rock Encyclopedia that I bought, age 20, I discovered Genesis and Traffic. I recognised the old Genesis records from my youth and got into buying them.
A friend of mine who was into countryrock said: you'll probably going to like Yes too. I tried out the old albums and once again it was déjà vu, or better: déjà entendu: I recognised all the albums of my early youth.
A sister of a friend of mine, who was into Bartok, put on an ELP record and I recognised the music from when I was a kid.
So I rediscovered all the prog gems of my youth and became an active prog fan myself.
In 1987 I went to the Genesis' Invisible Touch tour and there I met someone who promoted a prog magazine. I became a subscriber, and from then on, I discovered all the neo prog bands beside Marillion.
From 1994 on, when I discovered the internet, I tried out websites of bands that I knew.
I often went to the Gibraltar Encyclopedia of Progressive Rock (GEPR).
In 2005 I discovered ProgArchives, and I stayed there ever since.
Edited by Moogtron III - March 27 2013 at 13:01
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|Posted: March 27 2013 at 13:45
I found them through friends who were into similar music, music press (standing in the newsagents reading the paper then putting it back), and hours perusing the aisles in record stores. Happy days.
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|Posted: March 27 2013 at 14:12
Some Prog bands and albums were as popular as, say, Radiohead or Dream Theater have been in more recent years. For people following a bit what's going on in the music world besides the radio mainstream hits it's not too hard to discover that this music exists. So for example I'm pretty sure that your father knew about DSOTM, Wish You Were Here or Tubular Bells.
Then it's a matter of how much one likes those popular records, those who liked them got to dig a bit further and discovered GG, Crimson or Caravan, but for people who were not particularly attracted by those best known records most of Prog remained obscure and they were happy listening to Bowie, Queen, Lou Reed, Deep Purple etc.
At any rate it was quite popular, if you would go to some party and scrolled through the albums brought by the people, I can tell you that you would surely find some Yes album, Floyd, Camel, ELP, Who etc.
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|Posted: March 27 2013 at 14:34
I did not discover prog until the mid to late 80s, though i had superficially been aware of it when i was young in the seventies. A friend lent me some prog albums in 1985, and then i became, as one friend put it, "the beating heart of the used record stores of my city".
I bought big names, and also took gambles on very obscure albums. Though the cover of a record is not the most important thing, it was a pretty big factor in what i decided to gamble on.
My prog listening and awareness just mushroomed from then on.
If you have nothing, you have everything.
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|Posted: March 27 2013 at 14:35
It was a strange situation then. Shows such as Top of the Pops were full of glam, crappy "soul" music from the States, and corny pop.
However, the music press then regarded what we call prog or art rock as the epitome, and shows such as Old Grey Whistle Test catered for serious music fans. When Rick Wakeman appeared on this, aided by a news dispute on BBC1, he became an overnight star.
Bands such as Yes, Led Zep, The Who, Deep Purple et al sold albums by the truckload. Serious bands sold out gigs at large venues.
In Lazland, life is transient. Prog is permanent.
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|Posted: March 27 2013 at 14:45
I don't deny it. But at school. most of my contempraries didn't delve into these bands.
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|Posted: March 27 2013 at 15:23
King Crimson - My dad had a guitar book that mentioned several guitarists, one of them being Robert Fripp. Not long after that, I was exposed to most of In The Court Of The Crimson King via AOL Radio.
Gentle Giant - My dad wanted me to listen to Three Friends. I wasn't too interested, but there were some parts I really liked. It wasn't until I delved further into their output that I stared listening to it more often.
Van Der Graaf Generator - I liked the computer game Lemmings and was curious if there was a song titled "Lemmings" - don't know why, I just wanted to. I think these guys were the first to pop up.
He looks at this world and wants it all... so he strikes, like Thunderball!
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|Posted: March 27 2013 at 15:58
I was fortunate to have some friends who were into prog when I was at school. So a lot of discoveries were from them and word of mouth generally.
As has been mentioned already, in the seventies prog was pretty mainstream and was on radio and TV. I discovered a lot of great stuff listening to the likes of Alan Freeman on Radio 1 and watching The Old Grey Whistle Test on BBC2. What memories !
"Music was my first love and it will be my last" - John Miles "Music"
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|Posted: March 27 2013 at 15:58
As a veteran of the 70's...in LA no less, we relied on word of mouth, knowledgable record store (member those?) clerks, and publications such as Melody Maker, Creem, Rolling Stone, and of course the fun, but often unreliable method of choosing cool album covers.
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Friday, January 13, 2012 - Wank Party 2012 #1 Part 1
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The man mountain, Paul Fresh squares off against the experienced wrestler and reigning champion Roman Klaska. Warming up with some stretches we really get to see what great shape these guys are in before they lock horns and battle in this no holds barred, submission wrestling match. . You can go to www.submissionwrestlingnude.com to watch the preview. But remember, we edit out the hot stuff over there because the viewers over there are str8. If you purchase the download here, you get the uncensored version.


text:
Improvising is Composing!
Original historic solos are the new themes!
A selection of unique jazz solo improvisations from the history of jazz since the 40's are transformed by Underkarl into new compositions. The unique, irreproducible moments of the original spontaneous solos, whether by Miles Davis, T. Monk or Stan Getz, serve on 'Timetunnel 25' as the basis for completely new textures and sound colors.
For example, Underkarl takes the transcription of the incredible sax solo by John Handy in 'Goodbye pork pie hat' out of its original composition (Charles Mingus, album 'Ah Um', 1959) and develops a whole new piece around it, moving the focus to the artistry and brilliance of the improviser as an instant composer.
In this way, Underkarl transports the energy of the historical moment into the present and brings it back to life. The improvisations of the great masters become the core of novel musical events and inspire these five musicians to outstanding, fresh and vital interpretation.
The foundation of 'Timetunnel 25' are solo transcriptions of Thelonius Monk, Chet Baker, Stan Getz, Charlie Parker, Miles Davis, Ornette Coleman, Charles Mingus, Steve Lacy, Clifford Brown, Sonny Stitt, Jimmy Hamilton, John Handy and Coleman Hawkins.
H a y d e n C h i s h o l m - s a x
P h i l i p Z o u b e k - p i a n o
S e b a s t i a n G r a m s s - d o u b l e b a s s
CD release May 2017: TRAUMTON Records Berlin
Oct 19 Munich - Unterfahrt
Oct 20 Freiburg - SWR
Oct 22 Cologne - Loft
In STATES OF PLAY, the "crème de la crème" of contemporary European music comes together into a unique ensemble:
2 congenial rhythm sections and a well-balanced horn trio in an equally appealing and demanding synthesis of melodic / rhythmic structures and sonic avant-garde.
The focus of STATES OF PLAY is the radical manipulation of the essential architecture of music and the organic metamorphosis of output sounds. The anatomy of music, the melodies, rhythms and grooves, is decomposed in real-time in its basis and reassembled again and again.
In the course of these mutations, an unheard-of polyrhythmic / macro-polyphonic music emerges, which develops itself from familiar structures more and more constantly and is always composed into new constellations.
The STATES OF PLAY lineup reads like the "Who is Who" of younger European jazz scene. The ensemble unites contemporary musicians from "Ensemble Modern", "Kläeng Collective", "Impakt Köln", "Umlaut Berlin".
A special feature: The live-operated player piano is a machine with precision, a counterpart to the variations of the ensemble and the virtuoso spontaneity of the award-winning soloists (ECHO / SWR Jazz Award, Hessian Jazz Prize ...)
The light concept is to be understood as an unobtrusive visual counterpart to the music.
The room-filling projection (from above to the floor and back of the stage), slowly changing structure and color traces, follows and contrasts the course of the music ...
John Dennis Renken – trumpet
Angelika Niescier – alt saxophone
Sebastian Gramss – double bass
Christian Thome – percussion / electronics
One of the greatest mysteries of humanity is the inexplicability of death. The big question: "Where do we go…?" also preoccupied artists and musicians through all epochs. And at the same time the antithesis is always present as well: "What does man counter pose to this mystery?" And which form of artistic expression, inspiration and actual works find their artistic power / source here?
The two ECHO awarded musicians and composers Angelika Niescier and Sebastian Gramss investigate the paradox of these questions with their latest collaboration "THE GREAT DIVIDE, Streben and Sterben".
Wiikipedia: "Atopie (griechisch ατοπία atopía "Ortlosigkeit", "nicht zuzuordnen", "von hoher Originalität") bezeichnet die "Unbeschreiblichkeit" des überaus selten zu Erlebenden, des Herausgehobenen, des Originals im besten Sinne. Es handelt sich um eine − an sich oder anderen − beobachtbare (Erlebnis-)Qualität, nicht um ein Ideal...".
"Two aces on the bass" (Bremer Nachrichten):
"The highly energetic Barre Phillips, at the age of 78, has found an ideal dialog partner in Sebastian Gramss: both unify the same preferences for playing between experimental passages and extremely melodious singing parts…. In addition, both musicians hook up in their willingness to advance into the area of New Music, which Gramss accentuates in an equally penetrating as well as impressive solo with two bows. And in the top-class duo there was a good dash of humor, again and again. A fabulous performance!"
Wolfram Knauer - Jazz Institute Darmstadt:
""Both double bassists, Sebastian Gramss and Tetsu Saitoh, in a phenomenal concert in the vaulted cellar of the Jazz Institute:
purely acoustic, highly virtuosic and still unbelievably grounded!"
PRESS: "Woofers"
NRZ 08 "Sebastian Gramss and Stefano Scodanibbio form a sound orchestra in aesthetic completion…."
"Acting and reacting: both master bassists exploit the possibilities of their instruments with virtuosity…."
BASSMASSE 50 is an orchestra consisting of up to 50 double basses. It was founded in 2012 by Sebastian Gramss.
ARTE.TV: link to the complete BASSMASSE performance (June 6, 2014) at MOERS Festival:
I met Stefano for the first time in 2008. We spent some days at my place in Cologne sharing Italian pasta recipes and walking in the woods talking about the bass and life, in our evenings off playing the bass, sharing compositions, listening to music and hanging out at the rehearsal room in my garden. On other occasions, we had some duo concerts in the area, and collaborations and recordings with players like percussionist Stephan Froleyks and flutist Dorothee Oberlinger.
It was back in 2005 when I first discovered Stefano's work. At that time he wasn't that well-known in the German bass community. I remember well playing his Voyage That Never Ends to bass friends and colleagues, sharing it with them.
This record is a very special part of his works. Apart from the visionary contemporary explorative side, it is also connected to Stefano's early musical roots as an electric rock bass player. Roots that include the great Jimi Hendrix, which was turned into one of his later works & Roll, as he pointed out in our conversations.
Later on I met Stefano several times on various occasions. Unfortunately, all plans for further cooperation were interrupted by his sabbatical due to health issues. On 8 January 2012, he passed away much too early at the age of 55, after a battle with ALS.
In 2013, inspired by John Cage's Time Length Pieces (Martin Schmidt/Gligg Records) I started thinking about a memorial project – both a tribute to Stefano's work as a bass player and composer, and a personal continuum of the bass explorations he stood for. The question was finding the proper setup – appropriate for the mastery of Scodanibbio.
Finally, I found an answer in Stefano's work Oltracuidansa – a multitrack recording with dozens of layers of double bass tracks – and decided to use the same approach but with 11 players. The incredible international team gathered for this project is connected either because they knew Stefano and/or they knew his work very well. Each player has a unique and outstanding voice in the wide field of contemporary and improvised music and very different personal musical backgrounds. Apart from what they could contribute to the written work, I also wanted to include their individual solo contributions.
The first meeting about the project and how it could be done was with Dieter Manderscheid and Barre Phillips in April 2013 in Cologne. It was Barre who came up with the perfect title for the project. As he pointed out, THINKING OF … is a very open title – it is clearly connected to Stefano, and it leaves space for thinking of … what? Thinking of … music? … the bass? … the inspirational sources? … developing traditions? … emancipation of the double bass? … of a bass continuum?
The music I wrote for this recording in winter 2013/14 was, first of all, a sum of the many musical encounters and my personal biographic roots in jazz, improvised and contemporary music. But obviously it is truly influenced and refers to many of Stefano's bass explorations and is inspired by some of the composer friends of Stefano's generation like György Ligeti, Luciano Berio, Morton Feldman, John Cage, and Iannis Xenakis.
Each of the 11 bass players contributed for free. Respecting the wish of Stefano's widow, Maresa Scodanibbio, all the proceedings from the album will be transferred to Rassegna di Nuova Musica (founded by Stefano). Apart from their annual festival in Macerata, Italy, one of the goals of the association is to edit and release Stefano's complete work as a composer.
Sebastian Gramss
Macerata, Italy, June 18, 1956 - Cuernavaca, Mexico, January 8, 2012
Stefano Scodanibbio occupies a central place in the overall history of the double bass and the most prominent place in the history of modern double bass by contributing, as a performer, and especially as a composer, to the revival of the instrument for more than three decades. His work, unprecedented and exemplary, consists of charismatic interpretation of a varied repertoire for the double bass in contemporary music festivals; the release of dozens of works written for him by Bussotti, Donatoni, Ferneyhough, Frith, Globokar, Sciarrino or Xenakis; creation of original bands for improvisation and interpretation – duo with the cello player and improviser Rohan de Saram, duo with the trumpet player and composer Markus Stockhausen, duo performances with Terry Riley, and recitals of music and poetry with Edoardo Sanguineti; and an ability to give the double bass an unerring basis for a truly new music.
Working as both a performer and composer, Scodanibbio managed to combine in his work both technical innovation and aesthetic invention. Always an artist and always an artisan, he amplified the timbre and the range of the double bass to the extreme, contributions whose previously unheard articulations have influenced the development of a new Italian school for strings. Note, among many others, the harmonic pizzicato, simultaneous finger and bowglissandi, or arco mobile à la Stefano Scodanibbio – recognized by Luigi Nono in thePrometeo score, all of which lead in return to Giacinto Scelsi asking for his cooperation as an interpreter, or him asking Luciano Berio to create the original transcription for double bass of his Sequenza for violoncello.
The issue of interpreting - composing was central to Scodanibbio, who thirty years ago founded Rassegna di Nuova Musica, an annual festival held in Macerata, Italy, that emphasizes the indispensable dialogue between the contemporary composer and performer. The performer-composer binomial was essential at the beginning of Scodanibbio's career as an emblem in front of the audience, but in his years of greatest artistic evolution this represented an obstacle to giving more visibility to his creative output and became a good reason to reduce repertoire from other composers and increase the interpretation of his own work in concerts. That Scodanibbio's living artistic conflict between the performer and the composer can be seen through the outside perspective of other authors, such as John Cage, who said:
Stefano Scodanibbio is amazing. I haven't heard better double bass playing than Scodanibbio's. I was just amazed. And I think everyone who heard him was amazed. He is really extraordinary. His performance was absolutely magic.
While Cage distinguishes the performer, Conlon Nancarrow, a regular member of the audience at Scodanibbio's concerts in Mexico, appreciates even more the composer and expresses it with characteristic frankness:
When I heard Scodanibbio's concert, I was impressed by his music, constantly discovering unpublished sounds of the bass and that is much more interesting than the repertoire addressed, because it surpasses anything known.
Stefano Scodanibbio also occupies a crucial place as a creator of a large catalog that day by day gains more meaning and importance: although his work was ultimately dominated by sting instruments, during his last 20 years he enriched it with reeds, percussions or keyboards, he explored electronic or radiophonic creation, he added the singing or narrating voice to move closer to opera, to dance and to video. Because of its indelible quality, the music history has years ahead to continue to nurture the artistic essence of his full body of work.
Julio Estrada
18.02.2017 Goethe-Institut Auditorium, Mexico City
19.02.2017 Pop Up Tour, Plaza de los Fundadores, San Luis Potosi
28.02.2017 Pop Up Tour, BUAP, Puebla
02.03.2017 Doublebass trio with David Sanchez & Lelio Giannetto
03.03.2017 Eurojazz, Mexico City
Rodrigo López Klingenfuss - conductor
Sebastian Gramss
Lelio Gianetto
David Sánchez García
Rubén Fernández Meléndez
Itzam Antonio Cano Espinoza
Víctor Diaz Carillo
Arturo Baez Velázquez
Juan Jose García Jiménez
Ulises Castillo Cano
Alejandro Martinez
TRANS|LOCAL is an intermedial and transdisciplinary network cooperation of various partners in Mexico and Germany:
Mexican and german musicians/artists from 5 art genres,the Goethe Institute,
various institutions, venues and local cultural associations in both countries and miscellaneous universities and academies in both countries
January/February ´14 in Germany29. januar: Hofheim (Stadthalle via Jazz:yl Freiklang Freunde e.V. )
Feb, 24th - 10th of March 2014: Cooperations + Concerts in Mexico
Wir weisen darauf hin, dass die Datenübertragung im Internet (z.B. bei der Kommunikation per E-Mail) Sicherheitslücken aufweisen kann. Ein lückenloser Schutz der Daten vor dem Zugriff durch Dritte ist nicht möglich.
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Quelle: Impressumgenerator des Anwaltes Sören Siebert
Quellenangaben: Disclaimer von eRecht24, dem Portal zum Internetrecht von Rechtsanwalt Sören Siebert


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|View Poll Results: Claymore - Chapter 121 Rating
|Perfect 10
|9 out of 10 : Excellent
|8 out of 10 : Very Good
|7 out of 10 : Good
|6 out of 10 : Average
|5 out of 10 : Below Average
|4 out of 10 : Poor
|3 out of 10 : Bad
|2 out of 10 : Very Bad
|1 out of 10 : Painful
|Voters: 58. You may not vote on this poll
|Thread Tools
|2011-11-30, 08:32
|Link #1
Lost in my dreams...
Join Date: Jun 2006
Age: 32
Claymore Chapter 121
Welcome to the monthly discussion thread for Claymore, Chapter 121.
Thread Guidelines
Since Claymore is licensed by Viz the following posts are not allowed
You still are allowed to discuss the manga, that has not changed but please remember to limit the discussion to the story itself.
Summaries are allowed, it's just that full translations are against the forum rules. The odd image or a translation of a line or paragraph is acceptable, that's considered "fair use" but more than that isn't allowed. If you need to post a single image (or preferably only the relevant part of an image) for a reason related to discussion you can put it on an image host, but never ever post a link where people can see the entire manga.
|2011-11-30, 09:58
|Link #2
The One Eyed King
Join Date: Apr 2009
Location: Lurking Up Ahead
Just moving the two spoilers to this thread to start things off.
Spoiler for Spoiler 1, found on baidu:
Spoiler for Spoiler 2, source gene from baidu:
EDIT: Request for someone to give a better translation of the second spoiler, thx in advance
PS: Gooral posted a small pic of the volume 21 cover on the image thread for those who want to see it.
Last edited by Ryus; 2011-11-30 at 10:22.
|2011-11-30, 11:44
|Link #4
The One Eyed King
Join Date: Apr 2009
Location: Lurking Up Ahead
Spoiler for Spoiler 2, source gene from baidu:
Better translation of spoiler 2 posted on mangahelpers
|2011-11-30, 12:00
|Link #6
extraordinary freak storm
Join Date: Sep 2010
Location: Italy
i want to see the catfight between roxanne and cassandra so badly, it's hard to describe :>
mirias face looks awkward (yagi and his faces in perspective...) but i'm surprised someone special didn't rage that the colourpages are about miria.
edit: cleared things up a little, and you, nixl, weren't even meant
Last edited by fraktur; 2011-11-30 at 12:44.
|2011-11-30, 12:06
|Link #7
Senior Member
Join Date: Sep 2009
I am, we have already had Miria before, Yagi should have done Roxanne. [Sarcasm/] Oh wait, OMG this manga went like...totally down hill now..man. What was Yagi thinking making more Miria pages. This makes the art like, totally suck and the story is like, no longer grimdark wtf. [ /Sarcasm]
Being a bit more serious now, did the spoiler actually say Miria is awakening or that Miria is just releasing more yoki?
|2011-11-30, 12:12
|Link #8
The One Eyed King
Join Date: Apr 2009
Location: Lurking Up Ahead
We haven't had a Miria Volume cover page yet... your statement is misleading. We've had her get chapter cover pages but no volume cover pages. Your complaint should be taken to the ch 121 thread where you argue Miria got the volume cover so give Roxanne the chapter cover page (j/k)
Look I 'm a huge Roxanne fan like you and want a colored cover page for her too but she seems like a mere plot device for Priscilla's return so I'm doubtful of her getting a colored page, though if we're lucky the 3 new AOs will get the inside dust cover art. A decent compromise imho... especially if Fantasy colors them
|2011-11-30, 12:27
|Link #10
Miria's #1 Disciple
Join Date: Apr 2007
So your complaining about a colored cover page from an Extra chapter centered around Miria vs a Color page for Miria in an arc primarily surrounding her?
Honestly, I'm glad Miria finally got on the Cover of a Volume, considering they have almost exclusively been Clare, with a few exceptions.
My only real complaint is how inconsistent Miria's scar is, hopefully the actual volume will fix the panels it goes missing in.
|2011-11-30, 12:32
|Link #12
The One Eyed King
Join Date: Apr 2009
Location: Lurking Up Ahead
I agree I want Galatea to get a colored page but hating Miria for getting a colored page for the arc revolving around her plot line if just daft to me... it makes too much sense for Miria to get it since the timing is perfect for it. Honestly i was fearing the colored page this month would be another Clare pic... as big of a fan I am of her, I felt that it wasn't her time to get another colored pic when so many other great characters have been ignored for so long.
Oh and Galatea was on the cover of Volume 9
|2011-11-30, 12:37
|Link #13
Senior Member
Join Date: Sep 2009
I have to admit I am excited to see these awakened forms and to see the Roxanne vs Cassandra fight. Roxanne's form sounds rather plain. I was expecting something flashy.
|2011-11-30, 13:25
|Link #14
Thread Hijacker
Join Date: May 2009
Location: In a hole, I just need to dig myself out
Meh, the spoiler now makes the chapter sound kind of....boring; at least we'll get to see Roxanne and Hysteria awaken. Doesn't sound like much actually happens though.
It's also occurred to me though that the twins apparently survive, whereas in the first spoiler, they died -- disappointed by that to be honest, since that probably would have helped to add some excitement.
|2011-11-30, 13:32
|Link #15
Join Date: Jul 2011
With this development, the idea that these three were meant to weaken Priscilla is straight out. I'm of the opinion that Priscilla would decimate them at their full power. When weakened by these fights... they won't last a minute if she ever appears there.
It's strange, three Abyssals are born, and they just go on with their [petty] fights, continuing where they left off as humans.
Come on, move along people, nothing to see here, just three Abyssals minding their own business.
|2011-11-30, 13:36
|Link #16
Senior Member
While the other spoilers proved fake, considering the source of this one it's probably the real deal. Sadly, the only thing of interest to me was the last sentence... if that's true, then I'm really looking forward to the next chapter.
|2011-11-30, 13:36
|Link #17
Puff The Magic Dragon
Join Date: Jun 2011
Location: USA!!!
I wonder if we will ever even learn the twins names. They have been unnamed for several chapters and i was hoping that we would eventually learn their names. If the twins are going to survive through this arc then we should at least find out what their names are. However, if they die it doesn't really matter.
The more i understand it, it does seem that the 3 new AOs are meant just to weaken priscilla enough so that Clare can kill her. It seems reasonable but also a little rushed in my opinion.
|2011-11-30, 13:45
|Link #18
Thread Hijacker
Join Date: May 2009
Location: In a hole, I just need to dig myself out
Though reading spoilers and reading the chapter itself is vastly different; maybe it's more exciting then it comes across
|2011-11-30, 13:51
|Link #19
The One Eyed King
Join Date: Apr 2009
Location: Lurking Up Ahead
It's always really short, something around 20-22 pages (think once it hit 25 pages). So even if next chapter is the 2 big fights we'll only be getting around 10-12 pages each fight tops. The issue after should be the average 31 page chapter again but the chapter after that (made in February but released late February/Early March) will also be a shorter than average chapter if the trend that holds true every year remains true (that issue tops at around 28-30 pages on average but has sometimes been a good 5 pages shorter but sometimes are full length). Then from that issue on till the next February issue the chapters are almost always exactly 31 pages not including any colored pages.
The last two February issues where 22 and 23 pages (chapter 99 and 110) and the last two April issues (released in late Feb/early March) where luckily ones that broke the old trends of shorter issues than previous years each being 31 pages (chapters 101 and 112), I'm hoping that trend will remain true but earlier in the series have been shorter but there is no way to know which will be true this year.
On the plus side though sometimes we get the February issue (aka released late Dec/Early January) really early . One year we got it a whole week before January started but of course the downside of that was it was more than 5 week until the next chapter .
Now remember the rule for chapter issue names is the month it's called is the date that issue leaves store. So ch 121 even though it's coming out now in December is called the January issue since it will leave store in January. I know it seems reversed but it's a trend going back to when magazines where more like newspapers where they'd publish newsy stuff and advertise things coming up in advance before the age of computers and the internet. So for example TV guide calls itself the issue of the week it covers but is released ahead of time so people could plan out what they wanted to watch ages before they could DVR it, torrent it, stream it, etc... like they can now.
Last edited by Ryus; 2011-11-30 at 14:06.
|2011-11-30, 14:05
|Link #20
Senior Member
I'm definitely not going to let a spoiler prevent me from enjoying a chapter release. My point is that next chapter's developments sound far more interesting since that's more or less what most of us have been waiting for: the Ghosts to finally arrive on the scene. That would make this yet another stepping-stone chapter, which is fine if there is atleast some development and/or fantastic art work (preferably both).
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Justice Department memo reveals legal case for drone strikes on Americans
This is now public info as of tonight.
By Michael Isikoff
National Investigative Correspondent, NBC News
A confidential Justice Department memo concludes that the U.S. government can order the killing of American citizens if they are believed to be "senior operational leaders" of al-Qaida or "an associated force" -- even if there is no intelligence indicating they are engaged in an active plot to attack the U.S.
The 16-page memo, a copy of which was obtained by NBC News, provides new details about the legal reasoning behind one of the Obama administration's most secretive and controversial polices: its dramatically increased use of drone strikes against al-Qaida suspects, including those aimed at American citizens, such as the September 2011 strike in Yemen that killed alleged al-Qaida operatives Anwar al-Awlaki and Samir Khan. Both were U.S. citizens who had never been indicted by the U.S. government nor charged with any crimes.
The secrecy surrounding such strikes is fast emerging as a central issue in this week's hearing of White House counterterrorism adviser John Brennan, a key architect of the drone campaign, to be CIA director. Brennan was the first administration official to publicly acknowledge drone strikes in a speech last year, calling them "consistent with the inherent right of self-defense." In a separate talk at the Northwestern University Law School in March, Attorney General Eric Holder specifically endorsed the constitutionality of targeted killings of Americans, saying they could be justified if government officials determine the target poses "an imminent threat of violent attack"
But the confidential Justice Department "white paper" introduces a more expansive definition of self-defense or imminent attack than described by Brennan or Holder in their public speeches. It refers, for example, to what it calls a "broader concept of imminence" than actual intelligence about any ongoing plot against the U.S. homeland.
Michael Isikoff, national investigative correspondent for NBC News, talks with Rachel Maddow about a newly obtained, confidential Department of Justice white paper that hints at the details of a secret White House memo that explains the legal justifications for targeted drone strikes that kill Americans without trial in the name of national security.
"The condition that an operational leader present an 'imminent' threat of violent attack against the United States does not require the United States to have clear evidence that a specific attack on U.S. persons and interests will take place in the immediate future," the memo states.
Read the entire 'white paper' on drone strikes on Americans
Instead, it says, an "informed, high-level" official of the U.S. government may determine that the targeted American has been "recently" involved in "activities" posing a threat of a violent attack and "there is no evidence suggesting that he has renounced or abandoned such activities." The memo does not define "recently" or "activities."
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As Neocons Defend Obama, Allies Doubt Him on Drones as Never Before
By Conor Friedersdorf
Feb 7 2013, 6:00 AM ET Comment
For once, the Obama Administration's drone policy is much in the news. Kill-list overseer John Brennan starts confirmation hearings today to determine whether he'll get to be the next CIA director. Everyone is abuzz about a confidential memo that describes some of the scenarios in which President Obama believes that his underlings are empowered to extrajudicially kill Americans. And it looks like the Senate Intelligence Committee will finally going to see the Office of Legal Counsel opinion that sets forth the legal justification invoked to kill Anwar al-Awlaki (though the Obama Administration intends to keep hiding the legal analysis from the public, as well as Congressional committees that oversee the Pentagon and the Department of Justice).
How is everyone reacting to the unprecedented attention being paid to drone strikes?
Some neoconservatives have suddenly begun defending the president. John Bolton, former ambassador to the UN, says the drone program "appears to be consistent with the policies of the Bush administration," in which he served. Max Boot of Commentary insists Obama's drone memo is a "careful, responsible document." I'd half expect John Yoo to start praising Obama if he weren't busy "turning away in disgust" at the McRib's disappearance from his local McDonald's.
Dick Cheney has yet to comment.
Meanwhile, Obama is taking more criticism than usual from normally friendly quarters. The Huffington Post, a sprawling landscape of content, has published criticism of the president on many occasions, but I don't know that I've ever seen its home page go after him like this:
It was U.S. District Court Judge Colleen McMahon who first compared Team Obama's legal positions to Alice in Wonderland. I'm glad the phrase has taken told. Here's what the Huffington Post's front page looked like in the wee hours of Thursday morning, having been updated to reflect the fact that Senator Ron Wyden and friends finally get to see the legal opinions:
It took until President George W. Bush's second term for the press to become sufficiently adversarial in the realm of foreign policy, where journalists parroted misinformation and implausible arguments for some years and too frequently gave officials the benefit of the doubt. I hope the Huffington Post's tough treatment is remembered as one of the moments when the press stopped trusting Obama too much.
The New York Times editorial board is demanding some good questions be asked in today's confirmation hearings:
As Human Rights First put it, "Only complete public disclosure of the legal justifications behind the U.S. targeted killing program can assure Americans that the United States is complying with the law and established rules. The United States targeted killing program is setting a precedent for the rest of the world. We have to get this right."
As yet, Obama has gotten it wrong.
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Also I have no problem taking out terrorists or terror suspects, but it's just that I don't trust the people making these decisions and labeling these people.
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Andrew Sullivan supports the strikes, but finds Obama's judge-jury-executioner approach abhorrent.
Where Have You Gone, Barack Obama?
Andrew Sullivan
Feb 7 2013 @ 1:47pm
This was going to be the most transparent administration in history. It was going to roll back executive over-reach and put warfare against terrorism within a constitutional framework that could defend the country against Jihadist mass murder without sacrificing our values. And yet on a critical issue – the killing of allegedly treasonous citizens who have joined forces with al Qaeda to kill and threaten Americans – we were first given a memo that isn't actually the real memo which contains no meaningful due process at all.
Now, the administration has given the Congress the actual memo, which, one hopes, does less damage to the Constitution and the English language. But why can "we the people" not see the actual memo? That phrase came up a lot in his recent Inaugural address. Funny how in practice in this respect, Obama is showing such contempt for the concept. And the "memo" Mike Isikoff procured is so legally shoddy and its corruption of the English language so perverse it almost demands we all see the real thing. To use the word "imminent" to describe something that is in the indefinite unknowable future is like calling torture "enhanced interrogation." To lean on the word "infeasible" without any serious definition of what feasible would be is surreal. Underneath its absurd language and twisted rationales, the memo comes perilously close to the equivalent of "Because I said so." And the core message of the policy is: trust me.
No, Mr president. It is not our job to trust you; it is our duty to distrust you.
This isn't personal. I don't doubt that sincere reflection and careful decision-making went behind the decision to kill Anwar al-Awlaki. And I defended the action, and still would. But, with all due respect, that's irrelevant.
The issue here could not be more profound in principle, or more basic to American democracy. It is about the government having the right to kill a citizen without any due process even in America. (Before I go any further, may I just rebut the phony comparison with the Bush policy of torture of terror suspects? Killing an enemy in wartime is permissible and legal under the laws of war. Torture is illegal and immoral in all circumstances under every law of war.) More to the point, it is utterly uncontroversial that the military can kill a US citizen abroad if he is waging a treasonous war against the United States (see: Ex parte Quirin [1942]). Killing an enemy is routine on a battlefield in wartime or, domestically, in a hostage situation. If a cop had had a chance to kill Adam Lanza in the middle of his rampage, not only could he have done so; he should have. And if an American traitor is embedded in an al Qaeda terror training camp and that camp is targeted, there's no way to read him his Miranda rights separately before we engage the enemy. Treason, in other words, is not the government's fault. It is the traitor's. And make no mistake: Anwar al-Awlaki was a traitor.
And I do believe that in a global war against Jihadists, like Awlaki, who have made clear threats of death against other Americans, are in al Qaeda camps, and propagating enemy propaganda to encourage even more violence, the executive branch does need to kill our enemies. I believe, for example, that the US had every right to invade another country's airspace and kill Osama bin Laden as swiftly as possible. He posed no "imminent threat". But he was an integral, central part of a network actively planning such attacks. Moreover, capturing him was entirely feasible. But we killed him in cold blood in his own home. Were we wrong to do so? Of course not. If we are at war with al Qaeda, which wears no uniform and treats homes and sky-scrapers as the battlefield, and if US soldiers are in a compound/bunker at night full of unforeseen dangers, they have to retain a capacity to defend themselves – and the right to approve that is assigned, especially in urgent, emergency, narrow-window opportunities, to the executive branch.
But the equation obviously shifts when it comes to an American citizen fighting for the enemy and not in an emergency. And it shifts again when the battlefield remains defined as anywhere in the world, including the US, and when the window of opportunity is much, much wider because the war has been defined as permanent. This means that there is no time-limit on this power – say, the conclusion of hostilities with a treaty. And look: treasonous citizens can and have been executed (the Communist traitors, the Rosenbergs rightly were). But even suspected traitors are entitled to due process. And due process seems to have gone out the window in this case.
One way to improve this power would be to limit it legislatively, by the Congress passing a new version of the 2001 AUMF in 2001 to mean merely al Qaeda in Afghanistan and its neighbors. It may, in other words, be time to declare an end to formal hostilities when the last troops return home in 2014, and return to a more criminal-based campaign against terrorism with less blowback. I have long felt that a permanent state of war against an amorphous enemy – anyone who wants to call himself a member of al Qaeda – is incompatible with the survival of a democratic republic. At the very least – now that bin Laden and much of the operational leadership of al Qaeda in Afghanistan and Pakistan have been eliminated – the Congress could narrow the boundaries of this war-without-end.
But more vital, it seems to me, is the establishment of a genuine judicial check on the selection of terror suspect targets – a secret FISA-type court that has real power to veto, and real access to the intelligence being used. The awesome power to kill an American citizen cannot be entrusted to one person alone, with no constitutional check, and no legal transparency. If we are defining "imminent threat" as the existence of a terror cell that could at some point in the future attack Americans, then at the very least, there must be a check on how that definition is implemented, and push-back against the rationale for killing a US citizen without any due process of law.
Obama always promised to fight the war against al Qaeda with energy, vigor and relentlessness. In my view, his policies have been immensely more successful than his predecessor's clumsy, crude and incompetent management of national security. But Obama also promised real change in the war on terror, especially with respect to Iraq, torture and the laws of warfare. He promised much more transparency. He promised to unravel the unlimited powers granted to the executive by the legal hacks who did Cheney's criminal bidding.
If this Obama still resides in the White House, he must release the full memo to the full public, now. Just as DiFi should release the full Senate Intelligence Committee's report on torture now. We have a right to know and see what our government is doing and has done with respect to core constitutional rights and the rule of law. Yes, we have to fight a war that was initiated by an enemy. But we have to fight that war as Americans, under our Constitution, with prudence and as much transparency as possible.
Come back, Mr Obama. The nation turns its lonely eyes to you.
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Two things:
1. If the government has evidence that an American citizen is plotting an attack and knows where they are to attack them with a drone, why not arrest him? If the evidence isn't strong enough for an arrest, how can you condone a killing?
2. If the government suspected McVeigh and Nichols of bombing the federal building in OKC, would it have been OK to take them out with so-so evidence instead of arresting them?
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|2006-03-03, 12:47
|Link #401
"Show it to me"
Join Date: Dec 2005
Location: In solitude, where we are least alone
Prince of Chronics: too small but it looks okay. nice designs and colors too. oh! and that's a funny image 9/10
--> new sig created by Mr. Hawq, and it's another Wilhelmina Carmel sig. Yaaay!
|2006-03-03, 23:11
|Link #404
Kira_Naruto, the ecchi
Graphic Designer
Join Date: Dec 2005
Location: http://www.exciting-tits.com/
@ Drake ... Waaaaaaaa *glomp Drake* -- I miss you!!!!!!! .... ahem, ... Ok.. Your sig, Nice.. still keeping that girl you so very fond of beside your ever lovely Joe ^^ . Not much of a comment to throw to it beside its very good... 94%
@ Hawq .. your current.. sleek design.. but a bit rough cut the on the diagonal.. and that girl kinda have a longer head :/ . Still sexy indeed .. 85% .. for the current cyz's sig .. The horizontal line was genius.. so does the slightly off border... But both image stuggle to the be main image making it a bit shallow.. colors are too bright too for my eye >.< . Still 80%
@ KiNA .. awww... not much yuri love in this thread
|2006-03-03, 23:27
|Link #405
Join Date: Dec 2005
I think this one is the best on in Mr.Hawq series of signature. 8.9 out of 10 (it's not too sexy for me =D means that is still in the range of sexy meter I could handle)
Cyz's sig,for me I like the previous one compare to the current one.Still rocks with Wihelmina.8.9 out of 10.No ribbons this time.
Drake's sig, like it so much . 9 out of 10 . The red eyes and the direction of a face really rocks.If i know that anime, I could have a chance to rate better than this.
Prince of Chronics's sig, cool but the cat is not so cute =P 8.5.
|2006-03-06, 16:09
|Link #408
Join Date: Dec 2005
Location: Ontario, Canada
lavielove-i like the glowing effect a lot. just slap a border on it and youll hit a ten! 9/10
Cyz-im not liking wilhelmina a lot right now, but its shiny, and i like shiny^_^. but only if there was a main image on there instead of two i would like it better. dont know which one to focus on :P 8.5/10
KiNa-not a yuri fan but i like the forbidden love part though. you chose just the right images as well *thumbs up* [again heres the same old mark i always give you] 10/10
k here is a sig for you guys to rate:
dont rate the shana and yuuji one b/c i didnt make it. credits to riker
|2006-03-06, 16:38
|Link #410
The Hawqman
Join Date: Dec 2005
Location: Ottawa Ontario
Age: 28
Lavielove- The sig looks pretty nice and compact, the backround is simple, with some nice shiny stringy stuff, it does lack a border, but you did not do this by purpose so 8.4/10
Torrencee- pretty nice, I like those stripe you put there, 8.4/10
Jaden- Don't know, even though it is just a crop with a name, it just kind of looks cool, with the girl pointing a gun at your like that, I have yet to watch the show, but ou probably could have made the colour of your name white maybe. 8/10
Wintersummer- I kind of like your sig, even I don't know how to animate yet, so for that I can give your credit, and the "Yuuji" you put there fits in well, maybe "yuuuuuuuuuji" could have bee nicer, but 8.2/10
|2006-03-06, 18:19
|Link #411
Senior Member
Join Date: Dec 2005
Age: 30
torrencee - Well done.
Cyz - The Mini saber is brilliant...nice sig too :P lol I like it
Winter&Summer - Seems a little jerky, nice though.
Mr.Hawq - Looks somewhat like a pixel stretch, which isn't really somehting I like too much. Not too sure on having Elektra popping out of nowhere, otherwise it's quite nice.
I just did another screencap + name. Nothing complicated, I just cba anymore.
|2006-03-06, 18:56
|Link #412
Join Date: Dec 2005
Location: Canada!
Age: 33
Kira_Naruto- excellent sigs as always. a sweet 9.5/10
torrencee - pretty, i like the blood...9.5/10
Mr.Hawq, 8/10 lol can't quite mke out what it is from my view but nice transparency.
Tabris!!, lol nothing wrong with screencaped sigs, frankly i love the simplicity of em'. 10/10.
i'm back!, and with a vengence...
just rate my sig lol, i know its not anime but its the only one amoung 150sumthing sigs that are under 50k.
all size one down later
|2006-03-06, 20:04
|Link #413
"Show it to me"
Join Date: Dec 2005
Location: In solitude, where we are least alone
well, they're both wilhelmina anyway. with the mask and w/o the mask and yes that little thing beside my sig was a saber plushie
torrencee: i like the designs. it's a little gothic but it looks cool. color matches well to theme as well. 9/10
tabris: a cute ilya sig. sometimes simple is good 9/10
sasuraihell: nice BG. that after image at the back seems a little awkward though 9/10
|2006-03-06, 21:32
|Link #415
Join Date: Dec 2005
Location: Canada!
Age: 33
well i was moved to make a screencaped sig by Tabris, and what better one then one of my Hinata.
CVZ - i like ti, a nubula crystal feel to it. 9.8/10
Sakura-Chan - ..what do i rate? *squints*, and for making me squint like that, an auo 3/10, but for technical reasons, a 4/10..*squintz again*, its hard to make out when the rest of us have plus sized sigs. lol XD.
|2006-03-06, 23:22
|Link #416
Kira_Naruto, the ecchi
Graphic Designer
Join Date: Dec 2005
Location: http://www.exciting-tits.com/
@ SasuraiHell ... awww, Hinata A lovely screencap =3 .. Simple yet nice effect on the name .. and lol at sasurai x hinata ... A 89%
@ Sakura-chan .. wow, first hinata, then sakura .. rated by naruto ... 5 more weeks to go >.> ... ... ... ... -25% for making me squint like sasurai
>__< .. its too small.. really really really too small >_< 50%
@ KiLa .. Excellence!!! you getting better at your skills there !!! Nice work on the lines.. only pick on it is that your name is kinda bit invisible ... Nearly breaking the mark ..89%
@ Tabris .. How to rate? ..... No name 70% -_-|||
|2006-03-06, 23:57
|Link #417
A complex "maybe"
Kira_Naruto>> Makes me want to make a shounen-ai sig. Hmm. It's shiny too. 9/10
SasuraiHell>> Cute, when I was in the fandom, Naruto and Hinata were one of my favorite ships. =p 8/10
Maybe it's my monitor, or maybe I have magic seeing skillz when I don't notice, but if it's not that, I really have no idea what you're talking about
But, fine, people who don't like my current sig can just rate this:
I don't have an avatar to match it anyway, but I do want some feedback on it.
Last edited by Sakura-chan; 2006-03-07 at 02:18. Reason: Because I need to get off my meds and learn to speak English /headdesk/
|2006-03-07, 04:36
|Link #418
Senior Member
Join Date: Dec 2005
Age: 30
Look just to the left of her head on the roof. It's really subtle.
Nice sigs Sakura-Chan and SasuraiHell
Last edited by Tabris; 2006-03-07 at 05:18.
|2006-03-07, 08:53
|Link #419
Join Date: Dec 2005
SasuraiHell ,concept is quite catchy. the text over the sig generally means that you are a naruto.=D a good sig 86%
torrencee, very nice on the hand movement and the labling idea 91%
Sakura-chan, a nice sig you own now,gradient color border worked well.89%
Tabris's avatar , still trying to catch up with the concept.
Kira_Naruto , woa! you could tell the episode number just by looking at the picture =D
|2006-03-07, 15:58
|Link #420
The Hawqman
Join Date: Dec 2005
Location: Ottawa Ontario
Age: 28
Tabris-simple 8/10
Sasurai hell- what's up, I have not seen you in a while, for the sig you had before sexy 9.5/10, and the one you have now pretty nice 8.3/10
Sakura- cool sig, for the blue one 8.5/10, and your small one, you can hardly look at what is happening, but to be nice 6.5/10
Well new sig for me after a week. A saber one.
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Curiosity Rover Model Now on Display at the
Denver Museum of Nature & Science
DENVER-September 21, 2012-The Denver Museum of
Nature & Science invites visitors to see a full-scale model of
NASA's "mega-rover" Curiosity-the largest mobile
spacecraft ever launched to another planet-now on display at the
Museum until January. Curiosity is the centerpiece
of the Mars Science Laboratory mission which landed the rover
safely on Mars on August 5.
The full-scale model-on loan from NASA's Jet Propulsion
Laboratory-is located on level one of the Museum near T. Rex
Café. Museum volunteers will be available to answer questions
from visitors. The Museum plans to have programming involving the
rover in the coming weeks. More details will be provided as they
become available.
"We are excited to have this life-size model onsite for visitors
to get an up close look at the rover," said Steve Lee, the Museum's
curator of planetary science. "After an absolutely perfect landing,
we look forward to watching as Curiosity explores this
fascinating region of Mars over the next two years."
During its two-year mission, Curiosity will analyze dozens of
samples drilled from rocks or scooped from the ground using an
extensive payload of scientific gear. Curiosity is about twice the
size and five times as heavy as the extremely successful twin
rovers Spirit and Opportunity, which have been on the Red Planet
since early 2004. Curiosity's target is the lower slopes of Mount
Sharp, a mountain of layered rocks rising 18,000 feet above the
floor of Gale Crater. Observations of this region from orbit by
earlier Mars missions indicate liquid water was present here at
some point in the past. Curiosity is expected to assess whether the
crater has ever had or still has environmental conditions favorable
for supporting microbial life.
Additional Information
MSL mission- http://mars.jpl.nasa.gov/msl/
Press Contact
Charlotte Hurley,
[email protected]<mailto:[email protected]>
/ 303.370.6407
About the Denver Museum of Nature &
The Denver Museum of Nature & Science is the Rocky Mountain
Region's leading resource for informal science education. A variety
of engaging exhibits, discussions and activities help Museum
visitors celebrate and understand the natural wonders of Colorado,
Earth and the universe. The Museum is located at 2001 Colorado
Blvd., Denver, CO, 80205. To learn more about the Museum,
check www.dmns.org or call 303-370-6000.
# # #
Many of the Museum's educational programs and exhibits are made
possible in part by the citizens of the seven-county metro area
through the Scientific & Cultural Facilities District.


text:
Copley's paintings of Elizabeth and Ezekiel Goldthwait [41.85] rank among his most successfully unified pendant portraits. The Goldthwaits are each depicted at three-quarter length, seated in darkened interiors, she at a table and he at a desk. Their bodies are turned toward each other but...
Copley's paintings of Elizabeth and Ezekiel Goldthwait [41.85] rank among his most successfully unified pendant portraits. The Goldthwaits are each depicted at three-quarter length, seated in darkened interiors, she at a table and he at a desk. Their bodies are turned toward each other but both look out at the viewer. The portraits are painted in the same subdued rich browns, a muted palette Copley substituted for the dazzling rococo colors he had employed during the previous decade. A powerful light issuing from a single source at the left plays against the quiet tones and dramatically illuminates the face and hands of each sitter. Copley charged each portrait with a sense of uncontrived immediacy, showing his sitters interrupted in the course of their actions to regard the viewer: Elizabeth pauses as she reaches for a piece of fruit, and Ezekiel turns from writing at his desk. In each portrait Copley included a profusion of textures and objects—polished tabletop, lace, silks, pearls, chairs—that serve to indicate not only his virtuosic skill at illusionistic representation but also the material wealth of his subjects. The Goldthwaits were prosperous indeed. Ezekiel Goldthwait (1710–1782) was born in the North End of Boston to a merchant family originally from Salem. The family lived on Hanover Street in the North End in a "Mansion House," according to the ten-page inventory recorded after Ezekiel's death. [1]He also owned houses on State Street and Ann Street; a chaise; considerable china, silver, glassware, and furniture; over thirty pictures (none described specifically); some two hundred books; and a gold watch. Elizabeth Lewis (1713–1794) married Ezekiel Goldthwait in 1732, before he began his political career. She was the sister of Ezekial's older brother Joseph's wife Martha. Little is known of the Lewis family. During the first twenty-five years of her marriage, Elizabeth bore thirteen children, five of whom, all girls, survived to adulthood. Scholars have proposed that Copley represented the matriarch with a bowl of apples, peaches, and a pear to indicate her fecundity, or to allude to the renowned Goldthwait gardens, or to indicate the sitter's prowess as a gardener; it is also possible that he used the fruit here, as he may have used flowers in other portraits, as a generalized feminine symbol. Ezekiel Goldthwait commissioned Copley to paint the portraits of his wife and himself toward the conclusion of his public career as town clerk. In June 1771, Copley charged him £19.12 for each painting and £9 for each frame (the original bill is in the Museum's archives). The portraits remained in the family until they were given to the Museum in 1941. Notes 1. Ezekiel Goldthwait, inventory, January 19, 1784, docket no. 17872 (Suffolk County Probate Records, vol. 83, pp. 113–22), Archives, Supreme Judicial Court, Boston. This text was adapted by Karen E. Quinn from her own entry in John Singleton Copley in America, by Carrie Rebora et al., exh. cat. (New York: Metropolitan Museum of Art in association with Harry N. Abrams, 1995).
1771, to the sitters, Ezekiel Goldthwait (1710-1782) and Elizabeth Lewis Goldthwait (1713-1794), Boston; by 1873, descended in the Goldthwait family to the great-granddaughter of the sitter, Sally Louisa Williams (Mrs. William Alline), Boston; by 1896, descended to the great, great, great grandson of the sitter, Dr. John T. Bowen (1857-1940), Boston; 1941, bequest of Dr. John T. Bowen to the MFA. (Accession Date: February 13, 1941)
Credit Line
Bequest of John T. Bowen in memory of Eliza M. Bowen
- John Singleton Copley, American, 1738–1815
127.32 x 101.92 cm (50 1/8 x 40 1/8 in.)
Accession Number
Medium or Technique
Oil on canvas