text:
My Hero Academia II - Bhyyyyyyyyy
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Thread: My Hero Academia II - Bhyyyyyyyyy
October 18th, 2020 11:00 AM #6061
zeltrax225
Re: My Hero Academia II - Bhyyyyyyyyy
I always thought Doflamingo's family relationship was that of manipulation and a false kind of loyalty.
I mean, it fits with his puppet theme too.
I thought that was quite apparent in the snippets with Baby G and Monet's death.
Also I won't call them comrades as much as them, Trebol especially, spoiling the shit out of him.
But I get that the point is LoA does it better and is more of an authentic relationship.
October 18th, 2020 02:27 PM #6062
maxterdexter
Right behind you
The thing about the Doflamingo family is that it is both manipulative and genuine, Doffy really went balistic when Monett died, and forgave things that any other One Piece villain would have made juliene his minions family off, and he seemed hurt about Violett. But then again we know he's manipulating and indoctrinating the kids, and how he's keeping Baby 5 on a short leash (But then again, she was easily manipulated by a bunch of people could be interpreted as a brother protection, but then again AGAIN helping her overcome that trait should come before keeping her "safe" by murderous means).
My interpretation is that he built a fake family, he believed, and with Trebol and the elder family enforcing it, and the younger family being indoctrinated to it, it just stuck, but it is a kind of self serving, coddling love that led them to become complacent.
While the League just is Shiggy and Dabi having their own agendas, and Toga, Twice, Magne and Spinner humanizing them believing that they are the same kind of rejected from society, and creating friendships (not family yet) between eachother.
Compress scares me tho.
3DS FC: 0516-7666-3837
Originally Posted by maxterdexter
Hm, interesting. I mean, yeah, there has to be a very good reason why Horikoshi hasn't even touched on Mr. Compress. Whoever he is and why he's doing what he's doing could be a potential game changer. Look at Dabi, I'm totally convinced he's got some huge plans in the works no one but him knows about.
Kick-Ass Finalis
I like twice making a family in the league because he had nowhere else and being so broken that he has caused them harm. It feels personal. In the same way when Toga is just killing a bunch of heroes out of revenge that's fine. Where it loses me it's when those terrorists are wondering why society are such dicks to them like wondering why was the ticking time bomb Twice was killed by heroes supposed to protect people and it seems also attacking Ochako because if she she kills her trying to defend herself that will prove heroes are hypocrites somehow. And the problem is a lot of the leagues are really into their politics and being the real victims.
I like the Doffly family has Dofly's makeshift family after he felt betrayed by his real one and also I like the idea that the 4 suits encouraged Doffly purposefully sense of superiority while they themselves found purpose in Doffly greatness. A very unhealthy symbiotic reaction which he then extended to others like him. And I took his disdain of Bellamy to be because while him and all the other members had to be pirate because they lost so much or had nothing else Bellamy just gave on everything to come play pirate. He was basically a mockery of their struggle.
Cyan D. Funk
Huxley U.
The Legion of Doom didn't deserve Twice.
They totally deserve Dabi though.
He talks about you in his sleep, there's nothing I can do to keep
From crying, as he calls your name
Has no class
LOV feels like an instance of the author wanting to have his cake and eat it. It's like if Blackbeards crew constantly kept talking about social justice and how they are being kept down by pirate society rather than owning up to the fact that the only thing they actually want is to rule over the seas. I feel like the narrative keeps trying to paint this grey morality of the villains actually just wanting change and justice but every time you see them, all they really want to do is kill people and destroy buildings
JulieYBM
生意気な妹
That's why it comes across so heavily that Horikoshi views the State and heroes as being in-the-right, while trying to muddy the waters by just claiming the 'villains' to be sore losers. It's honestly just really insulting because it's telling those with health issues or those who are marginalized for their gender, sexuality or other immutable attributes that they deserve what they're getting and it's wrong to try to fight back because the system is ultimately always right.
I just took it as, Toga is fuvking nuts. She's technically got a point. But she's also dead wrong in regards to the more murder happy members lol. She's not willing to try and curb her tendencies which put people in harm's way so she's unable to see why the rest of society would have a problem with her lol.
I still felt Hawks could have tranqed Twice at any point since he fully trusted him.
That's why Gentle is a better character than Shiragaki and would work better as a sympathetic main antagonist that can be redeemed.
I think Toga is supposed to represent a natural born psychopath that deprives only joy from killing, which is like what, 0.01 percent of the population? except it's a real wreck because the narrative wants to find a middle ground but that's not even possible in our world. Maybe the author has a social thinking that is light years ahead, that can come up with a solution where walking psychopaths can be accepted by society.
It's also annoying because Toga is like on the far deep end of the spectrum, I'm not even sure that's mental illness as much as an inborn genetic trait like the many fictional characters we've seen in other series.
Lord Gaimon
Originally Posted by zeltrax225
everything bad that happend to gentle was his fault though, he's a complete loser.
Last edited by Lord Gaimon; October 19th, 2020 at 11:14 AM.
Handsome Swashbuckler
That's exactly what makes him sympathetic.
Losers generate pity quite naturally.
And pity often goes hand in hand with rooting for the person to turn things around.
So..... him being a loser doesn't make him unsympathetic.
---------------------------------[Youtube]-[Patreon]-[Twitter]---------------------------------
Originally Posted by MDL
not when being a loser is entirely 100% his fault.
shigaraki is more sympathetic than him and he's a mass murderer.
Gentle is barely a villain. He's pretty much a failure at heroics and villainy.
DestinyDogma
Regarding Toga, I always thought that her flashback showed us that both his family and the quirk counceling failed her, since they tried to deal with her natural attraction to blood with a "just act like the others and bottle up that need" She was not born a monster, but became one because of lousy parenting and inadequate mental care.
And talking about Gentle, the guy really touched me back then. He is the kind of character that evokes what you feel when you see how your old acquaintances have achieved their goals and are doing better than you. At least, that´s why I connected with him.
For me it felt genuine, I mean, no one was there with Vergo in his last moments and Doffy still gave him his respect. The family may have its issues, but I think Doflamingo feelings were sincere.
Considering how fast Giganto is moving, isnt Toga stuck there now?
PatTraverse
Originally Posted by glass
I think it all comes down to Horikoshi simply not being good enough of an author to tackle such a big subject properly. It does not ruin the story but he would have been better served doing a classic good vs evil struggle.
Jersey.
Yeah, sometimes you can be sympathetic and relatable and still be wrong. Toga is super wrong here, and this whole thing is going to end badly. Yes, you kill people who stop other people from saving people, or kill people who kill other people. You ideally don't want to, but not everyone is All Might so drastic measure might be needed.
Although, considering Ochaco wants to be like Deku who wants to be like All Might, this answer might get more complicated. I'm interested to see where she goes with that, even if this scene feels like it's interrupting everything else is going. I mean, Deku and Shiggy have basically already torn each other apart by now, so it feels weird to add new conflicts, but okay I guess we're here now.
Originally Posted by Lord Gaimon
I was going for the "he made a mistake once out of good intentions but the world punished him so he sprialled" approach so he could represent that the society needed fixing.
But hey, I get where you are coming from that a portion of it is likely due to him being weaker than average (in terms of stats).
However, that is why it is more interesting to me if he could represent the people who want to be heroes but can't be because of how the society judge certain criteria.
He's pretty much an anti-thesis to Deku.
If Deku was bullied by the society because of a mistake out of goodwill, who knows what he will turn out to be either.
I don't think he's completely a loser, he does bad things but never to the extent that it will harm lives or result in deaths like the LoA.
His character is rather understated but labelling him a failure because he never goes to succeed at either is a simplification.
I don't have much to base on because of the lack of content but I always thought he was a character that constantly struggle between doing the right thing and going full villainy.
That control is much more respectable in my eyes than spiraling into evil or a life of nothingness.
It's like he wants to make something good out of his life but will never cross that border into villainy.
He's a much better lens to work with to look at the inequity of the Hero Society that AM created rather than Shiragaki but all this is just some of my bias speaking too.
It is disappointing when the narrative brushes his character and problem off with Deku handing him over the authorities and moving on, even after somewhat understanding his circumstances.
That's kind of where I know where the plot of Hero is likely to go but it's a guess anyway.
Last edited by zeltrax225; October 20th, 2020 at 12:47 AM.
November 4th, 2020 09:03 AM #6079
https://mangaplus.shueisha.co.jp/viewer/1007914
Dabi's livestream starts in 5. Iida is on the scene, Bakugo and Neijire better watch their hands.
November 4th, 2020 06:34 PM #6080
We're hitting the end of the arc (for real this time). Now, this would be the perfect time for Best Jeanist, Wash, and the Pussycats (Hori probably put them on hold just so they can appear here) to show up. Wow, after all the jokes I can't believe there's actually a chance Wash is showing up to fight the League.
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text:
Max Raabe (born Matthias Otto, 12 December 1962) is a German jazz singer. He is best known as the founder and leader of the Palast Orchester.

Career
Raabe developed an interest in the sound of German dance and film music of the 1920s and 1930s, such as the songs of the Comedian Harmonists, from seeing old films on television and from his parents' record collection. He formally studied music at the Berlin University of the Arts, intending originally to become a baritone opera singer. He and eleven other students formed the Palast Orchester in 1985.  The ensemble initially used music arrangements that Raabe found at various flea markets.  The orchestra practised these arrangements for one year without any public engagements or performances. The orchestra first performed publicly at the 1987 Berliner Theaterball, in the lobby as a secondary act, but with such success that the audience left the ballroom to hear the orchestra's performance in the lobby. Raabe and the Palast Orchester had a hit with his 1992 original, Schlager-styled song "Kein Schwein ruft mich an" ("Nobody ever calls me", almost literal translation: "No sow calls me"), a pop song in 1920s style.

In addition to covers of vintage music, Raabe writes original songs and music, including film music.  He and the orchestra have also created covers of modern pop songs in a 1920–1930s band style, including songs by Britney Spears, Tom Jones, and Salt'n'Pepa. Raabe has also made a number of cameo appearances as a stereotypical 1920s and 1930s singer and entertainer in a number of films by German directors, such as Der bewegte Mann (1994; English title "Maybe, Maybe Not"), Werner Herzog's Invincible (2001), and Wenzel Storch's Die Reise ins Glück (2004). His live theatre performances have included a 1994 appearance as Dr. Siedler in the Berlin "Bar jeder Vernunft" version of The White Horse Inn, and 1999 performances as Mack the Knife in Kurt Weill and Bertolt Brecht's The Threepenny Opera alongside Nina Hagen.

Raabe first performed in the USA in Los Angeles in 2004. In 2005, he performed his first concert in New York City's Carnegie Hall and returned for subsequent engagements with the Palast Orchester in 2007 and 2010. In 2011, Raabe produced an album, Küssen kann man nicht alleine (You cannot kiss alone), with former new-wave musician and producer Annette Humpe, who also wrote the lyrics. His latest album, also with Humpe, is Für Frauen ist das kein Problem ("It's no problem for women"), released in 2013.

In 2022, Raabe made an appearance as himself in the 1920s neo-noir series Babylon Berlin, in which he performed a single titled Ein Tag wie Gold.

Discography
 Die Männer sind schon die Liebe wert (1988, Monopol)
 Kleines Fräulein, einen Augenblick (1989, Monopol)
 Ich hör' so gern Musik (1991, Monopol)
 Live im Wintergarten (1992, Monopol)
 Dort tanzt Lu-Lu! (1994, Monopol)
 Bel Ami (1995, Monopol)
 Music, Maestro, Please (1996, Monopol)
 Die größten Erfolge (1996, Monopol)
 Mein kleiner grüner Kaktus (1997, Monopol)
 Tanz-Gala (1997, Monopol)
 Ein Freund, ein guter Freund (1999, RCA Local/Sony Music)
 Junger Mann im Frühling (1999, Monopol)
 Krokodile und andere Hausfreunde (2000, RCA Local/Sony Music)
 Ich wollt ich wär ein Huhn (2001, RCA Local/Sony Music)
 Charming Weill (2001, RCA Local/Sony Music)
 Superhits (2001, RCA Local/Sony Music)
 Vom Himmel hoch, Da Komm' Ich Her (2002, RCA Local/Sony Music)
 Superhits Nummer 2 (2002, RCA Local/Sony Music)
 Palast Revue (2003, Warner Special Music)
 Max Raabe singt (2005, Monopol/Sony Music Austria)
 Wochenend & Sonnenschein (2006, RCA Local/Sony Music)
 Komm, lass uns einen kleinen Rumba tanzen (2006, Warner Special Music)
 Advent (2006, RCA Local/Sony Music)
 In Der Bar (2008, Sony BMG Music)
 Heute Nacht Oder Nie (Tonight or Never) (2008, SPV)
 Übers Meer (2010, Decca/Universal)
 Küssen kann man nicht alleine (2011, Decca) (with Annette Humpe)
 Für Frauen ist das kein Problem (2013, Decca) (with Annette Humpe)
 Für Frauen ist das kein Problem – Zugabe Edition (2013, Decca) (with Annette Humpe)
 The Golden Age (2013, Decca)
 Eine Nacht in Berlin (2014, We Love Music)
 Der perfekte Moment... wird heut verpennt (2017, We Love Music) (with Annette Humpe & Peter Plate)
 MTV Unplugged (2019, Deutsche Grammophon GmbH, Berlin)
 Wer hat hier schlechte Laune (2022, We Love Music)

References

External links
 Max Raabe's home page (English, German and French)
 Max Raabe and the Palast Orchester on MySpace
 Opus3 Artists agency page
 Goethe Institute page on Max Raabe
 "Max Raabe's Palast Orchester: Timeless Elegance".  All Things Considered (National Public Radio), 19 October 2008.
 Chicago Symphony Orchestra page on Max Raabe
 Helnwein Museum, "Marilyn Manson Marries Dita von Teese at Helnwein's Irish Castle. Helnwein is best man''. 3 December 2005
 All About Jazz, "Max Raabe & Palast Orchester Release and US Tour". September 24, 2008
 Max Raabe in Israel. Documentary, Germany 2012, Production: BR, Bavarian Broadcasting TV, (in German).

1962 births
German bandleaders
German baritones
German parodists
Living people
Parody musicians
People from Lünen
Berlin University of the Arts alumni
20th-century German male singers
21st-century German male singers
Recipients of the Order of Merit of Berlin

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text:
namespace SceneEngine
{
    void    Rain_Render(RenderCore::Metal::DeviceContext* context,
                        LightingParserContext& parserContext)
    {
        TRY
        {
            using namespace RenderCore;

            auto cameraPosition = ExtractTranslation(parserContext.GetProjectionDesc()._cameraToWorld);

            const float rainBoxXYWidth = 30.f;
            const float rainBoxVerticalHeight = 15.f;

            float quantizedHeight = rainBoxVerticalHeight * XlCeil(cameraPosition[2] / rainBoxVerticalHeight);

                //  We draw the rain in sets of boxes, arranged around the camera. Let's build a grid
                //  of boxes, and cull them against the camera frustum. Many of the boxes will only be
                //  partially visible, but we can only cull on a per-box level.
            const int boxCountXY   = 4;
            const int boxCountZ    = 4;
            const int rainDropCountWidth = Tweakable("RainDropCountWidth", 64);

            Float3 boxCentrePts[boxCountXY*boxCountXY*boxCountZ];
            unsigned culledBoxCount = 0;

            static bool skipCull = false;

            for (int y=0; y<boxCountXY; ++y) {
                for (int x=0; x<boxCountXY; ++x) {
                    Float2 boxCentreXY(
                        cameraPosition[0] + ((x-(boxCountXY/2)) - 0.5f) * rainBoxXYWidth,
                        cameraPosition[1] + ((y-(boxCountXY/2)) - 0.5f) * rainBoxXYWidth);
                    for (int z=0; z<boxCountZ; ++z) {
                        float boxTopZ = quantizedHeight + ((z-(boxCountZ/2)+1) - 0.5f) * rainBoxVerticalHeight;

                        Float3 mins(boxCentreXY[0], boxCentreXY[1], boxTopZ - rainBoxVerticalHeight);
                        Float3 maxs(boxCentreXY[0] + rainBoxXYWidth, boxCentreXY[1] + rainBoxXYWidth, boxTopZ);

                        if (skipCull || !CullAABB_Aligned(AsFloatArray(parserContext.GetProjectionDesc()._worldToProjection), mins, maxs)) {
                            boxCentrePts[culledBoxCount++] = Float3(boxCentreXY[0], boxCentreXY[1], boxTopZ);
                        }
                    }
                }
            }

            if (!culledBoxCount) {
                return;
            }

            struct RainSpawnConstants
            {
                Float3 _spawnMidPoint; float _dummy;
                Float3 _fallingDirection; unsigned particleCountWidth;
                float _rainBoxXYWidth; float _rainBoxVerticalHeight;
                float _dummy2[2];
            };
            Metal::ConstantBuffer cb0(nullptr, sizeof(RainSpawnConstants));

            auto& shader = ::Assets::GetAssetDep<Metal::ShaderProgram>(
                "game/xleres/effects/rainparticles.sh:vs_main:vs_*",
                "game/xleres/effects/rainparticles.sh:gs_main:gs_*",
                "game/xleres/effects/rainparticles.sh:ps_main:ps_*",
                "");
            Metal::BoundUniforms uniforms(shader);
            Techniques::TechniqueContext::BindGlobalUniforms(uniforms);
            static uint64 HashRainSpawn = Hash64("RainSpawn");
            static uint64 HashRandomValuesTexture = Hash64("RandomValuesTexture");
            uniforms.BindConstantBuffer(HashRainSpawn, 0, 1);
            uniforms.BindShaderResource(HashRandomValuesTexture, 0, 1);

            auto& balancedNoise
                = ::Assets::GetAssetDep<RenderCore::Assets::DeferredShaderResource>("game/xleres/DefaultResources/balanced_noise.dds:LT");

            const Metal::ConstantBuffer* cbs[]      = { &cb0 };
            const Metal::ShaderResourceView* srvs[] = { &balancedNoise.GetShaderResource() };
            uniforms.Apply(
                *context, parserContext.GetGlobalUniformsStream(),
                Metal::UniformsStream(nullptr, cbs, dimof(cbs), srvs, dimof(srvs)));
            context->Bind(shader);
            context->Bind(Metal::BlendState(Metal::BlendOp::Add, Metal::Blend::SrcAlpha, Metal::Blend::InvSrcAlpha));
            context->Bind(Metal::CullMode::None);   // some particles will get a flipped winding order (because the projection is relatively simple... So disable back face culling)
            context->Bind(Metal::DepthStencilState(true, false));

            SetupVertexGeneratorShader(context);
            context->Bind(Metal::Topology::PointList);

            for (unsigned b=0; b<culledBoxCount; ++b) {
                    // fewer particles in distant boxes?
                RainSpawnConstants rainSpawnConstaints =
                {
                    boxCentrePts[b], 0.f,
                    Float3(8.1f, 0.1f, -12.f), rainDropCountWidth,
                    rainBoxXYWidth, rainBoxVerticalHeight,
                    0.f, 0.f
                };
                cb0.Update(*context, &rainSpawnConstaints, sizeof(rainSpawnConstaints));
                context->Draw(rainSpawnConstaints.particleCountWidth*rainSpawnConstaints.particleCountWidth);
            }
        }
        CATCH(const ::Assets::Exceptions::InvalidAsset& e) { parserContext.Process(e); }
        CATCH(const ::Assets::Exceptions::PendingAsset& e) { parserContext.Process(e); }
        CATCH_END

        context->Bind(RenderCore::Metal::Topology::TriangleList);
        context->Bind(RenderCore::Metal::CullMode::Back);
    }

    class SimRainResources
    {
    public:
        class Desc
        {
        public:
            unsigned _particleCountWidth;
            Desc(unsigned particleCountWidth) : _particleCountWidth(particleCountWidth) {}
        };

        intrusive_ptr<ID3D::Resource>                  _simParticlesBuffer;
        RenderCore::Metal::UnorderedAccessView      _simParticlesUAV;
        RenderCore::Metal::ShaderResourceView       _simParticlesSRV;

        SimRainResources(const Desc& desc);
        ~SimRainResources();
    };

    SimRainResources::SimRainResources(const Desc& desc)
    {
        using namespace RenderCore::Metal;
        using namespace BufferUploads;
        auto& uploads = GetBufferUploads();

        BufferDesc structuredBufferDesc;
        structuredBufferDesc._type = BufferDesc::Type::LinearBuffer;
        structuredBufferDesc._bindFlags = BindFlag::ShaderResource|BindFlag::StructuredBuffer|BindFlag::UnorderedAccess;
        structuredBufferDesc._cpuAccess = 0;
        structuredBufferDesc._gpuAccess = GPUAccess::Write;
        structuredBufferDesc._allocationRules = 0;
        const unsigned structureSize = 4*6;
        const unsigned bufferSize = structureSize*desc._particleCountWidth*desc._particleCountWidth;
        structuredBufferDesc._linearBufferDesc._sizeInBytes = bufferSize;
        structuredBufferDesc._linearBufferDesc._structureByteSize = structureSize;
        auto initialData = BufferUploads::CreateEmptyPacket(structuredBufferDesc);
        XlSetMemory(initialData->GetData(), 0, initialData->GetDataSize());
        auto simParticlesBuffer = uploads.Transaction_Immediate(structuredBufferDesc, initialData.get())->AdoptUnderlying();

        UnorderedAccessView simParticlesUAV(simParticlesBuffer.get());
        ShaderResourceView simParticlesSRV(simParticlesBuffer.get());

        _simParticlesBuffer = std::move(simParticlesBuffer);
        _simParticlesUAV = std::move(simParticlesUAV);
        _simParticlesSRV = std::move(simParticlesSRV);
    }

    SimRainResources::~SimRainResources()
    {}

    void    Rain_RenderSimParticles(RenderCore::Metal::DeviceContext* context,
                                    LightingParserContext& parserContext,
                                    RenderCore::Metal::ShaderResourceView& depthsSRV,
                                    RenderCore::Metal::ShaderResourceView& normalsSRV)
    {
        TRY
        {
            using namespace RenderCore;
            const unsigned particleCountWidth = 64;
            auto& resources = Techniques::FindCachedBox<SimRainResources>(SimRainResources::Desc(particleCountWidth));

                //  we need to run a compute shader to update the position of these particles
                //  first, we have to unbind the depth buffer and create a shader resource view for it

            SavedTargets oldTargets(context);
            if (!oldTargets.GetDepthStencilView()) {
                Throw(::Exceptions::BasicLabel("Missing depth stencil view when drawing rain particles"));
            }

            // auto depthBufferResource = Metal::ExtractResource<ID3D::Resource>(oldTargets.GetDepthStencilView());
            // Metal::ShaderResourceView depthsSRV(depthBufferResource.get(), (Metal::NativeFormat::Enum)DXGI_FORMAT_R24_UNORM_X8_TYPELESS);

            auto& simulationShaderByteCode = ::Assets::GetAssetDep<CompiledShaderByteCode>(
                "game/xleres/effects/simrain.sh:SimulateDrops:cs_*",
                "");
            auto& simulationShader = ::Assets::GetAssetDep<Metal::ComputeShader>(
                "game/xleres/effects/simrain.sh:SimulateDrops:cs_*",
                "");
            Metal::BoundUniforms simUniforms(simulationShaderByteCode);
            Techniques::TechniqueContext::BindGlobalUniforms(simUniforms);
            static uint64 HashSimulationParameters  = Hash64("SimulationParameters");
            static uint64 HashRandomValuesTexture   = Hash64("RandomValuesTexture");
            static uint64 HashParticlesInput        = Hash64("ParticlesInput");
            static uint64 HashDepthBuffer           = Hash64("DepthBuffer");
            static uint64 HashNormalsBuffer         = Hash64("NormalsBuffer");
            simUniforms.BindConstantBuffer(HashSimulationParameters, 0, 1);
            simUniforms.BindShaderResource(HashRandomValuesTexture, 0, 1);
            simUniforms.BindShaderResource(HashParticlesInput, 1, 1);
            simUniforms.BindShaderResource(HashDepthBuffer, 2, 1);
            simUniforms.BindShaderResource(HashNormalsBuffer, 3, 1);

            auto& projDesc = parserContext.GetProjectionDesc();
            Float3 projScale; float projZOffset;
            {
                    // this is a 4-parameter minimal projection transform
                    // see "RenderCore::Assets::PerspectiveProjection" for more detail
                const float n = projDesc._nearClip;
                const float f = projDesc._farClip;
                const float h = n * XlTan(.5f * projDesc._verticalFov);
                const float w = h * projDesc._aspectRatio;
                const float l = -w, r = w;
                const float t = h, b = -h;
                projScale[0] = (2.f * n) / (r-l);
                projScale[1] = (2.f * n) / (t-b);
                projScale[2] = -(f) / (f-n);
                projZOffset = -(f*n) / (f-n);
            }

            struct SimulationParameters
            {
                Float4x4    _worldToView;
                Float3      _projScale;
                float       _projZOffset;
	            Float3	    _averageRainVelocity;
	            float	    _elapsedTime;
	            int		    _particleCountWidth;
                float       _dummy[3];
            } simParam = {
                InvertOrthonormalTransform(projDesc._cameraToWorld),
                projScale, projZOffset,
                Float3(8.1f, 0.1f, -12.f),
                1.0f / 60.f, particleCountWidth,
                0.f, 0.f, 0.f
            };
            Metal::ConstantBuffer cb0(&simParam, sizeof(simParam));

            auto& balancedNoise
                = ::Assets::GetAssetDep<RenderCore::Assets::DeferredShaderResource>("game/xleres/DefaultResources/balanced_noise.dds:LT");
            const Metal::ConstantBuffer* cbs[]      = { &cb0 };
            const Metal::ShaderResourceView* srvs[] = { &balancedNoise.GetShaderResource(), &resources._simParticlesSRV, &depthsSRV, &normalsSRV };

            context->Bind(simulationShader);
            context->BindCS(MakeResourceList(resources._simParticlesUAV));
            context->BindCS(MakeResourceList(Techniques::CommonResources()._defaultSampler));

            context->Bind(ResourceList<Metal::RenderTargetView, 0>(), nullptr);
            simUniforms.Apply(
                *context, parserContext.GetGlobalUniformsStream(),
                Metal::UniformsStream(nullptr, cbs, dimof(cbs), srvs, dimof(srvs)));
            context->Dispatch(particleCountWidth/32, particleCountWidth/32);

            context->UnbindCS<Metal::UnorderedAccessView>(0, 1);
            context->UnbindCS<Metal::ShaderResourceView>(4, 2);
            oldTargets.ResetToOldTargets(context);

                // After updating the particles, we can render them
                //  shader here is very similar to the non-sim rain. But we use a
                //  different vertex shader that will read the particles from the simulation
                //  buffer shader resource;

            auto& shader = ::Assets::GetAssetDep<Metal::ShaderProgram>(
                "game/xleres/effects/simrain.sh:vs_main:vs_*",
                "game/xleres/effects/rainparticles.sh:gs_main:gs_*",
                "game/xleres/effects/rainparticles.sh:ps_main:ps_*",
                "");
            Metal::BoundUniforms drawUniforms(shader);
            Techniques::TechniqueContext::BindGlobalUniforms(drawUniforms);
            drawUniforms.BindConstantBuffer(HashSimulationParameters, 0, 1);
            drawUniforms.BindShaderResource(HashRandomValuesTexture, 0, 1);
            drawUniforms.BindShaderResource(HashParticlesInput, 1, 1);
            drawUniforms.BindShaderResource(HashDepthBuffer, 2, 1);

            drawUniforms.Apply(
                *context, parserContext.GetGlobalUniformsStream(),
                Metal::UniformsStream(nullptr, cbs, dimof(cbs), srvs, dimof(srvs)));
            context->Bind(shader);

            SetupVertexGeneratorShader(context);
            context->Bind(Metal::BlendState(Metal::BlendOp::Add, Metal::Blend::SrcAlpha, Metal::Blend::InvSrcAlpha));
            context->Bind(Metal::CullMode::None);
            context->Bind(Metal::Topology::PointList);
            context->Bind(Metal::DepthStencilState(true, false));

            context->Draw(particleCountWidth*particleCountWidth);
            context->UnbindVS<Metal::ShaderResourceView>(3, 1);
        }
        CATCH(const ::Assets::Exceptions::InvalidAsset& e) { parserContext.Process(e); }
        CATCH(const ::Assets::Exceptions::PendingAsset& e) { parserContext.Process(e); }
        CATCH(...) {}
        CATCH_END

        context->Bind(RenderCore::Metal::Topology::TriangleList);
        context->Bind(RenderCore::Metal::CullMode::Back);
    }

    static float Frac(float input) { return input - XlFloor(input); }

    void    SparkParticleTest_RenderSimParticles(   RenderCore::Metal::DeviceContext* context,
                                                    LightingParserContext& parserContext,
                                                    RenderCore::Metal::ShaderResourceView& depthsSRV,
                                                    RenderCore::Metal::ShaderResourceView& normalsSRV)
    {
        TRY
        {
            using namespace RenderCore;
            const unsigned particleCountWidth = 128;
            auto& resources = Techniques::FindCachedBox<SimRainResources>(SimRainResources::Desc(particleCountWidth));

                //  we need to run a compute shader to update the position of these particles
                //  first, we have to unbind the depth buffer and create a shader resource view for it

            SavedTargets oldTargets(context);
            if (!oldTargets.GetDepthStencilView()) {
                Throw(::Exceptions::BasicLabel("Missing depth stencil view when drawing rain particles"));
            }

            // auto depthBufferResource = Metal::ExtractResource<ID3D::Resource>(oldTargets.GetDepthStencilView());
            // Metal::ShaderResourceView depthsSRV(depthBufferResource.get(), (Metal::NativeFormat::Enum)DXGI_FORMAT_R24_UNORM_X8_TYPELESS);

            auto& simulationShaderByteCode = ::Assets::GetAssetDep<CompiledShaderByteCode>(
                "game/xleres/effects/sparkparticlestest.sh:SimulateDrops:cs_*",
                "");
            auto& simulationShader = ::Assets::GetAssetDep<Metal::ComputeShader>(
                "game/xleres/effects/sparkparticlestest.sh:SimulateDrops:cs_*",
                "");
            Metal::BoundUniforms simUniforms(simulationShaderByteCode);
            Techniques::TechniqueContext::BindGlobalUniforms(simUniforms);
            static uint64 HashSimulationParameters  = Hash64("SimulationParameters");
            static uint64 HashRandomValuesTexture   = Hash64("RandomValuesTexture");
            static uint64 HashParticlesInput        = Hash64("ParticlesInput");
            static uint64 HashDepthBuffer           = Hash64("DepthBuffer");
            static uint64 HashNormalsBuffer         = Hash64("NormalsBuffer");
            simUniforms.BindConstantBuffer(HashSimulationParameters, 0, 1);
            simUniforms.BindShaderResource(HashRandomValuesTexture, 0, 1);
            simUniforms.BindShaderResource(HashParticlesInput, 1, 1);
            simUniforms.BindShaderResource(HashDepthBuffer, 2, 1);
            simUniforms.BindShaderResource(HashNormalsBuffer, 3, 1);

            auto& projDesc = parserContext.GetProjectionDesc();
            Float3 projScale; float projZOffset;
            {
                    // this is a 4-parameter minimal projection transform
                    // see "RenderCore::Assets::PerspectiveProjection" for more detail
                const float n = projDesc._nearClip;
                const float f = projDesc._farClip;
                const float h = n * XlTan(.5f * projDesc._verticalFov);
                const float w = h * projDesc._aspectRatio;
                const float l = -w, r = w;
                const float t = h, b = -h;
                projScale[0] = (2.f * n) / (r-l);
                projScale[1] = (2.f * n) / (t-b);
                projScale[2] = -(f) / (f-n);
                projZOffset = -(f*n) / (f-n);
            }

            auto cameraPosition     = ExtractTranslation(parserContext.GetProjectionDesc()._cameraToWorld);
            auto cameraForward      = ExtractForward_Cam(parserContext.GetProjectionDesc()._cameraToWorld);
            Float3 spawnPosition    = cameraPosition + 5.f * cameraForward;

            float spawnAngle0 = 2.f * float(M_PI) * Frac(parserContext.GetSceneParser()->GetTimeValue() / 5.f);
            float spawnAngle1 = 2.f * float(M_PI) * Frac(parserContext.GetSceneParser()->GetTimeValue() / 7.5f);
            Float3 spawnDirection = Float3(
                XlCos(spawnAngle0) * XlCos(spawnAngle1),
                XlCos(spawnAngle0) * XlSin(spawnAngle1),
                XlSin(spawnAngle0));

            struct SimulationParameters
            {
                Float4x4    _worldToView;
                Float3      _projScale;
                float       _projZOffset;
                Float3      _spawnPosition;
                float       _dummy0;
	            Float3	    _spawnVelocity;
	            float	    _elapsedTime;
	            int		    _particleCountWidth;
                float       _dummy1[3];
            } simParam = {
                InvertOrthonormalTransform(projDesc._cameraToWorld),
                projScale, projZOffset,
                spawnPosition, 0.f,
                spawnDirection,
                1.0f / 60.f, particleCountWidth,
                0.f, 0.f, 0.f
            };
            Metal::ConstantBuffer cb0(&simParam, sizeof(simParam));

            auto& balancedNoise
                = ::Assets::GetAssetDep<RenderCore::Assets::DeferredShaderResource>("game/xleres/DefaultResources/balanced_noise.dds:LT");
            const Metal::ConstantBuffer* cbs[]      = { &cb0 };
            const Metal::ShaderResourceView* srvs[] = { &balancedNoise.GetShaderResource(), &resources._simParticlesSRV, &depthsSRV, &normalsSRV };

            context->Bind(simulationShader);
            context->BindCS(MakeResourceList(resources._simParticlesUAV));
            context->BindCS(MakeResourceList(Techniques::CommonResources()._defaultSampler));

            context->Bind(ResourceList<Metal::RenderTargetView, 0>(), nullptr);
            simUniforms.Apply(
                *context, parserContext.GetGlobalUniformsStream(),
                Metal::UniformsStream(nullptr, cbs, dimof(cbs), srvs, dimof(srvs)));
            context->Dispatch(particleCountWidth/32, particleCountWidth/32);

            context->UnbindCS<Metal::UnorderedAccessView>(0, 1);
            context->UnbindCS<Metal::ShaderResourceView>(4, 2);
            oldTargets.ResetToOldTargets(context);

                // After updating the particles, we can render them
                //  shader here is very similar to the non-sim rain. But we use a
                //  different vertex shader that will read the particles from the simulation
                //  buffer shader resource;

            auto& shader = ::Assets::GetAssetDep<Metal::ShaderProgram>(
                "game/xleres/effects/sparkparticlestest.sh:vs_main:vs_*",
                "game/xleres/effects/sparkparticlestest.sh:gs_main:gs_*",
                "game/xleres/effects/sparkparticlestest.sh:ps_main:ps_*",
                "");
            Metal::BoundUniforms drawUniforms(shader);
            Techniques::TechniqueContext::BindGlobalUniforms(drawUniforms);
            drawUniforms.BindConstantBuffer(HashSimulationParameters, 0, 1);
            drawUniforms.BindShaderResource(HashRandomValuesTexture, 0, 1);
            drawUniforms.BindShaderResource(HashParticlesInput, 1, 1);
            drawUniforms.BindShaderResource(HashDepthBuffer, 2, 1);

            drawUniforms.Apply(
                *context, parserContext.GetGlobalUniformsStream(),
                Metal::UniformsStream(nullptr, cbs, dimof(cbs), srvs, dimof(srvs)));
            context->Bind(shader);

            SetupVertexGeneratorShader(context);
            context->Bind(Metal::BlendState(Metal::BlendOp::Add, Metal::Blend::One, Metal::Blend::One));
            context->Bind(Metal::CullMode::None);
            context->Bind(Metal::Topology::PointList);
            context->Bind(Metal::DepthStencilState(true, false));

            context->Draw(particleCountWidth*particleCountWidth);

            context->UnbindVS<Metal::ShaderResourceView>(3, 1);
        }
        CATCH(const ::Assets::Exceptions::InvalidAsset& e) { parserContext.Process(e); }
        CATCH(const ::Assets::Exceptions::PendingAsset& e) { parserContext.Process(e); }
        CATCH(...) {}
        CATCH_END

        context->Bind(RenderCore::Metal::Topology::TriangleList);
        context->Bind(RenderCore::Metal::CullMode::Back);
    }

}

redpajama_set_name: RedPajamaGithub


Correct, setting boota-device makes it go further. Not booting still.
SmartFirmware that is basically, OpenFirmware.
>> Uploaded to MEGA folder.
>>>> I've been asked by Mark to report my testings here.
> trying to boot it.
> expect it to be problematic.
> available to see if anything has improved.


It's been a welcome return to form for Nokia through HMD global across the last 18 months or so and that impressive run of devices looks set to continue with the Nokia 8.1 being announced for Australian release this morning. The device, however, not to be confused with the latest edition of Nokia 8.1, here, HMD is releasing the 8.1 that came out a year ago in the month of December.
Yeah, it's a pretty confusing.
The 8.1 doesn't get near the Sirocco's specs, despite the name. Down in the guts you'll find a Snapdragon 710 processors, 4GB RAM and 64GB storage.


text:
Antenna is the third studio album and the first major label album by the American rock band Cave In. Released in 2003, it was Cave In's first and only album for RCA before they were dropped by the record label and re-signed with Hydra Head. Antenna marked a shift in Cave In's musical style which, while critically praised, was met with distaste from longtime fans. In the midst of such polarization, the band would later return to its previous style, resulting in Perfect Pitch Black in 2005.

Background and recording
Following the success of their 2000 album, Jupiter, Cave In were approached by RCA to record their next album. While the band signed with RCA, they continued to maintain a business relationship with Hydra Head, which had released their previous records and would continue to distribute their catalogue.

Continuing with the direction the band started with on Creative Eclipses and Jupiter, Antenna further emphasized spacey, progressive rock tendencies with soaring anthems and clean, melodic vocals while minimising the heavy metal elements that were prominent in their first recordings. Guitarist Adam McGrath attributed the musical shift to both physical and creative limitations; physically, the singer Stephen Brodsky had alleged concerns over the long-term effects of performing harsh metal vocals. Creatively, Cave In had also grown tired of being pigeonholed within the metalcore genre and being forced to consistently perform amongst such acts. On a much greater budget, Antenna was also given three months of fundamental recording time in contrast to the four days for Jupiter and took a total of six months.

Weeks after the album's release, McGrath described the recording process:
"Bruce Floor had opinions during the recording process, but he let us make our own decisions. He put us in a position to make our own decisions and he supported us when we made them. It is a different, exciting time in our lives right now."

However, months later, he noted that in comparison to small labels, "RCA tried harder to get things done, but more people wanted to put their fingerprints on our record." McGrath elaborated that the label pressured the band to create radio-friendly singles and that the band overtook their lives. "All these new people came into the picture. We had a business manager, lawyer, A&R guy, marketing guy, people that are your quote/unquote friends. We were young and naive to the whole process and it affected how we wrote songs."

Touring and promotion
Cave In was chosen for the second stage on the 2003 Lollapalooza tour. Afterward, the band toured Europe in support of Foo Fighters and Muse.

In summer 2003, guitarist Adam McGrath lamented, "We got major backlash for growing out of our metal phase... People were calling us faggots; they were using derogatory terms on us. I didn't want them around us, let alone liking our band. Fuck them. I'm glad we could weed them out." He later reflected, "It got to the point where they were throwing shit at us when we were playing. They were pissed. Some people said 'fuck this,' but others tried to figure out what were doing and grabbed it." The backlash apparently had an effect on Cave In who began revisiting their metal roots during concerts later in the year. They began a US tour alongside From Autumn to Ashes, Every Time I Die, and Funeral for a Friend in September.

During this time, RCA had merged with BMG and Sony and Cave In's status with RCA was put into question. The band was scheduled for a meet and greet where no one showed up. By the following year, after a dispute over musical direction, Cave In would be released from the label.

The track "Anchor" was released as the album's lead single. The video for "Anchor" starred actor Richard Edson trying to cope with his daily life after he wakes up with his feet imprisoned in concrete blocks. When asked about the song, McGrath described it as a poor choice for a single but suitable because of its short length. Due to the song's lackluster reception in radio and TV, the label allegedly gave up on Antenna. "Looking back, the people at RCA were really into it. Two years after the fact, it was a mistake," noted McGrath. Despite the band's animosity towards the song, it remains their only song to chart in the UK Singles Chart and the US Modern Rock Charts.

"Inspire" was selected as the second single from the album. The video created to promote the single was directed by Gavin Bowden. It features the band breaking into a music store to play the instruments and use the CCTV to record a performance of the song.

Reception

Despite the backlash it received from older fans of the band, Antenna was positively received by many contemporary music critics upon its release. At Metacritic, which assigns a normalized rating out of 100 to reviews from mainstream publications, the album holds an average score of 78, based on 14 reviews, indicating "generally positive reviews".

Amongst the more positive of these was Johnny Loftus' review for AllMusic. Rating it 4 and 1⁄2 stars out of 5, Loftus said that "Boston's Cave In jumped to RCA and the world of big-time promotion for Antenna, but it's satisfying to hear that their intelligently warped sound has kept its teeth in the transition." Brian Kraus gave the album a five-star rating in the review for Alternative Press. Concluding the article, Kraus declared that "This should be in everyone's stereo this spring, as it may go down in the history books as the Pet Sounds for the aggressive-rock world." In the Delusions of Adequacy review, it was claimed that "Antenna follows up on the trend gradually built by Cave In's previous releases, meaning that the songs are less wandering, more trimmed and primed for a larger audience. And yet, the band has also maintained its own identity and created something it can be proud of without being worried about being called major label sellouts or anything of the sort." A review from Q simply stated that the album was "The most successful synthesis of [Cave In's] prog-tinged ambitions so far."

While many critics applauded the album, some were more muted in their praise. Reviewing for Pitchfork, contributor Dominique Leone wrote "I'm not sure Cave In features the world's most interesting, nuanced singing, and again, I have to cast my vote against nu-rock's maxed-out mix preferences, making every moment on the disc a peak, which effectively makes every moment part of a monolithic, dulling experience. Still, if there is a way to make decent radio rock outside of Thursday and Queens of the Stone Age, Cave In are doing it now."

After Antenna
During the later touring schedule for Antenna, Cave In acknowledged the poor reception from longtime fans and began a return to their previous, heavier sound. The group started recording new material in the vein of their earlier style with no label interference, but the less commercial material was received negatively by RCA. The label eventually agreed to release Cave In in 2004 and allow them full ownership to their new demos. This led to Cave In's full re-signing with Hydra Head and the release of Perfect Pitch Black in 2005.

Since their departure from RCA, members of Cave In have reflected largely negatively on their experience with a major label. In addition to its massive budget, the band felt pressured into a more commercialized style and an intense schedule that they have since criticized. Lyrically, several songs on the band's follow-up album vented their frustrations with RCA, including a song entitled "Trepanning".

In a 2009 interview in which he assessed the band's discography up to that point, Brodsky said the album was "the big, slick rock record we spent way too much time and money making. That's basically what happens when too many people get involved in your business. Still, I can stand behind songs like'"Seafrost' and 'Youth Overrided'."

Track listing
All songs written by Cave In.

European DVD bonus track
  "Day Trader" - 3:17
Japanese bonus track
  "Devil's Head Pinata" - 3:53

Chart positions

Album

Singles

Personnel
Band members
 Stephen Brodsky – guitar and vocals
 J.R. Conners – drums and vocals
 Adam McGrath – guitar and vocals
 Caleb Scofield – bass guitar and vocals

Other personnel
 Rich Costey – producer, engineer and mixing
 Bruce Flohr – art direction
 Wally Gagle – engineer
 Michael Lavine – photography
 Dan Leffler – second engineer
 Bob Ludwig – mastering
 Gersh – drum technician

References

2003 albums
Cave In albums
Hydra Head Records albums
Albums with cover art by Aaron Turner


text:
ELITE DOWNTOWN
Progress Update
Dubai Newest Spectacles Hide Restrained Ambitions For Developers
June 13, 2017Aliya SiProperty Updates
On the surface, Dubai is plowing ahead with the kind of ambitious, eye-catching projects that turned the sheikhdom into the Persian Gulf's business hub and playground. At the tip of its palm-shaped island, a swimming pool suspended between two towers will hover 170 meters (560 feet) above the ground. Closer to the city center, "water...
'Dubai-On-Thames' Welcomes Apple As Its Biggest Office Tenant
One of London's most famous landmarks – and the largest brick building in Europe – is about to get an injection of ultra-high tech glamour as Apple moves into the capital's Battersea Power Station. The US technology juggernaut will be the largest office tenant at Battersea Power Station (BPS) occupying approximately 500,000 square feet, across...
'Imminent' Rise In Dubai House Prices As Conditions Improve, New Report Says
Dubai's residential market is on the verge of an "imminent" increase in prices as a result of improving economic conditions and a relatively stable supply, according to a new Reidin/Global Capital Partners report. The study, A Tale in Three Markets, says that recent trends in equity and oil markets and the limited supply of new...
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redpajama_set_name: RedPajamaCommonCrawl


text:
COURTESY OF PFA
Cage fight: Oshima pushes social boundaries in Cruel Story of Youth.
Social Fury 'In the Realm of Oshima' at PFA
Matt Sussman June 11, 2009
"Banish Green!" That was the self-imposed restraint director Nagisa Oshima put on himself when making his first color film (and second feature) Cruel Story of Youth (1960). Green, as Oshima goes on to explain in an essay recounting his decision, was the color he most associated with the symbolic center of Japanese domestic life: the tatami mat-lined living room, usually adjacent to a small, cloistered garden. This room had been long occupied by a previous generation of Japanese filmmakers such as Yasujiro Ozu (whose "pillow shots" couldn't be greener) and Kenji Mizoguchi. For Oshima, it was a cage. "Characters, rooms, gardens were all utterly repellant," he writes, "and I firmly believed that unless the dark sensibility that those things engendered [was] completely destroyed, nothing new would come into being in Japan."
Oshima's fervent, restless need to negate what he saw as an ossified social order — one that could only be undone by continuously pushing filmmaking into new radical areas of form and content — would become the defining characteristic of a four-decade-long career that has rarely displayed the stylistic cohesion often attributed to auteurs. And yet, In the Realm of Oshima, the massive, James Quandt-organized Oshima retrospective that starts in on its second week at the Pacific Film Archive, leaves no doubt that the now 77-year old director has made the title entirely his own.
The term "auteur" itself harkens back to an older age of film criticism and reception in which the medium was treated with a greater reverence and, arguably, thought to be of greater consequence. As Dennis Lim mentioned in his recent New York Times appraisal of In the Realm..., in the '60s and '70s Oshima was often discussed in the same impassioned breath as Godard and Resnais and given the title "the godfather of the Japanese New Wave." (Oshima would later counter, saucily, that Mr. Godard should be known as the Oshima of France). Unfortunately, Oshima's reputation and stature among a certain generation of cinephiles has often dwarfed the unavailability in this country of all but a handful of his films — a shortcoming that this historic retrospective urgently redresses.
Like his French counterpart, Oshima's output grazed on familiar genres, such as the youth-gone-wild and domestic drama, while freely incorporating elements from avant-garde and documentary filmmaking. Though his films are often stylistically at odds with each other (the frequently cited example is Violence at Noon's over 2,000 edits compared to Night and Fog in Japan's fewer than 50) and play fast-and-loose with narrative structure, time frames and mise-en-scene, Oshima's overriding concern can be summed up in the title of Jim Jarmusch's latest: the limits of control. His protagonists are often those who haunt the edges of the social order — criminals, sexual outlaws, political dissidents and the marginalized — and who like the director himself, seek to define themselves through their infractions against it. (Oshima went so far to say that, "to make films is a criminal act in this world").
What Oshima referred to as the necessity of "constant self-negation and transformation [...] to continue to confront circumstances as a filmmaker," largely came out of his hands-on political education. Having grown up steeped in his government official father's extensive library of Communist and Socialist texts, Oshima came of age as a filmmaker during one of the most turbulent times in Japan's history. His first three films — A Town of Love and Hope, Cruel Story of Youth and The Sun's Burial, collectively known as his "youth trilogy" — were made between 1959-60, the same years that the U.S.-Japan security pact was renewed amidst much protest from the left.
Oshima and many of his peers saw the Japanese Communist Party's eventual denunciation of student-led movements as "radical fringe groups" as nothing short of a betrayal of ideals, and the fall-out from the left wing's failure would continue to preoccupy him as a filmmaker. Addressed most didactically in the Brechtian Night and Fog in Japan (1960) — which uses the debates that break out at a wedding of two Communist Party members to take the Old Left to task — Oshima's long post-mortem would eventually turn to investigating the psycho-sexual ticks of the youth culture that flourished in the wake of his generation's political disillusionment, as he did in Three Resurrected Drunkards (1968) and A Treatise on Japanese Bawdy Song (1967).
This late '60s period marked an extraordinary creative streak for Oshima, and saw him direct two of his most politically damning and formally bold films. Death by Hanging (1968)—an excoriating critique of Japan's colonial legacy in Korea and capital punishment based on news story of a Korean boy accused of raping and killing a Japanese woman— and The Ceremony (1971)—a brilliant condensation of the history of postwar Japanese society through the lens of the Sakurada clan, as they cycle through an increasingly hellish progression of funeral, wedding and Buddhist ceremonies.
Fittingly, the series comes to a close with the film from which it takes its title: In the Realm of the Senses (1976). Realm is arguably Oshima's most extreme film and one that marked a radical departure for Oshima in many ways. Since Realm was a French co-production, Oshima could carry out his goal to film "sexual expression carried to its logical extreme" (the explicit depiction of sex acts resulted in the film being banned in Japan for many years). Although it was Oshima's largest commercial success, Realm's Sadean protagonists, Sada and Kichi, are perhaps the most terrifyingly literal embodiment of Oshima's quest for "constant self negation." Cloistering themselves from the outside world to literally screw each other to death, Oshima's doomed lovers represent the next logical, inward turn of the revolutionary impulse he had seen fail to materialize on the political stage.
In the Realm of Oshina arrives at a time when the "pillow shot" seems to be having its moment among directors working at the vanguard of contemporary Japanese film. The two Japanese films to garner critical praise this past festival season —Kiyoshi Kurosawa's Tokyo Sonata and Hirokazu Kore-eda 's Still Walking —were both family dramas, which while finely attuned to the stressors affecting their respective post-Bubble clans, were far from the trenchant, formalist critiques thrown down by The Ceremony or Boy (1969). Even Takashi Miike's Visitor Q (2001), for all its comic-grotesque scenes of incest and necrophilia, was fundamentally about the preservation of the family unit. In light of these films, the realm of Oshima is both a relic of an earlier era of revolutionary filmmaking and reception that is perhaps no longer possible, and an inspiration to avoid complacency and discard well-worn creative safety nets. As Oshima himself cautioned in a 1962 essay: "Reality is always changing. [...] Thus, the filmmaker who is unable to grasp it immediately ceases being a filmmaker and degenerates into a mere crafter of images."
Essential SF: Susan Gerhard
Susan Gerhard talks copy, critics and the 'there' we have here.
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Broadly Comedic 'My Afternoons with Margueritte' a Harmless Indulgence
Sentimental French film is no top-shelf vehicle, but Depardieu savors it as if it were the rarest vintage Bordeaux.
SFFS's Hong Kong Cinema Series Brings Fan Fare to New Screen
Audience-engaging stories in a variety of genres highlight SFFS's inaugural Hong Kong Cinema weekend.
Dark Thoughts Fill TIFF's Lightbox
Sex-filled fictions dominate Toronto International Film Festival; eclectic docs inspire action.
Mill Valley Announces Titles in 34th
North Bay world, independent showcase ready to screen wide range of films in early October.
Iranian Teenage Love Sparks 'Circumstance'
Director, producer speak of challenges, inspirations behind a story of the urban Iranian underground.


text:
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A summary of recent developments at GRI/GSSB CPA Canada, BUFDG and the IIRC.
The Global Sustainability Standards Board (GSSB) of the Global Reporting Initiative has launched a public consultation for draft revisions to GRI Standards 303 Water and 403 Occupational Health and Safety. Running from 10 August through 9 October 2017, this public consultation invites feedback from all stakeholders. Please click for the review page for GRI 303 and the review page for GRI 403.
Chartered Professional Accountants of Canada (CPA Canada) has posted two articles on climate change aspects to its website: It's time to make climate change a business issue notes that the business cost of climate change is real and growing. But that not everyone is aware of the issues. Planning for climate change and a carbon-reduced economy discusses the impact of climate change on business model and strategy and points out a corresponding online learning on 19 October 2017.
The British Universities Finance Directors Group (BUFDG) has published a report examining Integrated Reporting in four universities. Further information is available on the BUFDG website here.
The International Integrated Reporting Council (IIRC) has launched two new specialist interest groups under the umbrella of the <IR> Network and is inviting new businesses to join the network to explore and innovate in areas of integrating reporting. The first group focuses on value creation by financial institutions and will look at how the financial services industry should create net value, what the purpose of the industry is, who value is created for and how it can build trust. The second group focuses on strategy and integrated thinking. Those interested should send an email to businessnetwork@theiirc.org.
Global Reporting Initiative (GRI)
Integrated reporting
FRC publishes a Streamlined Energy & Carbon Reporting (SECR) Taxonomy
IFAC publishes call to action on climate change
Article on IFRSs and climate-related disclosures
ICAEW and WBCSD publish 'A Buyers guide to assurance on non-financial information'
Recent sustainability reporting developments
All Related
A closer look — Climate change
Accounting Roundup - Closing Out 2019
Governance in focus — On the board agenda 2020
Deloitte comment letter on the ACCA/CAANZ/ICAS consultation paper on SDG disclosures
Future of corporate reporting
Integrated reporting (IASB only)
About UKAP
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You asked: How many times has Nigeria qualified for the World Cup?
How many times did Nigeria qualify for World Cup?
Which African country has qualified most for the World Cup?
How many times has Nigeria won the Under 20 World Cup?
How many times did Nigeria won Under 17 World Cup?
Who is the best footballer in Nigeria 2020?
Who is the most popular footballer in Nigeria?
Which is the only national team from Africa to have ranked in the top five in the world?
How do countries qualify for the World Cup?
Which African country reached semi final in World Cup?
Which country has won the Under 20 World Cup most?
Who has won the most u17 World Cup?
Who won Under 20 World Cup?
Who named Nigeria?
Who was the first man to buy a car in Nigeria?
Did Nigeria under 17 qualify?
Nigeria have appeared in the finals of the FIFA World Cup on six occasions, the first being in 1994 where they reached the second round. Their sixth and most recent appearance at the finals was the 2018 FIFA World Cup in Russia.
Throughout history, the team has qualified for six of the last seven FIFA World Cups (as of 2018), missing only the 2006 edition and reaching the round of 16 on three occasions. Their first World Cup appearance was the 1994 edition.
Africa and the world cup
To date, only 13 African nations have qualified and participated in the World Cup Final tournament: Cameroon (7 times), Nigeria (6), Morocco (5), Tunisia (5), Algeria (4), Côte d'Ivoire (3), Egypt (3), Ghana (3), South Africa (3), Senegal (2), Zaire (1), Angola (1) and Togo (1).
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The team as won a record seven Africa U-20 Cup of Nations titles and are also two-times runners-up of the FIFA U-20 World Cup.
Nigeria national under-20 football team.
Best result Champions (1983, 1985, 1987, 1989, 2005, 2011, 2015)
WAFU Zone B U-20 Tournament
Appearances 2 (first in 2018)
Ghana has won the U-17 championship two times.
Number of titles won at FIFA U-17 World Cups from 1985 to 2017.
U-17 soccer World Cup titles won
10 best Nigerian footballers of the year [Pulse Picks 2020]
Simy Nwankwo (Crotone)
Zaidu Sanusi (Santa Clara/Porto)
Semi Ajayi (West Brom)
Paul Onuachu (Genk)
Frank Onyeka (FC Midtjylland)
Joe Aribo (Rangers)
Kelechi Iheanacho (Leicester City)
Samuel Chukweuze (Villarreal)
10 Most Popular Footballers in Nigeria
John Obi Mikel. He is one of the best Nigerian footballers with a net worth of about $25 million. …
Paul Onuachu. He finished last season with 18 goals for FC Midtjylland, which is the most of any Nigerian player. …
Alex Iwobi. …
Oghenekaro Etebo.
Kenneth Omeruo.
Odion Ighalo. …
Ola Aina. …
William Troost-Ekong.
The FIFA/Coca-Cola World Ranking released on April 4 ranked Senegal 23rd sandwiched between Iran and the United States. The Lions grossed 1515 points and moved one spot from the last ranking. Tunisia, Nigeria, Morocco and the Democratic Republic of Congo (DRC), completed the top five slots for Africa.
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The top two teams of each group will qualify for the World Cup, and the third-placed teams will play against each other in a single match. The winner will advance to the inter-confederation play-offs, playing a team from a confederation to be determined.
No African country has gone past the last-eight in the global competition with Cameroon the first to achieve it in 1990 before Senegal and Ghana followed suit in 2002 and 2010 respectively.
Region International (FIFA)
Number of teams 24 (finals)
Current champions Ukraine (1st title)
Most successful team(s) Argentina (6 titles)
Current champions Brazil (4th title)
Most successful team(s) Nigeria (5 titles)
Website www.fifa.com/u17worldcup/
Ukraine national under-20 football team
The name Nigeria was taken from the Niger River running through the country. This name was coined on January 8, 1897, by British journalist Flora Shaw, who later married Lord Lugard, a British colonial administrator.
The First Man to buy a car in Nigeria is Bob Jensen.
Nigeria have qualified for the 2021 U17 Africa Cup of Nations after securing a 1-0 victory over Burkina Faso in the U17 Wafu B semi-finals on Friday. Michael Emmanuel Papo scored the only goal of the encounter to send the Golden Eaglets to the final of the regional tournament which is being hosted by Togo.
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Football game 0
How much does college soccer coaches make?
Percentile Salary Location 10th Percentile College Soccer Coach Salary $31,780 US 25th Percentile College
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How much is the soccer industry worth worldwide? In the 2018/19 season, the total
Does soccer get you in shape?
Soccer can be a great workout and lots of fun. … increases aerobic capacity
Frequent question: What to do after training in soccer?
What do you do the day after a soccer game? 7 Tips on Recovering
How do you lay out lines on a soccer field?
CREENBIRD Videos363 подписчикаПодписатьсяHow To Layout Line and Paint Soccer Field in one hour. Marking
Can I play soccer if I have a cold?
If you have signs and symptoms "below the neck," such as chest congestion, hacking
Hello, my name is Partick. On my Fubble Blog you will find Interesting Football Facts, Statistics, Transfer Review and Football News.
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Before we can begin to understand our canine companions, firstly, we must understand their ancestor, the Wolf. The reason the wolf plays such an important part is because the domestic dog still possesses the wolf pack instinct. Although man may have changed the dog's appearance through genetic selection i.e. size, coat and colour, what haven't changed are the dog's natural social patterns of behaviour.
Dogs are highly sensitive and incredibly intelligent creatures that rely solely on instinct. A dog truly believes it is a functioning member of a community. Whether its pack consists of itself and its owner, or a large family of humans and other animals, the dog believes it is part of a social grouping and a pecking order that must be adhered to at all times.
many dogs will take on this role and this is where problems can start. For a dog living in our human world the role of leader is an impossible one, as one of the main responsibilities of being a leader is to ensure the safety of family members. There is no way your dog can ensure your safety in a world it simply doesn't understand.
Nevertheless, a dog that feels it is leader will try to do the job to the best of its ability, no matter how many times it fails. It will try to make decisions about things it doesn't understand, and it is the pressure and confusion of this responsibility that causes stress, which in turn can lead to behaviour problems.
Amichien Bonding is a way of working and living with our dogs to help them find their place within our pack. Unlike gadget-based dog training or traditional obedience methods, Amichien Bonding is not dog training; it is a natural way of communicating with your dog, based on cooperation that creates an environment where your dog will want to work with you of its own free will, not because he is forced to. It is simple, effective and involves no pain, no force, no shouting, no violence and no gadgets.
This method works for all types of dog regardless of size, age or breed. Based on communication and positive reinforcement it enables anyone with an open mind and respect for their dog to improve their relationship with their best friend.


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INSIGHT: Understanding F1 Safety Cars
Do you know your SC from your VSC? What exactly is a 'Safety Car Window'? Grab a notepad and read on...
'Making the right strategic choices'
- What makes a Safety Car challenging for the team?
"The biggest challenge a Safety Car (SC) brings to the team is making the right strategy choices. Under the Safety Car the tyres will very quickly become cold. If they are new tyres, that's not much of a problem as they will be back in their operating window fairly quickly after the restart, usually after two or three laps.
"Tyres that are in the middle or the end of their stint are much more difficult in that respect as they will restart slower - or not at all. Without a Safety Car, at regular speeds and temperatures, those tyres would still generate good grip.
"However, once the energy is taken out, there is not enough rubber left on the tyre to restart it. Newer tyres provide more grip because there's more rubber on the tyre and are thus able to generate more energy which will then heat up the tyre quicker.
"Anticipating how the tyres will behave after the end of the Safety Car is challenging as it is very tricky to simulate tyre wear and know how much tyre wear there is during the race.
"So, the decision on whether or not the team thinks the tyre will restart is based mostly on the strategic experience of the team in addition to information about the tyres from the drivers before the Safety Car."
'You are in your Safety Car window'
- How does the team make sure it can react quickly to a Safety Car?
"The strategy group is in a continuous evaluation process, trying to anticipate what would happen if the Safety Car were to come out two, three or even five laps down the line, so that they can make the call on a pit stop as quickly as possible.
"If the team decides the situation in the race offers a good opportunity for a pit stop under a Safety Car, the driver is told 'You are in your Safety Car window'.
"That way the driver knows he can come in without needing further confirmation from the team.
"The pit crew would already be waiting for him because they're on standby as soon as the Safety Car is deployed."
'Restart is especially challenging'
- What is the biggest challenge the Safety Car creates for the drivers?
"For the drivers, the restart of the race is especially challenging. This moment is tricky because the tyres don't just lose temperature under the Safety Car, but also grip.
"F1 tyres generate the most grip in a specific temperature window that is usually well above 100 degrees Celsius. Outside of the temperature window, the grip levels drop quite considerably.
"In order to reach the maximum grip as fast as possible, the tyres are pre-heated to 110 degrees before they go on the car. Under a Safety Car, however, the tyre temperature can easily drop 40 degrees relative to peak, and thus lose a lot of grip.
"So, in terms of grip levels the first laps after a Safety Car are completely different to any other lap the drivers have done all weekend and it is very difficult to find the maximum level of grip.
"In Canada, this is particularly true for the big braking zone into Turn 1 and the Turn 10 hairpin as it is very easy to lock up the tyres. Especially braking into the chicane, it is very likely to see a change in position there as one driver will take more risks than the other."
'Brakes can create quite a challenge'
- How long does it take for the tyres to heat up again?
"Depending on the layout of the track, it will typically take two to three laps to bring the tyres up to temperature again. But in the most extreme cases, it can take much longer than that.
"Baku, for example, is a track that makes it very difficult for the drivers to heat up their tyres as it features a very long straight where the tyres cool down and a lot of slow corners that don't generate a lot of energy into the tyres.
- Are there any other challenges for the drivers?
"Brakes can also create quite a challenge under a Safety Car. When the brakes are already hot, they're at risk of overheating as they require airflow for cooling.
"Due to the slower speeds under the Safety Car, the airflow and thus the cooling effect is limited, so the brakes can easily overheat.
"Cold brakes, on the other hand, aren't great either as the brakes work best when they're warm. So, the drivers might try and generate temperature into the brakes using various driving techniques. This, however, is difficult to control as it is extremely easy to generate very hot brakes, due to no airflow coming in."
'Drivers cannot go flat-out for all 70 laps'
- Are there any benefits to a Safety Car?
"The Safety Car is deployed 'whenever there is an immediate hazard but the conditions do not require the race to be interrupted'.
"It ensures the safety of the marshals around the track and the extra safety is certainly the biggest benefit from deploying the Safety Car.
"However, there are some collateral benefits for the teams - for example, with fuel saving.
"A track like the Circuit Gilles Villeneuve in Montreal is fuel limited, meaning that the drivers cannot go flat-out for all 70 laps of the Canadian Grand Prix and will have to do some form of fuel saving to make it to the end on the 105 kg fuel allowance.
"Under a Safety Car, the drivers can save fuel which they can then use for maximum performance later when the race gets going again."
'Laps under SC took roughly 60% longer'
- How much slower is the Safety Car?
"That depends on the track. Last year in Canada, the Safety Car came out at the very beginning of the race after a crash on the opening lap at Turn 3. Under the Safety Car, Lewis did lap times of over two minutes (2:02.231 on lap 2).
"Even with relatively cold tyres in his first lap after the Safety Car he did a 1:18.135, compared to 1:16.296 with warmer tyres in lap 10. So, the lap under the SC took roughly 60 percent longer.
"The speed differences between the Safety Car and a Formula One car depend on the area of the track. On a regular lap, an F1 car will take Turn 3 in Canada at roughly 125 kph; under the SC, however, they do only 45 kph.
"The difference in the hairpin (Turn 10) is roughly 15 kph (65kph vs 50kph under the SC). But it's not just the cornering speeds that are limited under the Safety Car, it's also acceleration and top speed.
"Last year, F1 cars took the speed trap before Turn 13 at over 300 kph but clocked in "only" 255 kph under the Safety Car.
"Wide Open Throttle (WOT) time is also affected by the Safety Car - on a regular lap, WOT time around Montreal accounts for over 50 percent of the lap; under the Safety Car it's only about two percent.
"The slower laps under the SC are also reflected in the gear shifts. Drivers shift through the gears roughly 80 times on a regular lap in Canada, but only 50 times under the Safety Car."
'The VSC doesn't bunch the field'
- What are the main differences and similarities between a Safety Car and the Virtual Safety Car (VSC)?
"In general, the VSC and the Safety Car are quite similar. Both will bring down the tyre temperatures, both will make the restart tricky.
"However, the VSC is usually less challenging for the team because the cars travel faster and thus the drop in tyre temperature is not as steep as it is under the Safety Car.
"This effect is intensified by the fact that a regular Safety Car typically lasts about four laps, but a VSC only tends to last one to two.
"The VSC also doesn't bunch the field up, so on the restart the next driver should be the same distance behind as before the VSC was deployed."
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Land abandonment is increasing as human influence on the globe intensifies and various ecological, social, and economic factors conspire to force the cessation of agriculture and other forms of land management. The "old fields" that result from abandonment have been the subject of much study, yet few attempts have been made to examine the larger questions raised by old field dynamics.
Old Fields brings together leading experts from around the world to synthesize past and current work on old fields, providing an up-to-date perspective on the ecological dynamics of abandoned land. The book gives readers a broad understanding of why agricultural land is abandoned, the factors that determine the ecological recovery of old fields, and how this understanding contributes to theoretical and applied ecology.
Twelve case studies from diverse geographical and climatic areas—including Australian rainforest, Brazilian Amazonia, New Jersey piedmont, and South African renosterveld—offer a global perspective on the causes and results of land abandonment. Concluding chapters consider the similarities and differences among the case studies, examine them in the context of ecological concepts, and discuss their relevance to the growing field of restoration ecology.
Old Fields is the first book to draw together studies on old fields from both a theoretical and practical perspective. It represents an important contribution to the development of theory on old field dynamics and the practice of ecological restoration on abandoned farmland, and the broader implications of old field dynamics to ecology and restoration.
Richard J. Hobbs is Australian Laureate Fellow at the University of Western Australia, Fellow of the Australian Academy of Science, and Editor-in-Chief of the journal Restoration Ecology.
"Conservation of plant communities often boils down to managing succession. Nowhere is this more obviously true than in old fields. This book powerfully illustrates the great variety of patterns and processes that take place in abandoned agricultural land around the globe. It is an invaluable guide to how nature beats ploughshares into swards."
"The lessons to be learned from the study of old field succession are important for both ecology in general and restoration ecology in particular. This volume presents a sound conceptual framework with discussion of the socioeconomic causes of land abandonment skillfully interwoven with case histories from around the globe. It is an invaluable addition to the SER series, and important for researchers, students, and practitioners. I recommend it without reservation."
"Agriculturally transformed land is being abandoned as economics and lifestyles change globally, and in all sorts of ecosystems. In Old Fields, the editors use cases from around the world to compare theoretical models of old field vegetation change with reality, challenging us to know when benign neglect or active restoration will maximize the ecological or socioeconomic values of old field ecosystems."


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Bye bye, fake orange stuff. We may have eaten it as kids (and our kids may even still devour it) but man alive it isn't REAL mac n' cheese. We are getting down to the business of making the good stuff — Homemade Macaroni and Cheese.
Did I just hear applause? I thought so.
There are some serious tips and tricks for making the best mac n' cheese. Did you know cheese can be finicky when melted? Oh yes, it can. I was on the search for the best macaroni and cheese recipe and after many experiments in the kitchen, I am feeling really good that we have it!
So how do you make Homemade Macaroni and Cheese?
Start with Butter. It is well-known how I feel about butter (LOVE it!). It is the base of the sauce and gives off a nuttiness that is integral to the cheese sauce. The butter is melted in a large saucepan or pot, then flour is added, and whisked together to make a thick paste. This is what will give the cheese sauce the structure it needs.
Choosing the right CHEESE. What type of cheese should you use? A sharp cheddar cheese is always a good choice. It has the strong cheese flavor you are seeking and still melts nicely. Gruyere Cheese is also a nice choice but it can be pricey. If you are looking for a strong flavor and don't want to shell out the cash, you can substitute with Swiss Cheese. Monterey Jack melts like a dream and has a mild flavor. If you want to up the spice factor, use Pepper Jack Cheese. You can sprinkle the top with parmesan for a sharp flavor as well.
It is important to add the cheese in increments, whisking well after each addition. This ensures the cheese melts in small batches so it doesn't overwhelm the sauce. Another key is to layer the cheese. Cheese is added to the cheese sauce, and then once it is poured into a baking dish, more cheese is added to the middle of the dish. Of course, you need to top it with cheese as well. Basically, there is A LOT of cheese!
Bake just until the cheese is melted. I found that many baked homemade macaroni and cheese recipes called for a long baking time. This produced dry mac n' cheese since it gave the pasta time to soak in all of the melty cheese goodness. I found that by baking it for approximately 12 – 14 minutes at 350 degrees was a perfect amount of time.
Breadcrumbs or no breadcrumbs? This is the question. Most baked mac n' cheese calls for breadcrumbs. I made it with and without. The bread crumbs add a bit of crunch and texture to offset the creaminess of the macaroni and cheese. I also found that a creamy mac n' cheese is heavenly on its own too. It's up to you depending on your taste preference. You can't go wrong!
The best macaroni and cheese made with butter, cream, and two kinds of cheese.
In a large pot, bring salted water to a boil. Add macaroni and cook according to package instructions. Drain.
Meanwhile, melt butter over medium heat in large saucepan or skillet. Once butter is melted, stir in flour and use a whisk to make a smooth paste.
Stir in half-n-half and keep whisking until smooth. Stir in whole milk. Cook until thickened and begins to coat the back of a spoon.
Add salt, pepper, nutmeg, and dried mustard.
Stir in 2 cups (reserve 2 cups for later) of sharp cheddar cheese and keep whisking until melted. Stir in 2 cups of Gruyere cheese until creamy.
Toss drained pasta with creamy cheese sauce.
Pour 1/2 pasta mixture into 9 x 13 baking dish. Top with 1 cup sharp cheddar cheese. Top with remaining mac n' cheese.
Sprinkle with remaining 1 cup of sharp cheddar cheese.
Optional: top with panko breadcrumbs.
Bake at 350 degrees for 12 - 14 minutes or until cheese is bubbly and melted.
**Adapted from the Chunky Chef and Ina Garten.
Find all of Modern Honey's Thanksgiving recipes at www.modernhoney.com/thanksgiving. PIN this image on PINTEREST.
This is AMAZING Mac & Cheese! My carb-loving children love this with a BBQ dinner.


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Rocking the Stage in 2019
You here it said almost every year, rock and roll is dead. Whoever said that can't handle rock concerts anymore, and you should pity them. Rock has never been more alive, it's just that it comes in so many different forms. It doesn't just mean rocking out on an electric guitar.
Rock music has evolved and joined with so many other genres: goth, electronica, dance, pop. And many more. Those who think rock I dead suffer from a lack of imagination, why not help these people and take them to the best rock tours in your area.
Upcoming Rock Concerts and Tours
Numerous news that appear one after another about the death of famous legends are striking at their speed - David Bowie, Chuck Berry, Leonard Cohen, George Michael, Glenn Frey and many others. The impression is that all true rock and roll legends and, in general, people who embody the spirit of this generation, leave us and life in one period.
But on the other hand, it naturally has its own reasons, as the stars of the 60's and 70's at the present moment are just live out their last days, and we are the younger generation, we can not unfortunately do nothing about it. Therefore, for example, from all of the 25 best selling stars of the 90s, Britney Spears is only one the youngest now, who is 36 years old.
However, we will remember the tremendous influence of rock'n'roll veterans of music on an entire era, on us in the end, and therefore it is so painful for us to perceive their leaving.
This phenomenon can be called - the demographic crisis of rock musicians. Lemmy Kilmister of the Motorhead passed away, then David Bowie, now it is Glenn Fry - a guitarist and co-founder of Eagles. Millions of fans with a big despair barely reconciled themselves with the departure of entire epochs.
Few of them knew idols personally, but the realization that they no longer shared their talent, is devastated. Moreover, each such death is a storm in the press and social media.
Fans even began to demonize the number 69 (age David Bowie, Lemmy Killmaster died when he just celebrated 70 years). However, probably,all this in vain, as bluesman Buddy Guy, for example, already 79 and he is still alieve.
In spite of all these events, we advise you not to be so pessimistic, as the most important feature of the rock era are music and songs, and this will definitely live forever and nothing can destroy that. It's normal that new stars and new trends are emerging, and it's not worth saying that they are less talented.
Moreover, in order to calm you down definitely, let's list the old scholl rock legends that are still alive, namely it is Brian Eno, Iggy Pop, Mick Jagger and Keith Richards, Paul McCartney and Ringo Starr, Bob Dylan, Ozzy Osbourne and Tony Iommi, eventually David Gilmour and Roger Waters and many others.
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