CONDOLENCE STREET
Man, the Gypsy Bulls are here!
Holy cajones...!
THE GYPSY BULLS
Dear bullfighting fans: I'm Heifer and this is my cousin, Beefy,
and we've come to Condolence Street to deconstruct your bullfighting arguments.
But don't 'cha worry, 'cos we'll do this slowly and with pictures so you get it.
I luv' Pokémon!
FIRST ARGUMENT:
Bullfighting is a tradition.
Mmkay, Toni, hear me down: 'Cos something is old doesn't mean it's good.
Prostitution and slavery are even older traditions than bullfighting.
So tell me what'cha like: Some whipping or me up your-
SECOND ARGUMENT:
Bullfighting's art.
Cousin, hit the spray!
Done!
See? That's art, and we haven't tortured anybody!
That's how we roll!
That's ztreetz artz, dude!
THIRD ARGUMENT:
Without bullfighting, bulls would go extinct.
Extinct, he says... Hear me,
the Iberian lynx is an endangered species. You want to bullfight him to save him or what?
Yeah, you guys keep giving ideas to these brainless shits!
You big sons of a-
FOURTH ARGUMENT:
Bulls don't suffer.
Ow, cousin, what'cha doin'?
- Did it hurt ya? - Well of course it hurt me, man!
There. Argument down.
Ow, you made me cry!
FIFTH ARGUMENT:
A bull lives like a fucking king and fucks like a beast.
Oh, Toni, that ain't true, that's a lie!
Us fighting bulls go to the ring while we're chaste.
Only a few privileged ones, like our cousin Blackbull...
- Wassup? - are chosen to be studs. And that's a-
Oh, cousin, you didn't knew?
Man, I'm gonna die a virgin!
Cousin, you're so ugly you were gonna die a virgin anyways.
You bastard.
SIXTH ARGUMENT:
It's a match between equals.
Well, we're gonna find out now. Cousin!
Take this, and this, and this!
We love... animals...!
And take some more, you bitch!
Bulls... don't think...!
Ow! Ouch! Ouchie!
- He's born... to die! - Mother...!
A bull... is... only a bull...
Come on, get over here!
Cousin, he's done for. What'cha we do?
Well, cousin, we'll have to cut his two ears and his tail.
- Nooo... - That's art.
THE END
NO bullfighters were harmed in the making of this CARTOON.
However...
THOUSANDS of bulls are tortured and murdered EACH YEAR
in the name of culture, art and tradition.
Tortured and murdered FOR REAL.
Subscribe, dude! Hit the bell if you don't wanna miss some more!
Singer: TONI ROSAL; Lynx: KEUNAM DANI TEJERINA: Music and FX
Written and animated by NIKO English Subtitles by Víctor González Fraile
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VIENNA/NOW - Viennese Modernism (Part1) - Duration: 7:12.
When so many people think about Vienna, or when they come to visit here,
they come because they want to revisit this exciting time and its history,
when artists like Gustav Klimt and Egon Schiele were working here.
In this episode, we're going back to this period known as Viennese Modernism,
when Kaffeehaus Culture was booming, when there were many developments in society,
in architect, in music and in design.
We're going to see why Viennese Modernism is still modern today.
I'm standing here with Mr. Weidinger, the vice director of the Belvedere Museum.
He's going to show us the collection and tell us about its history.
The Belvedere was founded by Prince Eugene.
He was a very important general of the imperial army.
He was very successful, and invested his money into palaces like this one.
In 1903, one part of the Belvedere became the so-called 'Modern Gallery'.
It was the very first museum for contemporary art in Vienna.
So now we've found our way to Gustav Klimt's 'The Kiss',
which most people obviously know or at least recognise.
It has continued to be eternally fascinating to multiple generations of people.
Maybe you could explain about the painting's history and why it's so special?
Why it's so special? It's really an amazing image, you know?
Everyone loves to kiss, so this is one of the reasons.
Another reason is of course, because Klimt used a lot of gold.
He used real gold and he used real silver as well.
This makes the painting so special.
When you look really carefully, it's also a kind of a relief.
It's three dimensional, which makes it so special.
What you see is real gold and different shapes,
different surfaces and different colours.
This makes this one really, really special.
What we see is Klimt on the one hand and on the other hand is Emilie Flöge.
Is it Emilie Flöge? I read that people have different ideas of who it could be.
- But it is Emilie Flöge? - It is. We figured it out just several years ago.
Klimt was really bad at anatomy. You only see the kiss,
there are legs which are badly done,
but the rest of the paintings, there are no legs any more.
We only have twelve Schieles, but every single one is a masterpiece.
The collection at the Belvedere is focused more or less on the late works.
All works we see here and in the next room were done in World War I.
We're standing in the Secession, in front of a beautiful model of the secession.
Can you explain why it sums up the spirit and energy of Viennese Modernism?
There's a reason: there was the artists' association, called 'Künstlerhaus'.
They got very deep into historicism,
they wouldn't change the art at all, they were very conservative.
The young ones really hated this, and they had an idea to escape.
One of the things I always loved about it, which you don't totally see here,
is the saying on the outside of the building.
When I first came here I didn't know what it exactly meant.
But it is 'Every time has its art and every art should have its freedom'.
And this is called the 'cabbage head'
I never thought about it like that but it's true.
Now we've come to the legendary Beethoven Frieze,
which is obviously well known and a big part of this space.
This is a masterpiece, this is one of the best works Gustav Klimt ever did.
It was done in 1901, as part of the so called 'Beethoven Exhibition' in 1902.
It shows the desire for happiness in the very destructive and bad world,
but then there's hope of course.
The golden knight, for example, is a symbol for hope.
- We can see there on the right side behind her head is the penis. - Ah, ok.
When you look carefully you see every detail, even the shape, is there.
He really used this quite often – he transformed genitals into ornaments.
In Vienna, you feel like you're constantly surrounded by the work of Otto Wagner.
Can you tell us how he had such an important role in the city's development?
Because he was a visionary. This is the most important thing about him.
When you walk through Vienna,
every time you will be confronted by a house made by him or designed by him.
Especially here in front of the two houses Majolikahaus and the other one here.
They were built just one year after the Secession was finished.
His vision was to build a boulevard from Karlsplatz to Schönbrunn,
but it didn't work out.
He just made a few houses, but they're really wonderful.
There were many artists who dealt with 'Gesamtkunstwerk',
Koloman Moser for example, was really a leading figure
and he was a founder of the 'Wiener Werkstätte'.
He was very famous in the idea of the total work of art.
Everything has to be designed,
the façade, the interior or the balcony, the dress, everything.
Even the toilet! So this was total work of art in the best sense.
Thank you so much for introducing some of the most beautiful aspects of the city.
- It was really fun. - You're welcome. It was a pleasure meeting you.
- It was really a pleasure as well. Have a nice day. See you, bye.
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Colony From Carlton Cuse
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ALL THE SINGLE LADIES, WATCH THIS VLOG!! | TONY JUNIOR VLOG #47 - Duration: 11:01.
Hello, I am Senna.
I am twenty years old and I'm from Utrecht.
I'm looking for...
...a nice girlfriend.
Good morning.
These moments are...
Ok, sorry... I'll just say it.
I've already said this twice but I kept fucking up.
With the camera.
So I'm not that excited anymore.
Anyway, it's fucking early and the both of us have only slept two and a half hours.
We are on our way to Schiphol for something fun, but I can't tell you.
By now I don't even feel that bad.
We'll sleep some on the plane.
Of course.
I love that moment when you wake up again and you feel so much better.
But I'll bet you, we probably won't be able to sleep now.
Or maybe you will and I won't.
Two hours of sleep later and we are in Poland, Warschau.
I didn't even notice the plane take off and land.
I still don't feel great though.
Bryan does, he's super fit.
We are here with some more Dutch people.
I'm not gonna let them speak, not gonna let them speak.
Don't say anything.
Just chilling, that's it.
Let's try and find the bus.
I was just about to go to bed...
...when roomservice came.
Nice.
Nice.
Let me say good morning.
I just slept three hours.
I feel great.
Now.
Just took a shower.
We're all meeting downstairs, so here we go.
I'm turning this camera on, but I can't even tell you anything.
That's what they told me.
You'll see.
Such a nice street.
Beautiful, they still got the Christmas decorations up.
(This doesn't make any sense, something about confetti... Very mysterious!)
Ok, sorry for the weirdness.
You saw the 'to be continued'.
What happens the moment I get on that bus, will appear in one of the following vlogs.
But...
...there is still more to come in this vlog.
Sorry about this.
But in three, four or five vlogs it will all make sense.
Bye.
Good morning, we're in Poland.
Still. -Still.
We'll be flying back in a short while.
But not before we bought ourselves some cigarettes.
And act like a tourist.
Look at pretty monuments.
And as soon as we get on that plane this weekend will be over.
So much fun.
You've been super informative just now.
Why?
You really are stating nothing but the facts.
Yeah, brief and to the point, clear.
Yup, shorter.
Home.
One of the best things about these countries...
...is the price of a pack of cigarettes.
I'm not saying you should start smoking.
But this feels great.
A bag full.
They only cost us...
...€3,-.
Where are we going?
Back to Amsterdam.
So good.
Great.
It's over.
We're done.
These guys are great.
The one carries my suitcase.
The other... sure, take it into the bar.
So sweet.
That's something different from strutting down the catwalk.
This is hard work for some cash.
And I'm not even paying you.
Keep walking, go straight up stairs.
You can go unpack and wash my dirty boxer.
Hurry up.
No way.
I'm looking for a new girlfriend.
A new girlfriend.
Ok.
Look into the camera.
Hi, I'm Senna.
I'm twenty years old, from Utrecht.
And I'm looking for...
...a nice girlfriend.
And if there are any men out there that are interested. He blows as the best, ask Richard.
No, no, no...
What's your Instagram?
SXNN.
Or just Senna van Plateringen.
Ok, describe yourself in three words.
Very good question.
Look!
Not very, good, question.
Three words.
I want your qualities.
Spontaneous.
So you would wake up on a Sundaymorning and say, let's go to the Ardennes.
No.
That's being spontaneous.
So you're not spontaneous.
Oh, if I would have a girlfriend?
He's so not spontaneous.
That's what I thought.
So spontaneous is off the list.
So he's a liar, that's one.
And boring.
No, no, no.
Yes.
Nothing but sweet and gentle sex.
Yup.
Yeah, but that's what the girls are after.
Ok, let's stick to spontaneous.
Yes, spontaneous and convivial.
He just said it.
So bad.
I don't know.
Doubting.
A doubter.
So you have a bad self-image.
You doubt a lot, you lie.
Thats...
Yeah...
Ideal!
Well...
...this was a very long shot, that'll have to be cut down.
Hey!
Don't.
So nice.
I scared you.
Yes.
Ah sweetie.
What's going on, is there a party?
Yes, see all those people.
Jezus!
There are people outside.
Three of them.
Such an ugly pink hat.
You look ridiculous.
It's great, Tony, give it.
It's from Wood Wood.
Woot woot!
You're just jealous.
Give me my cap back.
What?
Ok, fine, I'll take your Louis Vuitton bag.
Nooooooooo!
Come back, come back, I'm sorry!
Press a button.
Which one, there are one, two, three, four, five....
It doesn't matter.
It's not your first time here, is it?
I've never had to turn this thing on.
Ok, now you pretend as if you're in a club.
Go hit on her.
Do it, do it.
No, that's not...
...that's not gonna happen.
Yes it is.
Come on.
He fingered on camera...
I know but I already made a big enough fool of myself before.
That's true.
I can't get any worse, so let's go.
Me and Tony had this whole discussion the other day.
We think that Richard...
...still wants to come out.
Whenever my dad and you guys are here it can never go right.
You just got that George Michael hair.
George, George Michael.
Have you ever touched each other's weener? Be honest.
Not even at a slumber party?
Just to feel it.
A manscratch.
A manscratch?
A manscratch!
No, a ballscratch.
We just discovered something.
Why do you buy this?
Are you coming in or what?
How?
Just get in there.
No way, let's have a look!
Oh wait I'm stuck.
Start running.
He can't fall.
That must be very expensive such a sweater.
Well, not anymore.
Three, two, one.
Very practical sweater.
I hope a lot of women will respond.
Thanks.
This sucks.
Take it easy.
Can someone please take my suitcase upstairs?
Can you please take it, he needs to come back upstairs anyway.
I'll never ask for anything again.
No! Because you'll make sure it ends up on camera again.
Yeah, I'm not doing that.
You know what I just recorder. By means of that suitcase...
...you could make it a lot less embarrassing for yourself
As if that wouldn't be bad enough.
Just grab it.
Come.
He's doing it!
No, come, come.
You're filming.
Yes, I keep filming, just grab it.
You were already holding it.
It's already on film.
You already came...
I didn't.
It didn't show up here on it's own, come on.
This is bullshit. Richard!
Can you grab this suitcase.
Come on!
Come on Bryan.
He's carrying my suitcase.
Oh, great, take it upstairs.
I told him we would go easy on him in the final edit of the vlog.
But he didn't take my suitcase.
Oh my, this is so bad!
This was it.
Sorry for...
...not uploading twice a week, but only once.
A week.
All because I wanted to spend some more time on Isaac's vlog and this one (that is to be continued).
From now on I'll have a vlog for you twice a week again.
Guys, it was a great weekend.
I had a great time and I hope you enjoyed watching it.
I'll see you at the next one.
Bye.
-------------------------------------------
Sarah Nooter, "The Mortal Voice on the Ancient Greek Stage" - Duration: 41:12.
My name is Sarah Nooter and I teach in
the Classics Department. My voice
is going to work as hard as it can
to talk to you about the voice today.
The talk is called "The Mortal Voice on
the Ancient Greek Stage," and
what I want to talk about is really the
actual, literal voice part of speaking.
Most of the time when you hear
someone speak, what you're listening to
is the language, right? The voice is
happening, but it's not something you're
paying attention to. If you strain to
hear me than you might think about my
voice.
If i have a funny accent, you might
notice that. If I'm singing, you'll think
about my voice. If I cough that's a way
of forefronting voice. So I'm looking at
moments when the playwrights on the
ancient stage took--isolated, sort of--
vocal utterance instead of language.
So I'll be talking about animal sounds
and coughing a little bit and cries and
things like that. And before I get to
that I'm going to look at Plato. Plato
hates drama, as you may know. He hates
imitation, he hates poetry, but he's very,
very good at talking about it.
He's a contemporary of the playwrights,
and he's very skilled at getting to
exactly what makes drama so powerful, so
that's why I like to talk about him, even
though I disagree with him.
Here we go. This is a paper about the
outer limits of the human voice on the
Ancient Greek stage, as expressed by the
breakdown of language into nonsense. Here
I focus on instances of such nonverbal
vocalizing in Aristophanes and a satyr
play as against a couple of moments of
breakdown in tragedy,
so as to consider the range of
theatrical effects and implications that
such vocalizations might have. Before I
come to drama itself, however, let me
pause to consider what is at stake in
such instances of voicing, from an
ancient perspective. So here's Plato.
Plato's dialogues suggest that
the mimetic voicing has a
profound effect on those who hear these
voices but an even greater effect on
those who give voice. His many objections
to poetry and especially drama arise in
part from the belief that what we utter
makes us what we are, molding not only
our thoughts but also our voices and our
bodies. He writes as much,
ventriloquizing through
Socrates, as usual, in 'The Republic:' "Or
have you not perceived that imitations,
if they persist on words from youth,
settle into characters and nature and
body and voices and even in thought?
Yes, even so, he said." The idea here is
that voicing in the form of repeated
imitations--so this is the word
mimesis, you might know--has power over
the person who is voicing by impressing
itself upon his character, by changing
him.
It is the power of the voice when used
for false voicing that makes it so
dangerous to a person's moral being, and
a list follows of the things and people
that must not be imitated by citizens of
the ideal city, lest see citizens be influenced
badly by these vocal pursuits. The list
includes women of many sorts: women
who are wrangling, defying their husbands
boasting, lamenting, in love or in labor;
slaves; bad man, which includes cowards,
drunkards, and madmen; and also workers,
smiths, craftsman, and rowers. The list of
prohibited voices is capped by those of
nonhumans, including both natural
phenomena and animals. So this is another
passage from the same part of 'The
Republic:' "What then? Neighing horses and
bellowing bulls and babbling rivers and
the howling sea and thunder and all
such things-- will they [the poets] imitate them?
No, rather these will be off-limits to them,
he said, both to be mad and to act like
madmen." So this is a part of the Republic
where Socrates is imagining what the
perfect city would look like, right? And
this is the kind of stuff that we are not
going to allow in the perfect city. Since
it is vocal imitation that admits of
these problematic sounds, Plato suggests
that only a very debased poet privileges
it over narration to begin with. So
here's a description of a bad poet: "So
his style of speaking will derive
entirely from imitation of voices and
gestures, or will contain just a little
bit of narration." Imitated sounds, then,
really ought not to be espoused by the
human voice or the body by way of
gestures. If they are to be admitted into
poetry at all,
they should be distanced through the
filter of narration, an element entirely
missing from drama, whose absence
renders drama inferior and indeed
dangerous. You may know of certain plays
where you actually have a storyteller,
but Greek drama has nothing like that at
all.
In other words, the terrible power of
drama arises from its use of false voice,
voice that is not distanced from the
speaker's identity through narration, and
further, from the potential for this
voice to be deployed without speech--
which in Greek is "logos," so no "logos"--
in the form of a bull roaring, or something
like that. And this is the crux of the
problem for Plato. We have voices no less
than other animals and with many of the
same capabilities as theirs without the
intervention of "logos," or speech, the
distance lent by narration, our bodies'
speech and thought may easily descend to
the level of beasts with our souls
tumbling down. To the display of Plato,
Athenian playwrights did at times compel
their actors to imitate animals' voices
on stage and called for other
vocalizations that are either lacking in
language or pointing away from language
in meaning and affect, all this on top
of the problem that these voices are not
truly speaking from the actor's soul in any
case. They're all imitations;
they're all not real. In 'The Laws,'
Plato's Athenian stranger again
discusses the appearance of poetry in
"cries of beasts and men, clashes of
instruments, and noises of all kinds," and
he similarly disdains them. "The Muses,"
Plato asserts, "would never combine the
voices of beasts and men, whereas human
poets, who senselessly weave together and
completely confound these elements, make
laughing stocks of themselves and
destroy music in their desire for a
beast-like voice." If to Plato or
his speakers, the effect of this
non-linguistic voicing is at best
clownish and at worst fatally corrupting,
what is the counter-argument implicit in
the use of such voices in Greek drama?
What is gained when logos is lost?
Aristotle echoes Plato, but with less
apparent anxiety, in commenting that
animals and humans share the capacity
for voice but not language. Even if some
animals have voices, as he declares in
'The Politics,' human voices are different
from those of animals IN that we use
our voice to express speech or
structured language. If Aristotle's
perspective on animal utterance, as
lacking in language but still possessed of
voice, can be taken as broadly
representative of Ancient views, then we
can see how the use of animal
vocalization onstage could be a way to
highlight aspects of voice outside of
its linguistic capabilities. From animals
and from humans, at times, voice emerges
as embodied, meaningful, and especially
expressive, and the more so it is
non-linguistic. Non-lexical onomatopoeia
is one example of this kind of
vocalization. Such onomatopoeia is
defined by Derek Attridge as "the use
of phonetic characteristics of the
language to imitate sounds without any
attempt to produce verbal structures."
This category includes, for example,
mimicry of a dog barking--so in Greek,
that's baoo-baoo. These non-lexical sounds sit
at one end of a spectrum, the far end of
the complex hypotactic structures that
are often associated with poetic
language in the 5th century--
5th century B.C. is what we're talking about.
Yet alongside flights of syntactic
complexity, drama includes instances of
such aggressive sound play that logical
meaning may seem at points to subside in
favor of vocalized sound. Such a broad
vocal spectrum allows playwrights to
work with a great range of
conception of human life and to pay
particular attention to life on the edge
of human experience. There is predictably
both the light and despair to be found
at these extremes, both verity and fragility.
So now we'll talk about comedy.
What we have of Aristophanes forays into
this field gives us a sense of the
possibilities. One suggestive example
comes from 'The Birds.' So this is thought
to be somewhat of a representation of
the actual play 'The Birds. 'The Birds'
includes an entire chorus of men dressed
up as birds, 24 people on stage
with masks kind of like that, presumably
singing and dancing, and all song and
tragedies accompanied by an aulos
player--it's like a recorder--so that's that
guy in the middle there. 'The Birds' features
a character who is a Hoopoe. The Hoopoe
reveals that he has a checkered mythical
past, and he was once a human king named
Tereus. Tereus is an actual figure
from Greek mythology. Early in the play,
this Hoopoe summons the other birds onto
the stage, the ones who
become the chorus that we see over here,
and he does this in song. So I'm
giving you a clip of a little bit of the
song he sings, and I'm giving you the Greek--
although I assume most of you don't read
Greek--as well as an English translation.
And I'm going to highlight in blue
the parts that I've been
talking about which are not actual words
in Greek but are sounds. I'm going to
read this aloud in Greek:
[Ancient Greek]
So that's the first part there. It's two lines of
sounds, and that "io" sound becomes "ito."
"Ito" is actually a Greek word that means
"let him come," and the third line is, "Let
someone of my fellow feathered friends
come forth." And then the second part is:
[Ancient Greek]
So, here we start with a
line of a word repeated over and
over again that means, "hither, hither,
hither, hither," and then a bunch of
sounds.
Aristophanes plays with the notion of
the birds' foreignness to speech and with
the expectations of the audience, as he
bats the Hoopoe's voice back and forth
between speech and nonverbal song.
Initially the Hoopoe seems merely to
repeat his own name because in Greek the
name of the Hoopoe is "Eppops," so
those pop sounds are actually the name
of a Hoopoe. But these pop noises
soon shift to a phrase that is
also linguistically coherent, with the
sonic effects of the repetitions also
greatly enhanced by the metrical
variety of the song. So, remember that this is a
song. It happens to be one where the
meter is shifting all the time. The
Hoopoe's sound play with his own name
echoes a Sophoclean pun on the Greek word
for Hoopoe with the word "observer." So we
have just this little Sophoclean clip
where he wrote, "The Hoopoe, observer of his
own evils."
Little puns like that are not very
normal in
tragedy. This is an instance aural word
play that is unusually blatant for
tragedy. In 'Birds' then, the sound of the
Hoopoe's chirps not only mimics his
own bird-like name and performs with
metrical skill, but it also alludes to
the tragic incarnation of the
shape-shifting Tereus. The Hoopoe's history of
shifts in identity, dramatic genres,
and life-forms is thus signaled by his
shifts between broken vocalizations and
decipherable language. The Hoopoe's next
summons switches from coherent Greek--so
that's that "deuro" word that means
"hither"--to in comprehensible avian chirps--
that's the "toro." "Deuro" and "toro"
sound very similar--and rounds off sharply
with an -eek sound--that "teeks." The song
then veers farther and faster
into mimicry of bird sounds from "teeks"
to "kikabao," which in ancient scholias
thought was intended to imitate the
sound of an owl.
This ends with the "lirileeks," which has been
considered a fair attempt at a bird's
cry. So the song mimics birds, of course,
but at the same time it cuts against
straight mimicry with formal poetic
qualities, since that "lirileeks" is also a
perfect
anapest, a kind of metrical structure
that rhymes with "teeks." Thus the Hoopoe's
patterns of song and speech again imply
that he is caught between his original
human nature and his new avian identity.
The hero of the play, who was a person named
Pisthetaerus, claims that this bivalent
identity is an advantage and explains to
the Hoopoe, "You think all the
things that a man thinks and as many
things as a bird thinks." In much the same
way, the birds who come to constitute the
chorus have been taught the Greek
language but are still birds, as their
chirpy patterns of speech demonstrate. So
here's what the birds say when they
come onto the stage, and again the parts
that are just sound really not words are
in blue. So the birds sing out:
[Ancient Greek]
"Where is he who has called me?"
[Ancient Greek]
"What dear word then do you have
for me?" So the word "where" comes
right after those sounds, and it's
"pooh", so "puh-puh-puh-pooh," so it sort of grows out of
the sound, and
again the word "what" ("tinah") grows out of
the "tis" that have just come before it.
Like the Hoopoe, the birds of the chorus
are pulled in two directions. For them,
the non-lexical stutters of bird
sounds indicate their automatic animal
core, and the echoing words that follow
show their training in human language.
This comical state of limbo applies to
many of the themes of the play, such as
to the birds' city that is suspended in
the sky and to Pisthetaerus himself, the
hero who tries to be bird-like by
acquiring wings but remains staunchly
human and heart. 'The Birds' then plays
with the bending of ontological
boundaries between these forms of life,
but the incursions of nonsense into
speech help to show that the boundaries
remained nonetheless.
So here's what a gaggle of birds
looks like to your average
Greek person. What we have to imagine
of this chorus is that they come out, and
they're stuttering, and they don't speak
very well, but as the play goes on, they
actually become very coherent. And I
don't know if you have ever seen this
play, but what happens is that Pisthetaerus,
who is an Athenian, comes to the birds
and suggests that they make a bird city,
and that through their bird city they
can actually take over the universe,
which in fact they do. They take over the
universe by blocking the connection
between gods and men. So that's
the play. When the birds later cohere
into an actual chorus and acquire clear,
fluent Greek, free of all chirps and
stutters, they also develop the
wherewithal to fulfill
Pisthetaerus's plan of taking over the universe.
Their fragile grasp of human utterance
at first makes them easy dupes for
manipulation. Their subsequent hold on
language puts them in a position of
power on par with humans and ultimately
with the gods.
No we're going to jump to animals. A more
complex example of aural nonsense
comes from Aristophanes' 'Frogs,' a play
famous for its focus on the powers of
the stage and freighted with influence in
the history of literary criticism. So
here is a picture of a frog.
This is a coin from the 6th century B.C.
This is what they felt frogs looked like,
but actually I'm talking about a chorus
of frogs, so I I couldn't find an ancient
image, but i did find that. That is
probably closer to what you want to
think about as we move through this
passage.
So this play has the unusual feature of
having two choruses, one after another.
And the first one is constituted by the
souls of, what are called in the play, swan
frogs. Though they're known more commonly
just as frogs, their literal designation
as swan frogs, of which there is no such
thing,
points to the joke of their presence,
which is strictly an aural joke. These
frogs probably were heard but not seen
onstage, and thus are known only
through the sound of their song. They
proclaim themselves to sing beautifully
in the manner of swans, but they are
interpreted by the hero of the play, who
is the god Dionysus, as croaking,
disagreeable gibberish. When they sing in
full sentences, their song is about the
gods, activating the divine connotations
of music. When they croak nonsense,
mishmash of syllables, their sounds
strike the ears of Dionysus as dissonance
from the maws of beasts. Some of the
humor in the scene obviously arises from
the juxtaposition of a high-handed
musical rhetoric and croaking noise,
language and voice at play.
The frog chorus appear for just one brief
interlude, the crossing of Dionysus to
the far shores of Hades. In this play
Dionysus, the god, laments that because
Sophocles and Euripides have died,
there's no tragedy left in Athens, and
Athens is falling, and he needs to
go down to Hades and bring one of them
back. So the beginning of the play
involves him leaving Athens and making
his way across the River of the Dead
to go to the land of Hades. And as
he's crossing the river and rowing
across, he hears the songs of the frogs.
Charon, chauffeur to the newly dead,
presents the song of these frogs as a
solution to the problem of Dionysus's
self-professed inability to row the boat,
which he claimed with a declaration that he
is "inexperienced, unseafaring, and
unsalimis"--which means he didn't fight
in the Battle of Salamis. So in Greek
this is a very silly phrase. It sounds like this:
[Ancient Greek]
And so it's a phrase that's meant to
sound sort of ever sillier and perhaps
signals the movement that's happening
here from sense into kind of absurdity.
Charon replies to Dionysus that it will
be easy for him to row because as soon
as his oar strikes the water, he will hear
most beautiful songs. Charon then
identifies the swan frogs as the singers
of these songs. This joke rest on the
fact that song was actually used to
regulate the rowing of triremes in
Ancient Greece. Song, at its most basic, is
the combination of rhythm and shifts in
pitch, and an even rhythm, all apart from
melody, sound play, or words, can have the
literal effect in the world of
compelling the acts of many men to fit
together and fitting men into the world.
So we see this with marching songs and
in the ancient world, you would have a
bunch of men rowing and you would have
somebody keeping time. Charon
signals of frogs coming descent into
nonverbal voicing with his own final
utterance before the frog song, which is:
[Ancient Greek]
a line that is probably
best not rendered into English, but one
translator has suggested "heave-ho
heave-ho." Rhythm is on display for
lampooning here, as well as the power of
voice through rhythm to organize, spur,
and here also simulate movement. So I'm
going to show you two little excerpts
from a much longer song in the play (it lasts
about 50 lines or five minutes, maybe).
So that's Charon at the top, right in
the blue, and then the frogs
chime in. The first and second and final
line of their opening utterance--and
again this is all in song--is:
[Ancient Greek]
That doesn't mean anything,
It's just nonsense and among Classics
students, it's kind of a famous phrase.
And this line gets
repeated throughout the entire song,
which is kind of a call-and-response
song between the frogs on one hand and
Dionysus on the other. Dionysus is
presented as an unhappy participant, both
in the rowing and as an audience to the
song of the frogs, and responds to them
with ever more irritated cries of
frustration. The frogs continue blithely
with their song and emphasize its
musical qualities.
They proclaim it as
sweet sounding and then engage in some
name-dropping to puff up their divine
connections, claiming to have sung in a
festival for Dionysus himself.
They suggest further that they are
beloved of the lyre-loving Muses and
hoofed Pan, who plays tunes on the reed,
and of the harpist Apollo because of
their stewardship of the marsh reed, a
physical necessity for the instruments
of these gods.
Thus the frogs comically route their
musical value in the material of the
marshes. Dionysus and the frogs are
paired off, then, as antagonists in a sung
battle. After cursing their "coaxing" and
begging them to stop--
that's up here--Dionysus says, but go to
hell with this very coax, for there is
nothing aside from the coax. He then
assumes the cries the frogs cry of
[Ancient Greek] himself, so late in
the song he takes it over and sings
that on his own, and sings to them in
triumph that he will conquer them with
the "coax" and forever keep them from the
"coax." I have "conquered you with the
coax and so on." So what he
does here is he takes that little sound "coax," and
he puts an article in front of it and
makes it into a noun.
Thus by appending and
declining an article, Dionysus
transforms and domesticates the non-
lexical sound "coax" into a word "coax,"
which metonymically represents the whole
song and sound, and indeed the whole
existence of the Frog, since we can't see
them (we only hear them). In effect, he
turns the non-linguistic sound of "coax"
into a perfectly semantically acceptable
noun. Voice in his vocalization becomes
language. Dionysus manages his transformation
at the same time in the play that he
starts to come into his identity and
powers as a god, indeed as the god of
theatre and all such staged vocalization.
To beat the frogs is to conquer sound
with speech.
Now we move to satyr plays,
and there's a satyr. Other examples from
Greek drama showed that such nonverbal
expressions tend to appear when the poet
is bringing attention to the body and
the fragility of mortal existence, even
when this corporeal fragility is
humorous. I turn now to satyr
plays, a strange breed of romantic drama,
which were staged in Athens right after
the tragedies and written by the
tragedians themselves. So if you saw a
tragedy in Athens, you would go to a festival,
you would watch three tragedies by
say Aeschylus or Sophocles and then a
satyr play by that same playwright. These
plays, these satyr plays of which we have
little left, all featured a chorus of
satyrs with their leader, Silenus. So you
take this chorus, and you would drop them
into sort of strange romantic adventures
like kidnapping stories. So a satyr is a
kind of like half-man, half-goat creature
that you can see in this
representation. There's a tail, there are
like weird goaty ears, and there's also
a big phallus. And that's what we
think satyrs looked like as a chorus
onstage. Mark Griffith has written that
satyrs engage the Athenian
audience in an appealing fantasy,
suggestive both of a return to childhood
and drunken revelry. A long fragment of
one satyr play, Sophocles' 'Searchers,'
provides some basic examples of how
non-utterances are used as part of this
fantasy. So this is a long passage, and
I'm just going to look at a couple
moments from it.
This passage gives us the chorus
releasing ejaculations of surprise--
these are in blue, this [Ancient Greek]--and
nearly unpronounceable expressions of fright,
so [Ancient Greek].
I'll look more at this in a
moment. These kinds of vocalizations are
indexes of not emotions, but internal
bodily affairs. As, such they're sometimes
called corporeal sound symbolism.
They include everything from spontaneous
cries of emotion to acoustics of digestion--
so this is burps, hiccups, farts.
Satyrs are above all corporeal beings,
known for their addiction to bodily
pleasures like drink and sex. These
proclivities are visually marked by their
prominent phallus that you see over
there.
The physicality of the satyrs that we
see in voice like this is underscored
when they are ridiculed by their leader
Silenus. He suggests that they
are "lamenting in such cowardice they
will make a noise," which seems to mean
fart here.
The occasion of the satyrs' panic in 'The
Searchers' makes their would-be farting
all the more comic and absurd. Their
alarm and the sounds that express it are
provoked by their hearing the sound of
the lyre, a string instrument newly
invented by the lonely infant Hermes as
a source of comfort and pleasure. So the
story is something like the baby god
Hermes has just been born, he finds a
turtle shell, and he scoops out the
turtle, and he makes a lyre. And this is
the beginning of lyre music and in
Greece is the story. And the way that's
staged in this play is that the chorus
hear the sound, and they're terrified of
it. They don't know what it is, and then
it's explained to them over the course
of this and other passages that this
little baby God has created this sound. It's
very charming. As the satyrs learn more
about the auditory sensation of the lyre,
the vocabulary they use to describe its
music changes. First it is just a sound,
and later it is referred to
as a divine voice, and then as the voice
of a dead creature. Finally when the
satyrs understand the sound, they
pronounce it an "umphe."
"Umphe" is a word for divine voice that is
used exclusively in Greek literature of
authoritative utterances like those of
gods. And actually it's useful to know that
Ancient Greek has a whole range of words
for the voice, many, many more than we
have in English. Thus the chorus's
early inarticulate vocal emissions--their
"hoo-hoos" and so on--not only result from, but
also draw attention to the birth of a
new sound: lyre music, which is imagined
is born from the death of a turtle,
transforming a body from silent and bestiak
to melodious and divine. The satyrs,
beast-like themselves, bring the
corporeal excretory side of sound onto
the stage, just as the divine lyre can
also be heard, and perhaps undercut by
the vocalization of the body. We actually
have to imagine that lyre music is
playing and then maybe satyrs
are being shown as if
farting, probably with outside help.
Yet at the same time as these low
corporeal emissions are juxtaposed with
the melodies of the lyre, the lyre itself
is posed as another juxtaposition of
voice, a divine sound sings from a dead,
previously dumb beast, and an
inarticulate child makes song blossom
throughout the land, which is how
it's pictured.
In tragedy,
predictably, the role of nonverbal
nonsense diminishes, and the voicing of
animals is almost never found,
although there are nonetheless hints of
proximity to the world of animals and
infants whenever vocal nonsense
intrudes. Here the reduction of voice to
nonsense supplies a way to convey the
razor-sharp edge of human experience,
suffering that is so extreme that
sufferers depart from the realm of
representational language. Unlike the
mimicry of birds' songs or frogs' croaks,
these vocal expressions are not icons
are imitations of anything.
Rather they are indexes of pain. In the
broken voices of characters who are
otherwise pointedly articulate, the
departure from verbal language becomes
the most revealing aspect of these
passages, the very fact that the speaker
cannot maintain the business of
grammatical lexical constructions or
return to language only by force of a
repressive will. They are drawn into the
material of vocalization to display the
materiality and indeed the mortality
underlying their embodied existence.
In Aeschylus's 'Agamemnon,' we see voice
expressed with an incisive lack of
articulation, when the character
Cassandra begins her song with
apparently inarticulate cries of grief.
So Cassandra, you may know, is a character
from from the Trojan War story, who is
the only one who could see all the bad
things that we're going to happen, and
who warned the Trojans, but they didn't
listen to her. And she's always pictured
as as singing. She's very articulate, she
has a very beautiful voice, and so on, but
when she's brought onto the stage in
'Agamemnon' as a slave,
she is at first silent, and then
she starts her song in this way.
So, I will read this to you.
[Ancient Greek]
"O Apollo, O Apollo, O Apollo, O Apollo,
god of avenues, my Apollo, you have destroyed
me entirely and for a second time."
So the progression of sound in a sense
here is not dissimilar from the one
performed by the Hoopoe and the chorus
of birds in Aristophanes's 'Birds' that I
talked about before.
Cassandra's cries of "puh-poi" that we see in
blue here--so that's just inarticulate
cries that mean nothing--
fade into the coherent "O Apollo"--which is
"O Pollon," so it echoes the sound--which
transforms again into the stark verbal
declaration, "You have destroyed me," which
in Greek is a sound that is just like
the word Apollo, so [Ancient Greek],
as if it were kind of the same word growing
into something longer. The first two
lines are repeated as an echoing refrain
of [Ancient Greek], but these sounds
change through puns into meaning, with
the name Apollo sounding like and then
meaning destruction. The birds' sound play
in Aristophanes 'Birds' is played for laughs.
This one shows with searing clarity
Cassandra's movement from the terrifying
interiority of her mind into the
lucidity of conversant language. These
utterances occur soon after Clytemnestra--
who's the queen of Argos
who's taking in Cassandra as a slave and
soon will murder her--soon after
Clytemnestra suggests that Cassandra must
have only an unknowable foreign voice in
the manner of a sparrow. A little later,
Cassandra calls herself a nightingale,
who pronounces the name of her lost son
"itus itus," a name itself that becomes
a symbol of grief. There's some play in
these moments with the idea that
Cassandra is more animal than woman, more
a maker of sound and songs and a speaker
of speech.
Indeed, Cassandra is commonly understood
to dwell at a focal point between
identities: unmarried maiden, and yet
consort to Apollo, Agamemnon in Hades;
prophetic, yet pathetic. Here in Aeschylus's
rendering, she acquires also the
ambiguities available in voice, as her
words are revealed to be nonsensical,
yet incomparably fluent in lyricism
and metaphor. And all this from a girl
who speaks like a bird. Aeschylus
thus makes use of the edges of logos, or
speech, to allow voice to surface. This is
my last big example. This is from
Sophocles play, 'Philoctetes.''
Philoctetes is a Greek hero who we're told
was left on an island at the start
of the Trojan War because he had been
bitten on the foot by a snake. And he got
a wound from the snake, which was gooey
and smelled very bad, and it was always
making him cry out, and it disturbed all
the Greeks, so they just left him on this island,
and they went off to fight the Trojan
War. And they did that for a long
time, and then they were told by a prophet
that they couldn't win unless they went
and got him back. So they go back to the
island to get him, and they send in this
--according to this version of the story--
they send in this young man, Neoptolemus,
who's Achilles son, to go and
convince Philoctetes, by lying about who
he is and what he's there for, and to get
him off the island. When
we meet Philoctetes, he's a very noble and
wonderful man, and Neoptolemus, who's lost
his father, takes to him as a kind of a
son. Sophocles's hero Philoctetes also
stands out as a flamboyant vocalist of
nonsense and the most sustained sufferer
of physical pain on the Greek stage. He's
also one of the most vocally variable of
tragic characters, capable of
expressing his position in a panoply of
song, speech, and other marked linguistic
devices. Yet he is never more striking
than when his language breaks down into
the apparently non-lexical, as in this
passage. So it's a long passage, and I
won't read the whole thing, but
basically what's happening here is he's
about to leave the island with Neoptolemus,
and suddenly he has an attack, a terrible
attack of pain in his foot, and so he
has a past where he's trying to suppress
the pain because he doesn't want to be
left again, but the pain is is forcing
him to vocalize these cries, so he screams:
"Ah-ah-ah."
And Neoptolemus asks what's going on,
and he says, nothing, nothing, nothing, and
"Ah-ah-ah," and it goes on this way. And finally he
releases the series of cries:
[Ancient Greek]
"Do you understand, child?" And Neoptolemus
says, what, and Philoctetes says, "Do you
understand, son?" and Neoptolemus says, what's
happening to you?
I don't understand. And Philoctetes says,
How can you not understand [Ancient Greek].
The extreme quality of Philoctetes's
suffering is expressed by his inability
to suppress these incredible processions
of sound. How shocking would these sounds have
been to an Athenian audience? How much a
break from sense and meter? The opinions
of different editors of this text are
instructive here, for we see the limits
of our ability now to answer even these
most basic questions. One editor, Seth
Schein, asserts that Philoctetes's grief of
"ah-ah-ah-ah" are unmetrical. All tragedy is
metrical, so it's very odd to have
anything break out of the meter. But
another one insists that they form
segments of an iambic line and prints
the text accordingly. These editorial
choices indicate different notions of
the limitations of vocal expression in
tragedy. All commentators agree that the
most notorious series of cries, which is
this [Ancient Greek], is also
perfectly iambic. It's an actual iambic
line of Greek. But two editors tease out
more complex forms of sense from the
senselessness, with one connecting the
final four "puh-pahs" into an unbroken string
and showing that what we see then is a
sort of tricolon, a three-part series of
agony. Seth Schein again draws attention to
how Philoctetes's cries of "puh-pai" fit with
the language and themes of the play.
"Philoctetes's cry
conspicuously reiterates sounds suggesting
'pais,'"--which means child--"and 'papa'-- which
you can probably guess means
father. Yet this
interpretation threatens to suppress the
destruction wrought on language in this
passage and the complementary drawing of
attention to the material and mortal
voice here. A listener, no less than a
commentator, may well be tempted to try
to piece logical meaning back together
from these broken syllables. What results
is a variety of plausible ways of
reading
and experiencing this vocal flight that
invite further questions. Is Sophocles
showing how pain compels speakers to
shatter the boundaries of sense and turn
to the expressivity of nonsense? Or, that
even in this break from sense, semantic
and poetic structures of sense-building
remain intact?
Either way Philocteres allows the
audience to dwell in the experience of
voice overwhelming language, carrying its
materiality as expressed by several
series of popping P's, in which one can
probably hear the sounds of father and
child, roles that would lead the
protagonist back to coherence and
ultimately back to society. Such
desperate moments in tragedy reveal
an ongoing state of vulnerability that
is intrinsic to mortality itself and
reminds us that are semantically rich
locutions can dissolve into the babble
of vocalization at any time, a babble that
has no Aristophanic glee about it at all.
And yet there is a point of connection
between the gibberish of the birds and
the cries of Philoctetes, for Philoctetes
at his most distraught
screams like a beast in pain, but also, as
Schein notes, like a baby calling for its
father: papapapapa. These are the very
syllables earmarked by Theophrastus
some hundred years later, as a
paradigmatic manner of conversing with
an infan, with the P sound standing out
most prominently in the Greek. So he
describes somebody who he says is taking
a child from its nurse, chewing its food
himself to feed it, and then speaking in
Baby Talk, clucking and calling at Papa's
little name. And in the Greek that phrase
"Papa's little name" is all these little
P sounds again, like papapapa.
In fact, any string of repeated syllables
might call to mind the babble of babies,
for whom voicing chains that repeating
syllables is a standard method of
language acquisition, for babies of
course have no language, only voice. This
state of infancy contains both the
capacity and lack that we lose as
we acquire language, with a number of
phonemes we are able to decipher and
produce radically diminishing in the
first months and years of life. Alongside
our babble in infancy is a complete
alignment of body and self, with nary a
dishonest or evasive utterance escaping
our infantile mouths. This alignment of
body, voice, and truth is,
as we know, completely lost later in life,
a loss that perhaps allows for the sense
of fascination or even longing felt in
the presence of inarticulate human
voices. Is babble, nonsense, and gibberish,
then, always just below the surface, or is
it the sound of something lost? I have
been speaking of languageless
vocalization is an ever-present
potential, but it may also remind us that
there is in fact nothing truly
ever-present about us.
By the time a person is able to notice
that babble or non-lexical communication
exists in a separate sphere from
semantically communicative language, he's
no longer a baby himself and rarely
called upon to produce or notice voice
apart from language. Thus babble, pure
non-semantic voice, is more often
observed than emitted by those who do
observe it. It is a capacity of our
children, not ourselves. One is reminded
of Dolar's 'A Vocation of Infant and
Parental Communication,' in which he notes
that, "Babies do not only imitate adults,
as is so often suggested, but rather the
opposite. Adults imitate children. They
resort to babbling in what is no doubt
a more successful dialogue than most."
What makes such co-babbling seem
successful is the sense that one has
gotten beneath the evasions and
circularities of language, dug down to a
Rousseauian ideal of pure communication,
pure existence, and pure being that
cannot last.
Aristophanes, clearly aware of the
attractions of pre-verbal communication,
has his character in 'The Clouds' named
Strepdiades, who has an adult son,
reminisce nostalgically about just such an
exchange. He says, "Whenever you said 'bru,'
I understood and would bring something
to drink. When you asked for mamma I
would come bearing bread." These words 'bru'
and 'mamma' are not real words. In 'Clouds,'
this striking and even touching memory of
perfect communication arising from half-baked
childish vocalization contrasts
sharply with the mess of meanings made by
sophisticated rhetoric, that is speech,
at the end of the play. In closing, I
would suggest that the staging of the
most material and thus embodied quality
of voice is a means of grasping at some
most intrinsic part of the human
experience. Paying attention to the
embodied mortal voice in ancient drama
is, at its most successful, a means of
recovering a living expression of vocal
sound. And yet it is also an
acknowledgement that these voices are
trapped in time and lost in the past. We
cannot nail down the voices of the stage
or define them, yet nor should we dismiss
them. Cicero cites Demosthenes as being
asked the most important element of
oratory and answering, "Delivery," and then
giving the same answer were the second and
third most important elements too. As Shane
Butler writes on this passage,
"Delivery is more or less definitionally
comprised by those parts of an
oratorical performance that cannot be
transcribed." In this way, delivery is
precisely the aspect of Greek drama we
do not have and could not keep, even if
we had experienced it, a fact that
holds true for all perceptions of voice.
Drama combines the fleeting
temporality of existence, the corporeality
of actual people on a stage. Its
offering of presence and forthcoming
absence in the form of sound and
forthcoming silence is an act analogy
for the experience of having, if briefly,
a mortal voice. Thank you.
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AT&T Voicemail Viewer App | AT&T Account Management - Duration: 1:51.
The AT&T Voicemail Viewer app
is a convenient way to manage
your voicemail messages from
your wireless device or
computer.
For customers who have either
AT&T U-verse voicemail or AT&T
Unified Messaging.
By downloading the free AT&T
Voicemail Viewer app, you can
check your messages visually in
the order you choose or even
read them using the voicemail-
to-text feature.
With Voicemail Viewer you can
see when messages came in,
who left them, and if you've
chosen to combine your AT&T
wireline and wireless
messages in a single mailbox.
You can see whether they were
left at your wireline or
wireless number.
You can also see whether
messages are marked private
or urgent.
And you can even forward your
voicemail messages from your
wireless device via email.
To install and start using
Voicemail Viewer just go to
the app store for your wireless
device and search for
Voicemail Viewer.
You can also install Voicemail
Viewer for your PC or Mac by
going to att.com/vmviewer and
selecting 'Get It Now'.
On either your wireless device or
computer follow the instructions
to download and install the app.
When you start the app for the
first time enter your 10-digit
phone number and a 6-digit
PIN for your AT&T U-verse
voicemail or AT&T Unified
Messaging service and you'll
be on your way.
For more help setting up and
using Voicemail Viewer.
Go to att.com/vmviewer for
more information.
We hope you enjoy managing
your messages with Voicemail
Viewer.
Thank you for using AT&T.
-------------------------------------------
Best Indian Duppata Collection in amazon shopping online clothing - Duration: 0:41.amazon shopping online clothing
Duppata collection
-------------------------------------------
2017 Honda Civic Hatchback SI Sport type R and Interior Review - Duration: 4:13.
on the subjects used to come in a lot of
different shapes and sizes from the
stubby little TRX to the tall
all-wheel-drive civic wagon but long ago
the funding effect of mainstream
consumer take another way to say that we
are all she conned into pairs of city
clients with two biggest sellers this
event in the coop America even got its
own music platform while Europe and
other overseas markets continue to enjoy
a hatchback body style
this was last seen around these parts as
the 2002 confounding 5u cable TV well
that Anglo American pipeline that in
business at honda swindon England
assembly plant once again swings
interaction to produce to catch back for
America the return of the hatchet and
younger for years and more male-oriented
alternative to the sedan and coupe was
made possible by last year's
introduction of a comment civic platform
for all global market
now that there is one civic to unite us
all
honda has a better business case we're
importing less popular variants to the
US here the hatchback which carries a
dollar 502 premium over the today is
being plugged into the compact segment
as a way to grow incrementally volume
basically it's found life and possibly
had the way to staunch the outflow of
compact sedan buyers crossover on to
finally see some movement and America's
long-dormant article hatchback and is
hoping for 40,000 or 50,000 miles per
year a number that would give total
civic volume a healthy bumpy's that is
assuming they aren't mostly slides from
the civic sedan and food fire pools the
forthcoming match only type part will
certainly help draw attention to this
new budget back body style as well this
is not the return of the CPC or any of
the other thrifty hatchback versions of
Pacific that have come here over the
past four decades along the lines of the
mazda3 and ford focus hatchback the new
civic hatchback is basically again with
the garage door and back besides the
body styles namesake cargo opening as
well as the roof rear doors and rear
quarter panel all of the other sheet
metal is in common its advanced inside
the structure was reinforced around the
large hole to maintain rigidity but the
wheelbase end with are identical and
overall length shrinks by just 4.3
inches the most obvious physical
different besides the lack of a drunk
are the Gulf black face paint for the
exterior trim and deducting church in
the bumper which makes the hatch vaccine
less like a car anymore like a robot
with terminally flared nostrils and we
said it's supposed to appeal to you too
apparently want to be seen as having a
lot of hot gas to expel
-------------------------------------------
2017 chrysler pacifica hybrid Plug-in Drive - Duration: 3:48.
when the first chrysler mini vent hit
the market in 1984 they revolutionized
family transportation the front wheel
drive and offered car like ride and
handling in a compact shape that
preserved a lot of the space and
practicality of larger vans and station
wagon
it was a risky proposition at the time
as chrysler needed a mass market success
to save itself from bankruptcy the
decision to roll the die castings gone
down in history as one that not only
saved the company but dramatically
altered the automotive landscape many
events become the go-to family vehicle
until the more recent rise of the SUV
now chrysler finds itself in arguably
more stable financial position again
arguably the brand is making another
attempt at modernizing family transport
by introducing a plug-in hybrid variant
of its all new Pacifica min event not
only will it be the first of its kind
offered on American shores when it can't
be locked in early 2017 but it also
retains most of the space and
practicality of the Nagas right model
under the hood is familiar three-dot 6
litre v6 from the standard pacifica but
it has been revised private duty with
Newton camshaft and valve and it adopts
the ad thinking combustion cycle for
improved fuel efficiency under the
second row floor where the snow and go
heat could otherwise be attached
in the 16.0 kilowatt-hour lithium-ion
battery pack that Chrysler estimates
will provide up to 30 miles of pure
electric driving before the gasoline
engine is needed two hours and the 240
volts connection should medical charge
14 hours is required on 120 volts all of
this is par for the course when it comes
to plug-in hybrid powertrain but it has
specifically hybrid entity like electric
variable transmission that sets it apart
many hybrid drive systems used to AC
motor generators for propulsion to
recapture energy during closing breaking
in to regulate the engine is drive ratio
in the movie like transaxle is no
different
it was developed in-house by Fiat
Chrysler engineer's and uses a planetary
gearset the one-way clutch to direct
source and the two electric motors and
the engine to the differential chrysler
sense the system is more compact and
rival setups in post greater efficiency
brand officials are being coy about it
but the system is compact size should
make it easier to adapt the powertrain
to a variety of future products within
the FCA family for the Pacific hybrid
chrysler is estimating city fuel-economy
ratings at high of 82
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ПОЧЕМУ ЛЮДИ НЕ ЛЕТАЮТ НА ЛУНУ? ❤ Задай вопрос - Duration: 2:18.
For more infomation >> ПОЧЕМУ ЛЮДИ НЕ ЛЕТАЮТ НА ЛУНУ? ❤ Задай вопрос - Duration: 2:18. -------------------------------------------
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2018 Mercedes AMG GT & GT C Roadster! THE BEST MERCEDES! - Duration: 6:38.
AMG chairman Tobias Moers pushing his
branch pedal to the floor two years
after unveiling the spectacular mercedes
AMG GT coupe de leurs high performance
of grand display to drop derivative in
September and now we've been invited to
ride along with mowers and prototypes
undergoing testing late in the
development process where else to
exercise the GT roads and around Las
Vegas Sin City the perfect place to
sample the GT road search the City
embodies money and lips and the
surrounding landscape of otherworldly
terrain deep canyons is lined with many
wide open and lightly control highway
both standard g0 stir and a more
powerful GCC rotor were on hand the cars
being honored from the West hooked to
proving grounds near phoenix arizona AZ
AMG not testing in death valley
not anymore says lowers noting that his
team made its last trip there in 2015 we
can test everything in Arizona said and
Arizona allows for more easily
reproduced conditions and nearly as much
heat but a private facility where there
are no interruptions from the least know
the tourists with Mark phone for
prowling spy photographers here are the
details of the two models we wrote in
the base GT road to make 469 horsepower
the GP roadster 554 salad there also
will be a GTS roadster packing 503
horse-powered an open-topped version of
the hardcore GTR model is possible but
we couldn't get the worst dildos beans
foreshadowing a facelift that will
migrate to the GT cute both roadsters
for the new rent for grill inspired by
the 1952 300sl panamericana and first
seen on the GTR cute expect to see the
steam also filter to AMJ variations of
more mainstream Mercedes production cars
visually the clearest difference between
the base and the GC can be seen from the
rear and the seat features vertical air
outlet left and right plus a horizontal
flip between the sea life
it looks impressive and it underscores
the time to the GTR not only is the GBC
variant more powerful than the standard
GT but it has a wider track if Donny is
winded x 2.2 inches and there are
several schastye modification the
adaptive dampers are standard and the
tires grow from 255 / 35 r19 upfront and
295 / 35 are 19 in the rear 265 / 35 r19
front and 3 05 / 30 or 20 of ass the
gc's front brakes are larger there is a
four-wheel steering system and the
transmission gains an additional more
aggressive mode label break inside the
GT road there looks exactly like the
tube with one different the ceiling
mounted array of buttons that land the
coop of just like your MBA and seven
moves to the center console but under
why the cabin is unchanged the top can
be lowered or raised while the car is
moving and it maintains a tight seal up
to top speed which noted the 200
mile-per-hour threshold according to
Mercedes only an expert at the wheel
would notice the differences between the
GT and the GT roadster thankfully Tobias
Moers is one and probably the most
qualified of all he has been with AMG
since 1994 and the GT a spiritual
descendants of the go and sls the
instant classic that already fetches
incredible money is his baby
don't
love love love
really
-------------------------------------------
INSTA3D Show Your Move For more infomation >> INSTA3D Show Your Move-------------------------------------------
Crazy In Love For more infomation >> Crazy In Love-------------------------------------------
How to Drink: Jersey Sunset - Duration: 3:31.
- This is How to Drink,
the show about making cocktails
and how to drink them.
I'm Greg, and I have never been a professional bartender.
I've never even had a job in a bar.
I don't worry too much about precision
and technique because at the end of the day,
if the drink you like is in the glass,
we did it right.
Let's get going.
Let's make a Jersey Sunset.
This is a variation on a Sling from like the 1890s.
I don't think I've ever seen this served anywhere.
I'm from New Jersey though so...
Think of it like a classier Tequila Sunrise.
We're gonna do a half an ounce of Gomme Syrup
for this drink
Uh, we're gonna do two ounces of Apple Jack.
In this case, this seven and a half year old
Laird's Apple Brandy.
A lot of people don't know that prior to prohibition
the most popular distilled spirit in America
was Apple Jack.
As a matter of fact, the entire slogan
"An apple a day keeps the doctor away,"
was invented by, basically ad men,
on behalf of the apple grower's industry
because the only function for apples at the time
was to make cider and Apple Jack.
So they came up with the idea that apples were healthy
and that an apple a day would keep the doctor away.
And there we have apples,
and the idea that you should eat them
and not drink them.
We need a twist of lemon for this drink.
Uh, for a couple of reasons
because of the way this drink gets built,
I'm going to twist it over the mixing glass
and not the serving glass.
That's pretty good.
As a matter of fact, I'm going to throw that
right into the mixing glass in this case.
I'm gonna fill this with cracked ice and give it a stir.
(upbeat jazz)
I have my Sling glass ready.
I'm gonna strain this over it.
(jazz music)
The reason it's called the Jersey Sunset
is because of this float of bitters
that we're going to add to the top of it
that's going to cascade down, hopefully.
Hopefully.
(upbeat jazz music)
The original recipe calls for the use of Angostura Bitters.
I'm using the Creole Bitters from the Bitter Truth.
One, I love the taste of these bitters.
I often at night after work,
I just have some Creole Bitters and seltzer.
I'm actually running kind of low.
Uh, and, also I really thought that the
super bright red color here would be perfect for this drink.
Let's give it a taste.
I'm ready for this.
(jazz music)
That is a fun drink.
That's kind of like nothing else I've ever had.
I mean, that's really really really unique.
You really get the apples.
This is a great autumn drink.
It's a Jersey Sunset.
It's a classy drink for a classy state.
Uh, and it is though, because we call it Apple Jack,
but it's Apple Brandy.
You know, this stuff is not
armpit of the country booze juice.
This is legit stuff.
Hey, thanks for watching the show.
If you like it, I hope you'll subscribe.
I like to respond to your comments so leave me one.
Tell me what you think.
If you've ever had a Jersey Sunset
served a different way, or made a different way,
let me know.
If you hate the way I did it,
or the fact that I substituted Bitter Truth Bitters
for Agostura, you can let me know about that too.
The community at r/cocktails on Reddit
has been enormous for the support of this drink.
Thank you, so, support of this drink?
Support of this show.
Thank you so much.
I love hearing all of your comments.
Thanks for watching.
I hope you'll stay tuned,
and we'll make another drink for you guys next week
here on How to Drink.
Boy was that goofy.
That was dumb.
(clicks) Eh buddy, eh buddy!
-------------------------------------------
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For more infomation >> Toyota Verso-S 1.3 VVT-I COMFORT - Duration: 1:16. -------------------------------------------
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Mazda 626 1.8I GLX - Duration: 0:53.
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TYPES OF DOG OWNERS | Hashtag Zoe - Duration: 3:40.
Types of Dog Owners Hashtag Zoe
-------------------------------------------
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Lil Uzi Vert Type Beat "Nintendo" I Prod. BlinkinBeatz - Duration: 4:04.
lil uzi vert type beat instrumental instrumentals type beat 2016 free beat type beat blinkinbeatz lil uzi type beat lil uzi vert type beat 2016 lil uzi vert type beat free lil uzi vert type beat 2016 free lil uzi vert type beat 2017 lil uzi vert type beat free 2016 lil uzi vert type beat 2017 free lil uzi vert dbz type beat lil uzi vert type beat nintendo producer blinkin uzi vert nintendo type beat
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The Learning Experience Architect at Training 2017 - Duration: 1:28.
[music plays]
Hi! I'm Jennifer Hofmann with InSync Training.
Join me and members of my team at the Training conference in San Diego.
It'll be January 29 - February 1, 2017.
We're a sponsor of the conference, and we're also participating in many events.
I'll be speaking on the expo stage providing "7 Secrets to Pull Learners to Your Content."
If you want a more in-depth treatment of that particular topic, you can attend my breakout
session, "Engaging Modern Learners: When to Push and When to Pull."
I'll also be talking about our changing roles, because we're not just trainers or instructional
designers anymore.
We're curators, we're moderators, we're developers.
We are Learning Experience Architects.
So we'll go in-depth and talk about that a little bit more.
If you're looking for us, we'll be hanging out at the Training Technology Test Kitchen in the expo.
Ask for Phylise Banner, she is our newest team member and she'll be leading the discussion
about the Blended Learning Hub.
I hope to see you all in San Diego.
Thanks!
I'll see you online.
-------------------------------------------
[Eng Sub IN PROGRESS] PENTAGON펜타곤 '예쁨' Pretty MV Behind - Duration: 16:54.
Although this is a secret PENTAGON <Pretty> MV BTS
Hello, today we have come to a school in order to shoot the music video for <Pretty>
I will give a simple explanation on the content
(It's about) the first girl that a boy likes
He starts to dance
The female actor playing the role of his partner
Is Kim Chungha
I'm looking forward to seeing their compatibility
Fighting!
Even though today's conversation is very natural
It's very cute
Q. Who is cute? [Caption] E Dawn hyung
His acting is better than I thought
[Caption] Hello~
Our song <Pretty>
is a little different from the songs that we have been showcasing
It's a bit cute and it is a song that has a refreshing feel
Up till now we have been doing this
We want to show a different look
so we have been preparing
Q. The member with the most refreshing looks today? Kino is refreshing as expected
It's because his hair is purple
It's probably because his age is the closest to that of a student
Q. Jinho hyung has chosen you as the most refreshing member of today!
Me?
It's been a year since I wore a uniform
How is it? Does it look good?
Come with me to the rooftop
Why? Why?
[Caption] Because you said so...
Sorry, please don't follow me
Who's the boss of this school?
Who is the boss of this school!
He's great/dope! (pun: jjang as in boss or dope)
Old fashioned old fashioned
(Hui telling his joke about boss and dope)
old fashioned
Capsaicin~(an active component of chilli pepper)
Please give me the camera. Let's see what Jinho hyung will do
I'm sorry
Q.What is each member's acting style? Although E Dawn is good at acting, he is the type that kinda doesn't do it because it is troublesome
I'm a bit of the renaissance era (?)
Because I'm a romanticist
Even though his acting is bright and fresh it bleeds sadness
How about Yeo One?
(My acting style) is classical
How about Jinho hyung?
Be careful of falling (caution/be careful has the same pronunciation as principle)
*This is not a paused image
yeo one ssi!
It's a great timing to call Yeo One now. (thank goodness)
#A change of location to continue the shoot!
<Girlfriend> The reason why Yeo One's friends are angry/glaring.
Ah~ it's cold
Wah! There's sunlight!
A soccer match during their short break
Treating (the winner) to ice cream!
Treating ice cream?
You can't wear it during break (?)
Instead of treating to ice cream, a soccer match that will bet on the loser taking off their padded jacket is starting
A shaking foot no matter how many times kekeke
hyung hyung hyung!
Do it properly and seriously !
Do it properly ~
Please do it properly
Do it properly do it properly!!
Even though I do it properly
E Dawn ah~ Nice!
Wooseok who is watching his hyungs and learning
Hui serve!
Pentagon's mini soccer match Commentary by Wooseok
Woo seok ah~
Woo seok ah~
Woo seok to the rescue!
I can't see it
Succeeded in "rescuing" the ball!
#Victory HuiWonAn team won!
Take off your jackets!
No hot packs!
Take off your jacket! No hot packs!
Took off their jackets. Round 2 betting on hot packs
Betting on jackets and hot packs this time... Who is it for?
How are they unable to do it even once?
Hui hyungie is good~
He can do it
Not "skilled" but "can do it"
It's okay if you can't play soccer, just don't get hurt ;-;
Right now it's 4:3
Stay calm!
#This time JinDonManager team won!
Because we already took off our jackets earlier it's invalidated now
But anyway we have to shoot now?
Filming has started again!
Dance master <Yeo> who is receiving lessons from E Dawn
I don't know if I did well
It's time to go to the school gate soon
E Dawn and the manager won
One bag is missing
I have to remove 1 person
I won
Q.Did Yan An also win scissors paper stone? Me?
I was too tall to be removed
Jinho and Yan An who escaped with outdoor shooting/filming?
But there are benefits to being short too
Benefits to being short? That's right
1. When you ride in a car it's really enjoyable
2. Even if the ceiling is a bit low you don't need to worry about hitting your head
#Jinho talking about his experiences being late for school
Although it's bad, I was late quite a lot for school
Hey look, you're saying that it's better that I'm short right?
I was called because I am tall
Pros! (advantages)
-------------------------------------------
Resource List - Duration: 2:54.
For almost two years I've carried in my wallet a small handwritten piece of paper with
crisis lines and abuse hotlines on it.
I also have a typed full page with mental health resources specific to Eastern Missouri
I mentioned these just briefly in my Where Do We Go From Here video, #selfpromo.
Recently I recycled that version, typed up and printed a new version.
Today, I'm gonna talk about why I carry it, what goes on it, and how I made it.
Part I: Why
Part of my job as a library employee is helping
people find the information they need, and sometimes our library patrons also belong to vulnerable
groups.
I don't work in medicine, or mental health care, or homeless outreach.
But I do work in public service.
It's also my job as a human being to help people, especially those in need.
Part II: What Because I already have an entire paper with
Because I already have that entire page with
mental health resources, I didn't put anything like Behavioral Crisis Line or United
Way 211 on my small paper.
What I did was on one side put some Missouri specific crisis lines (including one with TTY for accessibility),
the national suicide text line, the national suicide crisis line, domestic abuse, child abuse, elder abuse lines,
including a local domestic violence line
On the other I put numbers for the Trevor Project Lifeline, including their text line
which despite its limited availability is crucial for those who can't call,
the Trans Lifeline, the GLBT National Help Center including the Youth Talkline and the SAGE line
It's important that help is available for everyone regardless of their age.
On the bottom of that I also have the ACLU for my area
and Planned Parenthood for my area.
Why did I devote half of this side to lgbt specific lines?
Because in this political and social climate we 're gonna have a bad time.
I think the inclusion of the aclu and planned parenthood are pretty obvious too.
Part III: How
I started by making a list of all the numbers I wanted to include in a regular
document, then I opened a document in OpenOffice Draw, the open source version of Microsoft
Publisher, and there's a version in the Google Office Suite as well.
In Draw I created a sheet roughly half the size of a piece of paper
and then added 2 text boxes.
One for one side of the page and the other for the other.
On the one side I put all my Missouri specific lines as well as the national suicide crisis line.
On the other side I put my lgbt lines, the ACLU, and Planned Parenthood.
I've uploaded a pdf version of this with space for your local lines, whether
you want to hand write them or type on top of the pdf.
Link in the description.
Then I printed mine out, cut it down, folded it, and put it in
Anywhere I go my wallet's in my bag no matter which bag, ergo, my lists are always there.
You never know when it might come in handy.
Thanks for watching, I'll see you next time. Bye.
In the meantime, do some good in this world.
I believe in you.
-------------------------------------------
[ VLOG ] Bali 2016 - Duration: 4:30.
For more infomation >> [ VLOG ] Bali 2016 - Duration: 4:30. -------------------------------------------
Best Books of 2016 - Duration: 8:08.
Bibliophiles of the internet, my name is Adriana and today I'm here to highlight the best books that I read in 2016.
So for those of you who are new here, I've been doing this format for the past few years and I really enjoy it.
Basically I'm going to list all of my favorite books from this past year, and then in a brief sentence or two,
I will explain what I enjoyed about that book.
It's pretty straight forward, but the reasons I'll be giving for including these books may be a bit more personal.
It's more about what I got from the story, how it impacted or enriched my life, or just my overall take-away.
And for those you wondering, I will NOT be ranking these books. I will be listing them chronologically.
I don't think there's anything else to add, so without any further ado, let's get started.
First up is "Goodbye Stranger" by Rebecca Stead,
because while life is a constant reconciliation of the past with the present, when we grown and change,
some people don't grow with us—and that's okay.
The "Hunter x Hunter" series by Yoshihiro Togashi,
because the goals you're so desperately reaching for now may change or may remain as distant as ever,
which is why it's the friends and the memories you fight to keep along the way that really matter the most.
"Crenshaw" by Katherine Applegate,
because those who are meant to protect us and shelter us are not infallible.
It's the willingness to face things together that gives us the ability to endure.
The first two books in the "Fairyland" series by Catherynne M. Valente,
because we must teach ourselves to listen not only to the dulcet tones of happiness, but to the echoes
of regret and sorrow, and with that attentiveness, there is truly nothing that we cannot discover.
"Kings Rising" by C.S. Pacat,
because we are NOT the things that have been done to us, but the choices we make after living through them.
The "Chew" series by John Layman and Rob Guillory,
because we may not control the abilities that we have, but we do have a say in how we use them.
"How to Live Safely in a Science Fictional Universe" by Charles Yu,
because the inherited burden of unfulfilled dreams is what keeps us trapped in the past,
a prison from which we can only release ourselves.
"A Little Life" by Hanya Yanagihara:
Sometimes the simple act of loving and allowing oneself to be loved is proof enough of survival.
"The Hundred Thousand Kingdoms" by N.K. Jemisin,
because even in mangled histories and distorted lies, there is some semblance of truth to be found,
if only we remain determined enough to find it, no matter what barriers we face.
The "Phoebe and Her Unicorn" books by Dana Simpson,
because the rarest kind of magic—yes, even more rare than a unicorn—is the perfect, timely treasure of true friendship.
"The Real Boy" by Anne Ursu,
because the world will try to teach us to fear what lives within ourselves, and we cannot allow it,
because it will be that fear, rather than our own abilities, that will limit us the most.
"Kindred" by Octavia Butler:
A wound, once opened, will eventually heal, if given enough time. But the open wound that is slavery
is one that we re-aggravate every minute of every day,
to the point where, collectively, we won't remember a time when we didn't have this scar,
as if it's always been a part of us.
"Santa Olivia" by Jacqueline Carey,
because the power of one person is nothing compared to the power of a symbol,
the product of a group's collective need to resist.
"The Raven King" by Maggie Stiefvater:
It's the way of nature to destroy, devour, and collapse, which is why it remains distinctly human
to keep on searching, to keep on questioning, to keep on creating—to willfully disregard that everything is finite.
"The Search for WondLa" by Tony DiTerlizzi,
because when we encounter something different, something out of the ordinary, something we didn't expect,
we can only better ourselves by recognizing the opportunity to embrace and respect
that which we do not yet understand.
"If I Was Your Girl" by Meredith Russo,
because in the age-old adage, "everyone is deserving of love," there are no exceptions.
"Pax" by Sarah Pennypacker,
because while heartbreak and loss are unavoidable, we can make ourselves stronger for when we meet them
by opening ourselves up to love in all of its frightening power.
"Every Heart a Doorway" by Seanan McGuire,
because it's the cold, brutal, unforgivingly extraordinary places where we're truly allowed to be ourselves
that we call home. Even if they have no further need of us, we will never really be through with them.
"Juliet Takes a Breath" by Gabby Rivera,
because when no one gives you the space or permission to be who you really are,
sometimes you have to find or even make space for yourself to exist.
"Some Kind of Happiness" by Claire Legrand,
because if you pretend long enough, the line between what is pretend and what is real will begin to blur.
Sometimes the act of telling the truth is, in itself, an act of healing.
"You Know Me Well" by David Levithan and Nina LaCour,
because we are not hopeless so long as we remember that we retain the capacity to have pride in ourselves
and those around us.
"Binti" by Nnedi Okorafor,
because marginalized people are expected to renounce or sacrifice their beliefs and cultures
in order to gain access to greater education—and, by extension, acceptance—which is exactly why
we must refuse to let them take it from us.
"The Rose and the Dagger" by Renée Ahdieh,
because we cannot forget the pain that we've caused others, because those who we've hurt don't have the privilege
of forgetting. More important than making apologies is the willingness to make amends,
over and over, as many times as it takes.
"The Star-Touched Queen" by Roshani Chokshi,
because freedom obtained at the price of ignoring or discarding the truth and all of its ramifications
is freedom not worth having.
"The Obelisk Gate" by N.K. Jemisin,
because these bodies were not made to merely survive. They were made to destroy, to desecrate, to resist,
and to unearth all the things they never wanted us to know.
"Shelter" by Jung Yun,
because sometimes the institutions that are supposed to protect us and validate us the most
become our greatest source of alienation.
"His Majesty's Dragon" by Naomi Novik,
because it can take someone from a completely different world to upend the principles you always believed
to be self-evident. The best kinds of friendships are the kind where the other person challenges you
to think beyond the things you were always told to be true.
"The Voyage to Magical North" by Claire Fayers,
because people need stories, to encourage them to keep searching for the impossible,
and because stories need people, to carry them on and to fuel their power and poignancy with belief.
"The Killing Moon" by N.K. Jemisin:
Sometimes to preserve and honor the institutions that shape who we are and who we will become,
we must destroy what came before.
"The Curiosity House: The Shrunken Head" by Lauren Oliver,
because the world doesn't get to decide whether we're monstrous or freakish just because we are different.
"Homegoing" by Yaa Gyasi,
because who and what came before us will never stop effecting our lives, even if there's no way for us to remember.
Merely existing in this moment, the very place our collective past has brought us, is an act of remembering,
an act of coming home.
"Crooked Kingdom" by Leigh Bardugo,
because when you're entitled to nothing and the world yields nothing but grief and anguish,
and everything comes at a cost, there's really something to be said about love and loyalty that's given freely.
"Ninefox Gambit" by Yoon Ha Lee,
because the greatest weapon in war is the propensity for knowing the human mind,
and recognizing that the side that prevails will be the one whose cohesive beliefs refuse to be shattered.
"Sorcerer to the Crown" by Zen Cho,
because our privilege in comparison to others' will always be relative.
It's when we become complacent about our implicit privilege that it becomes toxic,
which is why we need to use it to make a difference.
And finally, "The Inexplicable Logic of My Life" by Benjamin Alire Sáenz,
There is no one person we're supposed to become. We are all constantly in the process of becoming and growing.
So those are all my favorite books from this past year. Let me know in the comments if you have read
any of them, or feel free to share what were some of your favorite books that you read in 2016.
But that is everything I have for this video today. Thank you so much for watching.
I really hope that you enjoyed it, and I will catch YOU on the flip-side of the page.
Bye!
[♫ snazzy end screen music ♫]
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