I picked "Kill Balnazzar" and it gave me a mission to complete and a quest.
Every mission rewards the item Demonic Scribblings, so it seems it dosn't matter what you pick. Will return with additional info when I complete the mission.
Demonic scribbling gave me just over 32k xp at level 108.
Can't progress past this quest. I've picked the Holy Allies option and after researching the mission nothing happened - no new quests appeared. Now I'm stuck and can't do anything else in my class hall..
Just Turalyon speaks. Alleria does not show up. They're changed the quest message? Then what's up with Alleria?
As of Patch 7.0.3 there's a bug with this quest that can lock you completely out of your paladin campaign.
Don't take long to decide on an option; Tyrosus disappears after awhile and you'll have to drop quest for him to show up again.
Picking Balnazzar will lead Tyrosus to say, "Excellent thinking, Highlord. We should attack the problem at its source - their leader, Balnazzar." I'm curious about the dialogue for the other options if anybody else wants to share.
Just curios has anyone picked any other selections other than Hunt the dreadlord?
"Good idea, Highlord. With additional allies of the Light, our strength will be magnified."
It irks me greatly that you can't get to this point without doing the defense of Exodar quest/scenario. Once and now twice is enough already. Apparently tho, regardless of what strategy you choose, you will get the Highlord's Command which will be a suitable mission based on your strategy.
I love the added element of RP in this quest. However trivial our choice of action is in the grand scheme of things, it is a pleasant surprise and a welcome change from the humdrum feeling WoW questlines usually give.
Don't deliberate too much on this one. That you're here and reading this means you've spent too much time on this already.
No matter what you pick, your choice essentially just changes the name of a mission for your followers on the mission board - you are not choosing a quest for you to do personally.
Choose a dialogue option. Whichever one you like best. It doesn't matter.
Go to the mission board and send some peons paladins to do the dirty work for you aid the light.
Come back when the timer runs out.
Escute os líderes do conselho.
Os líderes do Punho de Prata estão reunidos. Escute o conselho deles.
Nossa missão está clara, mas quais são os próximos passos?


This is all going down the tubes very rapidly, with no opposition the tories are steamrollering this all with the joyful cheers of Corbyn who must be rubbing his hands in glee at the moment!
I'd like to join in this discussion but am too depressed about it all to talk about it.
I think that's how lots of people think. Stunned.
Scotland voted Remain, completely ignored and now we see Dundee not being considered for European City Of Culture. Not very democratic! As for Corbyn he's just as big a Tory as May.


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Tag Archives: grim future
8/13/15: More Human Than the Humans
Alejandro Martínez, Antonio Banderas, Arthur C. Clarke, Automata, Birgitte Hjort Sørensen, Blade Runner, clocksmith, co-writers, David Ryall, Dylan McDermott, dystopia, dystopian future, end of humanity, future of mankind, Gabe Ibáñez, gorgeous cinematography, grim future, husband-wife relationship, Igor Legarreta, insurance investigator, Jacq Vaucan, Javier Bardem, Javier Sánchez Donate, Kes Bonnet, man vs machine, Melanie Griffith, multiple writers, near future, nuclear batteries, Patrick Salvador, Philip K. Dick, radiation, Robert Forster, robots, sci-fi, science-fiction, self-aware robots, solar storms, thought-provoking, Tim McInnerny, wasteland, writer-director, Zacarías M. de la Riva
At what point, exactly, does a robot cease to exist as merely a "machine" and become something more? It's a question that's been an integral part of science fiction practically from the genre's creation, a question that's been examined by literary luminaries like Isaac Asimov, Philip K. Dick and Arthur C. Clarke, across works as unforgettable as "Do Androids Dream of Electric Sheep?", "I, Robot" and "2001." The questions are always the same fundamental ones: What is the primary difference between intelligent machines and humans? Can a machine ever "become" human or, at the least, human-like? Do robots possess the capacity for emotions? Can you program "sadness," "anger," "hatred" or "love"? If robots were capable of self-awareness, would this be the tipping point?
Cinema, for its part, has been asking the same questions for almost as long as we've had movies: Fritz Lang's Metropolis (1927) is probably the first example of a cinematic tradition that's been going on for almost a century, a tradition that includes such diverse films as Forbidden Planet (1956), 2001: A Space Odyssey (1968), Westworld (1972), The Black Hole (1979), Alien (1979), Blade Runner (1982), The Terminator (1984), Short Circuit (1986), RoboCop (1987), Cherry 2000 (1987), A.I. (2001), I, Robot (2004), WALL-E (2008), Moon (2009) and Chappie (2015). One of the newest inclusions into this amazingly eclectic group, Spanish writer-director Gabe Ibáñez's Automata (2014), also ends up being one of the better ones: barring a few missteps and unnecessary clutter, Automata is a gorgeously filmed, thought-provoking look at what separates us from the machines…and why they just might be better at "living" than we'll ever be.
The year is 2044 and the Earth has been decimated by solar storms that have, in effect, turned the whole planet into a radioactive wasteland. 99% of the population has died, leaving the survivors to take shelter in the few remaining cities, the equivalent of ants scurrying to get away from the magnifying glass. Since atmospheric disturbances have wrecked holy hell with radio transmissions, electrical grids and the like, technology has regressed to your typical dystopic state of being: in other words, humanity is completely and irreversibly fucked, our future sizzling away like so much fat in the fire.
Into this rather terrible situation comes the ubiquitous ROC Corporation (think RoboCop's Omni Corp and you're in the right neighborhood), creator of the "primitive" Automata Pilgrim 7000s, a type of robot which does everything from building the walls and coverings which protect the last cities to helping take care of kids, cooking meals and fighting wars (despite our truncated timeline, humans still need to kill each other, apparently, which always seems to be our one constant). By the time the film opens, there are millions of Automatas running around, each one governed by two very fundamental protocols: robots may not harm any form of life (including themselves) and they are forbidden from altering themselves or other robots. Like the Prime Directives in RoboCop, these are unbreakable, unalterable and, obviously, in place to help preserve humanity's increasingly precarious place in the pecking order.
Our "Deckard" in this particular instance is Jacq Vaucan (Antonio Banderas), one of ROC Corp's ubiquitous insurance investigators. Jacq's job is to run around and look into any and all insurance claims levied against his employers: when we first meet him, he's looking into the case of an Automata that's been accused of brushing a family dog to death. Jacq is completely burnt-out (no pun intended) at his job and dreams only of moving his pregnant wife, Rachel (Birgitte Hjort Sørensen), to the seashore, if such a thing still exists in this brave new world.
As befits the "one last case" trope, Jacq is called on to investigate one of ROC Corp's Automata that has been unceremoniously shot in the face by wastoid police officer Sean Wallance (Dylan McDermott). It seems that the "dead" robot had been modified in some pretty significant ways: not only was it capable of "self-repair" (a big no-no) but it also seemed to be smuggling illegal parts (an even bigger no-no). Jacq's boss, Mr. Bold (Robert Forster), gives him the news that he's been impatiently waiting for: find someone, anyone, to blame for the modified robot and Jacq will earn a one-way ticket to his dream destination (provided, of course, that it's real and not an actual dream destination).
From here, Jacq dives into the deep end of the case, tracking the robot's "clocksmith" all the way from the city's stereotypically dystopic slums to a creepy android sex parlor and, finally, into the radioactive wastelands colloquially dubbed "The Sandbox." As Jacq learns more and more about the modified Automata and its ultimate purpose, he also uncovers hints of a wide-ranging conspiracy, a conspiracy that could affect the very future of mankind. With no one but a group of Automata to guide him, Jacq must confront the truth behind the robots, a truth that will eventually lead him to a godlike being and, just perhaps, the long-rumored ocean that he's always yearned to see. What separates us from the machines? As Vaucan will find out, quite a bit less than we might think.
Right off the bat, Ibáñez's Automata is an absolutely stunning piece of film-craft: to not put too fine a point on it, the production design (courtesy of Patrick Salvador), cinematography (beautifully handled by Alejandro Martínez) and general mise en scene (Kes Bonnet handled the art design) are nearly flawless. For a film with an estimated budget of $7 million, Automata looks like it cost roughly fives times that. Using a mix of CGI backgrounds and actual animatronics for the Automata, the film is completely immersive and, to be honest, looks just as good as any of the accepted modern sci-fi prestige pictures: again, it's hard to not belabor the point but Automata blew me away early and managed to keep impressing me for the entirety of its nearly two-hour run-time. If the film has any issues (and it has a couple), they have nothing whatsoever to do with the look, ambiance or general production.
Performance-wise, Automata's cast is exceptionally solid: Banderas is fantastic as the world-weary investigator, McDermott turns in one of his patented "loose cannon" performances, Forster is suitably paternal as Jacq's kind-hearted boss and Tim McInnerny makes a great villain as ultra-slimy "company man," Vernon Conway. Sørensen does a fine job with what she's given, although her character doesn't really come into her own until the film's final third. There's also a really nice, subtle vocal performance by Javier Bardem as the godlike Automata: he brings a perfect combination of intelligence, gravitas and parental concern to the performance and is definitely one of the film's highlights, even if he doesn't get much screen-time.
In fact, the only performance that doesn't quite connect is Melanie Griffith's take on Dr. Dupre: even though the actress gives it her all, her performance is never quite as realistic as the others'. Too often, it feels like she's attempting to make sense of nonsensical dialogue and she never really sells the character: the scenes between her and Banderas have an awkward quality that's rather off-putting. Ironically, Griffith is much more convincing in her dual-performance as the voice of Cleo, the sexbot: her vocal performance is much more subtle and nuanced than her "full" performance.
One of the most impressive aspects of Automata is how it references and takes elements from other classic sci-fi films, yet manages to make them seem wholly organic. In many ways, the film throws Blade Runner and Westworld into a blender and seasons the concoction with various elements from films like Alien and RoboCop: the Automata "weep" white tears, ala Alien…the godlike robot has a weary intelligence and understanding of humanity's place in the universe, ala Blade Runner's Roy Batty…there are sex-bots, like in Cherry 2000 (Griffith's vocal performance as Cleo is also a great reference to her role in the '80s film)…the giant hologram ads that "roam" the city are reminiscent of Blade Runner's chaotic culture-shock…they all add up to make Automata seem like a part of a much bigger universe, a much further-reaching combined aesthetic.
Unlike many multiplex sci-fi thrillers, Automata is an endlessly intelligent film, one that's not afraid to offer its complex science and mythology with a minimum of hand-holding. The film might open with the equivalent of an info dump but, in a way, that's also to be expected: when you have a lot of details to impart and a limited time to impart them, sometimes the best way is also the bluntest way. At times, Automata threatens to become too complex and confusing, especially once we get into the robots' "mind kernals" and their attempts at "self-improvement" and evolution. This, of course, is always the danger one assumes when dealing with a genuinely smart film: it makes demands of the audience and, if you aren't willing to stay engaged, you'll most likely be left behind.
In fact, if I had any real issues with Ibáñez's film (he co-wrote the script with Igor Legarreta and Javier Sánchez Donate), they all lie with the unfortunately hackneyed, old-as-the-hills "corporate conspiracy" that lurks at the heart of the film. Without that silly, action-oriented facet, Automata would be a much slower, more thought-provoking film, much closer to the grandiose vision of Blade Runner than it ultimately is. We've already been shown such wonders by the time that an anonymous group of authority figures determine that Jacq "knows too much" that it feels like a serious cop-out: for all of the film's grand vision and intelligence, the climax still devolves into one of those de rigueur "final shootouts," as Jacq battles Vernon for ultimate supremacy. The conspiracy angle also introduces at least two subplots too many, subplots which help to drag the film down rather than propel it forward.
Ultimately, however, my quibbles with Automata are minor: this is first-class, grade-A filmmaking all the way, the kind of intelligent sci-fi film that should make any fan of the genre sit up and take notice. While Ibáñez and his extraordinarily talented cast and crew don't blaze the kind of bold, new trails that pioneers like 2001 and Blade Runner did, they still turn in a film that stands, head and shoulders, above similar pretenders. There is genuine beauty here, along with a tremendously powerful emotional core and some truly unforgettable images: the scene where the Automatas create life is one of the single, greatest nods to Frankenstein that I've ever seen and would be a crowning showpiece in any film. As only his second full-length directorial effort, Automata showcases Gabe Ibáñez as a truly formidable new talent, a visionary who will practically demand my attention, from this point on.
If you're a fan of good filmmaking, I heartily suggest that you follow along, too. I'm not sure if Ibáñez is the next Ridley Scott or merely the next Alex Proyas: either way, I have a feeling that he's got plenty of amazing things to show us.
1/20/14: Farewell to Your Future Self
12 Monkeys, action films, Blade Runner, Boreno, Brick, Bruce Willis, chase films, cinema, closing the loop, Conan the Barbarian, drama, dystopian future, Farewell to the King, Film auteurs, films, grim future, headhunter tribes, historical dramas, hitmen, island paradises, Japanese fleet in the Pacific, John Milius, Joseph Gordon-Levitt, jungle combat, kings, Looper, Movies, Nick Nolte, Rian Johnson, romance, sci-fi, telekinesis, Terry Gilliam, The Big Lebowski, The Brothers Bloom, The Rainmaker, time travel, war films, World War II
After beginning the day with a couple of Oscar-nominated documentaries, I figured that I'd end it with a film where Nick Nolte becomes king of Borneo and Bruce Willis and Joseph Gordon-Levitt share the same face. Welcome to the world I live in, ladies and gentlemen: it's a strange one.
First of all, take a moment (or two) to marvel at the glory that is the above poster for Farewell the King. Nolte giving his best Blue Steel…burning huts…lots of buff dudes with machine guns…that, my friends, is what we commonly call one kickass film poster. Doesn't matter what the film is about: a peep at that one-sheet and I'd hightail it to the theater post-haste!
Now that your eyes have been bathed in badassery, let's take a look at the fella that wrote and directed Farewell to the King: John Milius. You might know him as the guy that wrote and directed Conan the Barbarian (ie: the awesome one) and the original Red Dawn. You might also know him as the guy who wrote the screenplays for Dirty Harry, Magnum Force, Apocalypse Now, Jeremiah Johnson and A Clear and Present Danger. Or perhaps you know him as the creator of the cable show Rome. Barring that, you may know him (peripherally) as the inspiration for John Goodman's Walter in The Big Lebowski. Now…taking a look at all of these disparate pieces that make up John Milius, can you take a wild guess at what awaits within Farewell to the King? Yes, friends and neighbors: we're about to enter the mystical kingdom of Testosteronia.
Due to my father, I was a huge fan of Milius before I ever knew it. Growing up, the Dirty Harry series was just about the closest thing we got to the gospels: I'd already seen the entire series by the time I was a pre-teen and I pretty much had the first two, Dirty Harry and Magnum Force, memorized. I was also completely obsessed with sword-and-sorcery stuff by that point, so Excalibur and Conan the Barbarian got watched at least once a day. Add to that my equally hardcore interest in Apocalypse Now and I was, essentially, an intense Milius fan that had absolutely no idea who the dude was. Classic me, as it were.
As far as plot goes, Farewell to the King is equally as gonzo as anything in Milius' back-catalog. A British officer and his radio operator land in Borneo, during World War II, in order to whip up local support against Japanese forces in the area. They find a friendly response from a local tribe only to wake up the next morning as captives: it seems that these natives might be the kind normally found in old jungle epics. The difference, however, is that those other tribes didn't have Nick Nolte as their king.
You see, Nolte was an American soldier during the war, taken prisoner by the Japanese but escaped to the jungles of Borneo. Once there, he was taken captive by the local tribe of headhunters, saved from being turned over to the Japanese due to his dreamy blue eyes (no joke: the women of the village stage a revolt because they can "see the ocean" in his peepers…what a dreamboat!), became leader of the tribe after beating their chief at deadly hand-to-hand combat, fell in love and married one of the locals and managed to unite all of the smaller tribes in the area into one mega-tribe (of which he's chief, natch). Whew! That is one busy Mystical White Man there, isn't it!
Learoyd (Nolte) is pretty sure that he can just ignore the rest of World War II: after all, he has a pretty wife, several children, a really cool tropical paradise and the complete adoration of his people…why does he wanna stomp around the jungle and shoot Japanese soldiers? As the British officer gently explains, however, just because you choose to ignore the war doesn't mean the war chooses to ignore you. Before long, Learoyd is thrown headfirst into the conflict, proceeding full throttle down a path that will lead to glorious victory, staggering defeat, mysterious cannibalistic Japanese ghost regiments, betrayal, mean Australians, Gen. MacArthur and, ultimately, sovereignty.
If it couldn't be handily discerned from the above plot description, Farewell to the King is a deeply silly, if wildly entertaining, film. It operates along the same sort of wish-fulfillment scenario as Costner's Dances with Wolves (white guy shows up and teaches the natives to be the best natives they can possibly be). It would be a much more offensive scenario if Milius' film wasn't so amiable and good-natured. It's quite obvious that the natives stand head-and-shoulders above everything else (especially the Australians, who come across so loutishly as to make one wonder if this wasn't some particular bias of Milius'). For one thing, they're pretty much the only group that never betrays Learoyd (which can't be said for the British). For the other, the village scenes are shot with such a sense of sun-dappled wonder that, especially as compared to the dreary jungle combat scenes, it pretty clear where the film would rather be spending its summer vacation.
Ultimately, there's really one main reason to hunt this flick down (unless you happen to be a Milius' completest or tropical island enthusiast): the marvelous Nick Nolte. It's quite wonderful to witness Nolte in all of his buffed-out, leonine glory, especially when he manages to take the character to levels normally reserved for the Nic known as Cage. He strikes a terrific balance of level-headed, village elder and wild-eyed Bornean Rambo and it really works. Less successful, possibly by contrast, is the British officer, played by Nigel Havers. Havers spends most of the film looking sheepish, as if he's constantly preparing to apologize for something. There are times when the approach works for the character but it usually has the effect of making his Capt. Fairbourne somewhat of a non-entity.
So what do you get with Farewell to the King? Well, you get some pumped-up, patriotic, Green Berets-style jungle fighting. You get Nick Nolte as the leader of a nation of headhunters in Borneo. You get some nice drama, a little character development (but not too much, mind you), plenty of action sequences and a simply gorgeous location. You get a loopy performance from John Bennett Perry (aka Matthew Perry's dad) as Gen. MacArthur. You even get an evil, cannibalistic Japanese military unit, for good measure. In short, you get the full Milius treatment.
While it's not my favorite genre, I'm definitely someone who enjoys a good sci-fi flick. In particular, I find myself really enjoying smaller, quirkier, more indie science fiction fare such as Primer, Timecrimes, Moon, Europa Report and Cube. I've got nothing, really, against the big tent-pole versions: I grew up on Star Wars and enjoyed The Matrix and Inception. There's just something about a quieter, weirder sci-fi experience that really appeals to me. When I heard that Rian Johnson was going to be trying his hand at a sci-fi film, I knew this would be a must-see.
I've been a huge fan of Rian ever since Brick, a brilliant high school noir that also starred Joseph Gordon-Levitt. He followed that up with The Brothers Bloom, a film so magical and wonderful that I had to keep checking and make sure that Terry Gilliam didn't create it under a pseudonym. With those two films, I knew that I'd be paying a visit to whatever particular world Rian decided to create next. While sci-fi seemed a little left-field, especially after the magical realism of Brothers Bloom, I had faith, faith which was handily rewarded.
Looper posits a slightly dystopian future, a sort of Blade Runner-lite with hover bikes, drone irrigation systems, telekinesis and time travel. It's not quite the brave new world we might've once imagined, however: telekinesis is pretty much handily written off as "a bunch of assholes floating quarters" and time travel is outlawed, used only by criminal organizations as a way of dumping unwanted corpses in the past. We've come so far, you see, but stayed so very close to home.
We meet Joe (Joseph Gordon-Levitt), one of the hitmen known as Loopers, who are responsible for carrying out these contracts. Loopers have it pretty good, all things considered, right up until the time they outlive their welcome. Once this happens, their bosses send the Looper's future self through the time machine, where the past Looper will, essentially, kill himself, "closing the loop." At first glance, the mechanics of this seem rather unwieldy, leading one to wonder whether this will be a film akin to Primer (a brilliant film, mind you, but kind of like sitting through a graduate-level physics seminar while still in middle school biology). But fear not, as Joe will later say to himself: "I don't wanna talk about time travel stuff cuz if we do, we'll be here all day." Johnson gives us just enough science to hang our hats on but not enough to hang us, preferring the let the central conflict do the heavy lifting.
And what a conflict. You see, one day, Joe's future self comes through the portal. Loopers are trained to expect that day and not hesitate: it's their version of retirement, essentially. Not killing your future self is generally frowned on, as that results in two of you running amok in the same time period. Joe, of course, hesitates just long enough on that fateful day to allow his future self (Bruce Willis) to kick the crap out of him and head for the hills. Present Joe must now track down Future Joe in order to close his own loop, all the while avoiding the shady underworld characters that employ him. Future Joe, for his part, has a mission: he needs to find and kill the mysterious crime boss, known only as The Rainmaker, who ordered his termination, an act which resulted in the death of Future Joe's beloved wife. If he can do this, Future Joe believes, in can change the course of time and alter the outcome. Present Joe can't let that happen, leading to a Joe vs Joe fighting extravaganza.
There's quite a bit more to Looper than what the above indicates but uncovering the film's many twists and turns is part of its charm. This is a film that manages to not only marry the past parts of Johnson's short career (the noir-isms of Brick and the magical realism of Brothers Bloom) into a thoroughly cohesive whole but to include wholly new elements to the mix. Tonally, the film really reminded me of Gilliam's 12 Monkeys, especially once it began to delve into the truth behind The Rainmaker. This is certainly not an influence I could have seen in his earlier films but the parallelism(especially once we factor Willis into the mix) really works and makes me genuinely excited to see what other new tricks are up his sleeve.
As could be expected, JGL and Willis are outstanding. JGL, in particular, deserves special praise for his portrayal of young Joe. There is, obviously, some makeup used to enhance the physical resemblance between the two actors but that in no way should take focus from JGL's performance. He becomes Willis in such a perfect way, from the way he walks to the way he holds his head and the subtle inflections in his voice, that it's one of the most dizzying bits of screen fakery I've seen in ages. His first appearance took my breath away and it's impossible for me to think that the same amount of praise and admiration currently bestowed upon Joaquin Phoenix won't be granted twenty-fold to Gordon-Levitt. It really is an amazing performance, so full of pathos and emotion, yet so subtle, that it reminded me of something I'd kind of taken for granted: Joseph Gordon-Levitt is one hell of an actor.
As is Willis, of course, channeling the same kind of wounded intensity that made his performance in the aforementioned 12 Monkeys so riveting. Cocky, self-assured Bruce Willis is a mighty kickass dude. Quiet, brooding Bruce Willis, however, often makes for a better film. His interplay with JGL is great, especially in a diner sit-down that seems to parody the inevitable "meeting of the twins" scene in like-minded films. I still buy Willis as an action hero, to a point, and Looper makes sure not to cross that point in any manner as egregious as the Expendables films. For his part, JGL convincingly pulls off the action-oriented material, leaving one to hope for more roles like this in his future.
As a whole, the film works exceptionally well. The special effects scenes, especially one involving a bonkers version of one of those "assholes floating quarters" doing a whole lot more than that, are excellent and many of the kinetic fight sequences reminded me of the fights in The Matrix, although much less flashy. There are some really deep issues explored here, issues that help make the powerful ending particularly resonant. Rather than being brazenly manipulative, the ending comes organically from the journey that Present Joe has been on, allowing it to seem more natural than mechanical.
At the end of the day, I found myself liking Looper quite a bit, maybe even more than Inception, despite the more ambitious scope of Nolan's film. Like Brick, Looper is a tightly-plotted examination of loss, responsibility and moral obligation, a film that is not afraid to ask (or answer) some pretty big questions. It also manages to wrap science fiction into a noir cloak in a way not seen since those fabled attack ships were on fire, somewhere over by Orion.

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Posted on September 28, 2017 by Blog Writer
8:45am: Registration
9am-4pm: Workshop
Center for Applied Psychology
41 Gordon Rd, Suite C, Piscataway, NJ
5.5 CE Credits
Instructional Level: Introductory
The bedrock of therapeutic healing from a neuroscience perspective occurs when therapists are able to offer their own regulated brain processing when relating to their clients. This is a foundational feature of brain-based psychotherapy and may appear as a wordless experience that occurs when the therapist is relaxed and grounded in the present moment. The therapists' regulated state is "borrowed" by the client, thus promoting integrative neurogenesis between the limbic system and the "social brain". Known as "the therapeutic alliance" this is one of the most important principles in psychotherapy. In addition, successful psychotherapeutic outcomes are similarly dependent upon the amount the client is in contact with their own present moment experience, as they attend to what is called a "bodily felt sense." Body-centered mindfulness methods are shown to support right-brain integration and build the middle prefrontal cortex regions involved with self-awareness, emotional regulation, empathy, self-compassion and present moment awareness.
In this experiential workshop, you will learn to:
(1) Summarize the important brain regions and networks associated with trauma, anxiety, and
(2) Discuss the implications of attachment theory in relation to implicit memory, brain & body-
centered psychotherapy, and the therapeutic alliance.
(3) Demonstrate ways to introduce yogic practices into treatment.
(4) Practice body-based intervention strategies such as affect regulation, wordless awareness,
and presence techniques.
(5) Observe a demonstration of a body-centered psychotherapy session.
Beth L. Haessig, Psy. D., licensed psychologist, certified somatic psychotherapist, and IAYT-certified yoga therapist, is the former President of the United States Association for Body Psychotherapy (www.USABP.org). After graduating from GSAPP, she studied 4 more years to become a certified somatic psychotherapist (Core Energetics) plus a 5th year post graduate year, and a 6th year with Radical Aliveness/Core Energetics in Mexico. She is a Kripalu-certified yoga teacher as well as a yoga therapist certified by the International Association of Yoga Therapists. Dr. Haessig began her career as a school psychologist in 1990 working primarily with children and families, before moving into alternative technologies and integrative body-based modalities for the past ten years. Her work expanded to include veterans and other trauma survivors, as her specialization in PTSD, trauma, anxiety, and other body-based challenges (eating, conversion, psychosomatic, psychogenic movement, encopresis, etc.) are highly responsive to body-based, mindfulness-based, cognitive-behavioral interventions. As president of USABP, Dr. Haessig has provided training and leadership in the field of somatic psychology. At present, she works in an urban hospital with those suffering from morbid obesity, and has a private practice in Denville NJ.
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John Ogilvie (born 3 December 1969) is a New Zealand cricketer. He played in ten List A matches for Central Districts from 1994 to 1996.

See also
 List of Central Districts representative cricketers

References

External links

1969 births
Living people
New Zealand cricketers
Central Districts cricketers
Cricketers from Motueka

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The Beehives are spread throughout farmland areas. Bees will travel up to 5 miles from the hives so they need to be widely dispersed to ensure there is sufficient food sources to sustain the hive.
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Kellogg's Muesli is targeted at time-pressed, health-motivated young adults who need a breakfast that fuels their morning for their action packed day ahead. To this end, Kellogg's Muesli is positioned as a Multigrain Breakfast for the Unstoppables, and is ruling the space of 'unstoppable moments' on social media.
Father's Day was the right opportunity for the brand to meaningfully engage with consumers, because fathers are an oft un-acknowledged, unstoppable force in their children's lives. So, Kellogg's Muesli took to celebrating Unstoppable Dads on social media by associating with a micro-fiction publisher (Terribly Tiny Tales) and an established football celebrity (Sunil Chhetri).
The brand realized that storytelling is a medium that can touch people's hearts, and when it comes to fathers, people have endless stories. The brand collaborated with Terribly Tiny Tales (TTT), a community of 1.1 million followers on Facebook and 8.4 lac followers on Instagram.
When TTT came together with Kellogg's Muesli, the outcome was several user generated short-stories about #UnstoppableDads that were published by TTT on their social media pages for seven days, in the lead-up to Father's day. The sheer scale of engagement generated by these stories of #UnstoppableDads was exhilarating.
Finally, on Sunday, Kellogg's Muesli collaborated with Sunil Chhetri to publish a video, talking about his unstoppable dad and wishing everyone a happy Father's Day. Given the current football fever and his unstoppable attitude, Sunil Chhetri proved to be a perfect fit for the brand.
The element of relatability was high and that helped achieve scale. The entire campaign created over 81 million impressions and garnered over 6.4 lac engagements across Facebook, Twitter and Instagram in a week. On Sunday, #UnstoppableDads was trending #2, after Sunil Chhetri posted his #UnstoppableDads video. Sunil's story inspired a lot of people to engage with the hashtag and tweet their own personal stories. Brands like PVR India, MI and Honda, among others used the #UnstoppableDads hashtag on Twitter on Father's Day.
Also Read: Cannes Case Study: How Skittles made a California teen the ultimate brand influencer!


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Skhylur Davis, 11, Assaulted By White Woman,38 While Collecting Her Grandma's Mail
by Eboni BrownPosted on May 21, 2020 August 11, 2022
11 year old Skhylur Davis and family attorney, Justin Bamberg
Skhylur Davis, a black girl was going to retrieve her grandmother's mail (Alice Patterson) on May 11; per usual, when 38 year old Elizabeth Shirey; a white woman, assumed Davis was doing something illegal.
A Woman Is Charged With Assaulting A Child
A white woman in South Carolina has been charged with third-degree assault and battery of an 11-year old Black girl who she wrongly accused of stealing mail. Once she realized it was not her mail, she apologized and offered her cookies.
It's diabolical that we are still to this very day battling for equality and justice as Black people. The audacity to now put your crooked hands on an innocent child is beyond heinous. This crime should be handled appropriately and justifiably. This woman (term loosely used) needs to be in JAIL.
BUT! She's not. Continue reading to find out why.
"For it isn't enough to talk about peace. One must believe in it. And it isn't enough to believe in it. One must work at it."
Alice Patterson lives in the middle class area of Aiken (pictured above) for almost a year now.
Skhylur Davis Was Attacked By Grown Woman
Shirey approached a group, which included three other juveniles; grabbed Davis and attempted to pull the mail out of her hands.
Pictured are the multiple mailboxes in the Aiken area at the May 11 assault.
Police responded to the incident; and issued a citation to the woman. She was not taken into custody; due to the coronavirus outbreak. Yes. I said coronavirus outbreak. The woman was NOT taken into custody due to coronavirus outbreak. Go ahead and let that sink in. If you can…smh
The white woman, Shirey, who assaulted the 11 year old Black girl, Davis received a citation and was exonerated from arrest due to coronavirus outbreak
In a news conference with WRDW; Davis said at that point Shirey's husband approached them and said: "If you were a different type of guy; then this would have been another story."
Davis said in the news conference that he didn't use any other word; but that 'you don't have to think about what type he meant'.
"We're hurt, we're upset, and we're angry. She's angry and hurt. She was violated," Patterson said. "Growing up in the south, we had to endure this; our parents had to endure this. It's 2020. We will not have our children go through what we had to go through".
Alice Patterson (the grandmother of Skylur Davis) and their attorney, Justin Bumberg.
The Family Attorney Responds
Their attorney, Justin Bamberg; said the family isn't interested in a civil lawsuit but wants the criminal justice system to deal with the case in hopes of equality and justice for Black people. He continues, "it's important to raise awareness of the incident because of the many cases of unprovoked violence against African Americans and because of Davis' young age.
"Now, where are we at a society–forget race, forget ethnicity, forget gender, forget sexual preference–where are we at as a society when an 11-year old child has to be cognizant of that when she's interacting with a grown woman?" Bamberg said.
Bamberg disclosed in a letter to the Augusta Chronicle that Davis is "saddened by the fact people make assumptions about black people just because of the color of their skin and feels Arbery would have been treated different if he were white." Bamberg also told the newspaper, "We want the criminal justice system in Aiken County to make an example out of Mrs. Shirley to deter other people from doing the same thing again".
"I wasn't scared because in this type of situation, you need to do anything but be scared", Davis said. "It shouldn't be like this and it's wrong".
What a brilliant, smart brave little girl.
Posted in Breaking news, racismTagged aiken county, Alice Patterson, Augusta Chronicle, black girl assaulted, Breaking news, racial crimes, racial injustice, racism, WRDW
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People need to learn how to treat each other with love and kindness.
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Dammit, I'm not perfect but I wish I was! As almost-perfect as most of us are, some of us still have some work to do. Which is why MW exists!
Keeps your skin from absorbing pigments, eliminating the blotchy look.
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Selanne returns to Winnipeg, gets standing ovation from crowd at Game 6
Hockey Hall of Famer was part of Whiteout for Jets on Monday
NHL.com @NHLdotcom
Selanne receives standing ovation
NSH@WPG, Gm6: Selanne receives big ovation from crowd
R2, Gm6: Teemu Selanne receives a standing ovation from the Bell MTS Place crowd after he is introduced during Game 6
00:43 •
Monday was Teemu Time.
[RELATED: Predators vs. Jets complete series coverage]
Teemu Selanne received a standing ovation from Winnipeg Jets fans during Game 6 of the Western Conference Second Round against the Nashville Predators at Bell MTS Place. His appearance on the JumboTron sent the arena into bedlam.
"The city and the team have so much passion for hockey, and I'm so happy for them," Selanne told NBCSN during the second period. "They deserve every success that they have now."
Selanne, who scored 76 goals to set an NHL rookie record with Winnipeg in 1992-93, was part of the team's "Whiteout" for Game 6 as the Jets tried to advance to the Western Conference Final for the first time in franchise history. He said he was amazed by the reception.
Tweet from @NHLJets: We���re happy to have YOU here, @TeemuSel8nne! #WPGWhiteout #GoJetsGo pic.twitter.com/EcOYxQUA9U
"It's always a special place to come," Selanne said. "I have a special relationship with the fans, and it's always overwhelming when I come here."
The 2017 Hockey Hall of Fame inductee teased his return to Winnipeg with an incredible video on Instagram where he wore his old Jets jersey while seated in the co-pilot seat of a private jet. At the end of the video, he shouts "Go Jets Go!"
Video: 1-ON-1 | Teemu Selanne
"I think they have a good combination of different personalities, good leaders," Selanne said. "They have the tools. I'm so happy for them and the whole city of Winnipeg."
Stanley Cup Playoffs Round 2 Coverage
Lightning vs. Bruins
Capitals vs. Penguins
Predators vs. Jets
Golden Knights vs. Sharks


National Banned Books Week is September 23 through September 29, 2018. By focusing on efforts across the country to remove or restrict access to books, Banned Books Week draws national attention to the harms of censorship. The books featured during Banned Books Week have all been targeted with removal or restrictions in libraries and schools. While books have been and continue to be banned, part of the Banned Books Week celebration is the fact that, in a majority of cases, the books have remained available. This happens only thanks to the efforts of librarians, teachers, students, and community members who stand up and speak out for the freedom to read. Banned Books Week is an annual event celebrating the freedom to read. Typically held during the last week of September, it highlights the value of free and open access to information. Banned Books Week brings together the entire book community – librarians, booksellers, publishers, journalists, teachers, and readers of all types – in shared support of the freedom to seek and to express ideas, even those some consider unorthodox or unpopular.
But while libraries are pillars of this country's truly unique democratic principles, libraries are also much, much more.


Prepare to embark on an entertaining & illuminating Fantastic Journey with Missouri State University Theatre and Dance. Tonight we open the first stop on our journey with a production of Totally RED! This production features Red Riding Hood and the wolf as you've never seen them! The familiar story of wit and deception is retold in several styles, ranging from storybook to … [Read more...] about Totally RED! Opens tonight!


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In the far south of Spain, POLO interpreted the hacienda feel in an almost lyrical way. A royal villa was conceived in line with a playful concept of orientation and volumetry, of what is and what could be, in which reality is reduced to its own derivative.
Key data Partners Credits
MDBA Architects
Milena Villalba
"Sometimes, architecture is so delicate that it becomes almost like poetry." writes journalist Bart De Maesschalck with regards to the project. "In such cases, there is no longer a uniform meaning, only interpretation. The design manifests itself in all its layers and is interpreted differently every time. Rationality fades into intuition. Mere aesthetic and functionality is transcended and all that is left is insinuation."
Inside-out look and feel
Almost imperceptibly, the home disappears into the landscape. In fact, it is created out of the landscape. The building and its surroundings originate from each other in an almost organic way. Just a few windows give the illusion that there is more. Orange trees grow in clusters on the estate. The terrain's natural slopes were left untouched. The existing paved terraces form the foundation for the villa, that looks like it arose from the rubble stone walls that cut through the parcel.
The terraces' topology is the basis of the building. While that natural levelling sets a basic rhythm, the house incorporates the existing walls that run across the terrain. Surrounded by these retaining walls, the house emerges like a cross between a traditional castle and a contemporary Spanish hacienda
The villa was designed so that it could offer its residents the best views and as much sunshine and light as possible. In addition, it is positioned with its back to the occasional heavy winds that come from the valley. In a similar protective gesture, the house embraces a central patio featuring an outdoor fireplace and a large pergola offering shade. This embracing gesture creates an immaterial outdoor living space.
In the south, the climate invites you to go out. The villa's objective is to blur the border between indoor and outdoor spaces. The interior and exterior reinforce each other. At every level. From the location to the orientation and materials used. With this project, we want to show that architecture does not stop at the shell, but one's attitude towards the interior is also a contributing factor for the building's total experience.
Architectural walk
When you enter the villa, it feels like it is taking you on an architectural walking tour. Almost intuitively, it leads you from one space into another, from one room into another. When entering the house, visitors come into a stretched-out hallway with a wall made entirely out of glass on one side revealing the patio enclosed by imposing walls. You are overcome with a feeling of privacy. When you turn left through the hallway, a new world opens up to you. The kitchen features enormous glass surfaces affording an open view on the valley, village and sea. When you open the window to the patio, the indoor and outdoor spaces fully merge into each other.
When we return to the hallway, it takes you around a bend towards the stairs that mark the separation between the public and private sections. There, you will find three bedrooms alongside each other, on three different levels because of the naturally sloping terrain. Every room has its own bathroom, while the beds are positioned in front of a floor-to-ceiling window overlooking a private garden delimited by the existing walls from which the rooms seem to have originated. After the last bedroom, you take a turn towards the master bathroom, which leads to a sunken patio on the left and the master bedroom on the right. The master bedroom is oriented towards the swimming pool.


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Facebook sets out to create its own OS
Facebook has reportedly hired ex-Microsoft employee Mark Lucovsky to oversee the development of its own operating system to reduce the dependence on Google's Android.
While many have tried and failed to muscle in on the Android dominance in the OS world, Facebook has largely sat back to benefit from the success of Google. That said, according to The Information, in hiring the man who co-authored the Windows NT operating system Facebook is attempting to break-free of the Android shackles.
Although there is no official confirmation from the social media giant, it does make sense. Facebook is not going to be fighting Android for a share of the mobile OS segment, though it allegedly wants more control of its own fate when it comes to the Portal and Oculus portfolios.
"We really want to make sure the next generation has space for us," Facebook's Head of Hardware Andrew Bosworth said during the interview.
"We don't think we can trust the marketplace or competitors to ensure that's the case. And so we're gonna do it ourselves."
With the Portal smart home devices, VR head Oculus and AR glasses codenamed Orion, Facebook is creeping more and more into the physical world. It might not be the traditional stomping group for Zucks and co. though these are emerging environments where the rules have not been written yet.
What is worth noting is this is not the first time Facebook has attempted to create an OS. In 2013, Facebook launched an OS which ran on some HTC phones, but it should not be under-emphasised how much of a disaster this way. It was a catastrophic failure.
However, the playing field is slightly different now. This is not an OS which is trying to replicate the Android experience on mobile, Facebook is attempting to define its own experience on these devices and dictate its own product development cycle.
Tags: AR, augmented reality, Facebook, operating system, OS, smart home, virtual reality, VR
VR & AR World
Smart Home Summit
Huawei builds the case for its own OS ecosystem
China Telecom celebrates the state surveillance potential of 5G
Big Tech sign-up to make smart home standards


text:
The Lives of Margaret Fuller: A Biography
by John MattesonJohn Matteson
| Editorial Reviews
$18.16 $19.95 Save 9% Current price is $18.16, Original price is $19.95. You Save 9%.
19 New & Used Starting at $1.99
"Psychologically rich. . . . Matteson's book restores the heroism of [Fuller's] life and work."—The New Yorker
Abrilliant writer and a fiery social critic, Margaret Fuller (1810–1850) was perhaps the most famous American woman of her generation. Outspoken and quick-witted, idealistic and adventurous, she became the leading female figure in the transcendentalist movement, wrote a celebrated column of literary and social commentary for Horace Greeley's newspaper, and served as the first foreign correspondent for an American newspaper. While living in Europe she fell in love with an Italian nobleman, with whom she became pregnant out of wedlock. In 1848 she joined the fight for Italian independence and, the following year, reported on the struggle while nursing the wounded within range of enemy cannons. Amid all these strivings and achievements, she authored the first great work of American feminism: Woman in the Nineteenth Century. Despite her brilliance, however, Fuller suffered from self-doubt and was plagued by ill health. John Matteson captures Fuller's longing to become ever better, reflected by the changing lives she led.
Norton, W. W. & Company, Inc.
John Matteson was awarded the 2008 Pulitzer Prize in Biography for Eden's Outcasts and is also the author of The Lives of Margaret Fuller, which received the Ann M. Sperber Prize for Best Biography of a Journalist. He has been a Fellow of the Massachusetts Historical Society and of the Leon Levy Center for Biography. He received the Distinguished Faculty Award of the John Jay College Alumni Association and the Dean's Award for Distinguished Achievement from the Columbia University School of Arts and Sciences. Distinguished Professor of English at John Jay College of Criminal Justice, he lives in the Bronx.
Prologue xi
Chapter 1 Prodigy 1
Chapter 2 Misfit 32
Chapter 3 " Margaret Goodchild" 61
Chapter 4 Apostle 102
Chapter 5 Conversationalist 139
Chapter 6 Ecstatic Editor 170
Chapter 7 Seeker Of Utopia 206
Chapter 8 Advocate 247
Chapter 9 Lover And Critic 272
Chapter 10 Internationalist 307
Chapter 11 Inamorata 332
Chapter 12 Revolutionary 355
Chapter 13 Victim 396
Epilogue Margaret-Ghost 424
Acknowledgments 447
Additional Sources 495
Matteson's portrait of Fuller, given depth and sheen by a treasure trove of letters, is unfailingly intelligent, nuanced and intriguing.
Well-written. . . . [Readers] will admire her spirit, intellect, and courage.
John Matteson performs a service in producing a . . . biography that will introduce this learned, prolific and eccentric American to a wider audience.
[Matteson's] writing seems to derive palpable energy from Fuller's own dynamism. . . . In the end he discovers a Fuller that is startlingly modern in her contradictions and commitments.
Minneapolis Star-Tribune
Matteson skillfully fills in the political and cultural background to Fuller's shape-shifting life, and sketches the biographies of the hundreds of renowned and obscure figures with whom she conversed, exchanged letters and shared ideas. The result is a substantial and satisfying biography, which brings Fuller's life back into popular view without simplifying her diverse and extraordinary achievements.
Joanna Scutts
In the title of his well-written book, Matteson refers to the "lives" of Margaret Fuller because, he explains, she continually reinvented herself over the course of her lifetime.
Mary Beth Norton
The great strength of John Matteson's biography lies in his ability to place Margaret Fuller against the social milieu that both made her possible and got in her way. We see, as never before, a life constantly moving onto new ground.
Robert Ferguson
Margaret Fuller, associate of Emerson, Hawthorne, and the other Concord intellectuals and most famous for her Woman in the Nineteenth Century as well as for her tragic death, was a determined and brilliant woman who struggled to find her place in the 19th-century world. In this extensive biography, Pulitzer Prize winner Matteson (English, John Jay Coll. of Criminal Justice, CUNY; Eden's Outcasts: The Story of Louisa May Alcott and Her Father) not only gives the reader a clearer understanding of Fuller, but also draws a fairly complete picture of her environment and time. Among the many Fuller biographies, this work distinguishes itself by accomplishing the difficult task of making the subject come to life. Through Matteson's easy narrative style and presentation of Fuller "as a series of identities," readers can begin to understand her drive and her flaws. VERDICT The work is well written, easily accessible, and entertaining. Prior knowledge of Fuller is not necessary to enjoy it. A great read for anyone interested in extraordinary women in our literary and women's history. [See Prepub Alert, 7/11/11.]—Paolina Taglienti, Everest Coll.-Henderson, Las Vegas
The Lives of Margaret Fuller: A Biography 3.5 out of 5 based on 0 ratings. 2 reviews.
Marilise More than 1 year ago
Frankly, I wasn't too interested in Transcendentalists and didn't know much about Margaret Fuller before reading this. I bought it because Eden's Outcasts, the author's previous book, was a favorite (and won a much-deserved Pulitzer Prize for Biography). So I settled in for a nice winter's read—page after page of prize-winning prose. I got that. But after a few dozen pages of reliably gorgeous writing, I realized that Mr. Matteson was using his 19th-century heroine to open debate on very 21-century issues: why accomplishment in a woman is invariably perceived as arrogance; the power of a parent to push a child's development; intellectual disparity between partners; how "plain women" were perceived then and now. Mr. Matteson deserves another Pulitzer.
Anonymous More than 1 year ago
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Basil Street Blues: A Memoir
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Crazy Brave: A Memoir
Insightful…Brings one of our finest—and most complicated—poets into view…Raw and honest. —Los Angeles Review of ...
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This book tells the story of the French and American Revolutions in a single, thrilling ...
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The definitive life of O'Keeffe. —Hilton Kramer, Los Angeles TimesGeorgia O'Keefe (1887?-1986) was one of ...
The definitive life of O'Keeffe. —Hilton Kramer, Los Angeles TimesGeorgia O'Keefe (1887?-1986) was one of the most successful American artists of the twentieth century: her arresting paintings of enormous, intimately rendered flowers, desert landscapes, and stark white cow skulls are ...
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A timeless work that will bring healing to anyone dealing with the loss of a ...
A timeless work that will bring healing to anyone dealing with the loss of a loved one.John Bayley began writing Iris and Her Friends, a companion to the New York Times bestseller Elegy for Iris, late at night while his ...


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City Centre-1
Admiralteisky
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Vyborgskaya storona
About St.Petersburg
Peter and Paul Fortress
The State Russian Museum
Suburbs and royal residences
Staraya Ladoga and Tikhvin
Ballet and Opera Theatres
Music and Concert Halls
Theatrеs
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Resorts in St. Petersburg region
Gorki Golf Resort
Health, Sports & Lifestyle
Caucasian and Central Asian
Ryumochnye
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Russian wines
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Special/Miscellaneous Events
› Russia
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› Russian Rock and the Way to Inner Freedom
Russian Rock and the Way to Inner Freedom
Viktor Tsoi wall on ul. Blokhinа in St. Petersburg
Viktor Tsoi
Joanna Stingray
Grazhdanskaya Oborona in the 1980's
Vyacheslav Butusov from Nautilius Pompilius in 2017
Mashina Vremeni in 1969
"Change! We are waiting for changes". Russian rock icon Viktor Tsoi's song Changes (1986) has been referred to as the "Perestroika anthem" much to the dislike of the rocker himself. While Tsoi was singing about profound changes in people, his song was interpreted as a political protest anthem. Oftentimes described as having contributed to the fall of the Soviet Union by being subversive, rebellious, and revolutionary – in reality, Russian rock's attitude towards the Soviet authorities was of an ambiguous nature. What is Russian rock, what are its peculiarities, and what has it become?
First Signs of Rock in Russia: The Beatles Mania
Since the 1960s, rock music in the Soviet Union was an underground world of illicit clubs and black market tapes. Its arrival in Russia was marked by the Beatles in the mid-1960s when the first Russian rock bands played cover versions of Beatles songs on hand-made instruments. Despite the technical improvement, the narrowness of the repertoires encouraged several music bands to write songs in their native language. Thus, Russian rock announced itself as a newborn illicit music scene with Leningrad (present day St. Petersburg) as its unofficial capital. However, Russian rock mainly remained an underground phenomenon throughout the course of the 1970s and consequently consisted of amateur bands only. Concerts were performed secretly in private flats and university halls. Its spread was fostered by the underground magnitizdat, which is a process of re-copying and self-distributing live audio tape recordings that were unavailable commercially.
The opening of the Leningrad Rock Club (LRC) in 1981 was a milestone in the development of rock music and subcultures in Russia. Authorities were at last sufficiently attracted by the promising prospect of extra resources and facilities. Rock finally became Russian and the imitation of Western rock styles was followed by an integration of rock music with Russian cultural tradition and by a desire for self-expression on one's own terms. With its going official in the 1980s, rock was set loose as a form of self-expression and lifestyle, reaching its peak years during the perestroika.
Leningrad Rock Club is a historic music venue. Opened in 1981, it became the first legal rock music venue in Leningrad. Overall, it was the largest rock scene in the Soviet Union, which featured bands as Televizor, Kino, Alisa, Aquarium, Zoopark, DDT, and Grob. The LRC had an eminent influence on Russian rock. In 1985 the Moscow Rock Laboratory was opened as a space for rehearsal and performance.
Russian Rock as Poetry
Russian rock is often referred to as rok poeziya, namely a form of musical poetry. Any Russian would quote zvezda po imeni solntse (a star called sun) by Kino to demonstrate this statement. Rok poeziya presupposes that a higher importance is attributed to the lyrics and less to the sounds. The lyrics are more focused and dictate the meaning of the music. This is true to some extent, and there are various reasons for this.
Clouds float above the city blocking the skylight
A yellow smog hangs over the city
The city is two thousand years old
Living under the light of a star named Sun
And two thousand years of war -
War for no reason
War is a matter for the young
Medicine against wrinkles
Zvezda po imyeni solntse released in 1988 by Kino
First off, as stated earlier, rock had to become essentially Russian before we could speak of a Russian rock phenomenon. Therefore, it had to be integrated into the Russian literary tradition. Consequently, Russian rock is strongly influenced by and even stems from Russian pre-revolutionary city ballads (gorodskoi romans), underworld/outlaw songs (blatnaya pesnya), bard music (bardovskaya pesnya) and author songs (avtorskaya pesnya) covering religious faith and love for the Motherland. This musical genre was very widespread in the 1950s with singer-songwriters such as Vladimir Vysotsky, Mikhail Ancharov and Bulat Okudzhava.
Bard songs are primarily poetry sung and accompanied by a guitar with very simple chord progressions. The music is less important than the lyrics and songs are written to be sung and not to be sold. These guitar ballads among others involve fairy tale characters, folklore, war tales, and more.
As an illustration, Ancharov's gripping song "Ballada o Tanke T-34" ("The Ballad of Tank T-34) is a short narrative on the heroic theme of war. The song is a first-person confession told by the titular tank. Ancharov's tank characterizes itself as an iron elephant that mercilessly crushes all in its path until it is stopped by the sight of an abandoned doll. The doll, in the ballad, symbolizes someone else's love and family.
Secondly, at live concerts and music festivals, the general idea was to maintain order and not act "in an uncivilized way". Hence, music was not primarily made to be danced to, which encouraged an intellectual rather than physical response to rock music. Lyrics were therefore much more important in the enjoyment of music. Moreover, technical virtuosity and equipment typical of the Western tradition were lacking in the Soviet Union.
Lastly, rock hardly existed in the Soviet media in terms of coverage. This contributed to giving the lyrics an all-important function in communicating with the audience and had to play a more active role in conveying information from band to audience. As a matter of fact, songs were the bands' way of communicating their thoughts, values, tastes, and ideas. Through lyrics, they shared what books, poets and musicians they admired.
All in all, this contributes to Russian rock's authenticity in music, production, and reception. Authenticity or dukhovnost is the substance you are left with when popular music is subtracted from commercialism. It convinces both the musicians and the audience that one is doing something that matters. In that sense, it is a counter-movement as the focus lies on serious and progressive themes and a strong awareness of the genre's history and further development.
Because of the influence of the literary tradition, the lack of commercialism, the authenticity and the fact that the psychedelic and sexual revolutions had not yet taken place in Russia, poetry rock was never a democratic countermovement as it was in the case of its Western counterpart. Instead, Russian rock musicians were encouraged to write lyrics focused on themes such as social problems, war songs, spirituality and civic awakening (Akvarium). Political songs were rather marginal (Grob, Noll, Televizor).
Joanna Stingray – American singer and music producer – was a key figure in popularizing Russian rock music and culture in the West in the 1980s. Later she married Yuri Kasparyan, the guitarist of the band Kino. In 1986 Stingray produced the album "Red Wave: 4 Underground Bands from the Soviet Union." The bands that are featured in this very first release of Russian rock music in the United States are Akvarium, Kino, Alisa and Strannye Igry (Strange Games).
The Bands Going Loose
One of the first rock bands to go official was Mashina Vremeni (Time Machine), founded in 1969. Led and founded by Andrei Makarevich, it is one of the oldest bands that is still active in Russia. Makarevich is a big fan of The Beatles and their music is influenced by bard songs. Mashina Vremeni is a Classic Rock band with elements of Russian folk music., often denoting metaphorical fables with allegories to the life in the Soviet and Post-Soviet eras.
In 1972 the band Akvarium with the notorious Boris Grebenshchikov at the helm (or simply BG for the fans), was formed in Leningrad. Alongside Viktor Tsoi and Mike Naumenko, BG is considered to be one of the founding fathers of Russian rock. Until their first official release in 1986, Akvarium performed acoustic concerts in private flats (kvartirniki). After 1986, Akvarium left the private flats and toured in Western countries with a strong Russian presence. Moreover, in 1985, David Bowie offered BG a Fender guitar as a gift. This was a sign of Bowie's admiration for BG's talent. This instrument can be heard in the album "December's Children", which in return was presented to Bowie.
Nautilus Pompilius (or simply Nau) is an indie rock group originally from Yekaterinburg (Sverdlovsk) and first appeared on the underground rock scene in 1978. Frontman Vyacheslav Butusov disbanded the group in 1997. They are known for their thought-provoking and philosophical lyrics vigorously demonstrated in their song "Walks on Water" ("Progulki po Vode").
Mike Naumenko was a regular collaborator with BG and had played with Akvarium before. In 1980, he founded his own blues-inspired rock group Zoopark. Naumenko composed the song "Summer" ("Leto") dedicated to Tsoi. He could never cope with performing for the mainstream spotlight. Drug abuse and depression led to his death in 1991.
The year 1981 is marked by the founding of the classic rock group DDT and the post-punk, new wave band Kino. With its enigmatic and charismatic frontman Viktor Tsoi, Kino started performing and rehearsing at the LRC. There, they met with the influential band Akvarium and BG. Tsoi died in a car accident cutting his band's future short.
Yegor Letov and his one-man band Grazhdanskaya Oborona (Civil Defense) was formed in 1982. This psychedelic rock/noise rock/punk rock band was often referred to as "Grob", meaning coffin in Russian. Siberian artist Letov was highly influenced by existentialist philosophy and the literary genre Magic Realism. He identifies himself as an anarchist which marked his song "I Will Always Be Against" ("Vsegda Budu Protiv"). Moreover, Letov was put in a mental asylum by the KGB. Most of his songs are home recordings, nowadays remastered.
A wide range of genres was represented in the Soviet Union. Hard rock band Alisa was founded in 1983, followed by the heavy metal band Aria in 1985 and bands with a clear-cut attitude towards the authorities and political songs (Televizor formed in 1984 and Null in 1985).
Other bands that were formed or reached popularity only after the dissolution of the Soviet Union: post-grunge band BI-2, indie rock band Splean, horror punk rock bank Korol i Shut, experimental and indie rock TequilaJazzz, classic rock band Agata Kristi.
The Post-Soviet Rock Generation: The End of Rock Poetry?
In an interview with The New York Times in 1986, Boris Grebenshchikov (BG) admits that official acceptance neutralizes rock music. He fears for the future of Russian rock as fans might think that bands that "went official" have sought and found compromise causing them to lose their sharp edge.
Since 1995, however, much to BG's dismay, rock poetry has been marginalized by the commercial pop-rock mainstream and by the more profane lyrics of Russia's alternative rock scene. As a result, Russian rock failed to hold on to its former authenticity and was absorbed, transformed and commercialized by a pop-industry of the Western type. Bands like DDT, Alisa, and Akvarium who represent an older generation of Rock musicians, still stick to their ideals while the post-Soviet rock generation is left to experiment more freely with music genres and lyrical themes.
Although the commercialization of Russian rock was gradually taking place in the 1980s, the commercial structures were not strong enough to pose a threat until the early 1990s.
Although Mikhail Borzykin, the leader of the band Televizor, is renowned for his strong views against authoritarianism in Russian politics, he admitted recently that he considered "rock music as the only way to an inner freedom". A movement that's subversive, rebellious, illicit, foreign but at the same time also poetical, very Russian, containing dukhovnost (spirituality), authentic, and much, much more than that.
Many say that in order to truly grasp the meaning of Russian rock, one has to watch the movies "Brother" ("Brat") and its sequel ("Brat 2") released in 1997 and 2000 respectively.
Russian superstitions History
Raketa, the oldest watch factory in Russia Shopping in city
Siege of Leningrad feature


Discussion in 'ten-forward' started by Mr.Blaze, May 13, 2003.
in order to make more money gateway pc has spechial hardware in alot of there pc's so the only way to get most of it is threw them.
2nd worst thing in the world gateway pc come with everything when you buy them lol but when you reformat them and clean them out prepare for a nasty surprise.
I love my custom PC as well; that's for sure!
So, Paul; when will the online catalogue of custom "Wilders PCs" be ready?
May I also suggest that DriveImage a/o Ghost might save a lot of heartache, too?
Grin..How about a cdrom coming with the essential software?
Cash flow, pre-funding, distribution, break-even point - nice idea nevertheless!
Finally, an easy one: thanks for the compliment!
Not only Gateway Blaze but all of them..when they come off the line from Manufacturing and final test..have drivers and other software installed including the Bios that are hardware specific...that means for the video cards and all the other subassembiles that make up that PC and model...then they ship with it the standard..CD's and what they have to give you from M$...now here is the problem guy..when you do not do to their site and get all those special drivers etc..before you even start you reformat..then you are going to end up with the standard drivers and such that are on the CD's and from M$ on their CD's the plug n play will sense the hardware and then give you its best guess at what will work on that hardware..most of the time this is cool..but not always since M$ does not have all the drivers..and what ones it does have are only going to be as NEW as the release date on the CD they ship with your PC...so it it up to you or your tech to know what update drivers and fixes are needed...those CD might have been made in 1999 and your serial number of hardware might have come off the line in 2001...so thats the deal.. and you can do it all without a tech..even get the right phoenix bios..but you have to know what it is all about..have the manual and not just the CD's and if you do reformat..save nothing off your OLD third party proggies except the data files of your own you want to keep..becuase in most cases they too are old and have updates or revisions..the free one are one the NET and the ones you pay for you should have a CD or the company should have a way to get you set up again..if they do not..you are buying from the wrong people.
"Greatest Hits of the Wilders Forum"
sounds mostly very nice then Blaze! good work!
Also you should know that since you reformatted..most likely the drivers for your modem are the default ones that plug and play found in the .cab files from Micrisoft. Since M$ wants you PC to work when you do install the OS again...it goes to that cabinent to find drivers...they puts lots of them in there..trying to cover all the modem board know to mankind..and then of course as many software drivers they have in their data base at the time..some from Lucent technolongies..etc etc..now some of them will work and most likely you did let the Installation process just go for a defualt one....but there could be better ones out there just like video drivers etc etc..those of course your get from your manufacter of your PC if they are nice enough to have a copy of them for you to download then replace in your system those that M$ just picked by default.
But then sometimes Gateway does not even have the best ones...so that is a little tricking...but there are ways to make it dial faster and get you a better connection etc etc.
LOL hugs kid,,that is all for today.
OK I have more time..Now if you are talking about you can not get your JUNO to download the mail to you becuae you only have the Opera browser..and have not installed the IE browers also..and then told your ystem that IE will be your DEFAULT browsers in all cases....especially for your JUNO mail to download to you..and then also gone into IE and set it for JUNO to be the email client..then i do understand..because JUNO uses IE as its vehicle to do this and in reality JUNO is just an overlay STMP thingie that uses IE to do its thing....when other peps use OE or some other mail cleint proggie to do their email download.
So with Juno you do need the IE still on your system..and then set it to hook into JUNO with those IE setting.
HI Primrose WOW THX FOR TAKEING THE TIME TO HELP ME OK ILL CLEAN UP MY BAD GRAMER HERE GOES LOL.
The other day i installed opera 7.11 the newest one that included javah.
the option to check your mail at the main website.