Pregnant Vulva Images

Prague II

Three gloomy winter pictures from the Jewish cemetery in New Town. The whole district is architecturally well preserved only remained, because the German occupiers wanted to make it a "museum of the extinct race". Sad story of history.













And a morbid backyard:




--- article was iPad created on my

Position: Neruda, Prague 5, Czech Republic

Salomon Ear Pads Sound System

Prague I

New Year's Eve in Prague ... Freezing cold, but beautiful. German, where you look. Our hotel is located directly behind the Charles Bridge, as you can see.













The city is becoming a tourist. The center features more Russian and English signs, as a Czech. But as soon as you walk into the side streets, one is in a lost world, with subversive graffiti on every corner:












--- article was created on my iPad

Position: Štupartská, Prague 5, Czech Republic

Chetana Prithvi Mysore Mallige Metacafe

Lemmy the 65th

"If you sit by the river long enough, you look at some point the body of your enemy float by," says a Chinese proverb. Ian Fraser Kilmister, Lemmy called, but is certainly not a Chinese but British through and through, but on the career of the legendary frontman of the notorious Rock `n` roll band Motorhead, on 24 December celebrated his 65th birthday, the saying fits determined.
"We's been four years longer than the Third Reich," Lemmy said in 1991 by his band. to think in categories too tight, you can not blame the man also. Now there are already 23rd In 35 "on the Road" lay the veteran against a successful twentieth album (The Wörld is Yours). Time to ask how the hell it could even go so far.
Kilmister was born in 1945 as a child with protruding ears, a field chaplain of the Royal Air Force and a librarian. Circumstances that should be dominated. His own are still an irrepressible aversion - the father of the family in the lurch - against all things religious and any hypocrisy, an insatiable interest in the Second World War history and a great love of books.
Inspired by the rock and roll revolution of the 50s opened up Lemmy, as he is called since he was ten years, now other fields of interest: "I have found out that women do can bring to take off their clothes, if you have a guitar. And the shells are falling even faster when you can play on the guitar, too. "
After dealing with both had refined in various bands, moved into Lemmy Kilmister Swinging London in the 60s. There he worked as a roadie for Jimi Hendrix, which expanded his horizons enormously. Both in terms of music, as well as far as the virtuoso handling of drugs, a hobby, he should indulge into old age. The Hendrix crew, he recalled in his autobiography "White Line Fever", is sometimes so high was that you could observe some of the members in how they spoke in the park with the trees. "Sometimes came it even before that the trees chosen for the debate itself. "
After a stint at the Mad Space rockers Hawkwind (Silver Machine), Lemmy formed Motorhead in 1975. A power trio like Cream or the Experience. The stylistically similar to the angry political rockers MC5 should. In other words: ". Loud, fast, rough, arrogant, paranoid speed freak Rock'n'Roll"
With this blueprint, flanked by two street buddies, the speed-dealer Philthy "Animal" Taylor on drums and a hippie named "Fast" Eddie Clark on guitar, Lemmy rose 1977-1981 trilogy with the album Overkill, Bomber and the magnum opus Ace Of Spades, still crowned with the No. 1 live album No Sleep 'till Hammersmith, on a superstar.
could then only go in one direction - for now: "What should I bring for a live album that had made it to number one, yet? We were on the ass, instantly ", followed by numerous lineup changes, countless Todsagungen by the press -. How can a band to the skies praise, which claims itself if you move next door, your lawn would die? - And more comebacks. Currently there is
time again: Motörhead play in large halls, the documentary "Lemmy: The Movie celebrated recently premiered in Berlin (to be published on January 13 on DVD), itself a collection of the sayings of the most original heavy metal veteran, "Lemmy Talking" (Schwarzkopf & Schwarzkopf, 2010), came out.
What is it about the late success all about? People go for the same reasons to a Motorhead show, which drive them in dinosaur exhibits? A mixture of natural and historical interest sensationalism? Or is it that Lemmy the denim jacket as a cultural phenomenon and the existence of the Cowboys-White-depth industry has made great service?
It is clear that Motörhead at their intransigence and their unshakeable faith in the power of Rock and roll music of the lowest common denominator of punks, rockers and metal fans are, so they have virtually unifying character. In this they are at best AC / DC comparable.
can now "no one understood how bad it was before rock and roll! I had my before we loud music, it was for us only Frank Sinatra, Lita Roza, Ronnie Carroll and Dickie Valentine, "says Lemmy. This nightmarish experience seems to be the drive to never give up for him.
is thus preserved in this monument to hedonism whiskey the only remaining rock and rollers of the old school. Well, there's Keith Richards, but even the Rolling Stone has the Motörhead something ahead exchange Inspired by reports of similar joyful celebration Richards regularly let his blood, he wanted to try it also says Lemmy. "We therefore looked to my doctor and my blood were examined. When we came back the next day, he told me: "whatever you do, you can not exchange their blood - blood clean kill, you would," My blood was in a kind of organic soup turns - it included all kinds of trace elements related to .
only hope that one's prediction of rock and roll mutants Lemmy, "I play until I'm seventy. Then I fall dead from the stage "does not occurs. He lived the life of a 25-year-olds, it was just a very extensive 25th Age, he once said, mutatis mutandis. Let us, then just imagine that he approaches slowly on the 30th

Does Rape In Buses In Japan Really Happen

votes

you stand there in the bright light of the melody
the moment in the silence with nothing to
applies where there is dazzled by the splendor of the night,
for ever the truth investigated

Always introspective language and reason
A word that rhymes with no other word to
A seed that germinates less than the best ground
but his spirit

loses with a loud silence and closed eyes
we have looked at
Without think we have the
familiar world and read now faded pages

(25 December 2010)

Slogan Wedding Congratulation

Saint is Saint, as he sings and

For everyday users, the name Rock-Saint Vitus will cause little more than a shrug of the shoulders, others will be available at the kiosks may be a bitter herbs to mind. Doom aficionados, however added, his tone in the state of highest rapture. However, it seems that this subspecies of the genus heavy metal fan in the Brunswick area threatened with extinction. Only about two hundred mostly male hairy specimens gathered on Sunday 19 December, in the Meier Music Hall, to pay homage to the patron saint of dance.
Now it is the founded in 1979 in Los Angeles band that belongs to others, such as Pentagram, Trouble and The Obsessed of the pioneers of the second Doom metal shaft - the first was known only from Black Sabbath, in their dark heavy dragging sound these groups in the early 80's oriented - nothing new to be beaten with failure, a little more attention would be appropriate.
Back Done: The Graviators assume the role of kindling. With refined monotone psychedelic rock succeed in Sweden in a flash to pull the audience out of the winter apathy. Singer Niklas Sjöberg convinced strong with a bit of Ozzy Osbourne's voice reminiscent and typical northern tip resistance: the man tipped 6 beer during the performance and acts as Drumroadie after that for the main band. The old master himself begin
however slightly, er, slow. The band around singer Scott "Wino" Weinrich, one of the unsung heroes of genre which he next to Saint Vitus with countless other bands like The Obsessed, Spirit Caravan, Place of Skulls, The Hidden Hand, and most recently as a solo artist and with the All- Star-shaped Shrinebuilder project has fallen and Saitenhechser Dave Chandler, who works with headband and Waldschratfrisur as of the time, presented in a playful significantly better than at last year's Tour. This is mainly due to Chandler's obviously recovered mental and physical freshness, and the new drummer Henry Vasquez, of the last arg Represent subscribed by health problems and recently deceased Armando Acosta. Nevertheless, the spark will not really skip. Listlessness on and off the stage.
If after a few songs but then it Saint Vitus to pull himself to his own long hair from the bottom of the depression. Wino stretched the tattooed fists to the sky and roars like a wounded deer. Chandler weighs in a fever to the waist and falls into his typical delusional shredded guitar solos. Even the Stoic Mark Adams on bass escapes a smile. The fans are increasingly stumbling around in the St. Vitus dance. The setlist is irresistible. It shines with rarely heard pearls from the depths of the back catalog. In slow motion disaster heranwälzende hymns such as "Mystic Lady", "White Stallions," "Look Bhind You" or even "Saint Vitus Dance" and of course the evergreen "Born Too Late" make your heart beat slower. DC wants to suspend it entirely, as Saint Vitus a new song (!) Announce that fits seamlessly between the great deeds of the past and into the bargain on a new album (!) To be published.
"We have six or seven Songs together, "says Wino for a still great concert. "If everything goes smoothly may seem, the plate in the second half of 2011." The problems with Chandler, which led in 1991 to the split, had been eliminated before the first reunion in 2003, insists the Harley fan, the home straight to an old Shovel - and a Panhead screw around. "For some reason, people are interested now back to Classic Rock. Why I do not know, maybe it is the Internet, we discover that young fans again. So makes sense to publish. Nevertheless, I do not do this for the money, but because I love this music and make people a pleasure wants. "To do otherwise would make in the face of yesterday's audience interest throughout the oven also clearly makes no sense.

The text was published on 21.12.2010 in the Braunschweiger Zeitung

Whipping-in-mainstream Movies

Restless

I am the shadow of earth and air
Bin planted deeper than the heart
Bin reason that new life will
Bin wind through the ears dancing

I am the thunder that resounds loudly
by mountains, forests, sea
So I fly, never stop
find and pull my life around

(17 December 2010)

Make Mochi Without A Machine

Metal Mass crashes with Motörhead in Hanover

They are loud, they are hard and they bring presents: Motörhead, the legendary rock and roll band goes traditional in the Christmas season on tour in Germany . On Wednesday 1 December, they played at the AWD-Hall Hannover to a full house. Real Motörheadbanger can be of Lapalie as snow does not just stop.

because the group is something like the Catholic Church of the Hard Rock: The oldest institutional guardians of a world view. Here the music there the religion - the transitions are fluid, the parallels obvious.

is conspicuous not only the birth date of singer and chief Ian "Lemmy" Kilmister: Christmas Eve. Analogously, the somewhat anachronistic organizational structure as a power trio, as the trinity of guitar, bass and drums in the '60s have become popular tape format.

is also in accordance with the biblical age for a rock band. The current record, The Wörld Is Yours is album number 20, were on the 35th Band Year published shortly before Lemmy's 65th Weighing party.

But do not worry: the man in black, as always, is in his shirt, tight jeans and cowboy boots, his Sheep and just before retirement age yet powerful read the riot act. With open Verve Reverend Lemmy and his acolyte, guitarist Philip Campbell (49) and drummer Mikkey Dee (47) their 90-minute show.

hymns are sung not: "We Are Motörhead" is confident the first song, a fiery Rockmustang galloping from the younger band's history. The takes on the song selection at all surprisingly large. With all-new titles such as "Get Back In Line" and "I Know How To Die" - would have liked to be heard by the new, the wonderfully mangy Metal-rock charm of the album Orgasmatron-day sprayed everything - comes from a third of the new songs Milemmyum, Millennium forgiveness.

Some rock is the Pharisees, as if suddenly in the Sunday school instead of the good old Genesis read only the most recent book of the Bible, the Book of Daniel. But who will ever hear the same sermon?

Even more variety would have been good. For example, the recently-established advertising for beer blues version of evergreens Ace Of Spades. But maybe that would be too revolutionary for such a venerable institution, even if it's called Motorhead.

Published in the Braunschweiger Zeitung, 3 December 2010, Culture, page 16

Commercial Kitchen For Lease, Columbus Ohio

of disciplining the revolting youth - Note to JMStV

Right now, the JMStV, a law that should prevail in the (German) Internet tighter age restrictions on the Internet debate. Notably from the point that there may be (which will be judged quite differently from Jurist_innen) endangers freedom of expression on the net, as it set the Betreiber_innen of blogs as a warning to an incalculable risk, risked significant fines, should as the self-assessment of content do not meet any official standards. I would like at this point on their way, this has been said elsewhere a lot.

As for me, but in addition to the threat of my freedom of expression, as could the whole child protection history, even annoying is how people are defined by the law as teenagers or children, will be covered: How a vegetable that in order for the ideal image of our state to grow, even properly cast, cut back and only occasionally is not to be doused with too much crap. As a pure state, and patient educational training efforts. So it seems, a hundred years after Freud, nor always give a kind of idea that children come as somehow pure essence of the world who would not by itself sexual aggression, enjoyment of the representation of violence or interests. The fact that these things are possible, but stay away from them and taboo needs to grow up the little angel breasts and beards, and then they are themselves old and vicious. That the development of a human being but never just a result Erziehungsbemühung (which exist as such only recently), but always also the result of their own self-activity is, in this view as not available.

Especially with regard sexual content I've still never even the hint of a scientific justification read it, deny such content young people. Of course one could argue that mediate sexual practices depicted in pornography as sexist ideas, but then the selection is not as yes. Finally, apply to feminist porn as well as any other release criteria. Instead, children should be taught by venerable Biologielehrer_innen that the penis penetrates the vagina because you so very fond of her or something. Next hour, then dissected frog legs. That you can not even have a relationship to be good sex, and even all by yourself, find the fact so sooner or later all out anyway. Naturally coy about indications, Behind the house at night to do something in the consciousness of dirty, unnatural, because otherwise there would be nothing to hide. And so the sexual morality is in the next round, as soon as become of the young people themselves adults with children, where sexual interests of children (or sexually interested in children) as disgusting and unnatural to see them because them their own desire was taught as a child as such. Please forgive my amateur psychology, but in fact I think the youth protection is a tool of a pathological society to be against their children, who you know, to say nothing in it.

The only good news is probably that the networks that we have made as children, probably difficult to crack, as long as it is not possible the educational supervision with their thumb screws and blinders on all day to extend. And as long as these networks exist, young people will continue to have opportunities to objects of their interest - whether information, media, computer games, drugs, or experience - to go. This is also a form of class struggle. The JMStV in this respect is another attack on the curiosity and spontaneity of young people. But that seems to interest nobody, not even among liberals. But we are no longer children ...

Watch Family Guy Online On A Ipod

The Turks and the Turkish culture creators

Europeans began in the 19th century to investigate the origin of their languages, because they had been released from the spell of old sectarian and pseudo-scientific traditions from the Orient and independently tested for knowledge. They discovered the common origin of Indo-Europeans whose languages extend over an entire continent from the west coast on the Atlantic Ocean to India and Central Asia. The Indoeuropäistik deals with this issue and requires a vast linguistic knowledge.

starting After the peaceful migration of peoples around the middle of the last century from Asia Minor, as this land was known in antiquity and today Turkey is called, is spoken in Europe a very interesting language in addition that has just as much importance as the Indo-European. Turkish belongs to the Altaic languages and is used, how to accept it gladly and with the Mongolian, but also with the Japanese, which generally is not at all known.

the Japanese defend themselves while vehemently against a cultural or linguistic influence from outside their island kingdom and consider themselves authochton clear, but the linguistic similarities between the Turkish and Japanese this view to be wrong.

That is easy to prove in some grammatical phenomenon.

Both languages have the Agglutinaton have regular endings. Postpositions instead of prepositions are used.

Declination:

Turkish genitive-n, no Japanese
dative:-e, Japanese-e

no article, the plural is used only sparingly.

Tempus:
Turkish past tense:-di,-ti, in Japanese-ta

sentence structure:
SOV subject - object - verb in both languages equally.
clauses to be placed before the nouns to be determined.

A Turk can easily learn Japanese as a German, because his grammar is much more like the Japanese.

The linguistic similarities between Turks and the Japanese can only conclude that the Turks were in the distant past culture creators of the first order, which manifests itself in the Japanese language and associated culture. In other words, without the Turkish culture would push the Japanese culture is not as developed as it is today. The culture was then drift out of Turkishness in the east to the Pacific Ocean. And that is a tremendous creative power.

Motorola Phone Tools Knock Off

Brecht's political aesthetics

This text Brecht's political aesthetics is a small excerpt In my last paper, that I will once it has been graded, may still post altogether. I think Brecht is as a theorist surprisingly interesting, what has surprised me in my research thoroughly. I have removed the footnotes, because I think it was too complex to be transferred to this format.

first Dialectic as intrusive practice: The theoretical background

Brecht, who turned in the twenties to Marxism and in its reception influenced by the as "Links dissenters" from the Communist Party expelled theorist Karl Korsch was seeing those same Marxism in decline understood. The reason for this could he in a "Bolshevism" of Marxism, in its flattening to a objectivist, determinist, and completed worldview. In particular, the collection of so-called Widerspieglungstheorie the general dogma, he was the object of the critical content of dialectical materialism. The states of Lenin and his reading of Marx outgoing Widerspieglungstheorie that the "superstructure" (the different in a society existing forms of consciousness, thoughts and ideologies) of the "material base" of society (productive forces and forms of organization and power relations) is followed by likeness. So nothing more tangible than a direct translation Conditions. In contrast, Brecht argued with Korsch, a relative autonomy of the forms of consciousness to the society, and the potential of the "superstructure" to the "base" zurückzuwirken. That is, the relationship of the material conditions of society to their forms of consciousness is a dialectic, they are intertwined. A revolutionary practice makes it not only necessary to eliminate the material basis of capitalist production, such as by means of production, they must also accept the bourgeois forms of consciousness. It follows not only a change of policy, this can also be assigned to the superstructure of the Arts play a different role than the one the official cultural doctrine of the Soviet Union her about zugestand.1 in affinity for the ends of Walter Benjamin's famous essay "The Work of Art in the Age of Mechanical Reproduction" raised demand of the politicization of art, so in Brecht's concept of art as a critique of ideology "engaging practice" and "dialectical superstructure work."

second Epic theater and socialist realism

Brecht turned on the basis of his theoretical considerations against the "Aristotelian" and "illusory" theater of his time. The audience should not, as rise in a classical drama, in identification with the protagonists and are eagerly awaiting the climax to the work all the scenes in order to then learn something of a purge of its emotions (catharsis). Rather, Brecht demanded an aesthetic that allows a "relaxed" and therefore a public reception that the distance has to discuss the events on stage to think critically and express their opinion. Instead of touching and emotional to talk, should the theater of Brecht conceived also send critical knowledge to uncover the meaning of Marxist ideologies and practices encourage. And to convey to the audience instead of an illusory world, should him "into the hand of" the real world as contradictory and variable. This was not only the content but also formally to the traditional theater does not have.

The so by Brecht in his criticism of the classical theater Epic theater developed is characterized by the following features: Each scene must be able to stand alone. The interest is to apply not only to the final, but every single part of the piece. It is intended to prevent the audience from the empathy by the events and the protagonists do not naturalistically represented, but are alienated. Even the actors are not completely absorbed in her role, but also as a performer and as shown Person on stage presence. Another feature of the epic theater is his "realism". This means in the Brechtian sense, not a naturalistic representation, but rather to the epic theaters by its content and its formal structure (which are not in Brecht thought separated from each other) social processes and operations to understand and criticize from a class standpoint. This was by mere representation of reality can not afford, as the reality, "slipped into functional and that there are thus no more direct access to it. The art that seeks out the reality, must be rather a reordering of reality to the "social Causality advance. Important elements of this are reduction in force and parabolic shape abstraction. Realism in this sense is not formally fixed, but it could be described as an attitude.

Brecht demanded, according to its realistic claim, on the one hand the integration of scientific theories in the field of art. On the other hand, he saw it also as a necessity to experiment with new forms of expression, as well as review old expression critical, not only of changing conditions of reception to meet, but also the changed and constitute ever-changing social conditions appropriately to these. This conceptual he both knowledge and forms of expression and literary techniques as part of the "productive forces" in the field of art. Among the literary techniques that were incorporated in Brecht's epic theater, was one such assembly, alienation and inner monologue. As for scientific theories, flowed next to the Marxism and the experimental method of Francis Bacon one. The inclusion of scientific theories is not limited to the issues, but also relates to the form: How Brecht regarded his plays as well among other experimental arrangements should be made visible by the performance aspects of reality. Overall, one can say that Epic Theatre always the experimental Attempt to make the ever-changing social reality and transparent by enabling the recipient to intervene in them.

third Alienation effect and historiography

The aspect of alienation deserves further explanation. Roughly speaking, it is with him an artistic change of any process in the piece, which takes for granted that his and his "natural" and therefore draws attention to this process. To quote Brecht "an action or a character alienate was first called simply the process or the nature of the self-evident, acquaintances, Enlightening to accept and to generate curiosity and wonder about him. " The purpose of the alienation effect is thus a moment of irritation create that inhibits the identification with the action on stage, while forcing to think about what is represented and to give his position. At the same time it can also convey a particular point about the alienated. The alienation effect can be achieved in different ways and it can take place at all levels: the structure of the piece as a whole may well be alienated like the appearance of individual actions by the actors. Much is a matter of staging and presentation by the actual actors, but also the play itself may contain alienation effects.

An example of such an alienation effect is the "historicizing". In this narrative technique to be laid the represented events and conditions in a past time and therefore as historical, that is transient and surmountable, as shown. This is to stress differently than the update of a historical material, the distance between present and past. Thus, the present itself should be seen as "historic" and changeable, so far as that all human practice is historical practice and the new arises only "by the Old circulated, continued to be developed.

4th Brecht's radio theory

addition to the epic theater wrote Bertolt Brecht and radio theory and radio plays. The radio, he attested to the potential, a kind of social communication apparatus for self-understanding and collective learning of the population to learn if this addition to sending and receiving would, therefore, by the strict separation of listeners and broadcasters would be repealed. He did this and also several proposals, such as significant events to be broadcast live, most of which have now been implemented in one form or another. Of course not, as Brecht hoped this "ideological institutions" to undermine this. He saw in the epic theater and the radio the opportunity to complement each other. But he also wore on his aesthetics on the radio that he wanted to know opportunities exploited. In particular, to "activate" the otherwise merely passive rezepierenden audience understand what was in his radio play "The Lindbergh Flight" to quite literally: In the original, it stipulated that the voice of the protagonist of the audience will even spoken. The radio play "The Trial of Lucullus," in which there is a court that is held in the Hereafter a great commander left, at least in the original version the determination of the guilt or innocence of the accused to the audience and thus demonstrates how the activation of the audience can be understood.

Literature:

- Breuer, Ingo: Theatricality and memory. German-language historical drama since Brecht. 1. Ed Köln [ua]: Böhlau Verlag 2004th

- Brüggemann, Heinz: Literary Technology and social revolution. Experiments on the relationship between art production, Marxism and literary tradition in the theoretical writings Bertolt Brecht. 1. Ed Hamburg: Rowohlt 1973 (The new book, 33).

- Dickson, Keith A.: Calendar stories. 1. Ed London: Methuen Educational 1971st

- Hecht, Werner Brecht Chronicle. 1898-1956. 1. Ed London: book rack shaft 1997th

- Kim, Hyung-Ki: A comparative study of Brecht's theories in the "brass knob" and "Little Organon for the Theater." 1. Ed Frankfurt a. M.: Lang 1992 (European university studies: Series 1 German Language and Literature, 1293).

- Benjamin, Walter: The Work of Art in the Age of Mechanical Reproduction. In: Walter Benjamin. Collected Writings. Ed. by Rolf Tiedemann and Hermann Schwepphäuser. 7. Edition, Vol 1.2. Frankfurt aM: Suhrkamp 1991, p. 471-508.

- Benjamin, Walter: What is epic theater? In: Walter Benjamin. Writings. Ed, and more Theodor W. Adorno, Gretel Adorno. 1. 2nd edition, Vol Frankfurt a. M.: Suhrkamp 1955, p. 259-267.

- Brecht, Bertolt: The Radio as an Apparatus of Communication. In: A new radio play. Essays, analysis and interviews. Ed by Klaus Schöning. 1. Ed Frankfurt a. M.: Suhrkamp, 1970, p. 9-14.

- Lucchesi, Joachim: The Trial of Lucullus / The Condemnation of Lucullus. In: Brecht manual. Pieces. January ed. by button. 1. 1st edition, Vol Stuttgart: Metzler 2001, p. 401-416.

- Vormweg, Heinrich: radio play-maker Brecht. In: radio play-maker. Author profiles and essays. Ed. by Klaus Schöning. 1. Edition. Königstein / Ts. Atheneum, 1983, p. 13-26.