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Papież Leon X (1513–1521) mianował 42 kardynałów na 8 konsystorzach.

Konsystorz z 1 lipca 1517, na którym mianowano 31 nowych kardynałów, był największą promocją kardynalską w historii przed rokiem 1946. Miał on na celu złamanie opozycji wobec Leona X w Kolegium Kardynalskim. Leon X, wprowadzając aż tylu nowych ludzi do tego gremium, spowodował zarazem jego osłabienie jako konkurencyjnego wobec papieża ośrodka władzy w Kościele. Od tego czasu w zasadzie nie dochodziło już do poważnych konfliktów na linii papież – Kolegium Kardynałów, charakterystycznych dla poprzednich trzech stuleci.

23 września  1513
Kościoły tytularne nadane zostały 29 września 1513
 Lorenzo Pucci, biskup Melfi, datariusz papieski – kardynał prezbiter Ss. IV Coronati, następnie kardynał prezbiter S. Lorenzo in Damaso (18 grudnia 1523), kardynał biskup Albano (15 czerwca 1524) i kardynał biskup Palestriny (24 lipca 1524), zm. 16 września 1531
 Giulio de' Medici, kuzyn papieża, arcybiskup Florencji – kardynał diakon S. Maria in Domnica, następnie kardynał prezbiter S. Clemente (2 czerwca 1517), kardynał prezbiter S. Lorenzo in Damaso (6 lipca 1517), od 19 listopada 1523 papież Klemens VII, zm. 25 września 1534
 Bernardo Dovizi da Bibbiena, skarbnik generalny Kamery Apostolskiej, protonotariusz apostolski – kardynał diakon S. Maria in Portico, zm. 1 listopada 1520
 Innocenzo Cibo, siostrzeniec papieża, protonotariusz apostolski – kardynał diakon Ss. Cosma e Damiano, następnie kardynał diakon S. Maria in Domnica (26 czerwca 1517), kardynał diakon S. Maria in Via Lata (28 lutego 1550), zm. 13 kwietnia 1550

10 września 1515
 Thomas Wolsey, arcybiskup Yorku – kardynał prezbiter S. Cecilia, zm. 29 listopada 1530

14 grudnia 1515
 Adrian Gouffier de Boissy, biskup Coutances – kardynał prezbiter Ss. Marcellino e Pietro, następnie kardynał prezbiter S. Sabina (1518), zm. 24 lipca 1523

1 kwietnia 1517
Kościoły tytularne nadane zostały 25 maja 1517
 Antoine Bohier du Prat OSB, arcybiskup Bourges – kardynał prezbiter S. Anastasia, zm. 27 listopada 1519
 Guillaume III de Croÿ, biskup Cambrai – kardynał diakon S. Maria in Aquiro, zm. 6 stycznia 1521

1 lipca 1517
 Francesco Conti, arcybiskup elekt Conzy – kardynał prezbiter S. Vitale (tytuł nadany 6 lipca 1517), zm. 29 czerwca 1521
 Giovanni Piccolomini, arcybiskup Sieny – kardynał prezbiter S. Sabina (tytuł nadany 6 lipca 1517), następnie kardynał prezbiter S. Balbina (1518), kardynał biskup Albano (24 lipca 1524), kardynał biskup Palestriny (22 września 1531), kardynał biskup Porto e S. Rufina (26 września 1533), kardynał biskup Ostia e Velletri (26 lutego 1535), zm. 21 listopada 1537
 Giovanni Domenico de Cupis, protonotariusz apostolski – kardynał prezbiter S. Giovanni a Porta Latina (tytuł nadany 6 lipca 1517), następnie kardynał prezbiter S. Apollinare (17 sierpnia 1524), kardynał prezbiter S. Lorenzo in Lucina (24 maja 1529), kardynał biskup Albano (22 września 1531), kardynał biskup Sabiny (16 grudnia 1532), kardynał biskup Porto e S. Rufina (26 lutego 1535), kardynał biskup Ostia e Velletri (28 listopada 1537), zm. 10 grudnia 1553
 Niccolò Pandolfini, biskup Pistoia – kardynał prezbiter S. Cesareo (tytuł nadany w 1517), zm. 17 września 1518
 Raffaele Petrucci, biskup Grosseto – kardynał prezbiter S. Susanna (tytuł nadany 26 grudnia 1517), zm. 11 grudnia 1522
 Andrea della Valle, biskup Mileto – kardynał prezbiter S. Agnese in Agone (tytuł nadany 6 lipca 1517), następnie kardynał prezbiter S. Prisca (5 lutego 1518?), kardynał biskup Albano (21 kwietnia 1533), kardynał biskup Palestriny (12 grudnia 1533), zm. 4 sierpnia 1534
 Bonifacio Ferrero, biskup Ivrei – kardynał prezbiter Ss. Nereo ed Achilleo (tytuł nadany 6 lipca 1517), następnie kardynał biskup Albano (12 grudnia 1533), kardynał biskup Palestriny (5 września 1534), kardynał biskup Sabiny (26 lutego 1535), kardynał biskup Porto e S. Rufina (28 listopada 1537), zm. 2 stycznia 1543
 Giovanni Battista Pallavicino, biskup Cavaillon – kardynał prezbiter S. Apollinare (tytuł nadany 6 lipca 1517), zm. 13 sierpnia 1524
 Scaramuccia Trivulzio, biskup Como – kardynał prezbiter S. Ciriaco e Ss. Quirico e Giulitta (tytuł nadany 6 lipca 1517), zm. 3 sierpnia 1527
 Pompeo Colonna, biskup Rieti – kardynał prezbiter Ss. XII Apostoli (tytuł nadany 13 listopada 1517), następnie kardynał prezbiter S. Lorenzo in Damaso (1531), zm. 28 czerwca 1532
 Domenico Giacobazzi, biskup Nocery – kardynał prezbiter S. Lorenzo in Panisperna (tytuł nadany 6 lipca 1517), następnie kardynał prezbiter S. Bartolomeo all'Isola (10 lipca 1517), kardynał prezbiter S. Clemente (20 sierpnia 1519), zm. 2 lipca 1527
 Louis de Bourbon de Vendôme, biskup Laon – kardynał prezbiter S. Silvestro in Capite (tytuł nadany w 1517), następnie kardynał prezbiter S. Sabina (1524), kardynał biskup Palestriny (24 lutego 1550), zm. 13 marca 1557
 Lorenzo Campeggio, biskup elekt Feltre – kardynał prezbiter S. Tommaso in Parione (tytuł nadany 24 stycznia 1518), następnie kardynał prezbiter S. Anastasia (grudzień 1519), kardynał prezbiter S. Maria in Trastevere (27 kwietnia 1528), kardynał biskup Albano (5 września 1534), kardynał biskup Palestriny (26 lutego 1535), kardynał biskup Sabiny (28 listopada 1537), zm. 19 lipca 1539
 Ferdinando Ponzetti, biskup Molfetty – kardynał prezbiter S. Pancrazio (tytuł nadany 6 lipca 1517), zm. 9 września 1527
 Luigi de' Rossi, kuzyn papieża, protonotariusz apostolski – kardynał prezbiter S. Clemente (tytuł nadany 6 lipca 1517), zm. 20 sierpnia 1520
 Silvio Passerini, protonotariusz apostolski, datariusz papieski, administrator diecezji Cortona – kardynał prezbiter S. Lorenzo in Lucina (tytuł nadany 6 lipca 1517), następnie kardynał prezbiter S. Pietro in Vincoli (17 września 1520) i ponownie kardynał prezbiter S. Lorenzo in Lucina (5 stycznia 1521), zm. 20 kwietnia 1529
 Francesco Armellini Pantalassi de' Medici, adoptowany krewny papieża, protonotariusz apostolski, kleryk Kamery Apostolskiej – kardynał prezbiter S. Callisto (tytuł nadany 6 lipca 1517), następnie kardynał prezbiter S. Maria in Trastevere (22 listopada 1523), zm. 8 stycznia 1528
 Adriaan van Utrecht, biskup Tortosy, wielki inkwizytor Aragonii, koregent Hiszpanii – kardynał prezbiter Ss. Giovanni e Paolo (tytuł nadany w 1517), od 9 stycznia 1522 papież Hadrian VI, zm. 14 września 1523
 Tommaso Vio OP, generał zakonu dominikanów – kardynał prezbiter S. Sisto (tytuł nadany 6 lipca 1517), następnie kardynał prezbiter S. Prassede (14 marca 1534), zm. 10 sierpnia 1534
 Egidio di Viterbo OSA, generał zakonu augustianów – kardynał prezbiter S. Bartolomeo all'Isola (tytuł nadany 6 lipca 1517), następnie kardynał prezbiter S. Matteo in Merulana (10 lipca 1517), kardynał prezbiter S. Marcello (9 maja 1530), zm. 12 listopada 1532
 Cristoforo Numai OFMObs, generał zakonu franciszkanów – kardynał prezbiter S. Matteo in Merulana (tytuł nadany 6 lipca 1517), następnie kardynał prezbiter S. Maria in Aracoeli (10 lipca 1517), zm. 23 marca 1528
 Guillén-Ramón de Vich y de Vallterra, protonotariusz apostolski – kardynał prezbiter S. Marcello (tytuł nadany 13 listopada 1517), zm. 27 lipca 1525
 Franciotto Orsini, protonotariusz apostolski – kardynał diakon S. Giorgio in Velabro (tytuł nadany 6 lipca 1517), następnie kardynał diakon S. Maria in Cosmedin (1519), zm. 10 stycznia 1534
 Paolo Emilio Cesi, protonotariusz apostolski – kardynał diakon S. Nicola inter Imagines (tytuł nadany 6 lipca 1517), następnie kardynał diakon S. Eustachio (1519), zm. 5 sierpnia 1537
 Alessandro Cesarini, protonotariusz apostolski – kardynał diakon Ss. Sergio e Bacco (tytuł nadany 6 lipca 1517), następnie kardynał diakon S Maria in Via Lata (14 grudnia 1523), kardynał biskup Albano (31 maja 1540), kardynał biskup Palestriny (14 listopada 1541), zm. 13 lutego 1542
 Giovanni Salviati, protonotariusz apostolski – kardynał diakon Ss. Cosma e Damiano (tytuł nadany 13 listopada 1517), następnie kardynał biskup Albano (8 stycznia 1543), kardynał biskup Sabiny (17 października 1544), kardynał biskup Porto e S. Rufina (8 października 1546), zm. 28 października 1553
 Nicolò Ridolfi, protonotariusz apostolski – kardynał diakon Ss. Vito e Modesto (tytuł nadany 6 lipca 1517), następnie kardynał diakon S. Maria in Cosmedin (19 stycznia 1534), kardynał diakon S. Maria in Via Lata (31 maja 1540), zm. 31 stycznia 1550
 Ercole Rangone, protonotariusz apostolski – kardynał diakon S. Agata (tytuł nadany 6 lipca 1517), zm. 25 sierpnia 1527
 Agostino Trivulzio, protonotariusz apostolski] – kardynał diakon S. Adriano (tytuł nadany 6 lipca 1517), następnie kardynał diakon S. Eustachio (17 sierpnia 1537) i ponownie kardynał diakon S. Adriano (6 września 1537), zm. 30 marca 1548
 Francesco Pisani, protonotariusz apostolski – kardynał diakon S. Teodoro (tytuł nadany 22 października 1518), następnie kardynał diakon S. Maria in Portico (1521), kardynał diakon S. Marco (27 stycznia 1528), kardynał biskup Albano (29 maja 1555), kardynał biskup Frascati (20 września 1557), kardynał biskup Porto e S. Rufina (18 maja 1562), kardynał biskup Ostia e Velletri (12 maja 1564), zm. 28 czerwca 1570
 Afonso de Portugal, protonotariusz apostolski, biskup elekt Idany, syn króla Portugalii Manuela I – kardynał diakon S. Lucia in Septisolio (tytuł nadany 15 maja 1518, pełnoprawny od 23 kwietnia 1522), następnie kardynał prezbiter Ss. Giovanni e Paolo (13 sierpnia 1535), zm. 21 kwietnia 1540

24 marca 1518
 Albrecht von Brandenburg, arcybiskup Magdeburga i Moguncji – kardynał prezbiter S. Crisogono (tytuł nadany 5 lipca 1518), następnie kardynał prezbiter S. Pietro in Vincoli (5 stycznia 1521), zm. 24 września 1545

28 maja 1518
 Jean de Lorraine, biskup Metz – kardynał diakon S. Onofrio (tytuł nadany 7 stycznia 1519), zm. 10 maja 1550

9 sierpnia 1521
 Eberhard von der Mark, biskup Chartres – kardynał prezbiter S. Crisogono, zm. 27 lutego 1538

Bibliografia
 The Cardinals of the Holy Roman Church
 Konrad Eubel, Hierarchia Catholica, Vol. III, Münster 1923

Przypisy

Listy kardynałów według nominującego


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Bounty Battle (PS4) Review – Indiepocalypse Now
September 10, 2020 September 17, 2020 Sean DaviesComment(0)
It's not uncommon to see indie game characters appear in one another's games. There's a real 'don't hate; collaborate' mentality with many indie game designers that are happy to lend their established characters to other up-and-coming titles. I don't think any of these cross-overs have ever been as ambitious as 'Bounty Battle'. This new 2D fighting game asks the question "What if Super Smash Bro's was purely indie game characters?" and the answer is a very interesting melting pot of idea's that's fast fun in multiplayer, but seriously lacking in single player.
There's a plot of sorts in Bounty Battle that is presented in an opening cinematic (which is identical to the above trailer) and never really mentioned again. A whole host of indie characters were going about their usual business when glitches started to appear and teleporting them from their own game into others. In the video, Juan from Guacamelee crashes through a glitch and squashes Fish from Nuclear Throne before being charged by The Crusader from Darkest Dungeon. The sword wielder can't get close though as he's trashed by both Gully from Battle Chasers and Otus from Owlboy. This kind of chaos continues as characters from a whole host of indie games are introduced. According to the games website, this is supposed to represent "a huge vortex that has formed above each world, allowing its inhabitants to communicate with and travel to other worlds, thanks to a new material called the Ethereal Mana". Each character has apparently had a bounty put on its head and they're fighting to see who will become "Master of the Universe". I don't really see any evidence of any of that in the Bounty Battle game itself however (more on that in a second).
In total, 30 characters from 22 indie games are represented in Bounty Battle, including a handful of original creations. Here's the full list;
Azell, Atlas, Tyran, Lazarus & Lilith, all of whom were created specifically for Bounty Battle.
Ollaf from Dark Screens' previous game Ollaf – A Dwarf Chronicle.
R-182 which… I'm not sure about. I think it's a studio mascot?
Stargrove from Ruin of the Reckless.
The Prisoner from Dead Cells.
Struggles from Super Comboman.
Rusty from Steamworld Dig.
Otus from Owlboy.
The Hermetic Champion from Tower of Samsara.
The Penitent from Blasphemous.
Rudy from Blubber Busters.
Gully from Battle Chasers.
Captain Flinthook from Flinthook.
Oddmar from Oddmar.
Fish from Nuclear Throne.
Tetrobot from Blocks That Matter.
Shield Maiden from Eitr.
Harry from The Bug Basher.
Thora from Jotun.
Pankapu from Pankapu.
The Unslain from Doko Roko.
Agent of Death from Death's Gambit.
Trace from Axoim Verge.
The Crusader from Darkest Dungeon.
Sheriff Lonestar from Awesomenauts.
Juan from Guacamelee!
I think you'll agree the Bounty Battle has the most impressive collective of indie game characters in one game since…maybe Runbow? It's an eclectic group that cover some of the most high profile indie games from the past few years as well as some sleeper hits and a handful of original characters to top things off.
Each character has a unique set of moves that are all mapped to the same button press combo's involving 2 buttons. On the PS4, square represents simple attacks and triangle triggers strong attacks. Both buttons will also perform a different attack when in combination with a held up or down direction pad, either doing a launcher/anti-air or charged attack. There's also a grab with can be activated and countered (should you find yourself being grappled) with R1. Characters can double jump with X and do a variety of dodges with circle. Lastly, every player has both a Special Attack and Ultimate attack. Strong attacks and their variants, as well as the Ultimate and Special attack all cost Mana to use. You begin each match of Bounty Battle with 5 bars of Mana to spend which refill over time or with collectables. This system is there to prevent you from spamming Strong attacks and it works. If you've every played Smash Bros., this'll be an instantly familiar set-up that won't take you long to adjust too.
There's also a bounty system, as hinted at in the opening cinematic. As other players/the AI are defeated, a bounty will be put on the most deadly players head. Claiming that bounty by defeating them rewards you with in-match currency. This currency can be exchanged for an assisting character that float around the battlefield and can assist the summoner. Each of these summons are tied to the source material of the indie game hero – Juan from Guacamelee spawns a flock of chickens, for example.
What I find most impressive about Bounty Battle is how each character's moves are representative of their original source material. The characters armed with nothing but a sword aren't suddenly whipping out ranged attacks. Some characters are pure melee, others are entirely ranged attacks, many have a mix of both.
This plays into the balancing of the game too. The attacks of someone like Azell who are totally ranged can do a decent amount of damage but are slow moving and can be avoided. Jotun's Thora can do massive damage with her axe but each swing is sluggish. Fish from Nuclear Throne has a mix of both ranged and close quarters that are quick to execute but do only small amounts of damage. It's easy to find a favourite character here that suits your play style. There's a few issues with the balancing right now – I think Tyran is massively overpowered with an Ultimate attack which can wreck multiple opponents across a whole stage – but for the most part, no matter who you've picked, you have a chance to win so long as you can utilise that characters moves in the right way.
Bounty Battle is best played in Versus mode. With multiple game modes based on the number of lives or eliminations needed for victory, and with the ability to play in a myriad of team dynamics like every character for themselves, 2 vs 2 or 1 vs 3, it's here where you can play against your friends in local co-op play. Against 3 other human opponents, this game really leans into that "gamer party game" vibe. This isn't a game that'll appeal to some given the nature of the characters involved. It's best played by a group of players that know their Sheriff Lonestar from their Lone Ranger as the game play is more complex than a typical party game but in a way that doesn't take itself too seriously. It's disheartening that there's no online multiplayer in Bounty Battle (although you can play it online with SharePlay if you can put up with the lag) but this might be for the best. It's a game that certainly lends itself to the social side of gaming, playing elbow to elbow in a living room.
That's because the single player content in Bounty Battle is disappointingly shallow. When this game was originally pitched on Fig, there were mentions of a story mode with different endings for each character. There's no sight of that mode in this finished product. There's a tutorial that explains all of the mechanics in an easy to understand, step-by-step method and a training arena so you can try out heroes without being in a battle. There's also a challenge mode that pits you against a seemingly endless stream of other heroes in 1 vs 1 battles. Lastly, there's the most interesting aspect of the single player content – the tournament mode.
Bounty Battle's tournaments have you play through 5 events as a single character. These events can be anything from "Defeat any of the 3 opposition heroes X times", "Defeat this foe who has 150% health" or "Defeat all of these heroes before the timer runs out". The last test is always a boss battle of sorts. There's aren't the most imaginative events but they make the combat more interesting than a straight up fight. The issue I have with this mode is that you have to complete them in a sequential order. You can't choose what character's tournament to play without first playing through all of the previous ones. What's more, these tournament's start with the 5 original characters made specifically for Bounty Battle with which you won't have built any connection with, making it a bit of a chore. Complete these events and you're rewarded with some concept art. Do so without dying and you unlock a new skin for that character.
You'll need these skins when playing against your friends on Bounty Battle because when certain default skins are played on some of the shadowy levels, the game can be incredibly difficult to read. It can be too dark and with all of the action going on, it can be hard to tell where your character ends and the next begins. This isn't helped by a burning black and red effect that covers any and all characters if they're hit with some charged strong attacks. This is when the games in-built "Spammer" prevention can become frustrating. If Bounty Battle detects that you're using the same move over and over, it'll stun you (one of a few status effects that can be inflicted on a character). I can't count the number of times I lost a round in this game because I'd lost track of my hero on the screen, tried to pull a move a few times, finally figured out where I am only to find myself stunned and floating over the arena edge to my doom. Personally, I'd have preferred if this anti-spam mechanic was an option you could turn on or off – I've always believed that overcoming spam is an integral part of playing these types of games.
Thankfully, with the unlocked skins and with the accessibility options to give characters an outline or a floating character indicator above their head turned on, it greatly improves the readability. In fact, it feels like they should probably be on as default for all levels.
There's 2 types of levels in Bounty Battle; there's the traditional Smash-like levels with edges you can grab/fall off and closed levels without any hazard area's. Many of these stages are inspired by the indie games the heroes appear in. A section of a town from Guacamelee, A flying island from Owlboy, a hook covered level from Flinthook and a handful more (all of which have their original soundtrack or something very close too it) are joined by some original and admittedly generic creations that offer little in personality. What's most disappointing about the stages in Bounty Battle is how all but one of them are a straight line with no higher or lower elevations to brawl on. They're almost exclusively just one platform from left to right.
That's not the only disappointing aspect of Bounty Battle. The AI can be deficient at times. Drop a huge glowing ball of energy that moves slowly across the screen and they'll simply walk into it. Repeatedly. Playing as a ranged character, I've alternated between simple and strong attacks to game the anti-spam system and simply picked off an AI opponent that simply walked into a barrage of fire until the explode. There's no options to change the difficulty of AI opponents either.
While there's a few disappointing aspects of Bounty Battle, one thing that blew away my expectations was the art style. Every character in this game has been aligned into a single art style which sounds like an impossibility. How do you draw Fish, Juan, Pankapu and the flamey head chap from Dead Cells in the same art style and it work so well? Dark Screen Games managed to do just that. A painterly, hand drawn feel brings all of the characters together while retaining their own individuality. That's a triumph for the developers and artists that worked on this game.
Bounty Battle might be the most ambitious cross-over event in indie gaming history. It unites 22 indie games under one banner and has their heroes duke it out in Smash Bros-esque fashion. This project might have been too ambitious though as the touted story mode is missing, the existing single player content is mundane, the AI needs work and the fight stages lack variety. Still, the game looks first-rate and with friends, all the mechanics are there for a good night of scrappy indie combat.
Bounty Battle is launching on PS4 (reviewed on a base PS4), Xbox One, Nintendo Switch and PC on September 10th, 2020.
Developer: Dark Screen Games
Publisher: Merge Games
Disclaimer: In order to complete this review we were provided with a promotional copy of the game. For our full review policy, please go here.
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Tagged Bounty Battle, Dark Screen Games, Merge Games
Sean Davies
Once ate 32 pieces of pizza at an all-you-can-eat buffet. Husband to 1. Father to 5. Likes Star Wars and Star Trek equally. Doesn't care if you put pineapple on your pizza.
http://Fingerguns.net
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redpajama_set_name: RedPajamaCommonCrawl


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Lost Dog: Circus diptych at the Almeida Festival
Posted: August 5th, 2012 | Author: Nicholas Minns | Filed under: Performance | Tags: Anna Finkel, Ben Duke, Chris Evans, Holly Waddington, Home for Broken Turns, Ino Riga, It Needs Horses, Jackie Shemesh, James Keane, Laura Pena, Lise Manavit, Lost Dog, Raquel Meseguer, Sita Ostheimer, Solene Weinachter | Comments Off on Lost Dog: Circus diptych at the Almeida Festival
Lost Dog, It Needs Horses and Home for Broken Turns, Almeida Theatre July 28
Anna Finkel and Chris Evans in It Needs Horses (photo: Benedict Johnson)
The Almeida Theatre has a stage like the apse of an old, disused church with stripped plaster walls that adapts perfectly to the circus ring of Lost Dog's It Needs Horses with its wooden boarding in a semi-circle around the perimeter, beautifully lit by Jackie Shemesh. A rudimentary trapeze hangs to one side. Because of a last minute injury, Sita Ostheimer is replacing Anna Finkel. She has had only one day to learn it all, but at least she knows her partner, Chris Evans. Only weeks before they were performing as a couple in search of an idea in a lighthearted work, Accompany, for the Hofesh Schechter evening, In Good Company.
Drum roll. Cymbals. Lights up. Nothing. Ostheimer is standing on the trapeze as if she has been left there overnight, dressed in a rather seedy grey body suit with shiny, silver embroidered breastplates and crotch, a feather headdress and a rather mangy tail. Her face is painted white, her haunted eyes smudged black by tears, and her mouth enlarged by more than one application of lipstick. Evans, the ringmaster, in slightly better state, stands below her in the ring in yellow and red jester tights, white tee shirt and bowler hat (both costumes pulled lovingly out of an old circus bin by Holly Waddington) looking at his partner with a measure of contempt and futility, his shoulders bowed by impending defeat. His bearded, white face and expressive black eyes urge her to perform. Her eyes plead with the audience: she can't get down. She whimpers a few notes of a song and Evans takes off his hat for contributions. Laughter, but no money from the crowd. He puts his bowler back on and helps Ostheimer slither down from her perch. The band starts up, and they begin a surprisingly energetic music hall routine as if on automatic, playing off each other's rundown state until she falls. He continues dancing, trying to heave her back into action as part of the routine, kicks her to the music, pulls her, but she's out for the count. Rushing to fill the ever-widening gap between expectation and fulfillment, the grim Evans tries juggling his pirate knives and apples, bungling both. He mimes in quick succession smoking a cigarette, fishing for the big one and steering a car, which he drives, and then reverses, over Ostheimer's body, still to no effect. His last fragment is swimming, but the game is up. He offers his hat. Nothing.
Turning his attention back to Ostheimer, he runs his finger down her tail and miouws. He sits her up and feels her zipper. He unzips her enough to pull off one shoulder of her costume. As excited as he is inspired, he sits behind her and manipulates her hands like a puppet to caress her own breasts and thighs, then gets carried away by rubbing her crotch with animal passion. Aroused, she wakes up and hits him in the chest and then as they both get up, kicks him in the backside. All kinds of energy are beginning to flow. They struggle, the band strikes up again and they vaguely remember where they are. Continuing their routine to a crackly, slow foxtrot, she jumps in his arms but he tries to undress her more. She hits him again, knees him; he has his arms round her neck: a real catfight. She pulls his tee shirt off and thinking this might be the moment he pulls his tights down to his knees. His white Y-fronts look as if they have been washed rather too recently. Both parties catch their breath as they take stock of the situation. Whatever is going on has less and less to do with a desperately failing circus act and more to do with laying bare the emotions coursing behind the makeup and costumes: the frustration, the sexual energy, the passion, the madness, the fading dream.
Ostheimer takes the initiative, coyly slipping off her tail and launching into a sinuous display of unbridled libido as Evans remains rooted to the spot playing a muted mouth trumpet to her undulations. Her act really gets going, mouth wide open in animal abandon with associated guttural sounds, hands all over her body, her tongue on fire. She pulls Evans down on all fours and energetically humps him from behind with appropriate vocals. Ever the opportunist, Evans offers his hat for contributions. Nothing. He knocks her over, picks up one of his knives and puts it to her throat. He must regain control of his act, but she is all he has. To a simple musical theme that grows in emotional intensity and orchestration, he gets her running around the ring like a horse, to which he responds as ringmaster cracking his whip and whistling. He launches into a solo of excitement bordering on abandon, then joins Ostheimer jumping exuberantly around the ring though she is beginning to look and sound exhausted. She stops and won't continue. He threatens her with the knife, but she is beyond being threatened. She walks off and he remains in the centre of the ring, letting the knife drop at the beginning of a final fitful dance of frustration leading inexorably to collapse.
It Needs Horses, conceived and directed by Ben Duke and Raquel Meseguer, won the 2011 Place Prize. It is performed here as part of the Almeida Festival with a second, consecutive work, Home for Broken Turns, which is conceived, directed and choreographed by Duke himself. It is, in Duke's own words, a work in progress, though more advanced than the day before.
There is no program for the evening, so we are left to figure it out. First is the transition: a trio of girls (Lise Manavit, Ino Riga and Solène Weinachter) clean up the knives and apples and assorted clothes from the ring to an ethereal banjo score (by James Keane); they dismantle the perimeter boards, stacking them neatly at the back. On a bare stage a fourth girl (Laura Pena), dressed to look older in country clothes of a distinctly Latin American flavor, plants herself authoritatively centre stage, legs apart, cigar in mouth, calling incessantly and distraughtly for 'Anna'. The other three girls, similarly dressed, unfold two sun chairs and seat a skeleton in one with a bottle of wine. They then unroll a black road with a white-painted centre line along the front of the stage. This is the link to the outside world. Ostheimer stumbles along this road like a ghost, still in her costume. Perhaps she was making her way here at the end of It Needs Horses, but she doesn't seem to recognize the place and passes unnoticed: the three girls are too involved in their wild harvest dance to look up. She returns from the other direction, crosses the stage and is gone again. The sound of an approaching bus catches the girls' attention, bringing them expectantly to the side of the road with a begging bowl, speaking French and Spanish. No luck. The girls berate their imaginary customers, asking one after the other for money, a bus ticket, or a pen, while the cigar-smoking, gap-toothed matriarch – we'll call her Mama – at the back keeps a constant eye on the proceedings. A gentleman evidently asks one of the girls if Anna lives there. No, désolée. One girl expresses frustration bordering on madness, the second girl comforts her, and the third is just pulsing with pent-up emotion. After the bus has gone, Ostheimer walks by again. Is she Anna? It is not clear, but we will assume so. There is a cockerel on a tall pole in the yard to which Mama prays in forcefully pious Spanish. One girl plays distractedly at riding a horse, a second drives a car that crashes. Another bus stops, but nobody gets off. Mama says life is like a shit biscuit and each day we eat a little bit of it, then she collapses from lack of food and a loss of hope; two of her girls try to revive her, turning her upside down and throwing her to the third, but Mama slides down her body to the floor. Anna drifts back along the road like a vision, and this time the girls grab her and throw her in the direction of the matriarch, who has a catatonic fit in voluble Spanish and the vision is carried off just before another bus arrives – this is a busy thoroughfare. Mama says I'm sorry, Papito veni, but with a gesture of resignation, picks up a chair and the bottle of wine and settles at the back. One of the girls barks, which sets off the pack of girls barking at passers by (where did they all come from?), and when they aren't barking they're smiling and begging for coca-cola, a fag or bubble gum, raising their skirts, and offering their favours. Two of the girls dance a desperate duo while the third moves sensuously, practicing the tongue gymnastics we saw in the ring earlier. This is evidently where it is all learned, the school of desperate performance. The girls monitor each other's progress and success, both of which seem limited. Mama is now drunk and breaks up the party. The girls pretend to ply the skeleton with drink and wrap its bony arms around Mama: a macabre variation on the dance of the dead to a ghostly piano variation on the Pink Panther theme. The skeleton's arms smack her backside then grab her from behind, doggy position – another image we have seen earlier in the ring – until a roaring, throaty climax. One of the girls removes the skeleton and takes Mama back to her chair; a second rehearses another dance of seduction while a third, hands gripped and fingers tense, dances on one leg. Anna is back again, and this time the three girls follow her in a reverential line on their knees, hand to ankle, but they can't keep up. On Anna's return Mama finally greets her, kisses her, hugs her. "Anna?", she asks. Anna kisses her and retreats. The girls look to where Anna left, then gather up Mama for a ritual peasant dance to an earthy drum rhythm.
Graduation time has arrived, and one of the girls is chosen to dress up. She puts on her headdress, and slips out of her jeans and top into a costume exactly like Anna's. How do I look?, she seems to ask, proudly. She leaves along the fateful road, another graduate on her way into an uncertain world, and meets Anna coming in the other direction. They stare at each other. The desperate cycle is completed, and repeats.
After seeing It Needs Horses, there is a sense that Home for Broken Turns is related (if only because the Ostheimer character reappears in it) but the stylistic relation is more difficult to see. Going from one to the other is like going from the structural tautness and poetry of a Beckett play to a narrative in a nineteenth century novel, of which most is in a foreign language with a high level of emotional distortion. The first has coalesced as a form, has found its particular place and character, and is complete in itself, while the second is still searching for its identity, like the characters themselves. Home for Broken Turns is for now an emotional outpouring of an imaginary precedent for an uncertain future, a bringing together of past, present and future in an inflammable alliance of passion and despair: a vibrant, gutsy performance in search of its true form.
Hofesh Schechter dancers: In Good Company
Posted: July 5th, 2012 | Author: Nicholas Minns | Filed under: Performance | Tags: Christopher Evans, Hofesh Schechter, In Good Company, James Finnemore, Philip Hulford, Sam Coren, Sita Ostheimer, Yeji Kim | Comments Off on Hofesh Schechter dancers: In Good Company
In Good Company: New works by the dancers of Hofesh Schechter Company. The Place, June 23 at 8pm.
Last of his Act: Yeji Kim
In the dim opening light we see just Yeji Kim's back, at the same level as the lamp, higher than we expect. As the light enlarges, we notice she is clutched to Sita Ostheimer's torso, her arms tight around Ostheimer's neck. We hear an electronically manipulated voice emitting globs of sound so guttural as to be close to choking or vomiting. It is the first of many disturbing juxtapositions in Kim's Last of His Act that seem to derive from a divorce of experience and wisdom as articulated in her program notes: 'We, women, can express our mind differently from what we really have in mind.' This separation is expressed in a series of contrasted episodes. After a brief blackout we see the two women lying centre stage, the strong sensuous curve of Ostheimer's hip highlighted in front of Kim's concealed form. They embrace and mould themselves to each other along the musical line of a distorted cello migrating to synthesizer: Apocalyptica to early Pink Floyd. Joel Harries' sound comes in thick layers, wrapping the movement in an almost suffocating embrace from which Kim and Ostheimer emerge as light to the sound's shade or as waves to the sound's depths; it is the sound that seems to release them or hold them in place. A powerful bass pulse shakes them free of each other and we see a dance of two frenetic, isolated individuals, their hands wide open like a Rodin sculpture. The guttural globs resume as the two women return to the front of the stage, breathless from exertion. Lit from the floor, they look out at us in the silence, prompting applause, but the women stand their ground until an ominous knock at a massive door focuses our attention once again. We hear the door creaking open on to a section of more antagonistic images and sounds: Kim gently raises the hem of her dress, peering at her sex, to applause or perhaps it is heavy rain, then portentous booted steps. Ostheimer performs the same ritual examination, placing her hands over her womb to the sound of a dog barking and snarling: fragility over violence, courage over intimidation, life over death. We hear fragments of a song in which the words 'pain' and 'strain' are distinct in the increasing cacophony that drives Kim and Ostheimer to a frenzied state. Never quite out of control – they are both consummate dancers – they manage to draw their movements closer to the body, held in tight like a seething anger. Exhausted, Ostheimer lies down in submission; Kim remains standing close to her in the dying light, but gravity and the dwindling sound undermine her will and release her finally to the floor. 'Sometimes', writes Kim, 'the free will of women can give us distance through cynicism. Conversely, this will can make us feel empathy for others' lives, mistakenly. We question ourselves if we know them or not'.
Lukewarm and loving it: Philip Hulford
A lampstand upstage left glows faintly, barely revealing Hannah Shepherd standing next to it. A translation from Matthew 6.22-23 is projected on the backdrop: Your eyes are windows into your body. If you open your eyes wide in wonder, your body will fill up with light. If you live squinty-eyed in greed and dishonesty your body is a dank cellar. There is for me an uncomfortable distinction here between advertising an idea for a performance and evangelising. The title of the work is the subject of a sermon by Francis Chan, an American Christian pastor, equating lukewarm with lack of faith, and in his program acknowledgements, Hulford cites the example and teaching of Jesus. Because there is so much 'message' before the dance begins, one wonders what role the dance has. Perhaps Hulford should have considered the first verse of Matthew 6, in the same translation, that contains the admonition: Be especially careful when you are trying to be good so that you don't make a performance out of it. It might be good theater, but the God who made you won't be applauding.
This is a rather long digression on a personal issue, but as Hulford has made it a primary element in his work, it asks to be addressed. The choreography juxtaposes the appropriately named and dreamy Shepherd, dressed blandly in jeans, a jacket and sneekers, against the dynamic duo of Frederic Despierre and Karima El Amrani, who quickly launch into a disco number fragmented by a strobe light, pushing their limits and swaying violently from side to side to a throbbing, high-decibel beat. Are they the squinty-eyed ones against Shepherd's wide eyes, or are they the heat to Shepherd's lukewarm? I tend towards the former interpretation, as Shepherd seems to develop confidence and conviction in the course of the work, culminating in a dynamic and assured solo to lyrics by Jars of Clay: The smile on the outside that never comes in…You break me open, turn on the light…Let the show begin. But if Shepherd develops, there is no corresponding growth for Despierre and El Amrani, which leaves the work rather one-sided and incomplete. Hence the ambiguity.
Like Hofesh Schechter, Hulford is a musician and has composed the score in collaboration with Joe Ashwin of the progressive death metal band, Stone Circle (Ashwin also plays guitar in the Hofesh Schechter band). What sounds like the electronically manipulated buzzing of a bee breaks the opening silence followed incongruously by a stubborn starter motor. A pounding, reverberating pulse underlies the first duet with Despierre and El Amrani, and Shepherd is given a quieter, more pensive treatment, though the general tone of this layered sound leaves little room for subtle expression.
No way but down: Sam Coren
A thunderous rumbling introduces the soundscape by Alberto Ruiz. We see a painting hanging in an artist's studio, a view of sky and clouds. Perhaps it is the one source of light on this rather seedy, unhealthy interior, designed with particular attention by Kasper Hansen. We see a bicycle on a stand and then the figure of Igor Urzelai get up from bed still covered in bed clothes. He offloads them in a heap. By the look of his costume (Sophie Bellin Hansen must have had fun putting this together – and got it just right) we are not expecting a virtuoso dance. In fact there is no dance at all, unless the furious pedaling can be considered a pure form. No matter. Urzelai pedals to generate electricity to light the room, an introduction to the refreshing but dark sense of humour that pervades No way but down. Urzelai is part pirate, part vagabond. He sorts his collection of cassettes and selects rather prophetically The Handsome Family's The Lost Soul. What an awful day, when the judgement comes. And sinners hear their eternal doom but the volume is too high for such a crappy machine (perhaps the only instance in the work where production values are divorced from the 'reality' of the stage). He sings along, using a bicycle pump as microphone, then breaks off to lay his makeshift table with a plastic sheet, and a large spoon. He selects a can of beans from the collection stacked against the back wall and on his way back to the table changes the ambience by putting on a recorded sound of a restaurant buzzing with activity: clinking plates, teaspoons and conversation. Tucking a newspaper under his chin as a bib, he opens the can and savours the contents. One might be forgiven for thinking of the last supper without the disciples. The spoon then takes on a life of its own: food sprays up, Urzelai's anger erupts and he throws the can's contents in his face. To calm down he searches for another recording: a reading (by Ben Coren, read by Jason Jacobs). Chapter two. Companionship. When you are feeling frustrated or irritable with your partner, just remember you are lucky to have each other…Inspired, he puts a waste bin inside the hood of a jacket to shape a partner and performs a grim thé dansant. More music maestro, please; but he has to pedal first to generate more electricity. He plays Graham Lindsey's Deathtrip Blues. And soon I will be dead…another self-fulfilling choice. Urzelai shines a torch at his partner's face, then places the light on the table and sits down for a tête à tête. Smoke suddenly appears from under the door on stage left. Urzelai lies his partner on the floor and rushes over to fan the smoke away, peeling off his outer garments (there are many) to stuff under the door. He returns to his act of creation by stuffing another waste bin in another hooded jacket (there's a pile at the back) and introduces this second figure to the first, laying them side by side on the floor. He pauses, then thoughtfully places the sleeve of one over the torso of the other. Pleased with his work, he removes the clothing from under the door and sits inhaling the bellowing smoke: hope and the light are snuffed out together, leaving that patch of painted sky and clouds above his make-believe lovers.
I don't know if Sam Coren has direct experience of this condition, but he has created a portrait of despair with a masterly dose of sympathy and understanding unadorned by morality. It is a movingly nuanced portrait by Urzelai, too, who is utterly convincing.
The Age: James Finnemore
A couple stands on stage in the dark. We hear a repeated phrase of three words, like dark age heart, on a score by Joel Harries, followed by a deep pulsing bass track – a common musical feature in the scores this evening. The couple is still, their faces indistinct, with their legs illuminated by a bank of lights on the floor behind them, until the overheads come up and we see their intent look. Victoria Hoyland steps back and Philip Hulford reverentially takes her hand, kneels, lets her sit on his knee, then gently takes her weight as he stands. They dance a ballroom waltz, in very small and faltering steps before disengaging, taking hands and looking out again into the audience as if posing for a photograph. Hoyland takes another position on all fours, and Hulford sits on her back. They repeat their movement sequences but more rapidly. She is now like a wind-up doll in waltz position, with arms in place for an absent partner, turning half turns continuously while Hulford walks to the centre and looks out intently once again. While Hoyland turns, Hulford dances powerfully and mysteriously in the blue light, quick and dynamic, almost manic – one of the most searing images of the evening. The music develops into a heartbeat and finishes. Hulford regains his breath and tries to express something, but he cannot speak. He is on the point of walking away from us but turns to face us in silence. Hoyland and Hulford seem unsure they should be here, as does the audience, who applauds, but it is not the end. Hulford is evidently in discomfort as he begins a dance of shell-shocked fatigue. A blackout and a new pulsing bass line plumb the depths of his being and he begins to jump in place, passing through another blackout to appear standing next to Hoyland with his hands behind his back, she with hands in front. They both walk over to the bank of floor lights that has started up again and to an upbeat, rhythmic march they dance the same elastic, powerful movements, descending deeply to the floor and rising up, accelerating and morphing into an energetic bunny hop from which Hulford disengages and walks one last time towards us with his intense gaze. The Age is a rather bleak work, but full of almost dream-like images, both still and moving, that Hoyland and Hulford so effectively portray.
Accompany: Sita Ostheimer and Christopher Evans
After visiting some of the more profound life states for much of the evening, it is a relief to bubble to the surface with Sita Ostheimer and Christopher Evans in their Accompany. The program note says simply that Sita and Chris are a couple. Onstage, they definitely are, in which case the description is redundant; so presumably it refers to their offstage status. Certainly there is a naturalness in their antics and banter, most of which is recorded. So here is a couple playing themselves with their recorded voices, performing the process of creating the work you are now seeing that finishes with its starting point like Escher's famous hand drawing itself. It is refreshingly relaxed but its craft is not to be underestimated. We have already seen Ostheimer dance in the first piece, so it is good to see and hear her sense of fun. We see tantalizingly little dancing from Evans but what do you expect in a performance of unrealized expectations? There is no music either, as Ostheimer explains; just background sound, for which the program credits Charlie, Lawry and Ed. They have dressed the silence with layers of recorded voice, distorted voice, snatches of song and conversational snippets between Ostheimer and Evans that unify the conceptual nature of the work. There are songs listed in the credits – Damien Rice, Stephan Micus and Meret Becker – but they seem to have shared the fate of the African idea, the highway idea, the pulling-people-out-of-the-front-row idea and the speaker idea. The best idea is the idea of the work itself.
I recently attended a choreographic evening by Rambert Dance Company and it is interesting to compare the two. Both companies are giving opportunities for aspiring choreographers to hone their choreographic skills and gain experience in a performance setting with full production values. The differences arise from the nature of the two companies: Rambert has a varied repertoire by different choreographers, whereas Schechter is the sole creator, both of music and dance. Rambert has a policy for their choreographers of working with commissioned scores played live – for the most part – by an orchestra. Schechter's dancers used three scores from two of the company's own musicians, Joel Harries and Joe Ashwin, and there is a clear influence of the engulfing Schechtian sound on all five works. The works at Rambert were varied between narrative, abstract and psychological, whereas Schechter's group was surprisingly narrowly focused on expressing (however well) the somber-bordering-on-depressing psychological states, notwithstanding the lighthearted bounce at the end. It would be interesting to see what the Schechter choreographers would do with an orchestral score, and what the Rambert dancers would do with a Joel Harries soundscape. Perhaps it is simply the natural process of young choreographers expressing the dominant influence of their respective companies, but I had the feeling that the young Rambert choreographers were creating in a more open environment than those in Schechter's. What is important, however, is that these choreographic evenings continue to be supported, and that the choreographers who choose to develop their ideas will find their own voices.


SerializationProvider A Service providing Serializer instances.
Serializer<T> Defines the contract used to transform type instances to and from a serial form.
SerializerException Thrown by a Serializer when it cannot serialize or deserialize an instance.
UnsupportedTypeException Exception thrown by the SerializationProvider to indicate a Serializer could not be created for a given type.


All BLUE Life Protection Formula dry foods always start with real chicken, fish, or lamb. We use whole grains, garden veggies and fruit, plus we add Life Source Bits, a precise blend of nutrients that have now been enhanced with our Super 7 package of antioxidant-rich ingredients. Importantly, BLUE Life Protection Formula contains no chicken (or poultry) by-product meals, no corn, wheat or soy and nothing artificial and is formulated for all breed sizes and life stages.


text:
There must be a reason why some people can afford to live well. They must have worked for it. I only feel angry when I see waste. When I see people throwing away things that we could use.
More Mother Teresa Quotes
My definition of success is to live your life in a way that causes you to feel a ton of pleasure and very little pain – and because of your lifestyle, have the people around you feel a lot more pleasure than they do pain.
I don't think I've ever worked so hard on something, but working on Macintosh was the neatest experience of my life. Almost everyone who worked on it will say that. None of us wanted to release it at the end. It was as though we knew that once it was out of our hands, it wouldn't be ours anymore.
It has been my observation that most people get ahead during the time that others waste.
The most compelling reason for most people to buy a computer for the home will be to link it to a nationwide communications network. We're just in the beginning stages of what will be a truly remarkable breakthrough for most people – as remarkable as the telephone.
The world is a dangerous place to live; not because of the people who are evil, but because of the people who don't do anything about it.


1-Why did they leave their undewear on?
2-Why wasnt my lawyer present to confirm Grants singing of the adoption papers?
4-Why The Fudge did I set my alarm?
I am of course kidding*..Please refer to the Disclaimer in the blog post below and make note o the small print directly below.


text:
module Titan
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    namespace :elb

    def self.banner(task, namespace = false, subcommand = true)
      super
    end

    desc :dummy, ''
    def dummy
      puts 'elb'
    end
  end
end

redpajama_set_name: RedPajamaGithub


The girl Qizi expresses her sadness after the harassment by her teacher.
From December 12, 2018 till January 11, 2019 I am artist in residency at Three Shadows Photography Art Centre to complete my project Chess Qizi 棋子。Wang Yunke and I did rehearsals to create a new stage version of our performance.
Wei Na filmde onze performance van een half uur en monteerde dat tot een film van 18 minuten. Met ondertiteling in Engels en Chinees. Nu op Vimeo te zien.
CHESS QIZI 棋子, 150 x 118,5 cm, colored pencil and watercolor on paper, 2018.
Asian Art, Amsterdam. Photography Gert Jan van Rooij.
My solo at Witteveen Visual Art runs until February the 18th. On the pic Mapping Beauty 12 and 10.
A Blink of Pink is more than a solo exhibition of my recent drawings and new hand scroll at Witteveen Visual Arts, it's also the title of a song that I sung Saturday February the 10th, together with some David Bowie Songs, especially China Girl.
The Gelderse Kade is located in Chinatown, Amsterdam. In 2017 I started with Chinese Class at Chinese School Nederland and therefore I like to translate these Chinese Characters.In Pinyin 粉色一瞥 sounds "fen se yi pie" and means A Blink of Pink.
During my winter residency (one month) at the Institute For Provocation I've composed the song A Blink of Pink which I sung accompanied by guitarist Li De. Halfway the song the music stops and I began to dance with Monika Mariaca while singing "A Blink of Pink". I met Monika the night before in the Temple-bar, which is located in the neighborhood of the Heizhima Hutong.
On the opening of my solo at the Black Sesame Space I did a performance inspired by the nightlife in Beijing. This is a screenshot of the video registration by filmmaker Popo Fan.
I've got the Gerrit Banner Award 2017 + a solo exhibition at the Fries Museum, Leeuwarden.
Colored pencil and watercolor on paper, 94,2 x 54,3 cm.
76,5 x 93,5 cm. Colored pencil and watercolor on paper, 2017.
In the context of the month for philosophy a presentation with one small work at SMAHK, Assen. The theme is UNREST (in the Polder) so I presented my 'Fucker' drawing.
The group show is on display up to March the 8th.
Colored pencil and watercolor on paper, 2016.
The Mondriaanfund awarded me the grant "Proven Talent", see the last selection with presentation on the website of the Mondriaanfund With the grant "Proven Talent" I am able to work on my multimedia project in China (Beijing) intermittently for the next 4 years. I already began to draw part 1 Mapping Beauty.
Colored pencil and watercolor on paper, 75 x 42,5 cm.
On November the 19th I will join the performance event Shelters Winterwolven at the Armenius Church in Rotterdam. My plan is to perform my song The Goatfucker and Bo Kisser will be inspired by the Church and the theme to work out the performance.
Gallery WitteveenVAC will show my book Innocent and drawings at the upcoming art fair Amsterdam Drawing.
The Fries Museum has asked the price of four works: Burnt Home 2, Hotpot with Shumeng..., Yang Jia Gou 1947, Untitled censored detail.
The Fries Museum is discussing an exhibition of my drawings.
We did it! Our entry to the ZEBRA poetry film festival Berlin. Filmstill with the actress Dandan. The first public screening will be on August the 3rd in Manchester.
At C-Space Beijing. Made possible thanks to Fonds Kwadraat.
Deze tekening op A2 formaat is uitgangspunt voor een zeefdruk op A4 formaat die in een oplage van 50 voor Kunst4Kids in Museum Boymans van Beuningen als een echt kunstwerk aan kinderen voor op hun kamer wordt aangeboden. 30 april - 8 mei.
Birthday present/Qianxi, Coloured pencil and watercolour on paper, 25 x 35 cm.
Coloured pencil and watercolor on paper, 55 x 55 cm.
Birthday present/Hanne Hagenaars. Pen, ink and coloured pencil on rice paper, 25 x 35 cm.
In "O, Muse!" (De Hallen, Haarlem) my mother Afra is displayed very well between famous paintings by Verwey, Sluijters, Koch and Israels.
en het publiek zong mee met het slotakkoord "Ah".
Het publiek kijkt en luistert aandachtig naar de performance van Roberta Petzoldt.


An eccentric existence is one where God forms the center of life, becoming the axle of our self-understanding.
The National Day of Prayer has been challenged by a National Day of Reason. This duel of proclamations trades on the notion that the two stand in opposition.
It's 2016 and the problem of evil is still unsolved. It's found a megaphone in Stephen Fry, who offers more rhetorical power than originality.
Jesus setting his face to Jerusalem marks a shift: the text mentions it three times. There is a boldness and immovable attention to the assignment.
Many people are bound. Some don't even know it. The difference between being free and being bound is at the center of our Gospel text this week.
From our 21st-century perch, William Shakespeare seems more reclusive than ever.


text:
Boards of Appeal of the Republic of Azerbaijan on the establishment of central and local executive power bodies
Decree of the President of the Republic of Azerbaijan
On the establishment of Boards of Appeal at central and local executive bodies of the Republic of Azerbaijan
Guided by Paragraph 32, Article 109 of the Constitution of the Republic of Azerbaijan, in order to ensure transparency and objectivity in the field of consideration of complaints of individuals and legal entities engaged in the entrepreneurial activity and to defend their rights and interests protected by the relevant legislation, I hereby order:
1. To establish the Boards of Appeal at central and local executive bodies of the Republic of Azerbaijan.
2. To approve "The standard statute on the Boards of Appeal at central executive bodies" (attached).
3. To approve "The standard statute on the Boards of Appeal at local executive bodies" (attached).
4. The Cabinet of Ministers of the Republic of Azerbaijan:
4.1. To prepare proposals associated with the coordination of the acts of the President of the Republic of Azerbaijan with this Decree within three months and to submit them to the President of the Republic of Azerbaijan;
4.2. To ensure the coordination of legal acts of the Cabinet of Ministers of the Republic of Azerbaijan with this Decree within three months and to inform the President of the Republic of Azerbaijan;
4.3. To supervise the coordination of legal acts of central executive bodies with this Decree and inform the President of the Republic of Azerbaijan about the execution during five months;
4.4. To resolve other issues arising from this Decree.
5. The Ministry of Justice of the Republic of Azerbaijan to ensure the coordination of legal and normative acts of the central executive bodies with this Decree, and inform the Cabinet of
Ministers of the Republic of Azerbaijan.
President of the Republic of Azerbaijan
Ilham ALIYEV
Baku, February 3, 2016
Published in the "Respublika" newspaper (February 4, 2016, № 25) ("VneshExpertService" LLC).
Published in the "Azerbaijan" newspaper (February 5, 2016, № 26) ("VneshExpertService" LLC).
the Decree number 762
of the President of the Republic of Azerbaijan
dated February 3, 2016
Councils central executive bodies on Appeal
Model Regulations
Standard Statute
of the Boards of Appeal at central executive bodies
1.1. The Board of Appeal of the central executive bodies (hereinafter referred to as the Board of Appeal) is the collegial body who consideres the repeated appeals of individuals and legal entities engaged in the entrepreneurial activity related to their entrepreneurial activity against the decisions, actions or inactions of central executive body and its local (structural) agencies (except for the appeals associated with the offences related to corruption) and acts on a voluntary basis (free of charge).
1.2. In the course of activity the Board of Appeal is guided by the Constitution of the Republic of Azerbaijan, the Law of the Republic of Azerbaijan "On Administrative Proceeding" and other laws of the Republic of Azerbaijan, decrees and orders of the President of the Republic of Azerbaijan, decrees and orders of the Cabinet of Ministers of the Republic of Azerbaijan, international treaties to which the Republic of Azerbaijan is a Party, and this Statute.
1.3. When exercising its duties and rights the Board of Appeal acts in coordination with other executive bodies, local self-government bodies and non-governmental organizations, as well as individuals and legal entities.
1.4. Within the context of this Statute the "repeated appeal" means the written appeal submitted to the Board of Appeal by individuals and legal entities engaged in the entrepreneurial activity which expresses their full or partial dissatisfaction with the decisions made by central executive body, its structural subdivision or other subordinate organization with regard to appeals associated with entrepreneurial activity of these persons, their refusal to make decision, as well as their actions or inactions.
1.5. The Board of Appeal carries out its activity based on the principles of legality, transparency, collegiality, impartiality.
2. The duties of the Board of Appeal
2.0. The duties of the Board of Appeal include:
2.0.1. To carry out a comprehensive, complete and objective investigation of repeated appeals submitted to the Board of Appeal and make a justified decision in accordance with the outcome of the case study;
2.0.2. To monitor the implementation of the decisions made by the Board of Appeal;
2.0.3. To register the repeat appeals considered by the Board of Appeal, to analyze and review them, and to submit the semi-annual and annual statements (reports) on the results to the head of the central executive body;
2.0.4. In the course of its activity to ensure the exercitation of human and civil rights and freedoms and prevent their violation within its powers;
2.0.5. To take necessary measures to prevent the disclosure of the state and commercial secrets, and information prohibited for dissemination according to the legislation;
2.0.6. To perform other tasks prescribed by the law and Acts of the President of the Republic of Azerbaijan.
3. Rights of the Board of Appeal
3.0. To fulfill its duties the Board of Appeal has the following rights:
3.0.1. To send queries (to appeal) to central and local executive bodies, local self-government bodies and non-governmental organizations, as well as individuals and legal entities in relation to the repeated appeals submitted to the Board of Appeal, to get the required information and documents from them;
3.0.2. To invite persons who submitted the repeated appeals (their representatives), officials of administration of the central executive body, its structural subdivision or other subordinate organization, as well as other concerned persons to the meetings of the Board of Appeal, to conduct investigations with their participation, to get their explanations;
3.0.3. To give written instructions to the officials of administration of the central executive body, its structural subdivision or other subordinate organization, in the field of elimination of any deficiencies and violations revealed in the time of investigation of the repeated appeals submitted to the Board of Appeal;
3.0.4. In case of gross deficiencies as well as violations of legal acts allowed by the officials of administration of the central executive body, its structural subdivision or other subordinate organization in the course of their official activities, revealed in the time of investigation of the repeated appeals submitted to the Board of Appeal, to raise an issue of taking measures to bring these persons to responsibility as prescribed by the law and receive information on the results;
3.0.5. To make proposals on improving the efficiency of work of the Board of Appeal;
3.0.6. To conduct analysis and generalizations in the course of activities of the Board of Appeal, to make proposals on the elimination of contradictions revealed during the investigation of the repeated appeals;
3.0.7. To monitor and control the implementation of the decisions of the Board of Appeal, as well as to take measures on the elimination of deficiencies;
3.0.8. To exercise other rights prescribed by the law and Acts of the President of the Republic of Azerbaijan.
4. Organization of the work of the Board of Appeal
4.1. The composition (Chairman and six other members) of the Board of Appeal shall be determined by the head of the central executive body. The Chairman of the Board of Appeal should be one of deputy heads of the central executive body.
4.2. Chairman of the Board of Appeal:
4.2.1. Shall organize and lead the work of the Board of Appeal;
4.2.2. On behalf of the Board of Appeal shall sign decisions and other documents related to the activity of the Board of Appeal;
4.2.3. Shall make presentations (proposals) to the head of the central executive body related to the approval of other members of the Board of Appeal, as well as the head and composition of the Secretariat of the Board of Appeal.
4.2.4. Shall determine the agenda of the meetings of the Board of Appeal and preside over these meetings;
4.2.5. Shall raise issues related to the competence of the Board of Appeal for consideration at the Board meetings;
4.2.6. Shall represent the Board of Appeal.
4.3. The rights and duties of the members of the Board of Appeal are as follows:
4.3.1. To participate in the meetings and activities of the Board of Appeal;
4.3.2. To conduct full, thorough and impartial investigation of the repeated appeals submitted to the Board of Appeal;
4.3.3. To express attitude, opinion and make proposals on the repeated appeals submitted to the Board of Appeal;
4.3.4. To require additional documents to be included in the materials of the investigation when coming to the conclusion that the documents (collected materials) submitted during the initial investigation of the repeated appeals received by the Board of Appeal are insufficient;
4.3.5. To vote on behalf of the Board of Appeal in the time of making decision on the repeated appeals submitted to the Board of Appeal;
4.3.6. To sign the minutes of the meetings of the Board of Appeal;
4.3.7. In case of disagreement with the decisions adopted at the meetings of the Board of Appeal by a majority vote, to address the head of the central executive body with a reasoned opinion made in writing that these issues to be discussed at a meeting of the Board of the central executive body;
4.3.8. To be impartial to the issues considered at the meetings of the Board of Appeal;
4.3.9. To make proposals on the organizational issues related to the competence of the Board of Appeal;
4.3.10. To exercise other rights and duties provided for in this Statute.
4.4. Secretariat of the Board of Appeal (hereinafter referred to as the Secretariat) has been established for the organization of the current activities of the Board of Appeal.
4.5. The head and composition of the Secretariat shall be approved by the head of the central executive body on the basis of presentation (proposal) made by the Chairman of the Board of Appeal.
4.6. The Secretariat:
4.6.1. Takes organizational measures in relation to the repeated appeals submitted to the Board of Appeal;
4.6.2. Examines the repeated appeals submitted to the Board of Appeal for compliance with the requirements of the legislation and this Statute, and in case of their compliance with the corresponding requirements addresses the relevant structural subdivision of central executive body or its other affiliated or subordinate institutions to submit to the Secretariat all documents (materials) required with regard to case no later that within 2 business days;
4.6.3. After checking the integrity and importance of the documents (materials) submitted by the relevant structural subdivision of central executive body or its subordinate institutions according to the subparagraph 4.6.2 of this Statute, sends the collected documents (materials) to the members of the Board of Appeal other than the Chairman for a formal opinion;
4.6.4. Summarizes the formal opinions submitted in accordance with the paragraph 4.7 of this Statute and organizes the meetings of the Board of Appeal after the coordination with the Chairman of the Board of Appeal;
4.6.5. Notifies the Members of the Board of Appeal, as well as those specified in subparagraph 3.0.2 of this Statute about the timing of meetings of the Board of Appeal at least 3 business days before the meeting.
4.6.6. Draws up the minutes of the meetings of the Board of Appeal and submits to the members of the Board of Appeal for signing;
4.6.7. Prepares the draft decisions (opinions, responses to be given in writing) of the Board of Appeal and submits them to the Chairman of the Board of Appeal for review and signing;
4.6.8. Ensures sending the decisions (opinions, responses to be given in writing) of the Board of Appeal to the relevant persons;
4.6.9. Keeps records of the repeated appeals considered by the Board of Appeal, analyzes and summarizes them, and submits quarterly, semi-annual and annual statements (reports) on the results to the Chairman of the Board of Appeal;
4.6.10. Shall spread information on the issues considered at the meetings of the Board of Appeal through the mass media and the official website of the central executive body;
4.6.11. Ensures informing the population about the activities of the Board of Appeal, placement of information to be disclosed according to the list prescribed by the law on the official website of the central executive body, and continuous updating this information;
4.6.12. Fulfills the instructions of the Chairman of the Board of Appeal;
4.6.13. Keeps the originals of the minutes and other documents of the Board of Appeal;
4.6.14. Exercises other duties and rights provided for in this Statute.
4.7. The opinions mentioned in subparagraph 4.6.3 of this Statute should be submitted no later than within 2 business days. The opinions submitted should be substantiated, and the attitude to any of issues in these opinions should be expressed clearly and unequivocally.
5. Requirements to the repeated appeals considered by the Board of Appeal
5.1. Along with information prescribed by the law, the repeated appeals should contain the following information:
5.1.1. TIN of the person who submits the appeal;
5.1.2. Information about appeal(s) previously submitted to the central executive body on the subject of the repeated appeal and the response(s) received;
5.1.3. Information of the case which led to the appeal(s) previously submitted to the central executive body on the subject of the repeated appeal (name, date, number, brief contents of the administrative act received by the relevant central executive body, its structural subdivision or other subordinate organization);
5.1.4. The list of the documents attached to the repeated appeal.
5.2. The repeated appeals should be signed by the applying individual or the head of legal entity him/herself, or by their authorized representatives (copy of the document reasserting authorities to be enclosed to the appeal).
5.3. Appeals submitted by legal entity should be approved by the stamp of this legal entity. This requirement is applicable to the representative offices, branches and divisions of resident and non-resident legal entities. In this case, repeated appeals should be approved by the stamps of the relevant representative offices, branches and divisions.
5.4. Duly certified copies of documents confirming the justification of the repeated appeals (decision, act, opinion, letter, reference, receipt and other documents issued by governmental, non- governmental and local self-government bodies) should be attached to the repeated appeals.
5.5. Appeals directly submitted to the Board of Appeal without the consideration by the relevant structure of the central executive body (appeals not considered as repeated appeals), as well as appeals associated with the offences related to corruption shall be sent for consideration to the relevant structure of the central executive body.
5.6. Substantiated decision (or written response) on the results of investigation of each repeated appeal considered by the Board of Appeal (or not considered on its essence) shall be sent to the person(s) who has (have) submitted it.
6. The meeting procedure of the Board of Appeal
6.1. Meetings of the Board of Appeal are valid in case of participation of at least two thirds of its members.
6.2. Meetings of the Board of Appeal shall be held at least twice a month, or if necessary, at any time by order of the head of the central executive body in coordination with the Chairman of the Board of Appeal.
6.3. Regulations of each meeting of the Board of Appeal shall be established by the Chairman of the Board of Appeal depending on the appeals to be discussed.
6.4. Those who submit the repeated appeals to the Board of Appeal (their authorized representatives), the officials, expert, specialist, interpreter and other concerned persons of the relevant structure of the central executive body may participate in the meetings of the Board of Appeal.
6.5. All the arguments associated with the repeated appeals included in the agenda of the Board of Appeal are being discussed by the members of the Board of Appeal, and a separate opinion shall be stated on every issue.
6.6. Decisions at the meetings of the Board of Appeal are adopted in an open voting by a simple majority vote of the members participating in the meeting. In the event of a tie, the Chairman of the Board of Appeal shall have the casting vote.
6.7. The Chairman of the Board of Appeal, the head of the Secretariat of the Board of Appeal or one of other members of the Board of Appeal makes a report on the repeated appeals included in the agenda of the Board of Appeal.
6.8. In case of participation of authorized representatives of the persons who have submitted the repeated appeals in the meetings of the Board of Appeal, the original document (or duly certified copy) confirming the authority of the representative must be submitted to the Secretariat.
6.9. The persons invited to the meetings of the Board of Appeal have the right to make proposals and express their attitude on the relevant issues.
6.10. Information about the decisions made on the repeated appeals considered by the Board of Appeal may be spreaded by the Secretariat through the mass media or the official website of the central executive body.
6.11. The videorecording of the meetings of the Board of Appeal and the discussion of the repeated appeals included in the agenda shall be carried out and kept for at least one year.
6.12. If the Chairman of the Board of Appeal cannot participate in the meetings of the Board of Appeal for valid reasons (vacation, business trip, illness, etc), the powers of the Chairman of the Board of Appeal shall be assigned by the head of the central executive body to one of his/her deputies.
7. Requirements to the minutes of the meeting of the Board of Appeal and decisions adopted
7.1. The outcome of meetings of the Board of Appeal shall be reflected in the minutes of the meeting signed by the members of the Board of Appeal and the head of the Secretariat.
7.2. The minutes of the meeting of the Board of Appeal should indicate the following:
7.2.1. The date and place of the meeting;
7.2.2. Full names of the members of the Board of Appeal, the head and staff of the Secretariat, other invited persons, and (or) their authorized representatives participated at the meeting;
7.2.3. Subject, summary and grounds for repeated appeals included in the agenda for the discussion;
7.2.4. Decisions previously adopted on the subject of repeated appeals included in the agenda for the discussion, and substantiation of those decisions;
7.2.5. Speeches of persons participating in the meeting of the Board of Appeal;
7.2.6. Arguments gathered with regard to repeated appeal submitted to the Board of Appeal, the outcome received, reference to the relevant legal acts;
7.2.7. Decision made by the Board of Appeal.
7.3. One of the following decisions shall be adopted as a result of the investigation conducted on the appeals accepted for proceedings by the Board of Appeal:
7.3.1. appeal is allowed;
7.3.2. appeal is allowed partially;
7.3.3. appeal is not allowed;
7.3.4. The new decision has been made on the subject of the appeal.
7.4. Decision of the Board of Appeal must be drawn up in a justified manner and reflect all the circumstances of the case. The decision signed by the Chairman of the Board of Appeal consists of an introductory, descriptive, substantiating and conclusive parts containing the following information:
7.4.1. The introductory part includes date and place of the decision made by the Board of Appeal, full name, position and rank of the Chairman of the Board of Appeal who has signed the decision, the subject of the repeated appeal and the requirements put forward;
7.4.2. The descriptive part includes the ground shown by the person who has submitted the appeal, the decisions taken earlier on the subject of the repeated appeal, as well as summary, justification of those decisions, and explanations of the persons involved in the case;
7.4.3. The substantiating part includes the arguments received by the Board of Appeal, information on the documents collected, and references to the relevant legal acts;
7.4.4. The conclusive part reflects the decision made by the Board of Appeal, instructions on the implementation of the decision, and the decision appeal procedures.
7.5. The Secretariat shall organize sending the decisions (written responses) made by the Chairman of the Board of Appeal to the persons concerned.
7.6. In case the appeal submitted to the Board of Appeal for proceedings is within the competence of another authority, the Board of Appeal shall send the appeal and attached documents to the competent authority within 3 business days from the date of receipt of the appeal at the latest, and notify the complainant in writing with indication of the ground.
On the establishment of the Board of Appeal at the Ministry of Youth and Sports of the Republic of Azerbaijan
To ensure the implementation of the the Decree number 762 "On the establishment of Boards of Appeal at central and local executive bodies of the Republic of Azerbaijan" of the President of the Republic of Azerbaijan dated February 3, 2016, to ensure transparency and objectivity in the area of consideration of appeals submitted by individuals and legal entities engaged in the entrepreneur activity and to defend their rights and interests protected by the legislation, I hereby order
1. To establish the Board of Appeal at the Ministry of Youth and Sports of the Republic of Azerbaijan.
2. To approve the Statute of the Board of Appeal of the Ministry of Youth and Sports of the Republic of Azerbaijan (attached).
3. To approve the composition of the Board of Appeal of the Ministry of Youth and Sports of the Republic of Azerbaijan (attached).
4. The Financial and Logistics Department (A. Ziyadov) to take the necessary measures related to the establishment of the Board of Appeal at the Ministry of Youth and Sports of the Republic of Azerbaijan.
5. The General Department (N.Nabiyev) to ensure sending the copies of the order to organizations included in the structure of the Ministry of Youth and Sports and other subordinate institutions for information.
6. I take personal charge of control over the implementation of the order.
Minister Azad Rahimov
Order № __
February " ", 2016
______________Azad Rahimov
C o m p o s i t i o n:
of the Board of Appeal of the Ministry of Youth and Sports of the Republic of Azerbaijan
1. İntigam Babayev Deputy Minister - Chairman
2. Rufat Hasanov Head of the Office - member
3.Nazim Nabiyev Head of the General Department - member
4. Mayil Hasanov Deputy Head of the Economic Department – member
5. Rauf Aliyev Senior lawyer - member
6. Namik Abdullayev Senior consultant of the Sector for Work with Regions – member
7. Azar Maharramov Director of the "Azeridmanservis" LLC - member
On the establishment of the Secretariat of the Board of Appeal of the Ministry of Youth and Sports of the Republic of Azerbaijan and approval of its composition
To ensure the implementation of the the Decree "On the establishment of Boards of Appeal at central and local executive bodies of the Republic of Azerbaijan" of the President of the Republic of Azerbaijan dated February 3, 2016, and taking into account the presentation of the Chairman of the Board of Appeal of the Ministry of Youth and Sports of the Republic of Azerbaijan Intigam Babayev, I hereby order
1. To establish the Secretariat of the Board of Appeal of the Ministry of Youth and Sports of the Republic of Azerbaijan and approve it in the following composition
1. Rana Aliyeva Senior consultant – Responsible secretary of the Board
2. Afag Nacafova Senior consultant of the General Department
3. Fuad Alakbarov Leading consultant of the Sector for Staff Training


In the upcoming article, you're going to discover an utterly-simple shooting system that will double, or even triple your accuracy.
The system requires no special strength, speed, or coordination and works regardless of your age, body condition, or if your favorite weapon is a 9mm or an AR-15. And once you apply it to your training, you'll be ready to face any dangerous situation with the steel-eyed calm confidence of a battle-hardened Green Beret.
Because it's developed around your body's natural reflexes, meaning you'll actually be able to learn in only a few short days what others took years to master.
Why are these techniques special?
These techniques are so powerful and efficient, that until now they were only available for special operations elites like the United States Green Berets, the Navy SEALS, or the Israeli Defense Force – to name a few.
And it took someone on the "inside" to make them available for regular people like you and me.
That someone is Brian Morris. Brian is a weapons and sniper operations expert, and a Green Beret with over 25 years of military and combat experience.
Now in case you don't know, the Green Berets are America's first line of defense around the world. And although their missions are often confused with those of the SEALs or the Army Rangers, the Green Berets are in a league of their own.
You see, I noticed a lot of people claiming to be experts in certain fields without any proof to back that up.
Or the technique he "borrowed" from the Israeli Defense Forces – the Instinct Combat Shooting Technique, or simply ICS. And I'm going to let you in on a little secret: Brian even went a step further and enhanced it. That means developing this skill the way he shows it, will feel like it's actually being downloaded directly into your nerves and muscles in an incredibly short time.
This procedure is the one the Israeli army bases its advanced marksmanship training program on and it's also the one that sets Israelis apart from all other special forces on the planet.
The ICS method was developed in response to studies showing that when facing a critical situation, a person's nervous system is automatically engaged.
Perhaps you remember how it was during your school years, when at an important exam, you suddenly discovered you only had minutes left, and your hands would suddenly start shaking uncontrollably making it impossible to put down another word.
To put it simply, it's how we're designed to react when facing a critical situation: our bodies automatically switch to "survival-mode", adrenaline starts pumping., and heart rate skyrockets to somewhere between 150-175 BPM.
Once this happens, we lose control of our small movements of hands and fingers. We also experience loss of near and peripheral vision.
And that's because when we go into "survival-mode", our brain bypasses every non-essential life function. And this is exactly when ICS is most effective.
By stopping you from thinking about hitting the target and turning the whole shooting process into one instinctive move.
The purpose of these techniques is to keep you alive in dangerous situations and yet they're unlike anything you'll hear from a regular NRA instructor.
For instance, if you've ever trained with one, you know he tells you to focus on the front sight post or to align the front and rear side aperture and focus on the sight.
And sure, this works like a treat at the range, but in a real-life scenario, the time it takes you to focus on the sight could make the difference between life and death.
So, here's a quick tip for you: next time you shoot a gun, instead of focusing on your sight, try and focus 100% ON YOUR TARGET… and then on the smallest point possible of the target.
You see most NRA instructors nowadays have gotten their license by completing an undeveloped 2-day course.
No wonder the number of so-called certified coaches has skyrocketed recently.
What is the quality of an instructor's training?
Where did he receive his certifications or knowledge to instruct?
Is he experienced enough to know that what might work for one person will not work for another?
Is this who I want to put in charge of showing me the skills that should save my life?
That's why Brian Morris understood this tsunami of violence that has hit America had no end in sight unless he acted. And he felt it would be irresponsible of him not to share his immense knowledge and experience with those who needed it most… his fellow patriots.
Not a long time ago, Brian went into full "monk-mode" for a couple of weeks.
During this time, he submitted himself to some grueling hours of work sessions with a world-class team of gun nut journalists, editors and producers he hand-picked himself, where he revealed all his closely-held secrets about his new shooting system.
Now, as I said, the members of the team Brian assembled were no rookies, they'd been in the field for decades, and they looked like they'd seen and heard it all.
What they saw was a system that focuses around your body's unconscious movements, which allows you to learn every new skill without any real work or effort.
The system, which Brian named "Spec Ops Shooting: A Green Beret's Guide To Shooting Mastery" can help improve anyone's shooting skills and put them on a fast track to becoming a master marksman with minimum fuss.
First, Brian will show you how to use the Israeli army signature marksmanship technique – the one method that puts Israeli Special Forces among the best in the world – so you can hit a coin from 50 yards out with ease. Plus, he'll even show you a quick hack you can apply to your training, so you'll actually feel like this skill is being downloaded directly into your nerves and muscles in an incredibly short time.
Right after that, you'll discover one of the closest guarded secrets of expert snipers that will give you laser-like accuracy. This technique is so easy to master that you'll feel like you've secretly known it all along but have failed to take advantage of so far.
Furthermore, you'll discover how to maintain flawless accuracy even while in motion. The secret to achieving this is a simple training drill that most instructors consider totally useless and a complete waste of your time.
Then, you'll unearth a hyper advanced aspect of gun training even Army instructors fail to teach. This will give you the ability to sway any situation in your favor… and by learning it, you will feel infinitely more relaxed and confident in your ability to make a quick on-the-spot decision so that you can respond better to high-stress situations.
Plus, you'll discover how to handle a worst-case scenario: an active shooter situation. Your own personal Green Beret instructor will reveal how to crush the disadvantage of being caught a second or two behind the criminal by using your body's reflex movements… and how to conduct yourself in case you're forced to engage the shooter so you avoid being mistaken for him by the police.
Next, you'll get a down & dirty target drill that can turn even the ultimate greenhorn into an elite shooter almost overnight… this alone is a "fail-safe" method for getting pinpoint accuracy. Use it and you'll go from buckshot to bull's-eye on every shot and never waste a bullet ever again.
Additionally if you've ever focused on an object and saw a blurred extra image a couple of inches to the side of the clear one, Brian will reveal how snipers who can hit a target from over 1 mile away exploit this "glitch" to harness unbelievably-devastating accuracy.
And right after that, you'll get to know how you can "expand" your 5 senses, so you see everything happening around you. This trick can virtually grant you almost super-human like ability to predict what will happen next and prepare for it accordingly.
And there's so much more to be found inside the Spec Ops Shooting system, including sensitive details.
Plus, every shooting technique Brian introduces is followed by a detailed training plan to target the development of that specific skill right away. Absolutely nothing has been left out!
You can either choose to develop each skill, one at a time… or you can diversify your training and include multiple routines each targeting different techniques.
As you will see for yourself, what Brian shows you can be mastered in the shortest time humanly possible and yet these essential shooting skills are exactly the ones you could never hope to get out of your everyday instructor.
Look, you need to realize the information you're about to get was completely unavailable until a short time ago to anyone outside Brian's trusted circle.
What if you had the magical opportunity to effortlessly attain the same shooting skills and know-how that others paid for, by spending years away from their families, in blood, sweat and tears, fighting America's enemies or enduring some of the harshest environments on the planet?


text:
Short Story: Results by S.M. Grady
Results by S.M. Grady
Rhonda sat at the bar staring into her half-empty glass. The wine was cheap and tasted like sour grape juice, but she didn't care. She wanted to be anywhere other than home, so she had stopped at the first bar she saw after her appointment.
Thanks to her husband, she'd just taken her first STD test. She was a virgin when they married, so she'd never had a reason to get tested. Two weeks ago, a revealing email from his co-worker gave her a reason. She briefly wondered how many bottles of wine she'd go through while waiting on the results.
Three days later, Rhonda got her answer: Chlamydia. She knew that the infection could be cleared up with a round of antibiotics. What she didn't know, was what would become of her marriage.
Rhonda and Travis had been married for nine years, and she had never suspected anything like this. Well, she had her suspicions from time to time, but she never had any proof until now. She wondered what else she didn't know about her husband. What if she hadn't gotten tested?
What if it had gotten worse? What if he had given her something else, something that couldn't be cured? She hated him at that moment, and she had no idea how they were going to move forward.
The next night, after a quiet dinner filled with tension, Rhonda showed Travis the results. She watched his face as his expression changed from irritation, to shock, to regret. By the time he looked back up, they were both in tears.
Travis confessed to everything. He had been cheating for months. It started with a little casual flirting at work, but things had gotten out of hand. Before he knew it, he was sneaking off with his co-worker every chance he got. And some of those times, he didn't have a condom on him.
He begged for forgiveness, as Rhonda stared at him silently with a blank look on her face. She felt numb and confused. She grabbed her phone and keys as it suddenly dawned on her what she had to do next.
"Where are you going?' Travis asked, his voice shaking. The look she gave him told him that he was in no position to be asking questions, yet he continued. "Are you going to say anything? Don't you think we should talk?"
"What is there to say?" Rhonda asked in response as she walked out the front door. She didn't know if she would eventually forgive him or not, but that wasn't her concern at the moment. She had to take care of something else.
Rhonda could have driven to her destination with her eyes closed, which was a good thing because she was too lost in her own thoughts to pay attention to the road. She pulled into the parking spot she always used, just off to the left of the building—just out of sight. Her hands were trembling by the time she knocked on the apartment door.
"Babe! I didn't know you were coming over tonight," Brandon said as he answered the door. The huge smile on his face disappeared when he saw how distraught Rhonda looked. "What happened? He found out?" Brandon asked as he put his arm around her and pulled her inside.
"No, nothing like that. It's just…this is so embarrassing," Rhonda said through tears as she settled onto the couch. "I'm just gonna say it…" she started, but then stopped.
"Go ahead," Brandon coaxed her.
"I know we've always been careful but…you need to get tested," Rhonda said and lowered her eyes to the ground. "He gave me chlamydia. I just found out. So, you should get tested too. Just in case," she finished with her eyes still on the ground.
They were silent for a few moments until Brandon pulled her close to him and said, "Look, this is not your fault. We'll deal with this, and we'll get through it." He pulled her chin up and kissed her lips.
"Maybe there's a bright side to this," Brandon said, as he stared into her eyes.
"What's that?" Rhonda asked.
"Yeah…maybe," Rhonda said in a low voice. She smiled back at him, not wanting to reveal that she was still torn between both men. The test results hadn't changed that.
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