text:
Blenheim se poate referi la mai multe orașe, localități și/sau locuri după cum urmeazăm:

 Blenheim, oraș în Noua Zeelandă.
 Blenheim, New York, localitate în Schoharie County, New York.
 Blenheim, Ontario, localitate în Kent County, Ontario.
 Blenheim, Oxfordshire, sat în comitatul Oxfordshire.
 Palatul Blenheim, una din cele peste 500 de proprietăți mari situate în Anglia rurală și numite în engleză country houses sau stately home.
 Blenheim Horse Trials, competiție de echitație ținută la Blenheim Palace.
 Blenheim, în germană Blindheim, sat în Bavaria, Germania, numele originar, care a generat utilizarea sa în limba engleză.
 Blenheim, Carolina de Sud, localitate cunoscută pentru băutura ginger ale locală, extrem de condimentată, Blenheim ginger ale.
Bătălia de la Blenheim
 Bristol Blenheim, bombardier ușor britanic din timpul celui de-al doilea război mondial al Forțelor Regale Aeriene (Royal Air Force).

Blenheim se poate referi de asemenea la Cavalier King Charles Spaniel.

redpajama_set_name: RedPajamaWikipedia


Everyone wants to get a higher website ranking traffic for their site in search engines. They believe that organic search traffic is the main factor that helps in the growth of their business. The technology keeps changing and if you fail to update yourself on the current trend in marketing then your business fails.
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The more people who click on your site the more will be the traffic to your site.
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Make your headline and copy grab attention like you do in Adwords.
Click through rates not only increases your website ranking traffic but also increases traffic to your site.
There are also other off-site factors which will help you in increasing the website ranking.
Title Metadata is the page title that will be displayed at the top of the browser window. It is more important on a page.
This is the short description of a page which the search engine will index on the search result page. This description attracts the people to enter the site to make it more appealing to the visitors.
This is the phrase that people use when they want to find your page. List a variety of keyword phrases that are relevant to your site or product. Don't make the list more lengthy as the search engine will ignore the data completely. Select some 4 to 6 phrases containing four words each.
Search engines like Google, Yahoo, Bing, and others use software called crawlers to read the text and code of your website. If the text and code written on your website are not technically perfect then the crawler will find it difficult to read and understand, thus resulting from a lower website ranking traffic in the search engine. It is very essential to keep the following things in your website perfect to get the attention of the crawlers easily.
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Your website should clearly mention the different parts of the site.
It should be easy for the users to find the contact information.
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Focus on creating relevant links. Always use keywords or phrases as links instead of having "Click Here" links. Click here links have no value in a search engine.
Links with keywords will improve your website ranking keyword.
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Linking can boost your website ranking keyword in few days. It is worth doing.
The first step of SEO campaign is keyword research. Keyword research will help you find out few words or phrases which people are using frequently to find out your business or competitor's business. You can target on such words. Listed below are few techniques of keyword research.
Ideal keywords are the ones which have higher search volume and less competition. Such keywords are usually limited.
Target the long tail keywords which extend up to 3 to 4 keywords. As the competition is low for the individual search it is easy to gain website ranking keyword among the top positions.
Do a research on your competitor's website to find out new keywords and target on such keywords to attain high website ranking keyword.
Define goals for your social media like the number of customers it should attract, amount of exposure it should gain and others.
Understand the target audience and focus on them. Know what makes them more engaged and provide it for them.
Establish a connection with people who have a lot of followers. Because they can spread your message quickly to more people.
Use alt tags or alternative tags descriptions to explain the visual and video media on your site. Alt tags will help the search engines to crawl to your page more easily. People who use text-only browsers will find it difficult to get the attention of search engines.
This has been a guide to get a higher website ranking traffic for their site in search engines. Organic traffic is the main factor that helps in the growth of their business. These are the following external link related to website ranking traffic.


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The VIP experience started as soon as guests arrived on the red carpet attendees could stop for a moment at our box office or strike a pose with a BAFTA at the branded board.
On entering the venue guests found themselves transported into a Hollywood world; a gold colour scheme, complemented by black and white elements, brought La La Land to London. Here guests could admire the giant figures of King Kong, The Hulk and Superman whilst getting to know the lookalike actors, Marilyn Monroe and Will Smith.
Furnishings included a bespoke art deco bar, Hollywood posters and spotlights straight from the film sets. A wall of fame showcased the past year's top performers, inspired by those coveted stars on Hollywood Boulevard's walk of fame.
Moving downstairs the floor took on a Bollywood feel. The room was bold and vibrant, with the bustling feel of a Mumbai street market. The bar was recreated with brightly coloured corrugated iron and dressed with signs and props. An Indian rickshaw and dressed elephants (not real ones, sadly) also took centre stage in the room. There were more photo opportunities inside too, with guests getting papped against backdrops of Indian icons such as the Taj Mahal.
Entertainment from FullCircle took on a Hollywood theme, with James Bond aerialists astounding guests with their acrobatics. And of course, no Bollywood party would be complete without a little dancing. Before guests hit the dance floor to the sounds of a live DJ they were treated to a Hollywood vs. Bollywood flash mob dance off.
"It was truly mind-blowing to see how well you were able to bring the Hollywood vs. Bollywood vision to life on the night. The quality of the event was outstanding – The overall theming of the venue, the entertainment, the food and drink not to mention all the detailed touches which guests absolutely loved"


When an ensemble member has been selected you can choose the multi-panel display and can pick which ensemble member is plotted in each panel.
And as you can with any other dimensions you can plot the difference.
And you can select different plot axis and still make side-by-side comparisons. Here is a histogram-style plot are two different locations for all ensemble members.
And below is a time series for each ensemble at two different locations.


text:
There's Just an Empty Space: Phil Collins vs. the Philistines
Richard McKenna / July 8, 2018
Features / July 9, 2018
GRASSO: One of the best parts of starting We Are The Mutants (nearly two years ago now) has been becoming friends with my co-editors and learning about all the things that they find interesting. So when Richard and I first started talking about our shared, unabashed mutual love of Phil Collins, it was like I'd finally found a kindred spirit. It became very easy (and, in my opinion, very lazy) to bag on Phil in the '90s and beyond, as he became even more painfully un-hip than he was in his hit-making 1980s. And Lord knows, I probably even joined in on the Phil-bashing at the time.
But let's be absolutely clear: probably more than any other pop artist of the 1980s, Phil Collins's voice is the soundtrack to my childhood. Whether it was his ubiquity on pop radio, his videos on MTV, his appearances on television and in movies, or his showy Concorde-enabled dual performance at both Wembley and Philadelphia for Live Aid in 1985, Phil Collins is, in a lot of ways, 1980s pop music culture personified. It's hard to put it in words, because, like several other artists I love who haven't received any artistic respect since their heyday, Phil has gotten the shaft by historians of pop music and the guardians of what is considered artistically worthwhile and cool. But, unlike some of those artists, Phil seems to deserve better, to deserve a sincere career reappraisal.
I have a lot to say about Phil, and I was even more gratified to see, Richard, that you'd written an entire piece about him before we even got a chance to talk about him! So tell us a little bit about what makes Phil unique in pop history.
MCKENNA: Mike, after a lifetime of being mocked by all and sundry for my Philophilia—after spending years hiding my cassette of Face Value from my fellow punks—you have no idea what a relief it's been to find a sibling-in-Collins. Even though, given that the world we live in is heaving with issues much more deserving of attention, it's slightly embarrassing to admit how much time I dedicate to dwelling on the slights Phil Collins has endured.
In the post-everything reality we inhabit, wry reappraisals of stuff previously considered dross are almost as common as derision, but I want to try and understand what the fuck it was about Collins that made him so compelling to me between my first infatuation with Genesis in the early '80s and the end of No Jacket Required that, for a period, I actually affected to imitate his style, with predictably bruising results. And why does he still have this effect on me?
Call me superficial, but the first issue to tackle with Collins has to be that face: it's no coincidence that that puckish, contrite mug featured so prominently on the covers of his solo records—Collins's face was an aesthetic and political manifesto. The nick at the corner of his mouth—actually the result of his face hitting the dashboard of the family car when his father braked suddenly to avoid sheep on the road—lent a peculiarly ambiguous, vaguely disreputable cast to his whole appearance. Collins is always accused of being blokeish, but that's to deny his odd beauty—because Collins was beautiful, with a kind of ultra-national prole grace: he was beautiful in his Henge/beard/footie wristbands days, and he remained (at times) beautiful throughout his soul-spiv days—mercurial, impish, compelling. Come on, I'm not the only person on the planet who thinks Phil Collins was a beautiful ersatz polystyrene-soul druid, right?
GRASSO: He's a classic spiv, Richard; that puckish visage you mention was used to such great effect as he played the role of game show host and petty conman "Phil the Shill" on Miami Vice in 1985 (a role likely influenced by the career of fellow English spiv import Richard Dawson), and Buster Edwards of Great Train Robbery fame in the 1988 film Buster. There's definite charm behind Phil's disreputable look and pose, maybe the smirk of a guy who knows you're underestimating him.
It's funny that I'm talking about Phil as an actor before I even tackle his musical career. But that's how I first encountered Phil Collins: as a charismatic mainstay in the early days of MTV. In that decennium mirabile between Genesis's transitional …And Then There Were Three/Duke/Abacab period and the monster international smash Invisible Touch in 1986, Phil Collins became an international superstar, and I argue it's largely thanks to those music videos, both with Genesis and solo. The cheesy Southern California romance of "Misunderstanding"; the silly low-concept "I Missed Again"; the stunning and bleak abstraction of "In The Air Tonight" (I firmly believe this video helped propel the song's recondite murder-ballad legendarium); the groovy Motown tribute of "You Can't Hurry Love"; the "behind-the-scenes" faux-intimacy of Phil's duet with Earth, Wind & Fire's Philip Bailey, "Easy Lover"; hell, even the bizarre nightmare-scape of Invisible Touch's "Land of Confusion" (provided thanks to the puppets of '80s British TV institution the Spitting Image): at the center of each of these is Phil's gurning, grinning, winning face. (The pure "here I am Lord, I can do no other" power of Phil rereleasing his solo albums in 2016 with his present-day, un-retouched face is something I can imagine literally no other pop star who's pushing 70 years of age doing.)
But yes, let's talk about the music. As you mention, Phil Collins's membership in Genesis is how the world got to know him (pace his career as a child actor, out of which he managed to transition cleanly and professionally). And here's the new drummer coming onboard in 1970—competent, game for any of Genesis's prog explorations but also resolutely not an upper-middle-class Charterhouse lad like Peter, Michael, and Tony—propelled to the front of the band by 1975 and asked to replace one of the most iconic frontmen in prog when Peter Gabriel leaves the band. And what does Phil do? He very appropriately remakes the band in his image ("Genesis," get it, ha ha), adds a dash of the pop and soul he loved from his childhood, and turns them from—let's be brutally honest, Richard—plodding prog rockers into an honest-to-God pop band. There's some hubris there, no?
MCKENNA: It's probably apposite that I confess here to having been a massive Gabriel-period Genesis fan too, and that—like shingles—stays in your system for life. Back then, I don't think I knew Phil Collins had anything to do with them. There may have been some vague awareness, but to be honest, the writing on the fucking two-for-the-price-of-one Foxtrot/Trespass double cassette that comprised my initial Genesis collection was so small, you'd have had a job working out what the songs were called, much less who the drummer was.
The difference between Collins and his predecessor on the Genesis microphone is all there in one line from "I Know What I Like (In Your Wardrobe)": "Sunday night Mr. Farmer called, he said, 'Listen son, you're wasting time, there's a future for you in the fire-escape trade, come up to town'." Gabriel's reading of it is the arch detachment of someone watching the doings of the tradesman, but in his performance of it at Knebworth Festival in 1978 (where Devo also played, incredibly), Collins lives it, from the inside. It's him. So who knows whether there was hubris in Phil's bending of the Genesis whimsy of yore into something else, or whether it was simply a more powerful aesthetic prevailing.
I didn't know anything about all this the first time I heard "In the Air Tonight," obviously. As was often the case, initial exposure occurred thanks to Britain's Thursday-night church, Top of the Pops. His Prophet-5 synth set up on a Black & Decker workbench, his Roland CompuRhythm drum machine on a tea chest by his side, it was the Collins-as-unnerving-outsider I saw there—equal parts irked TV repairman and paranoid futurist savant—that would be forever registered in my memory. I would continue to see traces of it and superimpose over even his most awful incarnations. Oddly dressed—in a tank top of all fucking things (which perhaps explains my own predilection for them)—and ever-so-slightly unshaven, his appearance hovered somewhere between minor Napoleonic functionary and guy running the music department in a provincial Woolworth's. The performance, like the song, crackles with suppressed anger and incomprehension. Even though it ought to be hard to hear it fresh now, it still sounds distinctly alien, but it might be difficult to imagine just how remarkable "In the Air Tonight" sounded then. In 1981, a man dressed like that sat at a keyboard on Top of the Pops was going to sound like Gilbert O'Sullivan or something, not like someone whose brain was being eaten by a computer.
Never the sharpest of crowds, the ToTP audience stands looking on in stunned incomprehension while Collins' coiled tension begins to manifest and unnerving video effects seem to imply that his personality is fragmenting. How could I have imagined that this avatar of strange modernity had anything to do with his day job?
And then there was that masterstroke of stagecraft, as memorable as it was pettily (and by the sound of it, very unfairly) vindictive—the tin of paint that elicited an uncomprehending roar of "What's 'e gorra bloody tin o' paint for?" from McKenna senior.
GRASSO: SO PUNK. And that gets to my next point: say what you want about Phil, but you can't say his music doesn't fairly throb with emotional intensity, both positive and negative! Putting together a playlist to listen to while writing this piece, I found myself stunned at how often you hear Phil's heart and soul bleeding on these tracks. Take, for example, "Against All Odds (Take A Look At Me Now)," from the soundtrack of the fairly forgettable 1984 Jeff Bridges/James Woods/Rachel Ward neo-noir of the same name. The first minute and a half of the song you're thinking, "Oh, typical sappy soundtrack ballad, nothing much to this," and then boom!, a drum break (Phil, if nothing else, knows the dramatic impact of a drum break to announce his intentions), and then that Voice starts channeling real emotion, real heartbreak, almost breaking itself on every refrain of "nothing left here/to remind me" as the instrumental backing builds to a crescendo. "Take.A.Good.Look.At.Me.Nooooooow," Phil announces in the penultimate repeat of the lyrical hook, crowding his syllables to telegraph the emotional impact of a man left bereft. I can confidently say that the best karaoke performance of my life was thanks to singing "Against All Odds"; how could it not be? All the profundity of love, heartbreak, and its concomitant despair is packed into its three-and-a-half minutes.
The darkness of Phil's early '80s output is commonly ascribed to his 1979 separation and eventual divorce from his first wife Andrea. Genesis was on the verge of making it big, Collins sensed it, and in the process he spent too much time away from home. Pretty much the entirety of his output from this time period, both solo and Genesis, reflects his ache over his lost marriage (and, in some small part, his budding romance with second wife Jill Tavelman). The folks over at the Beyond Yacht Rock podcast brilliantly christened Phil as the patron saint of "Divorcecore," that genre of brightly-polished, highly-produced 1980s music that was really all about the artists' separations, both personal and professional, and their loss of faith in love and in their own generation. Phil hits all the spaces on the Divorcecore bingo card: divorce, (trial) separation from his band, songs aching with disillusionment and regret, and that sparkling studio production putting a gloss on songs full of barely-concealed pain.
How can Phil bounce so effortlessly from lovelorn ballad to upbeat pop to enigmatic prog, sometimes in the course of a single four-minute song? I think on some level Phil Collins understands what makes soul music soul; the ineluctable pain and complementary miracle of being, of loving, of the contradictions of a life lived in full. Phil Collins was never afraid to break down those barriers—of musical genre, race, class, gender expectations, the lot—he's a pure chimera and I think at the center of that mutability, that near-alchemical fluidity, is his own sensitivity to life in all its pleasure and pain. And not just the pain, but the strange places that pain can take you.
Take that duet with Philip Bailey from 1985, "Easy Lover." Probably one of my favorite Phil tracks (my devotion to Earth, Wind & Fire, another signal band of my early childhood, is well-known), its chorus sounds like a bog-standard mid-'80s R&B single: She's an easy lover, she'll get a hold on you, before you know it you'll be on your knees. But that instrumental synth string opening! It's like a fucking minor-key Bach fugue, full of foreboding and real uncannyness. And it re-enters the song as an instrumental break at the three-minute mark, reminding us of the turmoil bubbling under the surface of this tale of jilted love. And boring old Phil from Chiswick, holding his own against the one-in-a-billion, four-octave vocal prodigy, Philip Bailey… really, it's a pop tour-de-force. But at the same time, it bleeds somehow with real menace and foreboding, which was used darkly and memorably this year in a scene from The Assassination of Gianni Versace: American Crime Story (inspired, of course, by a similar use of Collins in both the novel and film versions of American Psycho). These directors sense that darkness, pain, and implicit threat in Collins's music, and use it to great effect.
MCKENNA: The columns holding up my personal Collins temple would begin, obviously, with "In the Air Tonight"—a song that not even ubiquity (and its use in twatface po-mo advertising) has managed to de-fang, and would then go on to include songs that represent the various facets of Phil's voice; "Follow You Follow Me," "Turn it On Again," "Mama," "Blood on the Rooftops," "Man on the Corner," "Paperlate" (which, as we were commenting the other day, Mike, sounds like a fucking Smiths song), "Abacab," "Keep it Dark," "Dance on a Volcano," "Ripples," "I Missed Again" (the excruciating video for which almost makes me see the Collins-loathers point), "I'm Not Moving," "I Don't Care Anymore," "Long Way to Go" (Sting notwithstanding), "You Can't Hurry Love." I could go on.
Much has been made of the purported story behind "In the Air Tonight," but Collins has been candid that it's not about anything except feeling like that. A few years ago, I saw an interview on Italian TV where he was trying to explain his songwriting process and even he ended up looking embarrassed about how the words were just basically the first ones that came into his head while he was sketching out the music. Collins's inability—or unwillingness—to elaborate his thoughts into metaphor or poesy or anything even resembling "art" feels like a kind of miniature class war: the freedom to express yourself in the language of erudition or whimsy is the privilege of the middle-classes—the Gabriels, the Rutherfords, the private schoolboys used to couching themselves in metaphor after summers spent reading bloody Tolkien. It's no coincidence that Collins's chosen means of expression are animal skins stretched over amplifying tubes, the oldest form of long-distance communication known to man after smoke and screams. And fucking hell can he hit the bastards, somehow managing to imbue them with his own emotivity and personality, his backward-Motorik repetition punctuated with tumbling, incoherent tom-heavy meltdowns.
To my mind, the best example of his grappling with this inability to communicate is a song he didn't write, but—ever the consummate actor—inhabits with a violence that makes the idea of his two remaining bandmates having anything to do with it seem ludicrous. You can tell Phil's into "Turn It On Again" right from the chippy "One two three four" that leads in the synths. What Rutherford's trite lyrics were originally meant to mean ceases to matter: this is about Collins. The Collins in the "Turn It On Again" video is the Ur-Collins for me: clad in thrown-on clothes like Brett from Alien or some nutter from down the market, and with a traumatized amphetamine energy, there's something fraught and slightly worrying beneath that veneer of desperate-to-please geniality.
That Collins himself is wholly ignorant of the reasons why contingency chose to pluck him out of nowhere and give him a voice—or force one upon him—is evident, but it often feels like there's a misapprehension about him that comes from confusing blandness and blankness: Phil's blank, not bland. He should probably have adopted a punk moniker to make this clear—Phil Vacuum, or something. Or maybe Phil Empty, if we want to get a pun in there. Collins has no style, no "class"—he's not an everyman, he's a no-man, the way we all are deep down, and that's why he's so honest. His only act is trying to act human, a feeling that I know a lot of us share and which, I think, is why his version of "Can't Hurry Love" actually works. That, and that he has never affected to have a different voice from his own—the voice he sings in is the same one he talks in. Anyway, as far as I'm concerned, the key to understanding Phil Collins is that Phil Collins is alienation incarnate. Not cool alienation—the unglamorous kind, the kind that drives you to seek out things that are bright, vibrant, and straightforward because the complications and confusion inherent in everything are too much for you to handle. That's the line Collins sits astride—desperate blankness at the overwhelming complexity and unknowability of existence and a need to mitigate that horror with a sweetness that his more refined critics see as saccharine and trite.
Everything Collins is there in the "Sussudio" video—his aggressively cheerful resentment, masked with the aggressive show-must-go-on music hall good cheer of the hoofer; the backing band that looks like the computerized talent booking system for the Catskills crashed during the night; the boozy pub milieu that would have had Banks and Rutherford gagging on their Chablis in their converted barns; and the Collins fundamental—the use of triteness and gibberish to communicate a feeling of deep alienation. The song's a monster.
The thing about Collinsophobia that pisses me off the most is that he's always judged on the least flattering aspects of his output, his aesthetic and his public persona. The tax avoidance, the oft-repeated bollocks about him saying he'd leave the UK if Labour got in (Tracy Emin didn't receive quite the same amount of opprobrium for actually saying that a decade or so later, for some reason; neither did dozens of other tax-shirking artists and rock'n'poppers). I dislike tax avoiders as much as the next person, but the singling out of Collins was nothing to do with his taxes; otherwise there wouldn't be a UK pop and rock star left standing. Collins was that '80s personage most loathed by both the middle- and upper-classes and by the university-educated children of the working class: the bloke. The guy you decide is a dead-eyed dullard because he doesn't speak the verbal or aesthetic hyperlect you require in order for you to admit someone's actually human. And as others have pointed out, even Collins's choice of R&B over nominally more sophisticated forms of muse like Jazz and world music smacks of classism. I think it would be disingenuous to ignore the class animosity that moves a lot of the dislike of Collins: working and lower-middle-class people are either supposed to invent themselves as something more exciting (and unlike their origins) or shut up and fuck off.
GRASSO: I alluded to him near the start of our discussion, but Billy Joel is, I think, one of Collins's most relevant pop icon analogues. A working/middle class lad from the suburbs, started his career off prog, but slowly and gradually adopted the pop idiom of his youth as his career exploded; created huge crossover pop hits during the '70s and '80s, and took a sad detour into schmaltz late in his career. (I come here not to defend Phil's 1990s Disney-adjacent output; neither do I wish to spend too much time advocating for Joel from about The Bridge onwards.) Both of them also have a reputation personally as being a bit needy, a bit emotionally stunted, with a trail of poor personal relationships left strewn behind them. But what Phil has that Billy never did, I feel, is self-confidence. Billy Joel, as Chuck Klosterman memorably wrote in 2002, was never quite cool. But when Phil turns on the music hall, song-and-dance routine in his body language and performance, you feel it's someone with real assertiveness and showmanship in his blood. Cool? Maybe, maybe not. But dedicated to being an entertainer? Absolutely. Billy always seemed slightly put out at having to perform; Phil lives on it, as much pain as there might be behind the grin and the patter.
But yeah, the hostility to Phil: it's fairly widespread, including our very own editor-in-chief. (If you readers could see the conversations that happened in Mutant chat prior to this piece going up… but anyway.) And I'd argue that the backlash started right around the release of Buster and Phil's pair of pure Boomer/Motown nostalgia singles "Two Hearts" (co-written by Motown legend Lamont Dozier) and "Groovy Kind of Love." In the late '80s, the pop landscape began to shift inexorably away from white Boomers (both American and British) and towards, well, white Gen-Xers for the most part. Hair metal and eventually grunge (and, let's be fair, a resurgent R&B propelled by the dynamism and fire of hip hop) would sweep the Phil Collinses of the world from the Top 40, pretty much permanently. Yes, Genesis released the execrable We Can't Dance in 1991 with those plodding singles "I Can't Dance" and "Jesus He Knows Me" (Phil really missed the boat taking on televangelists a good half a decade after most of them had their spectacular falls), and then it was onto the Disney gravy train for Phil.
But even apart from these larger career trends, people (and especially the critics) just tended to really hate Phil, especially during his Invisible Touch-era ubiquity. I just look back now at the heights of his career and say to myself, "Who could hate this guy?" Plenty of other '80s superstars have had just as lackluster later careers without the personal opprobrium. I think you're right, Richard: it's that sense that Phil had gotten slightly above his station, that he didn't deserve the fame and fortune, the weird stylistic niche he worked incredibly hard to carve out in the 1980s! All the eccentricities Phil's exhibited during the twilight of his career—the aforementioned tax exile, the weird Alamo obsession, the model railways—they're positively inoffensive compared to some of the awful revelations we've seen from his contemporaries in the 21st century! (Also, as a museum professional, I wholeheartedly approve of and praise his recent decision to share his Alamo collection with the world rather than hoarding it for himself. As a socialist, I'll just say the jury is still out on Phil realizing his tax duty to his fellow Britons.)
However much I love the songs from the Buster soundtrack as pure Boomer R&B/pop confections, I consider the last gasp of classic Phil really to be the No Jacket Required and Invisible Touch era between '85 and '87 or so. "Sussudio," as you say, is still a monster: those almost parodically-punchy synth drums, the muscular and Gabriel-esque (archangel, not Peter) annunciation of the Phenix Horns, the aggressive Collinsian nonsense of the lyrics (if you'd like a more detailed breakdown of the song, again, check out the Beyond Yacht Rock podcast's "Sussudio" episode, where they also dive into the psychology of Phil). And the video (which you mentioned above), where Phil is just trying to entertain the nice people who've sat through a presumably turgid couple of hours of free-form jazz, well, it's Phil's career narrative in a nutshell, isn't it?
Invisible Touch is the album that made Genesis worldwide superstars. God, I know at this point it's fucking impossible to talk about it without sounding like Patrick Bateman, but how can you deny the insane catchiness of every single one of the album's singles? "In Too Deep" is a masterpiece, using every single one of the Phil trademarks we've talked about: intense, naked emotionality (but never sentimentality), unexpected chord changes, and a devastating knowledge of how to use instrumentation, especially drums, to create drama. And more importantly, it was written for the underrated Bob Hoskins film Mona Lisa (1986). If there was ever a cinematic Phil Collins, it was Hoskins. Pace their physical resemblance, Hoskins's characters in the 1980s were absolutely Collinsian: London schlubs and spivs who end up taking up arms against a corrupt system and, more often than not, eventually losing.
MCKENNA: Mike, I'm afraid we're going to have to part Collins ways here. Phil saturation had got to me by 1986, helped by the false-consciousness double life I was living—alternating listening to Crass and Rudimentary Peni with No Jacket Required and Hello I Must Be Going, copies of which I kept in blank cassette cases when out and about with my Saisho personal stereo.
The Collins aesthetic itself had started to become overly burdensome post-"Sussudio." I'd had my flirtation with it, getting a shiny grey and pink suit from Fosters Menswear in around 1984 as one of my many attempts to try and weld a personality onto myself—but though seemingly '80s, that spiv look was not actually as widespread as might be imagined. Though the grim streets of provincial towns crawled with the various excrescences through which young people manifested their aesthetic pugnaciousness in the face of an increasingly worrying future, many of which were far more grotesque than anything Collins himself ever modelled—the front-permed Glen Hoddle mullet, the sub-mod stonewash-and-overpriced-low-end continental football paraphernalia thug—the Collins look was at once too aspirational and too desperate for low-end discos. Its art/retail overlap was disturbing because it smacked of failure in both spheres: your real bumpkin DJ was more showy; your real hick second-hand car salesman actually more smooth.
The Miami Vice appearance was the final nail in the coffin—he seemed to be peddling the image of himself his detractors saw, and which I couldn't help seeing either. I felt as though the scales of denial had fallen from my eyes—Phil had sold me out. I never even listened to Invisible Touch for free in W.H. Smiths.
I can certainly see what you're saying about Billy Joel, but I'm going to have to differ slightly about Bob Hoskins, even though I do definitely take your point. Much as I love Hoskins (who many of us Brits first encountered as Alf the removals man in adult literacy TV program On the Move, its memorable title song composed by Bruton Music Library regular Alan Hawkshaw), I tend to see Collins physically somewhere on a spectrum that runs through Jah Wobble, Lesley Manville, and Colin Newman: other faces that glow with the feral weirdness of the south of England and look like they've stepped out of the sculleries of a Norman castle.
Anyway, I fell out of love with Phil Collins and ended up part-trading most of his works for Coil and Diamanda Galas LPs, but Collins continued to lurk inside, like some kind of ghost twin. I kept Face Value. I can buy all the bloody Diamanda Galas LPs I want, but, for better or worse, my real representative is Phil. I know that now. I don't know if it's because I feel as though I recognize in him and in the themes that pop up in his songs aspects of myself: a blankness, a constant repressed rage, an inability to communicate. Collins is, yes, like that slightly crappy shiny suit—but a crappy suit laid out over a collection of strange polygons. That's why it's fitting that my love of Phil concludes with a song that sums all that up pretty perfectly.
GRASSO: The only Collins-identification I've ever allowed myself, as I alluded to above, is the occasional grasp at karaoke glory. But if we're ending this odyssey through the life and times of Phil Collins, I will say I've always loved the lyrics and Phil's delivery to this Genesis song, "Turn It On Again," off Duke, best. Phil here flawlessly explores the postmodern condition, embodied by his narrator's fixation on that most postmodern of media: the television. The people on the TV are "like a friend," the narrator's only solace against a howling and maddening outside world. It's this precise period, in the aftermath of Collins's failed jazz fusion project Brand X and the collapse of his first marriage, that Phil managed to perfectly recount his own alienation: music that helps act as a distraction to help him forget how he gets "so lonely when she's not there." A fragmented identity—caught between two bands, one nascent solo career, and a failed marriage—hides the genius at the center of it all. The refrain in the outro to "Turn It On Again" longingly chants, "I can see another face," and in the dark reflection of the television's tube, we realize it's the face that we began this very journey with: Phil's own. The medium of song is the real mirror crack'd, the one that lets Phil Collins gaze at himself, Narcissus-like: scars, smirks, sadness and all.
July 8, 2018 in Music & Sound. Tags: Features
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Is There No Alternative?: The Life and Work of Mark Fisher
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5 thoughts on "There's Just an Empty Space: Phil Collins vs. the Philistines"
Brian svenonius says:
Phil collins is one of the greatest artists of our time, Not only solo and with geniuses. I have seen both live 15 times each, and everytime It got better. Phil is a great voice, has written such fantastic songs, that we all sing to,I just saw the show in Chicago and I sang my ass off, danced, drummed, cryed,and again had one of the best times of my life .I would love for phil to pick an album , face value, hello I must be going, and do entire albums. I just thank God that He is still able and allows me to see an incredible artist live. Nick , you did an incredible job playing the drums, absolute pleasure to see you play
Amanda booth says:
I loved phil collins from the beginning and will always love phil collins and I am not ashamed to admit either. He is very understated musician of all times and critics always have always gave him hell so who cares about them. They like people like Jessica Simpson that has no real music ability at all. I think he is one the best in the music business and that is why he has been around about fifty years now and who can say that. He is a music legend……
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That was an utterly fantastic read, and well argued. Some of Phil's output may be glib, as was later Genesis, but there's also plenty of material with a powerful underlying weirdness. As much as I love post-punk, I think Genesis were as good as it gets, and will happily state that 'Against all odds' is a maginificent piece of songwriting. Will definitely be following wearethemutants from now on…. 😉
JOYCE MATTHEWS says:
I SIMPLY LOVE PHIL COLLINS. HIS MUSIC, THROUGH THE YEARS , HAS ADDRESSED EVERY EMOTION THAT HAS DEFINED ME. HE IS WONDERFULLY PERFECT AND BEAUTIFULLY FLAWED AND I WILL ALWAYS PLAY HIS MUSIC FOR THE SOLE PURPOSE (AND SOUL PURPOSE) OF FEELING THAT TUG AND GLOW THAT COMES FROM HEARING HIS VOICE. AWESOME
AND TANTALIZING IN A REALLY OFF KIND OF WAY. LOVE U PHIL.
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redpajama_set_name: RedPajamaCommonCrawl


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Mandubí est une ville de l'Uruguay située dans le département de Rivera. Sa population est de 5 157 habitants.

Population

Références

Lien externe
 Carte de Mandubí

Mandubi


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Global Big Day at Los Amigos: 331 Species Sighted!
Exploring the trails of the station
The Global Big Day (GBD) is a date in which amateurs and experts in birds from around the world seek to see the greatest number of species in their locality. However, it is not only a date in which healthy competition between countries is observed, but also a great opportunity to educate about the diversity of birds worldwide. Like every year, at Los Amigos we were eager to participate in this event and give our best.
At the station, three bird guides from the regions of Madre de Dios and Cusco led this year's GBD. Jose Luis Avendaño, Percy Avendaño and Cesar Bollatty have more than 20 years of experience touring Peru, including numerous visits to the station. Their knowledge of the species in the area and the station was key to end the day with a total of 331 species sighted, a new record for the station in a GBD.
On May 4, at 4:30 in the morning we were already on the trails in search of the most nocturnal species. Among them we recorded the Crested Owl (Lophostrix cristata), the Long-tailed Potoo (Nyctibius aethereus) and the Ocellated Poorwill (Nyctiphrynus ocellatus). The search for the various species of the station continued until 3:30 in the afternoon, when a heavy rain caused the forest to be silenced and we had to stop our search. After eleven hours of intense search, we are the second group with the most species sighted in Peru!
Although we could not spot species such as the Pale-winged Trumpeter (Psophia leucoptera) and the Cocoi Heron (Ardea cocoi), species commonly sighted in Los Amigos, we managed to spot other species not so easily observed in other places. The Pavonine Quetzal (Pharomachrus pavonivus), the Great Jacamar (Jacamerops aureus), the Royal Flycatcher (Onychorhynchus coronatus), the Spangled Continga (Cotinga cayana) and the Bar-bellied Woodcreeper (Hylexetastes stresemanni) are among the rare species that we spotted during this event.
A Long-billed Starthroat (Heliomaster longirostris) spotted at the station. PC: Jose Luis Avendaño
Jose Luis Avendaño, Percy Avendaño y Cesar Bollatty after a long day of birdwatching. PC: Arianna Basto.
The Global Big Day 2019 was a great day for Los Amigos. Everyone who participated had a great day, enjoying the diversity offered by the station and always learning a little more. I'm sure the birders around the world enjoyed May 4th as much as we did at the station!


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Fossilized nut or fig?
By Brachiopods,
February 20, 2021 in Fossil ID
Location:&nbspMA
This fossil was found along one of the tributaries of the Crystal River in Florida
It appears to be some sort of fossilized fig or nut. Does anyone here have any ideas as to its age or species?
A fossilized horse tooth and a Savannah River arrowhead were found nearby. I believe the arrowhead is more recent than the fossils.
Member of the Month - October 2018
Location:&nbspArlington TX (TDY)
5 hours ago, Brachiopods said:
It appears to be some sort of fossilized fig or nut.
Sorry, but I'm afraid "appears" isn't going to cut it. The shape also suggests coprolite. I think more conclusive evidence of either is going to be needed however, and I'm not certain it exists.
Maybe others will though.
abyssunder
MOTM 08/2015
Location:&nbspRomania
Tilly bone?
2 hours ago, abyssunder said:
Tilly bone
The texture seems wrong, especially if the cracked surface look is the result of weathering.
17 hours ago, Brachiopods said:
arrowhead were found nearby.
Net throwing weight ?
Zenmaster6
Location:&nbspCorpus Christi Texas
Certainly not a nut or "fig"
As far as what it is I'm not sure, but if it were me hunting out there and I saw this, I'd leave it right there. Suggestive shape but appears more Geologic
On 2/20/2021 at 5:58 PM, Zenmaster6 said:
With that kind of approach you'll be missing a lot of fossils.
I am quite confident that this specimen is a potential fossil. The structural integrity of the surface is quite sound. The lines are not cracks, nor do they seem like striations caused by weathering, but rather the patterns one might observe on organic skin or other biological material. There are pitting marks on the surface as would be typically observed in a desiccated fruit. The specimen was found in a site that has yielded many tertiary fossils over the years.
Whole fossilized fruits do not seem to come up commonly on the internet, so there is not much basis for easy comparison. Here, for example, is a fossilized palm fruit from a much older era (Cretaceous): https://commons.wikimedia.org/wiki/File:Spinifructus_antiquus_fruits_01.jpg. I was hoping that a member of this forum might have some experience in this field. Without any comparisons brought up, however, I see no basis for a premature affirmation or rejection.
Edited February 21, 2021 by Brachiopods
10 minutes ago, Brachiopods said:
Here, for example, is a fossilized palm fruit
I think the most viable proposal would be that it represents an internal mold, otherwise stated as natural cast, of the inside of a nut shell. Establishing the known presence of such preservation in the area would be useful. It seems like the sort of thing that is generally either absent or common.
4 minutes ago, Rockwood said:
By the way, I think it is fairly common in plant fossils from the Hell Creek.
HuckMucus
Location:&nbspColorado
It does not look geologic to me.
bthemoose
Location:&nbspMaryland
I wonder if this is possibly a worn whale tooth. The texture looks similar to the roots on some I've seen on here, though I don't see any enamel. Perhaps @Shellseeker would have thoughts on this one?
It does not "look" geologic because its shape looks very biological.
However the sheen on the rock looks very hard and metamorphic but not in the "agatized" or "silica petrified" kinda way.
It looks like chert to me.
I'd lean more towards a Native American tool or "portable rock art" before I said Fossil
maybe like a fishing weight.
It may seem counterintuitive to an expert, but as a lay person, it's not actually the shape that makes it look biological to me. Although the shape does look like a turd, that's not what steers my view. It's actually that sheen combined with the non-angular, smooth ridges on the edges of the cracks, and the way those cracks run. It does almost look metallic, like tarnished brass (especially at the tip), but I've seen fossils that look that way too. Witness the tooth right next to it.
I'm not putting any money on my impression, though.
3 minutes ago, HuckMucus said:
Yes however, if you can find me a photo of a nut or fruiting body of any fossil with a sheen, I will be very perplexed.
The horse tooth has a sheen because it bears enamel and this enamel would not be present on any kind of plant matter.
You mentioned the shape doesn't steer your view, however your original post was asking whether it was a nut or a fig.
If this was a regular rock with the same sheen and striations, I'd imagine you'd leave it where it was.
Look up Concretions and manganese crystals. These are two examples of fossil like shapes but happen to be geologic, or perhaps the infamous turtle coprolites from Washington state.
They ended up being mudballs that looks identical to coprolite that even the university of Washington made an article claiming they were indeed turtle poop until years later they found them to be mud
Of course the only way to tell would be to take it into the nearest museum and have an expert look at it, or have one of our higher members look at it such as Rockwood, Kane, JohnJ, Ynot and others who spent millions of hours staring at rocks lol.
It does almost look metallic, like tarnished brass (especially at the tip), but I've seen fossils that look that way too.
Unfortunately minerals that would cause the look need not be related to fossilization. It can be an indication, but I wouldn't trust it alone, as proof.
A huge thing it lacks that almost all fossils, and life for that matter, have is symmetry
My verdict is geologic
19 minutes ago, Zenmaster6 said:
My original post said nothing about a nut or a fig. You confuse me with another.
I've never seen a regular rock with those sheens and striations. That's my point.
Location:&nbspSomewhere Over the Rainbow
A Native stone fishing weight?
The striations make me think it's not a simple rock. Plus Florida doesn't have a lot of metamorphic rock, even as riprap (lot cheaper to haul in local coquina/shells/limestone).
Thank you for the comments. I had put "nut/fig" in the title, but that was merely a guess.
The dark brown color is likely due to staining from river water. For example, the source chert for the arrowhead is also not naturally that dark, but it has been "river stained". The stream site where it was found is full of pebbles of that same stain, but none had the striations or pits on the surface.
As it was found in a creek system that often has fast flowing water, the shine may be due to polishing by water. In person it looks glossy brown but not really metallic.
A natural concretion or worn tooth stem could certainly be possibilities, I will definitely be looking into both.
A stone plummet would normally have a more pronounced bulb at the top so that it could function as a net weight. It's possible that a piece has broken off from the top, or river wear had changed the shape somewhat. However, smoothing/working of the rock by Native Americans would show pecking marks but not cause the striations that are seen.
I've also attached a video of the item to better show it from different angles. Thanks!
While it moves pretty fast, the video seems to show me a lengthwise line on each side (i.e. opposite each other). And, while the lines are not perfect, and they curve a little, it does bring to mind a whole nut.
4 hours ago, HuckMucus said:
I saw you both had no photo and guessed you were OP my bad.
Mahnmut
Member of the Month - March 2021
Location:&nbspuppermost anthropocene, Germany
It also reminds me of some cetacean teeth.
28 minutes ago, Mahnmut said:
Like almost pyritized cementum ?
10 minutes ago, Rockwood said:
I did not think much about the mineralization, just the shape reminded me of some of the more bulbous teeth (physeterids??)


Partners in these relations frequently come to appreciate one another's ethical sensitivity and emotional warmth. The IEI feels himself comfortable around the SEI: the SEI will care for him, feed him, and keep him warm. In his search of a warm and welcoming place, the IEI gravitates towards Sensing types, since he is subconsciously oriented at his "program" sensing dual SLE. Of all the sensing types, he finds is easy to get close with SEI - in light of the exceptional responsiveness and sociability of the representatives of this type.
From his side, the SEI finds the IEI an interesting and pleasant conversationalist, a charming romantic, and a restless dreamer. All these qualities in some way echo the dreaminess and boundless imagination of SEI's dual, the ILE, which is why they seem so attractive to the SEI.
"We got married during the time of war. He was demobilized earlier than everyone else due to his wound. We knew each other before and started seeing one another. One day he came to me and offered to marry him. He said that he needs to get married because he needs someone to look after him, said that any woman would go with him now, and if I refuse he'll seek someone else. I gave it a thought... it was military time, very difficult to find single men .. and decided that I shouldn't miss this chance. We have already known one another, he was my friend, a positive, romantic guy who wrote poetry. Thus we have gotten married. I had to leave my medical courses, even though I was in third year, so that I could care for him. Here, I found application of my medical knowledge. We lived together for fifteen years, and I cared for him all this time, prepared him food according to a special diet... he was like a patient, a child, and a husband to me. We didn't have children, thus I devoted all my love and care to him. Then, after fifteen years of our marriage, the doctors have persuaded him to undergo a surgery. They guaranteed him a complete recovery! I looked after him post surgery, and indeed he has fully recovered from his ailments. He's gotten so well that soon after he has found himself another woman who was much younger than me. I learned of this and we had a talk. Here is what he told me: "You love me with a love that was self-sacrificing. This kind of love is abasing, it demeans a person. Now I cannot love you because you have belittled yourself." At first I wasn't sure why he's said this, and then I realized that he only needed me as a nurse, and all this talk about "self-sacrificing love" was merely an excuse he invented to get rid of me. I don't know how I got over it, I was very upset ... but after some time I told this story to a random man I met and he asked me to marry him, said that all his life he was searching for a woman who knew how to love so much. We have gotten married and lived in harmony ever since."
It is clear that the element of business relations is applicable only to the first part of the above story. Let's analyze the relational mechanism of this dyad.
Esenin has appreciated the responsiveness, sensitivity, and emotional warmth of Dumas. Dumas has appreciated the romantic and sublime nature of Esenin.
On his program aspect, Esenin calculated everything correctly – it was wartime, any woman would have married him, thus it was possible to choose a woman who could take care of him and look after him. In this manner, he protected his normative aspect of sensing of experiences. Dumas, on the other hand, was dependent on the situation that was modeled by Esenin on the aspect of intuition of time. She fell into "intuitive dependence" of his "business proposal", which of course seemed pragmatic and calculated to her, but fully acceptable in wartime conditions in light of deficit of suitors. His proposal was also convincing because it fell on her most suggestible function, intuition of opportunities: she was afraid that she will miss this chance during difficult times. And here was a man with whom she already familiar with and a mutually beneficial proposal. Thus their relationship has taken off on mostly pragmatic grounds, while kindness, sensitivity, poetry, were only nominal aspects of their interaction.
Their mutually beneficial "business agreement" was maintained for as long as the partner was requested on her leading sensing function. Once the need for special diets and care has disappeared, her partner has "cut her short". It was exactly the outcome which she feared from the beginning. Her "lucky opportunity" has turned into the biggest loss: her youth was gone, the time has passed, she missed all the chances. Here, our heroine received a blow not only on the level of SUPEREGO on the aspect of the intuition of time, but also on the level of SUPERID on an aspect of intuition of possibilities, on the very same aspect in which she feels herself most helpless. She painfully relived the dissolution of her family. The "echoes" of these blows resonated across other aspects of her psyche: her self-esteem, her confidence in herself and her EGO functions (did she care for him so poorly that he has left her?), and on demonstrative ethics of relations (was it worth it showing so much kindness and attention only to be subjected to such treatment?), and on the observing function of extraverted sensing (whether she wanted it or not, the circumstances around her developed along someone else's design, and she could only follow them).
In this story, the IEI has intuitively "out-played" the SEI – he sat under her "wing" until he could do without her help. Once there was no longer a need for a caretaker, he has given her a "resignation". The difference in quadra worldviews is also evident: he has permitted himself to "use" his partner for his personal advantage, and, moreover, he wasn't willing to admit that he was in the wrong, to acknowledge his self-interest and inconstancy and that he acted in a blatantly unethical manner, humiliating her with reprimands and mentions of "sacrificial love", as if her devotion was a burden to him (however, this is possible, since it is difficult to adhere to ethics within such overtly pragmatic relations). Yet, this story has ended relatively well for both of them – both found a better match. An interesting note: IEI has pushed SEI out of relationship as "unwanted person" when the purpose of the contract was fulfilled and their "business agreement" could be terminated.
A woman (SEI) felt compassion for the orphaned children who lived next door to her. Their father (IEI) was distraught at the loss of his wife and was struggling to take care of them. Two newborn twins, who were the cause of his wife's death, he took to an orphanage, while the two older girls remained living with him. The neighbor SEI started to pay visits to the girls. She herself was a single mother with one child. One time she would help them sew a couple of buttons, another time prepare some food after school. The girls started talking with their father about this caring neighbor. One time, they have begged her to stay until their father came back home. That's how she became acquainted with her future husband.
Their friendship didn't last long. One evening one of the girls asked her to stay with them overnight: "Why leave and come back tomorrow? Simply stay with us!" The neighbor has stayed over for one night, and then brought her daughter over to their house. Concerning the motives of their marriage, she now recalls: "I didn't marry him. I married his children because it was needed for them." Their children came at the forefront of their "business" relationship, while the husband himself was a sort of an "addition" to them. Eventually he was forgotten in their family and removed to the background. The attention of his new wife was wholly absorbed by taking care of children and the household. On her initiative, the two younger twins were brought back from the orphanage, much to the delight of their older sisters. The father of the household, feeling himself forgotten and lost in this crowd, started thinking about the death of his wife and took up drinking with all its subsequent consequences. The condition of his yearning soul did not evoke much sympathy or understanding in other members of his family. One day a "family council" was held led by the new spouse and the decision was made by majority vote to send the "onerous" father somewhere far away with his melancholy and drinking. Thus, the IEI was "ejected" from his own family. His spouse SEI remained as head of his household and continued raising the children without him, with which task she coped very well. She didn't consider arranging her personal life another time, since she was completely taken up by the care.
This example demonstrates the instability and fluidity of "business" relations (they found one another by coincidence), their concreteness and specificity (the presence of a well-defined purpose for which they connected their fates), and their pragmatism (this "alliance" was created for the sake of the children, "because they needed it"). For reasons of this very same pragmatism, one of the partners was displaced from the family (so that he wouldn't mar children's existence). The same example also illustrates the openness of a business relationship – partners do not concentrate on one another: she found solace in children, he found it in memories of his former wife. As a result of this marriage, everyone got what they wanted: she obtained more children (which is quite consistent with the values and attitudes of her sociotype), and he – his personal freedom and independence.
What if SEI and IEI interact on purely official basis, as co-workers, would their engagement be beneficial and productive or would there be problems? Problems would arise over logical aspects, particularly the aspect of logic of actions. For example, if they had to work together, neither of them would be prompt and diligent in doing his share of work. Moreover, here again the IEI would try to intuitively "out-play" the SEI by postponing work until the last moment, counting that the SEI, as someone more conscientious and not as optimistic, would complete the work himself. Meanwhile, SEI would not be averse to attribute and write off mistakes and failing in his work to his partner. Conflicts will arise on these grounds. Each will nod and point to the other, each will reproach his partner and criticize his business acumen. Initial attempts at getting closer will not be very successful. However, later on, when these partners already know what to expect from one another, they can work out an optimal plan for their interaction and conduct a sufficiently productive collaboration with each other.
Business partnership of IEI and SEI can be quite successful in the humanitarian and artistic spheres, where each of the partners is not only engaged in his favorite work, but can also creatively realize himself. An example of such collaboration is the creative union of Eldar Ryazanov (SEI) and Emil Braginsky (IEI). Their bright, warmhearted, lyrical works embody of the best qualities of the members of this dyad. Their artistic collaboration has continued for 25 years and has been extremely successful and fruitful.


text:
Home / Help / Research assistance / Format + type
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This guide shows how to find journals, magazines and newspapers (also known as periodicals or serials) in the SFU Library.
If you need more help finding periodicals, ask a staff member in person or by phone: at Bennett Library (Burnaby), 778.782.4345); Belzberg Library (SFU Vancouver) 778.782.5051; or Fraser Library (SFU Surrey), 778.782.741), or Ask a librarian.
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You can also search for journals (and other serials) by topic or subject, by searching the Catalogue and then limiting to Journals under Resource Type.
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In the Bennett Library current print journals and magazines (current year only) are located in the Print Journals area on the 6th floor. Back issues are located in the Print Journals area on the 6th floor, or in the Lam Collection on the 1st floor.
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In the Library Catalogue, note which date ranges are available in which formats. For instance, the New York Times is available in print in some locations, but only the most recent issues. For issues going back to 1851, you will need to use microfilm.
Microforms are located on the 6th floor in the Microforms area.
If you are at Belzberg (SFU Vancouver) or Fraser (SFU Surrey), you can request a copy of a specific article or entire issues of specific journals from the Bennett Library (Burnaby).
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Owned by: Janis McKenzie


text:
Cinematic urbanism : a history of the modern from reel to real / Nezar Al Sayyad
New York : London: Routledge, 2006.
Call No: 756.1-25 SAY
Author: Sayyad, Nezar Al
Source: UK/US
Place: New York : London
Subject: MODERNISM AND THE CINEMA; ARCHITECTURE AND THE CINEMA; ARCHITECTURE IN FILMS; ART AND THE CINEMA; CITIES IN FILMS; HISTORY OF CINEMA; POSTMODERNISM AND THE CINEMA; THEORY; ANNIE HALL (US, Woody Allen, 1977); BERLIN: SYMPHONY OF A GREAT CITY (G, Walter Ruttman, 1927); BERLIN DIE SINFONIE DER GROSSTADT (G, Walter Ruttman, 1927); BLADE RUNNER (US, Ridley Scott, 1982); BLADE RUNNER: THE DIRECTOR'S CUT (US, Ridley Scott, 1982); BLADE RUNNER: THE FINAL CUT (US, Ridley Scott, 1982); BRAZIL (UK, Terry Gilliam, 1985); CINEMA PARADISO (IT/FR, Giuseppe Tornatore, 1988); NUOVO CINEMA PARADISO (IT/FR, Giuseppe Tornatore, 1988); DO THE RIGHT THING (US, Spike Lee, 1989); END OF VIOLENCE, THE (US/FR, Wim Wenders, 1997); FALLING DOWN (US, Joel Schumacher, 1993); IT'S A WONDERFUL LIFE (US, Frank Capra, 1946); MANHATTAN (US, Wody Allan, 1979); METROPOLIS (GG, Fritz Lang, 1927); METROPOLIS (G, Fritz Lang, 1926); MODERN TIMES (US, Charles Chaplin, 1936); MON ONCLE (FR/IT, Jacques Tati, 1958); MY BEAUTIFUL LAUNDRETTE (UK, Stephen Frears, 1985); PLAYTIME (FR, Jacques Tati, 1967); PLEASANTVILLE (US, Gary Ross, 1998); REAR WINDOW (US, Alfred Hitchcock, 1954); SLIVER (US, Phillip Noyce, 1993); TAXI DRIVER (US, Martin Scorsese, 1976); TRUMAN SHOW, THE (US, Peter Weir, 1998)
Summary: "Cinematic Urbanism presents an urban history of modernity and postmodernity through the lens of cinema while arguing that urbanism cannot be understood outside the space of the celluloid city." "Nezar AlSayyad traces the dissolution of the boundary between real and reel through time and space via a series of films that represent different modernities. He contrasts the 'rational' European city of early twentieth-century industrial modernity as portrayed by Berlin: Symphony of a Big City (1927) with its American counterpart in Modern Times (1936). He illustrates the different forms of small town life and an urbanizing modernity across the Atlantic as exemplified by Cinema Paradiso (1989) and It's a Wonderful Life (1946). Using Metropolis (1927) and Brazil (1985), he shows how utopian ideals harbour within them their dystopian realities, while Jacques Tati's nostalgia for tradition in Mon Oncle (1958) and Playtime (1967) reveals a cynical modernity and a rebelling against its idealism." "AlSayyad argues that the postmodern city of Blade Runner (1982) and Falling Down (1993) illustrates some of the urban outcomes of a globalizing economy. Turning to spectacle and surveillance, he examines Rear Window (1954), Sliver (1993), and The End of Violence (1997) as a voyeuristic modernity. To understand the city experienced by individuals of different social backgrounds, he takes Manhattan (1979), Annie Hall (1977), and Taxi Driver (1976), while Do the Right Thing (1989) and My Beautiful Laundrette (1985) are used to explore a modernity of race and ethnicity. Finally, he uses Pleasantville (1998) and The Truman Show (1998) to unpack the hyperreality of exurban postmodernity and to demonstrate how today the real and the reel have become mutually constitutive." "By considering how the real city and the reel city reference each other in an act of mutual representation and definition, this book advances the discussion on cinematic space and theories of the city."--BOOK BLURB.
Notes: Formerly CIP; Includes bibliographical references and index
Contents: -- about the author -- preface -- Introduction : the cinematic city and the quest for the modern -- 1. Industrial modernity : the flaneur and the tramp in the early twentieth century city -- 2. Urbanizing modernity : the traditional cinematic small town -- 3. Orwellian modernity : utopia/dystopia and the city of the future past -- 4. Cynical modernity, or the modernity of cynicism -- 5. From postmodern condition to cinematic city -- 6. Voyeuristic modernity : the lens, the screen and the city -- 7. The modernity of the sophisticate and the misfit : the city through different eyes -- 8. An alternative modernity : race, ethnicity and the urban experience -- 9. Exurban postmodernity : utopia, simulacra and hyper-reality -- epilogue -- illustration credits and sources -- selected bibliography -- index --
FALLING DOWN : (US, Joel Schumacher, 1993)
PhysDes: Stills; Clippings; Press kit; Publicity
Subject: FALLING DOWN (US, Joel Schumacher, 1993)


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Every treatment requires 3" of space to properly traverse.
The space needed for roller shades is dependent upon the depth of the bracket.
* When using outside mount roller shades, check Roller Shade Cut Sheet for bracket depth specifications.
*When using inside mount roller shades, confirm depth of window sill equals or is greater than Roller Shade Bracket depth.
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Over the past decade Amin has developed thought leadership programming exploring current events, public policy and political life as a program director at the Partnership for Public Service, Atlantic Media's National Journal LIVE, and the University of Chicago Institute of Politics. His accomplishments include development of a nationwide public education campaign celebrating public service, a nationally televised presidential debate in partnership with CBS News, and daily live event programming at the Republican and Democratic National Conventions of 2012 in partnership with ABC News and Univision. Prior to joining WBEZ Amin served as director of programming at the University of Chicago IOP where he founded their Fellowship program. Outside of work Amin enjoys biking, tennis, live music, volunteering and exploring Chicago. Originally from the U.S. Virgin Islands, Amin has a B.A. in political science from Bethune-Cookman College and an M.A. from the George Washington University.


Digital Technologies Teacher 15 years - now teaching online classes and National Coordinator of the VLN Primary School. Owner-Operator of The Technology Hub Ltd - one of the 9 approved providers for the Strengthening Digital Technologies contract with the Ministry of Education.
Find out more about the project and The Technology Hub here.
/discussion/view/972810 and made a link to Warren's conversations as well.


The U.S. Equal Employment Opportunity Commission (EEOC) has announced that 93,277 workplace discrimination charges were filed with EEOC during Fiscal Year (FY) 2009, the second highest level ever. The EEOC is responsible for prosecuting federal administrative charges of discrimination under various federal laws, including the Americans With Disabilities Act (ADA).
Monetary recovery by plaintiffs in those cases totaled over $376 million. The data released by the Commission shows that private sector bias hit an all-time high in 2009, not surprising considering the sluggish U.S. economy.
For further information about the data release by the EEOC, you can link to the EEOC's information here.
This entry was posted in Americans With Disabilities Act, employment discrimination and tagged 2009 discrimination claims, Americans With Disabilities Act, Americans with Disabilities Act of 1990, Discrimination, Equal Employment Opportunity Commission, U.S. Equal Employment Opportunity Commission. Bookmark the permalink.


This year we've been doing more TV and radio adverts for Gala Bingo.
The original set of adverts which were hugely successful were based on the idea of the nation singing 'Gala la la'. There were multiple location around the country where groups or individuals would spontaneously erupt into song...Gala la la la...Gala la la la...Hey Hey Hey...Bingo!
3 different scenarios were filmed - directed by Henry Scholfield - whose showreel includes well known work with pop artists such as Take that. So it goes without saying that each of the commercials looks superb and all have a real 'pop promo' feel about them.
First this year, we had 'Emma sails' where a lady finds herself on a yacht with a crew of very tanned sailors....and a couple of small dogs?!
For this we were asked to write an arrangement of the original 'Kiss him good night' track with the new Gala la melody that was more of an electro pop 80's feel - referencing Duran Duran. It was a great chance to dig out some synthesizers and emulations that probably haven't seen much use in the last 10 years!
The following concept was 'Lisa Rides' A direct nod to the popular TV series 'Poldark.' Where two young lovers gallop across the countryside.
The brief here was to transform the same music track into something that would be in keeping with the cinematic and period nature of the imagery. Epic orchestration and subtle glockenspiel outlines the lovers tale in this 30 second short story.
The final in the st of 3 is 'Showtime' ....this one is pretty self explanatory and we had to come up with yet another music arrangement of the 'kiss him goodbye' track. This one with brass and more of a lounge/big band feel. We called on the services of local brass players Andrea De Vere (saxophone) and Dave Hignett (Trumpet) to help us bring the new arrangement to life.
These ads are always loads of fun to work on whether composing new musical arrangements or doing the sound mixing. We look forward to seeing what next year has to offer from the Gala bingo ads.


text:
Home » Islam » Masoomeen(A.S.) » The Holy Prophet of Islam(S.A.W.) » Secret of Holy Prophet Muhammad (S.A.W.)
Secret of Holy Prophet Muhammad (S.A.W.)
By: Dr. Hatem Abu Shahba
We now return to Muhammad (SA), the man with the noble manners, kind heart, simple, humble, soft, and gentle man who lives in peace with himself and with others. With these noble manners and attributes, Muhammad (SA) have grown and developed his luminary and divine component within himself. He chose the side of his luminary self by his own free will, and so this divine part dominated him.
Hence, it purified and cleansed more of his attributes and Allah (SWT) have blessed him as we demonstrated earlier. So it was natural and logical that Muhammad would be attracted to his Creator and the source of his light and enlightenment. It is natural that he tries to know more about His Creator and get closer to Him, and to occupy his thoughts and mind in this matter and for it to be the focus and axis of his life and his main concern!
So, we find Muhammad immediately abandoning the worship of idols and does not do what his people and ancestors used to do. He never prostrated to an idol or sacrificed for it. Rather, his enlightened heart and self that is attached to its true Lord and Creator yearned for the religion of his great-grandfather, Abraham (SA), which is the upright and true faith.
This religion was distorted and disfigured by idol and statue worshiping to the point that the sacred House of Allah (SWT) which Abraham and Ishmael (AS) built by the command of Allah (SWT) so that people can perform pilgrimage and worship in it became surrounded by idols! This house in Mecca is the origin and source of the upbringing of this nation. It is a manifestation of its gathering and the focus of its veneration and sanctity. This house has been filled with idols and became a place to worship these idols instead of Allah (SWT).
The enlightened and purified heart of Muhammad (SA) guided him to the fact that his true Lord is really the Lord of his grandfathers Abraham and Ishmael (AS) and that He (SWT) is the true Lord of this House, the Lord of Moses and Jesus (AS), the Lord of the Jews and Christians, and the Lord of all the prophets and messengers who called for oneness and worship of God, by His command.
However, Muhammad (AS) sees the religion of Abraham (AS) abandoned and forgotten, while the religion of Moses and Jesus (AS) has been distorted and changed, and the worship of idols have prevailed once again! He (SWT) observes that ignorance, misguidance, fabricated stories, fantasies, and darkness have become widespread.
There is no guider to guide the people, no instructor to seek the true knowledge from, and no source of light in the midst of this darkness and misguidance. The true believers were waiting and anticipating the appearance of a prophet whom Allah (SWT) will send to lead the people from darkness of ignorance to the light of guidance, and to lead them to the true path of God.
Muhammad (SWT) was one of those devout believers who loves his Lord and seeks His worship and pleasure. But Muhammad is different from most or all of them as he follows the way of his grandfather Abraham (AS) who stated before, "I will go to my Lord! He will surely guide me [37:99]!"
And Abraham (AS) also said: "Unless my Lord guides me, I shall surely be among those who go astray [6:77]."
Muhammad (SA) resorts to Allah (SWT) directly just like Abraham (AS) who was the first to accept Islam and the first to surrender to Allah (SWT) directly seeking His guidance. So, Allah (SWT) made Abraham a prophet and friend and honored and elevated him, and gave prophecy to his progeny and gave him the best and most noble attributes.
Similarly, Muhammad did the same. He resorted to his Lord directly asking for guidance and light and he headed towards it by his own free will, submitting his affairs to Him and seeking His help to take him out darkness and bring Him closer to Him and get to know Him better. He did all that with a surrendering, intact, and humble heart and an anxious soul to meet his Lord!
That is why Muhammad (SA) used to go out to the mountain alone from time to time to be away from the people and stay inside a cave to worship his God alone sincerely and seek his guidance and light. He used to leave his beloved wife and household, his friends and his loved ones, and leave his home and place of comfort…to go out in the darkness of night in the midst of the desert and rocks and mountains…exposing himself to great dangers, beasts, scorpions, snakes, and thieves…to climb the mountain and enter a small dark cave!
All that was for the sake of his Lord and out of love for Him. This amazing scene repeats itself time and time again while Muhammad has all the perseverance to do so for years without being bored or desperate, and with all certainty that Allah (SWT) will guide and respond to him, just like he responded to his father Abraham (AS). Allah (SWT) witnesses all that from him day after day and He (SWT) knows the clarity and sincerity of his heart and his intentions.
You can imagine the amount of love, sincerity, and attraction to the one creator which drove Muhammad, who lived in the midst of idol worshippers, and in the midst of a materialistic, petrified, and luxurious society. After all, there is no place for God or His worship.
Everyone is busy and occupied by his trade, business trips, journeys, livestock, pleasure, entertainment, social gatherings, battles, poems, and idols, and that is all the lifestyle of the community, and nothing else. So why in the midst of all that atmosphere do we find Muhammad attracted to the worship of his Lord and Creator in such a way such that he leaves his family, friends, business, and daily comfort to go out in the desert and dangerous mountains alone, seeking the worship of his true Lord, and desiring to learn more about Him and get closer to Him, and seeking His help and guidance?
No one on the face of earth during that time or even before or after did such an act in such a community and in such circumstances. Why didn't the historians, writers, and Orientals, whether Muslim or non-Muslims, pay close attention to this unique phenomena?
Why didn't they give it the required attention and focus the spotlights on it and research and study this matter carefully? Everyone passes by this truth quickly without paying much attention, whether intentionally or unintentionally, or out of ignorance.
As a result, this unique phenomenon stayed hidden and ignored in the darkness of history. You can barely see or know its value although it is an important and logical introduction to faith and belief in the prophecy of Muhammad and the divine selection for him to become the Seal of Prophets and Messengers.
After all, if this phenomenon had been studied and presented well, it would've had a great effect in convincing the non-Muslims everywhere that Muhammad was indeed a prophet sent by God, because the prophecy of Muhammad and the divine selection to him did not rise from nothing!
The heart of Muhammad had been totally occupied with the love and worship of Allah (SWT) almost all his life even before his prophecy. He used to sit down to glorify Him with His Praise, contemplate, remember, pray and worship while his heart is very attached to that Great Creator whom the people became misguided from His worship.
The heart and mind of Muhammad was totally occupied and attached to his Lord to the point that we don't find him entertaining and enjoying like the other youth used to do. We don't find him having any personal ambitions in life. He did not seek to become wealthy or have fame or power or leadership or authority, despite the fact that he had all the capabilities and talent which would enable him to achieve and acquire all that.
Unlike his people and generation at that time, we do not find him having concerns with wealth or women or poetry or travel, or social gatherings, or meetings, or hunting, or any of these things which occupied the minds of his people during that time. Why?
Muhammad was not a merchant but he did trade. Nor was Muhammad a Shepard, but he herd the sheep. Muhammad did not take on a profession or occupation to give it all his time and concern even though he had lots of talent. Why?
The answers to these questions lay in one thing only. It is the heart and mind of Muhammad which was totally occupied by his relationship in getting to know his God and Creator!! This matter dominated his whole being and left no place for any other occupation or concern. It was a secret between him and his Lord, and that is what pushed him to go out secretly at night to a dark cave inside a mountain, in the midst of a tough and endless desert and between imminent dangers! He was alone without any announcement or propaganda.
He was there to freely practice his only hobby which is the love and worship of his creator and seeking help and guidance from Him alone, on the path of his father Abraham (AS). When Muhammad went out to the cave, he was like a lover who would go out to a special date with a dear and beloved one who owned his heart, mind and conscience and preoccupied his self and spirit.
It was as if there was a very special secret between him and his Lord, so he goes out to softly talk to Him without the people knowing that. That is because Muhammad didn't want anyone to know the secret of his life which took over his heart. Exactly like any loved one does with his lover. He kept his love and relationship with his lover a secret between himself and his loved one in order to protect his love and very special relationship with his loved one.
Muhammad didn't have any hobby, interests, or ambitions in this life except to pray, worship, supplicate, and love His Lord. All that was before his prophecy! For that reason, the luminary and divine part in Muhammad grew and completely dominated him, so it escalated him to a very high rank. Thus, his feelings softened, his manners became perfected, and his self purified. Among his people, he was the truthful and trustworthy one who did commit lies, foolishness, envy, or arrogance.
He was clement, wise, smart, and intelligent. He used to keep contact with his kin and was very hospitable to his guests. He came to the rescue of any one facing tough time. He was very kind and compassionate with the poor, the weak, the children, orphans, servants and slaves. He was loyal to his companions, steadfast in righteousness, and he had dignity and respect.
Everything good in him was reflected first in his household. So he was the best of husbands, the best of fathers, the best of kin, the best of sons, the best of friends, the best of merchants, and the best of companions. He was fair and gave everything its due right. He was easygoing as his parable is that of water flowing freely from a purified spring! This was the state of Muhammad (SA) was before his prophecy.
Such was also the case with the prophets and messengers before Muhammad (Peace be upon him). They were men whose hearts were attached to their creator, so it preoccupied them and kept them busy from giving attention to anything or anyone else. Hence, their hearts were cleansed and purified, so Allah (SWT) chose them to deliver His Message. He (SWT) honored them by permitting them to speak on His Behalf and in His Name.


For Jeff Devine, the president and founder of the Hybrid Group, the goal of bridging the gap for his clients led him to create a full-service convention and association management firm dedicated to customizing a comprehensive plan to fit every client's needs. In Devine's previous experience in the industry, event management companies were not meeting all requests or providing all of the services that clients wanted.
"There are so many moving pieces during the planning phase of an event. It's like starting a puzzle by building the frame and filling in the picture," says Jeanette Kilrea, Account Manager.
The Hybrid Group has brought about an evolution of standardized event planning with a wide selection of services: Registration and housing, site selection, project management, production and creative, educational development, and marketing. Devine ensures his clients receive a fully customized package without overpaying for the services necessary to complete their events.
The Hybrid Group manages a wide variety of events throughout the year in the States, internationally, and at sea. "Our events average 3,000 attendees: 80 percent domestic and 20 percent international with a combination of corporate, association, and incentive events," says Devine. Hybrid employees plan the entirety, and they are the first onsite to ensure everything plays out smoothly.
"Once at the event, it's like putting that final puzzle piece into place and feeling the accomplishment and pride of completing the puzzle," says Kilrea.
They strive to stay current and create an environment that millennials want to work in. To keep up in the industry, several Hybrid Group employees are part of industry associations including Meeting Professionals International (MPI), American Society of Association Executives (ASAE), and Professional Convention Management Association (PCMA). "Being a member of these premier associations provides access to what is currently trending in the industry through newsletters and publications," explains Kilrea.
As a home-based company, Hybrid Group encourages an entrepreneurial spirit in their associates and provides flexibility for them to be their own entity within a well-established company. "Working virtually has been a change, but we're still able to collaborate as a team daily with video conference calls. I enjoy the flexibility it offers regardless of our busy schedules," says Natalie Rivera, Meeting and Events Coordinator.
As a virtual office client, the team works around their travel schedules and has a meeting space for their team and clients when needed at Level Office's 318 W. Adams location. With Level, they are able to find the balance that their home-based, frequently-traveling company needs. Hybrid Group is also excited about meeting other clients within Level and utilizing their skills.


Subject: Re: Is it you???
W00000t!? Is this the email of Jonathan Roadley-Battin ???
How is it going in England? I was there last time earlier this year.
I found you through google.com under the keyword "roadley-battin"
hopefully this is your email.
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Nora Bateson is an independent film-maker, writer, policy adviser and lecturer. She is the daughter of Gregory Bateson, and grand-daughter of William Bateson and is president of the Stockholm-based International Bateson Institute (IBI) - a research group that specializes in transcontextual research into human and other living systems.
Nora made the award-winning film An Ecology of Mind, which explores Gregory Bateson's theoretical work while offering insights into her relationship with her father. Nora's first published work was a cookbook and her interest in food, ecology and the family - as well as systems thinking and symmathesy - are very evident in her beautiful new book Small Arcs of Larger Circles.
Nora Bateson's theoretical style combines complex systems theory and analysis with an all-round awareness of, and attention to, the aesthetic. She continues to explore a wide range of disparate topics such as education, communication, and cybernetics. This aspect of her work is exemplified in her film and in Small Arcs of Larger Circles.
"An entity composed by contextual mutual learning through interaction. This process of interaction and mutual learning takes place in living entities at larger or smaller scales of symmathesy."


A THINK-tank is to be set up next week in the wake of the launch of the campaign for a No vote in the independence referendum, but the Glasgow entrepreneur behind the institute insisted it was not taking sides.
The Scotland Institute will be launched by Alistair Darling, the former Chancellor who will unveil the Better Together campaign on Monday.
Jackson Carlaw, deputy leader of the Scottish Conservatives will attend the Scotland Institute launch while Liberal Democrat veteran Sir Menzies Campbell has been invited to join the board.
It is a guest list suggesting cross-party support from the pro-Union parties, mirroring Better Together.
Blair McDougall, campaign manager of Better Together, the official group running the No campaign, welcomed the arrival of the think-tank but stressed: "It's not our vehicle, we are not owners of it, but it's helpful to the cause."
But the founder of the Scotland Institute, hedge fund millionaire Azeem Ibrahim, last night denied that the absence of the SNP or Greens from the launch was an indication of an anti-Independence stance.
He said: "It is a completely independent think tank. Both sides have failed to articulate evidenced arguments, therefore we need clear, sound work looking at all the options."
On the invitation to Mr Darling to launch the event, he said: "I don't know anything about the Better Together campaign. I simply asked him as a distinguished former Chancellor."


text:
Reservoir, Material, Crack
Marcus Jonathan Chapman March 19, 2020 March 19, 2020 3/20 stories
It was the last of the water supply. A large artificial lake and there was a crack. The only materials left to patch it would contaminate the water.
But one dude was like, I can fix it. And then he shot himself in the head, just above the crack. His plan, I can only guess, was to use his body to stop the leak. The problem, in the long term, was that his body would eventually begin to rot and therefore contaminate the water supply anyway. The problem, in the short term, was that he hadn't accounted for the steep curve of the wall. So his body rag-dolled down the slope, not even close to the crack. Ironically, he had landed where the water was pooling so that nobody else could at least enjoy the runoff.
Then some other chick said she could fix it. She cut off her hair until it was just above her ears. she wadded up the mess of hair and began stuffing it into the crack. Not a bad idea, except that she had to cut her locks into smaller pieces to be able to fit. So people were constantly sticking out their tongues and grabbing small hairs for weeks after. Eventually the hairs either rolled outside of the reservoir or drifted into the water supply.
Then some priest was like, I'll pray about it. For all we know he's still doing that.
Then some politician was like, I'll fix the crack. What I'll do is collect a small percentage of all your money and with that I will be able to find the appropriate solution. The money was raised quickly, the first time. He took it and then declared, well first, we must have a building dedicated to researching a solution for the crack. So the money went into the building.
Then again, the same politician told the people that for a small percentage of money he would expand on the research. He could update the facilities, which he also called home on the top floor. This update would allow them to hire the best scientists and equipment which would this time guarantee a solution for the crack.
More money was raised, this time a bit less. but the raising of money continued and more buildings were erected.
Now a female priest came along and said that the prayers of the other priest were incorrect. So she went on the opposite side of the reservoir and began her version of prayer, which to the rest of us looked very similar to the first guys. Anyway, she's still there and water is still leaking from the crack.
The rest of us figured we'd just go for a swim while there was still enough water to do so. While down there, one of us got too close to the crack and the small part of their back received a small hickey from temporarily getting stuck in the crack.
One of the kids smiled wide and grabbed an old sheep bladder. He swam down to the crack and place the bladder just in front of the crack, watching as it seemed to grab onto the wall. From the other side arose a cheer, the leak had stopped.
At this the priests, both of them, leaped into the air and said, I told you my god would deliver. At the same moment, the politician appeared in his window and said, I told you the schools and research buildings I built would solve the problem.
We told them to fuck off.
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