text:
Russian envoy: Israel-Arab issues - not Iran - main problem in Middle East
The ambassador claimed there's no proof Hezbollah created tunnels to attack Israel.
By LAHAV HARKOV
Russian Ambassador to Israel Anatoly Viktorov.
(photo credit: RUSSIAN EMBASSY)
Israel destabilizes the Middle East more than Iran, Russian Ambassador Anatoly Viktorov told The Jerusalem Post on Tuesday.
"The problem in the region is not Iranian activities," Viktorov said at the Russian Embassy in Tel Aviv. "It's a lack of understanding between countries and noncompliance with UN resolutions in the Israel-Arab and Israel-Palestinian conflict."
Asked if the relatively limited scope of Israel's conflict with the Palestinians destabilizes the region more than Iran does through proxies around the Middle East, like the Houthis in Yemen and Hezbollah in Lebanon, Viktorov balked at the notion of Iranian funding the Shi'ite terrorist group.
"Israel is attacking Hezbollah; Hezbollah is not attacking Israel," he added, referring to Israel bombing Iranian and Hezbollah and weapons convoys in Syria.
Viktorov said he has seen the tunnels from Lebanon into Israel, which Hezbollah operatives have used to attempt to attack Israel, and argued there is "no proof Hezbollah created the tunnels."
The ambassador said Israel must "not attack the territories of sovereign UN members."
Asked whether this is a change in the position, by which Israel gives Russia advanced notice before it attacks Iranian positions near the Syria-Israel border, Viktorov said no, because "coordination is about the safety of the Russian military in Syria."
However, he added, "there is no way that we are approving any Israeli strikes on Syria, never in the past and never in the future."
With regard to recent International Atomic Energy Agency reports that Iran has developed more centrifuges to a further extent than permitted by the Joint Comprehensive Plan of Action (JCPOA), as the 2015 Iran nuclear deal is known, Viktorov said he does not agree that Iran has violated the agreement.
"The first step was made by... our American colleagues who unfortunately decided to quit the JCPOA [in 2018]," he said. "They quit the plan and that allowed the Iranian side to undertake some steps which are not in full compliance with the plan, which is unfortunate as well."
Though Viktorov would only call Joe Biden "the possibly elected president" of the US, pointing out that he was only "appointed by the press" and not officially declared the victor, he said Russia "took note of some statements" that Biden seeks to rejoin the JCPOA.
If the US returns to the deal, "it will make many things simpler," he said. "It will be helpful to reduce concerns and allow the Iranians to develop a peaceful atomic energy program and allow [the IAEA] to look at what is going on in the military sphere."
"Maybe some provisions could be modified," he said, in reference to Biden's statements that he will strengthen the JCPOA, "but it's a matter of negotiation with the interested parties, the Iranian authorities."
As for whether Russia would sell arms to Iran after the UN arms embargo was lifted earlier this year, he said: "Iran is a sovereign state, why not? I am not familiar with specific plans; it's a matter of negotiations."
Viktorov said Russia is supportive of the Abraham Accords, in which Israel established diplomatic relations with the United Arab Emirates, Bahrain and Sudan, and said "any move towards interaction is a positive development, in of itself."
Still, he said, "Israel should sit down and talk about how to take everybody's legitimate concerns into account and not create alliances and blocs against somebody else," an apparent reference to partnerships with Gulf states against Iran.
"We strongly believe that the Palestinian question should not be put aside. The normalization should not replace a Palestinian-Israeli settlement because this problem will remain and will continue to endanger not only the countries and peoples of the region but also many others around the globe," he stated, while calling for a two-state solution.
Viktorov warned that the continuing Israeli-Palestinian conflict is "allowing terrorists to recruit more supporters into their ranks."
Russia's offer for Israel and the Palestinians to hold direct negotiations in Moscow still stands, as well as a suggestion to hold an international conference on the matter, he added.
Viktorov also spoke of his country's efforts to combat COVID-19, saying that massive vaccination began this week in the Moscow region and will be distributed to all regions of the Russian Federation.
"We are sure our vaccine is not the worst in the world," he said of doubts about the Russian inoculation.
Prime Minister Benjamin Netanyahu and Russian President Vladimir Putin discussed the matter in a phone call on November 16, and since then, Israeli and Russian authorities have been in contact coordinating the delivery of 1.5 million doses to Israel, he said.
"We feel the intention of our Israeli colleagues to diversify the use of vaccines in Israel is a good approach," Viktorov said.
Tags Hezbollah Russia


A PENNSYLVANIA church has been slammed for encouraging parishioners to bring their AR-15 rifles to a blessing ceremony next week.
The shock move comes just days after Nikolas Cruz, 19, went on a rampage with an identical gun, killing 17 people at Marjory Stoneman Douglas High school in Florida.
The World Peace and Unification Sanctuary in Newfoundland says worshippers could also bring "equivalents such as an AK semi-automatic rifle," to the ceremony next Wednesday.
The church believes the weapons are considered a "rod of iron" as mentioned in the Bible, said Tim Elder, the church's director of world missions.
But some parents are concerned as the event is being held down the road from a primary school.
But church leaders say the ceremony was planned before the Florida high school shooting.
Elder added the weapons won't be loaded and will be secured with zip ties during the ceremony.
Cops know about the event, but won't be sending security to the church, he said.
Rev. Hyung Jin Moon, the church's pastor, is the son of the late Sun Myung Moon, who founded the Unification Church — which is often referred to as a cult — in the 1950s.


Perfect for Victorian day at school, or as a book week character idea, this Hire Sherlock Holmes costume is top notch. This is a great Boys Victorian Costume, all you need is to add the Pipe and spy glass.
Sherlock Holmes costume includes, Sherlock Holmes coat, Breeches, and Sherlock Holmes hat. Available to hire in 8-10yrs 140cm, or 10-12yrs 164cm, please specify when ordering which size you require.


We all are aware of the health benefits of fruits, veggies and whole grains. What about meats? Turns out eating chicken as a teen has health benefits beyond the extra protein.
According to a new study, slashes the risk of a precancerous condition that may develop into colon cancer.
Study researcher Dr. Katharina Nimptsch stated, "Among different cancers, colorectal cancer is the most influenced by diet. Compared to something like smoking, diet is not a large cancer risk factor, but it does have an impact.
The focus of the study was to investigate whether diet during teenage has an impact on their future cancer risk. It involved 19,771 women from ages 34 to 51 years. As a part of the study, the subjects were asked questions pertaining to their diet during high school.
In the decade after high school, 1,494 of the women were diagnosed with colorectal adenomas. Among these, 305 were in an advanced stage.
The analysis did not highlight a direct relationship between red meat intake and adenomas, but it was noted that swapping one serving per day of red meat with that of poultry or fish may reduce the risks of rectal and advanced adenomas by about 40 per cent. However, intake of more poultry and fish in adulthood didn't seem to change the risk.
"Our findings do not suggest an association between red meat intake during adolescence and colorectal adenomas later in life, but higher poultry intake during this time was associated with a lower risk of colorectal adenomas," the researchers said.
Though the findings add to previous evidence that eating poultry may decrease risk of colon cancer, the mechanism behind the link is ambiguous. Researchers feel there is need for further research to substantiate the results.
"Before recommendations are made based on these findings, it is necessary that results are confirmed," Nimptsch said.
The study was published June 19 in the American Journal of Epidemiology.
Next articleMumbai turns around Indian history!First domino kidney transplant!!


text:
Björk announces new album Vulnicura, to be released in March
Singer announced the news via note on her Facebook page...
Singer announced the news via note on her Facebook page…
Björk has announced that she will be releasing a new album Vulnicura, the follow up to 2011's Biophilia, in March.
The Icelandic singer announced the news via a note on her Facebook page, including the title of the album and a tracklist. "Ladies and gentlemen, I am very proud to announce my new album is coming out in March," she wrote. "I do hope you will enjoy it."
As previously reported, Björk worked with Arca – aka Alejandro Ghersi – and British producer Haxan Cloak on the album. Ghersi has in the past contributed to Kanye West's 'Yeezus' and collaborated with FKA Twigs. Cloak released his own self-titled debut in 2011 and then put out a follow-up, Excavation, in 2013. He also worked with US band The Body on their 2014 release 'I Shall Die Here'.
Meanwhile, Björk is confirmed to perform at the Governers Ball in New York this summer alongside Drake and the Black Keys. In addition to the album, the singer will also release a career retrospective book in March titled Björk: Archives. The book, which features contributions from directors Chris Cunningham and Spike Jonze, will chart the singer's career through a mixture of poetry, academic analysis, philosophical texts and photographs.
Vulnicura tracklist:
Stonemilker
Lionsong
History Of Touches
Notget
Atom Dance
Mouth Mantra

redpajama_set_name: RedPajamaCommonCrawl


text:
/*
 * ModeShape (http://www.modeshape.org)
 *
 * Licensed under the Apache License, Version 2.0 (the "License");
 * you may not use this file except in compliance with the License.
 * You may obtain a copy of the License at
 *
 *       http://www.apache.org/licenses/LICENSE-2.0
 *
 * Unless required by applicable law or agreed to in writing, software
 * distributed under the License is distributed on an "AS IS" BASIS,
 * WITHOUT WARRANTIES OR CONDITIONS OF ANY KIND, either express or implied.
 * See the License for the specific language governing permissions and
 * limitations under the License.
 */
package org.modeshape.jcr.api.observation;

import java.util.List;

/**
 * Extension of the {@link javax.jcr.observation.Event} interface allowing clients to retrieve extra information from events
 * generated around properties.
 *
 * @author Horia Chiorean
 * @see javax.jcr.observation.Event#PROPERTY_CHANGED
 * @see javax.jcr.observation.Event#PROPERTY_ADDED
 * @see javax.jcr.observation.Event#PROPERTY_REMOVED
 */
public interface PropertyEvent extends Event {

    /**
     * Returns {@code true} if this property is multi-valued and {@code false} if this property is single-valued.
     *
     * @return whether this property has multiple values or a single value.
     */
    public boolean isMultiValue();

    /**
     * Returns the single value of the property if it's not a multi-value property, or the first value from the list of values if
     * the property is multi-valued.
     *
     * @return a {@code Object} corresponding to the value of the property or {@code null} if the property has no value
     */
    public Object getCurrentValue();

    /**
     * Returns all the values of the property. If the property is single-valued, it will return a list with 1 element.
     *
     * @return a {@code List} with all the values of the property, never {@code null}
     */
    public List<?> getCurrentValues();

    /**
     * In case of a {@link javax.jcr.observation.Event#PROPERTY_CHANGED} event, returns {@code true} if the old property was
     * multi-valued and {@code false} if the old property was single-valued.
     * <p/>
     * For all other property events, this will return {@code false}.
     *
     * @return whether the old property had multiple values or a single value, or {@code false} if the event type is not
     *         {@link javax.jcr.observation.Event#PROPERTY_CHANGED}
     */
    public boolean wasMultiValue();

    /**
     * In case of a {@link javax.jcr.observation.Event#PROPERTY_CHANGED} event, returns the single value of the old property if it
     * wasn't a multi-value property, or the first value from the list of values if the property was multi-valued.
     *
     * @return a {@code Object} corresponding to the value of the old property or {@code null} if the old property had no value or
     *         if the event is not a{@link javax.jcr.observation.Event#PROPERTY_CHANGED} event
     */
    public Object getPreviousValue();

    /**
     * In case of a {@link javax.jcr.observation.Event#PROPERTY_CHANGED} event, returns all the values of the old property. If the
     * property was single-valued, it will return a list with 1 element.
     *
     * @return a {@code List} with all the values of the old property or {@code null} if the event is not a
     *         {@link javax.jcr.observation.Event#PROPERTY_CHANGED} event.
     */
    public List<?> getPreviousValues();
}

redpajama_set_name: RedPajamaGithub


This entry was posted on Wednesday, May 9th, 2012 at 1:42 am and is filed under Uncategorized. You can follow any responses to this entry through the RSS 2.0 feed. You can leave a response, or trackback from your own site.
LOL Great for Hulk (Being Blue, I'm calling him Sulk) to show Paco up.
He looks a kinda like the Grey Hulk. But Bulk here has a better taste in fashion.
Ah, yes, the Professor Bulk phase… first seen in The Incredulous Bulk #377. Too bad it's only a temporary fix.
I love how so many superheroes are super genius scientists.. it makes me feel better about being a smarty mcsmarts..
the Bulk is a bit bluer than the Infraggable Krunk..
a purple monster whit green pants. I see what you did there 😉 smart hulk. PS: suddenly I am in the mood to read Planet Paco.
Cuando las historietas impresas? mis alumnos preguntan!


localadverts4u.co.uk - Amazing SEO offer or just spam?
SEO spam is rife at the moment; not a day goes by without at least one arriving in my inbox.
Most are deleted just as soon as they arrive, but one from localadverts4u.co.uk stood out for 2 reasons.
The email is particularly bad.
The name rang a bell - I had an email from a client just days earlier asking me to block them.
... but is there any substance to it?
Apparently run by "David Gange" and "Stuart Biggs", localadverts4u.co.uk is a home-based business in Surrey.
"LocalAdverts4U are experts in local search engine optimization. Based in Surrey, UK, our team of web-specialists work super hard to achieve lasting results for a range of small business clients. We guarantee to get you to the top of the Google rankings fast, so that you can get yourself in front of your target audience. The proof, as they say, is in the pudding."
Let's take a look at the email first.
First impressions count. If you use bad grammar, you're already fighting a losing battle.
Once a week is plenty, twice a week (or more) and you're likely to find yourself blacklisted.
If you have your own domain, use it for every email. Emails from "[email protected]" look amateurish; giving entirely the wrong impression. Strangely, the second email came from a localadverts4u domain, so that's two addresses to block instead of one.
If you're going to give statistics, it's always useful to know the source. Where is the proof that failure to implement any/all of the 7 "things" results in a 25-75% drop in revenue? Where is the proof that 1-5% of businesses are using these 7 "things"? I can't find any metrics to support this statement; which either means they're false or well hidden.
"Google Maps is our bread-and-butter and the first thing we will take care of for you."
SEO companies cannot guarantee to get you to position #1 on Google. Absolutely, unequivocally... it's not possible. If anyone tells you otherwise, run a mile.
Mobile sites add value - which makes it all the more confusing that LocalAdverts4U doesn't appear to have one.
A "pass" rate of just 8% implies it's either a normal site built for a standard browser - or a very poor mobile site.
Credit where due - the site isn't too bad. I've certainly seen worse!
It's not XHTML transitional, quite bloated with uncompressed images and doesn't make use of CDN's (content delivery networks) but design-wise, it's pretty good.
Video marketing - if done correctly - can be immensely powerful. Trouble is, far too many look cheap & tacky. A successful video marketing campaign takes significant planning, investment and a design team with the know-how to both convey your business accurately and target the right demographic.
Spelling mistakes, blurry images and completely without structure or purpose. Quick... where do I sign?
The only testimonial available is from Guy Gilbert from Pixlocks.com. Unfortunately, the site has been down for quite some time. What I can see from the WayBackMachine is in the short time the site was live, it was neither designed nor SEO'd by LocalAdverts4U.
The web site isn't too bad and with some work, the videos could be made to look half decent. The rest however, is awful beyond words and certainly not worthy of the £127 a month price tag.
Had emails from localadverts4u.co.uk - Give your comments below.
Previous Post Santander: Input validation & output encoding, what's that?


text:
Isopterygium annamense är en bladmossart som beskrevs av Brotherus och Jean Édouard Gabriel Narcisse Paris 1907. Isopterygium annamense ingår i släktet Isopterygium och familjen Hypnaceae. Inga underarter finns listade i Catalogue of Life.

Källor

Egentliga bladmossor
annamense

redpajama_set_name: RedPajamaWikipedia


What are the problems with the Estates General Meeting?
1.)They haven't met in 175 years.
2.)The votes were not fair.
1. They haven't met in 175 years. Solution, have people show up more.
2. Each Estate can only have one vote as a group. Solution, make every vote individual.
3.Third Estate is the only Estate to pay taxes. Solution, every estate pays for taxes to maintain balance.
Outdated, Each estate gets one vote as a group, 3rd estate makes the economy but has no power.
The should meet more. Every body gets a vote individually. Everyone should have equal rights.
Each estate only had one vote for each group. The meeting wasn't good the had a meeting 175 years later. The 3rd estate paid all of the taxes. They could have everyone vote and not as a group. They could make the meetings every few month instead of years.They could make everyone pay taxes equally and not have on group pay most of it.
They haven't meet in 175 years, so they were outdated. The estates cast only one vote as a group, which is a bad thing. The third estate carries all the taxes. From now on they need to meet more frequently, instead of one vote they need more people to vote individually, and the first and second estate need to help the third estate pay taxes evenly.
the 3 problems are 1 taxes, 2 financial problems, 3 they dont have meetings very often. the solutions to those problems are pay less taxes, reduce financial problems and have more meetings.
1. i would change the voting to every person age 18 and up can vote as a person not a group .
2.I would make it where everyone had to pay the same taxes.
3. i would make meeting with the king and people every few months so he can listen to what they gotta say.
1.)They haven't met in a long time.
2.)1st and 2nd outweighs the 3rds vote.
Only the the 3rd class vote.
3.)3rd estate is only one paying taxes.
3) the third estate was the one paying all the taxes.
How I would fix this is by having them meet regularly, each estate got votes based around the number of people in the estate, and everyone pays the taxes.
No one has seen each other in 175 years.
The first and second classes have little people in them and the third has mil but still all of them still get 1 vote.
Everyone should get there own vote so it comes out more far.
The third Estate is the only Estate that pays taxes.
The government hasn't met in over 175 years. A way to solve this is to meet more often so there could be more agreements. Each estate has one vote as a group; the third estate has over one million people and only get one vote. A way to fix this problem is to have a democracy, allow everyone to vote. The third estate also has to be the ones to give taxes to the government even though they are the poorest estate. The government needs to tax everyone instead of the poor so there is fairness for all.
1.There meetings were outdated.They could show up more often.
2.The second problem is the voting system where each estate is only allowed one vote.everyone could have a vote.
3.The third problem is that the lower class was treated unfairly and had the most taxes.everyone has taxes.
They haven't met in 175 years?
Been outdated for 175 years.
Each Estate can cast only one vote as a group.
3rd Estate carried the whole tax stress.
Visit and come together a lot of more often.
Let everybody from each estate vote individually.
Spread out the tax rate evenly among all three estates.
Haven't meet in a long time. Solution should meet more often.
They wouldn't meet regularly and communicate.
Each estate only had one vote as a group.
The third estate carries the taxes.
They should meet regularly so they know what's going on and communicate better.
Each person should have a individual vote.
All the estate's should pay equal taxes.
1. They were outdated and the people had not met in 175 years. To fix the problem they could met more often.
2. The voting was unfair. Each estate got one vote as a group. Therefore the third estate was usually outvoted. Everyone could vote.
3. The third estate paid all of the taxes. Everyone could pay the taxes.


text:
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[ January 17, 2020 ] Electronic outfit BROADS and songstress MILLY HIRST team up for new album Gigs
[ January 17, 2020 ] Manchester's Harry Stafford (Inca Babies) announces new album 'Gothic Urban Blues' New music
[ January 17, 2020 ] RINA SAWAYAMA announces her debut album SAWAYAMA, out April 17th Gigs
HomeReviewsClassic AlbumsClassic Album Revisited: The Cure – Kiss Me, Kiss Me, Kiss Me
Classic Album Revisited: The Cure – Kiss Me, Kiss Me, Kiss Me
January 30, 2017 Lori Gava Classic Albums 0
The Cure has been around as a band since 1976. Their arrival on the music scene coincided with the end of disco and the beginnings of Punk in the UK. Although not entirely Punk artists themselves they were informed by the genre's grab an instrument and make the music you want ethos. In the time period from their founding up to the release of Kiss Me, Kiss Me, Kiss Me in 1987 the band had garnered a sizable following if not always praise from the critics. The Cure has come to symbolize for many fans both at that time and currently that they were the premier band that has succeeded in the music business with origins solidly rooted in the Post Punk/ Goth movements.
The best characterization of albums prior to "Kiss Me" cubed are releases filled with angst and forlorn melancholy. No matter how brilliant each album was, especially the noteworthy Pornography, they each threatened to further box the Cure into Goth cult band status. The first glimmers that their future was not set in stone came from the well-received compilation album Standing on the Beach which reached the top 50 in the US, a first for the band. This release attracted many adherents who were encountering the band for the first time. "Standing on the Beach" framed and prepared fans for the next release. On "Kiss Me, Kiss Me, Kiss Me" band leader Robert Smith was looking for something different. He was continuing to pursue the masterpiece album that seemed to lurk out there somewhere for the band but was always just out of reach. He didn't necessarily want to turn away from angst and forlorn sadness as a theme but wanted to come at these themes from various approaches. Along with that desire, Smith counter-intuitively considered openly courting mainstream popularity with an album he intended to be anything but mainstream. He and the band looked to approach the mainstream without actually drowning in it, or changing the basics of their sound.
The Cure went into the studio for "Kiss Me" cubed having written 40 songs for the album. Each band member was asked to give marks out of 20 to each song to see which ones would make the final cut. The release was always intended to be a double album. In the 21st-century music business the double album has gone much the way of the dodo, but in the time period in question double albums were a common creation for established bands. The difference for The Cure is that they intended to produce a double album project that would fully exploit the concept of the double album in all its intended glory. Where many double albums were loaded with filler The Cure's intent was to use the length of the album to sample many different approaches to their music. They aimed for the maximum impact they could make and showcase as many aspects of their music as possible. It was intentionally musically eclectic. There were many firsts and lasts on the album.
It was the first time the band would utilize horns and wind instruments with so much emphasis, having Andrew Brennan provide the sax on Hey You! and Icing Sugar while utilizing various other horn and wind instrument flourishes throughout the release. The album was the last time Porl Thompson would play keyboards for a Cure album, after "Kiss Me" cubed he would move exclusively to the guitar. It was also the final time Lol Tolhurst would be a full belted contributor to a Cure effort. "Kiss Me" cubed was produced by Robert Smith and David M. Allen with Bob Clearmountain assisting in production for Just Like Heaven. The usual suspects had returned for the recording; Robert Smith on vocals, keyboards and guitar, Simon Gallup on bass and guitar, Porl Thompson on keyboards and guitar, Lol Tolhurst on keyboards and the brilliant addition of Boris Williams on drums.
What would result from the time in the studio would be an album that was dominated by melodic bass lines and themes of existential literary despair. The listener would at first be struck by the cacophony and sheer variation of the tracks but then a more subtle impression took hold. It led to a disoriented but not unpleasant feeling and that was the band's ultimate intent. It was as sweet as candy but was followed by a serious angst-ridden tummy ache. It was gaudy and glorious and if the album could be given a psychological diagnosis it was certainly bipolar. The results commercially were just short of astonishing. "Kiss Me" cubed would introduce the band to the wider mainstream American musical scene. It would be their first album to reach the Billboard top 40 and garner significant international success. It would move the band from formidable cult band status to a wider audience practically overnight. The engine for the success was the captivating videos at the height of MTV's influence and the strength of the pop-influenced singles Why Can't I Be You, Catch, Just Like Heaven and Hot, Hot Hot. The album would reach #35 on the American charts and #6 on the UK album charts. After 6 albums and over 10 years of existence the band somehow had started to gain a wider commercial grasp with the cogs in their wheel catching hold to the rising zeitgeist of the era. The wheel was not entirely engaged but the Cure was gaining ground and most amazingly without selling out or changing their sound in any dramatic way. There had always been possible solid pop hits sprinkled in their prior albums, but this album suddenly was at the right place at the right time and paved the way for an amazing and unexpected ascent to rock stardom. The Cure wasn't striving to be cool but suddenly they were.
In some ways, the album was a subversive bait and switch. The singles were so infectiously addictive they provided an alluring gateway to the other amazing but darker works on the release. "Kiss Me" cubed begins with The Kiss which was miles apart from Just Like Heaven. The song took the symbol of the kiss and turned it on its head, from something which everyone desires to something to fear. The track displayed a definite revulsion and fear of being carried away by love. The song was swings and roundabouts, likening a kiss to poison but also yearning for love. The song put on display Smith's endless awkwardness with the all-consuming nature of love. The song's accompaniment was dirgy, dark and aggressive. This sound was familiar to longtime fans but could be off-putting to those who thought they were getting an album full of idiosyncratic pop. The entire track feels like a hallucinogenic dream. "Catch" on the other hand was a delightfully quirky song about a casual friendship that included bed privileges but as a romance never really goes anywhere. Both people are into the sex but neither knows the other's name. Smith seems to have regrets about the situation, "Yes I sometimes even tried to catch her but I never even caught her name." The track gets under your skin in a very playful manner and there was a genius in the way the strings provide the emotion in a very emotionally disconnected narrative.
Torture returns to the dark brooding songs the Cure has always been renowned for producing. But how else could it be with a title like "Torture"? The song made for a great dance tune in enlightened clubs at the time. The lyrics describe a drug-induced freak-out and it is quite possible this song was art reflecting reality; specifically when considered along with the stories of the band's use of LSD and Coke during the era of the song's creation. The bass line is fantastically hooky and the swirling guitars mesmerizing. Williams' drumming is of note as he drives the song. If Only Tonight We Could Sleep continues in the same emotional vein as "Torture" but with an oriental flare. It has a stream of consciousness approach that displays the terror of subconscious nightmares coming into awakened reality. It offers as the panacea the idea of dreaming and the comfort of never waking up again. The song is wonky and discordant as it portrays the twisted miasma of the unconscious.
The more off-kilter songs throughout the album such as "Torture and If Only Tonight We Could Sleep", along with many others belie the accusation that "Kiss Me" cubed is The Cure releasing a pop album. There were certainly many pop songs but there were just as many if not more songs on the release that was in no way pop and pushed the envelope of mainstream music to the edge. With that acknowledgement, I have to admit that the song that drew me to the album is the astonishing Why Can't I Be You. This quirky song was like an ear-worm you could not shake. Smith presents in the lyric someone suffering from an incurable crush of epic proportions. The subject is willing to do any humiliating thing to please the object of his affection. It would seem like a tired premise if it weren't for The Cure's unique take on the presentation of the situation. It is so odd and yet endearing the listener could not help but be won over. It was unforgettable energetic pop and it squashed critics who said Smith and the band could never produce a radio-friendly song. The track is jazz hands all the way to Smith's spot on delivery; it is an ultimate sugar high pop tune.
Like the come down from a sugar high, the playlist follows with How Beautiful You Are which led the listener to a pretty major observation about relationships. The song tells the story of two lovers enjoying the beauty of Paris. The narrator thinks there is nothing that can divide them for they are soulmates. They encounter a poor trio, a destitute father with two small children. While the narrator is pondering the unfairness and inequities of life, he assumes his soul mate will agree with him, he is blindsided by her reaction. She states, "I hate these people staring make them go away from me." In one simple statement, the narrator's love turns to hate. The splinter of ice is thrust into the narrator's heart which is the cause of his first statement in retelling the incident, "You want to know why I hate you? Well, I'll try to explain." It is a masterfully written lyric conveying tremendous literary angst. The accompaniment drives the pathos and the accordion helps build the setting for the dénouement. It is a stunner of a song. Things continue to get darker with The Snake Pit. I have always thought that the song was a twin to "The Kiss" as it has many of the same musical markings. Smith is describing a special kind of hell that is being the unwitting object of a cult of personality. This senselessness is captured by Smith, as he describes the need for endless drinking and drugging that occurs to deal with the unbearable situation. There is also the acknowledgement that neither idol nor idolater gains anything in the end. Additionally, the song reveals shades of the demented when it alludes to the themes of the classic movie, "The Snake Pit" which was about mental institutions and madness. The musical accompaniment is fitting and echoes perfectly the mood of the song with its hallucinogenic off-kilter tortured and even delusional feel.
Just when the release seems to be flying off the rails into a very undesirable place for a pop album Just Like Heaven unspools providing relief from all the strum and drang. This sublime song is so diametrically opposite to the emotions of The Snake Pit you have to brace yourself or you will get whiplash. The narrative of the song conveys the violent happiness of being in love. However like many a Cure song the path to love is never easy; as tragically the girl is either only imagined or has plunged accidentally to her death dancing too close to the cliff edge. The listener is allowed to decide which the truth. What sells the song is the high energy and hooks galore that abound in the track. The excellent percussion, swirling guitars along with the keyboards and trademark Smith delivery produce a winner.
When the playlist is examined one can see a certain structure within the album developing. There is a dichotomy between the darker introspective songs and the lighter pop offerings. The more introspective songs are conveyed with aggressive and sometimes violent imagery as they attempt to plumb the depths of existential angst. This is juxtaposed to the façade like apparatus of the energy filled lighter pop songs which relieve the gloom. Both aspects are alluring and capture the listener forcing them to revisit the songs time and again, always revealing something new.
The track, All I Want is a disturbing and an almost sinister song that acts like a type of primal scream therapy. Smith is utilizing the track to release and cleanse his darkest thoughts. "Tonight I'm feeling like an animal, tonight I'm howling inside, tonight I am feeling like an animal, tonight I'm going wild." The lyric tells you all you need to know about where the selection is headed. With Hot, Hot, Hot we once again oscillate to a more up beat song. Simply put I love "Hot, Hot, Hot". The lyrics play with the axiom of lightening not striking twice, but paradoxically here it strikes three times. The funky accompaniment make the song so addictive. The narrator at first flees from the lightening strike which happens in an everyday street, then he gets hit at sea and never goes back, finally he is hit in bed, and again never goes returns. However he suddenly contradicts himself stating, "Hey, Hey, Hey I like it when that lightening comes hey, hey, hey yeah I like it a lot." The narrator comes to the conclusion that what doesn't kill him makes him stronger. The bass and drums are spectacular in driving this selection and the strings and fantastic guitar riff nail the song down. "Hot, Hot, Hot" is a highlight of the release.
One More Time is one of the more wistful songs on the release and has beautifully forlorn lyrics that relay the all encompassing comfort of love, "Hold me, hold me up so high and never let me down, hold me hold me up so high to touch the sky just one more time tonight." It is both equal parts dirge like and ethereal making the track evocative and heart rendering. This minor track on the release is no less powerful than many of the other offerings.
Like Cockatoos is one of my favorite deep tracks off the release. The narrator again is describing the desperation of love, this time conveyed by the story of a girl. She is portrayed as a supplicant who for a moment arrives at bliss only to be told by the callous boy that it is over. Love's path is once again thwarted and agonizingly so as her heart is brutally broken. There is not a person who has ever been dumped by someone who cannot empathize with the girl. The dark accompaniment is full of screaming birds and discordant sounds that forewarn of the eventual outcome. The track has this Hitchcock like presentation of the scene, "and in her head a picture of a boy who left her lonely in the rain (and all around the night sang out like cockatoos)". The insistent percussion throughout the song acts like the other boot dangling aloft and waiting to fall crushing the girl's heart. The song is lip smacking good perfection in its execution; this is a track not to be missed.
Icing Sugar is a cacophonous drum-fest. It is a lyrical poem describing the empty delight of icing sugar. The icing offers no nutritional value like the nameless things and unkind people who add nothing of value to our lives. This song harkens back to early Cure tunes. The Perfect Girl could be considered a companion track to Catch with its subject again a quirky unconventional girl who is alluring but hard to understand. The track is a sweetly divine love ditty with just the right amount of disjointed Cure winsomeness to make it a delightful treat, "You're such a strange girl the way you look like you do, you're such a strange girl I want to be with you". It is yet another gem on the release, and captures Smith at his most playful. A Thousand Hours is a track for the lonely hearts and those dumped by a lover. The track expresses all the pain of a failed relationship, "A thousand wasted hours a day, just to feel my heart for a second, a thousand hours just thrown away." The melancholy is palpable and there is the feeling throughout that Smith understands a thwarted lover's pain and is crying along with the broken hearted victim.
The Cure on "Kiss Me" cubed hits every emotion and a number of them numerous times, Shiver and Shake leaves the listener with no doubt that they have taken anger and hatred as the theme for the track. This is a primal scream against betrayal and disgust with human nature, "I shiver and shake when I think of how you make me hate". There are many times throughout the Cure discography that anger and disgust are conveyed but this song finds them at their most pissed off. The bass and angry militant drums let loose a fit of malevolent pique. "Kiss Me" cubed is a long journey but well worth it, the sign-off to the album is Fight. This track is a perfect summation of the various emotions and let downs chronicled on the release. The takeaway from the journey is that there are many woeful things in life but the only choice is to fight and never give in; "So when the hurting starts and when the nightmares begin remember you can fill up the sky you don't have to give in… never give in." For all the strum und drang of the album it ends on a surprisingly positive note.
Kiss Me, Kiss Me, Kiss Me is the perfect album to play if you had to explain to an extraterrestrial alien about why the Cure inhabits the position they do in the musical universe. The album is a smorgasbord of Cure stylings, offering up every color the Cure uses from their vast musical palette. With "Kiss Me" cubed the band was able to put a piton in the mountain of rock music popularity. The release would set the band up for their unlike ascent to the popular music pantheon. The album would also foreshadow the masterwork that was in the wings, Disintegration. The event of that album would display a band completely in synch with the zeitgeist of the era. They would further consolidate their popularity with the extraordinary Wish. But like many a mortal that climbs the heights there were numerous pitfalls and misfortunes that would come with the victories ahead and leave a broken band and a conscious decision to descend to more comfortable altitudes. But for those seeking the point where The Cure began the metamorphosis from Cult band with a capital "C" to international sensation, "Kiss Me" cubed is undoubtedly the starting point. It is a breathtaking release listeners will find worth the time spent fully experiencing.
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mouse LD50 intravenous 78mg/kg (78mg/kg) BEHAVIORAL: SOMNOLENCE (GENERAL DEPRESSED ACTIVITY) Activitas Nervosa Superior. Vol. 9, Pg. 422, 1967.
mouse LD50 oral 130mg/kg (130mg/kg) BEHAVIORAL: ATAXIA Collection of Czechoslovak Chemical Communications. Vol. 38, Pg. 2484, 1973.


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text:
I'm feeling unlucky
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A Song of Faith Forsworn by Lord De Tabley (John Warren)
'A Song of Faith Forsworn' by Lord De Tabley is a nine stanza poem that is separated into sets of six lines, or sestets. Each of these stanzas follows a rhyming pattern of abbcca, alternating end sounds as the poet saw fit from sestet to sestet. A reader will also notice the repetition of the refrain, "Take back…" that appears at the beginning and end of each stanza. These statements frame the stanza, introducing it and concluding it. They also speak to the narrator's determination to rid herself of her past association with the listener.
It is not until the end of 'A Song of Faith Forsworn' that De Tabley makes clear that the speaker of this piece is in fact a woman. At the end, she states that other, "fairer" women have worn the same "wreath" that she was given. The speaker refuses to remain in her current situation and asks that the wreath be taken away. Up until this point, there has been no clear gender assignment.
Summary of A Song of Faith Forsworn
'A Song of Faith Forsworn' by Lord De Tabley (John Warren) details the love lost between the speaker and her lover who attempted to control her through lies and false vows.
The poem begins with the speaker asking that her ex-lover take back his "suit" or proposal of his affections. She was "weary" when he first came to her and unable to see him for what he is. He is not the person she wanted in her life but she was so "hungry" she would've eaten anything. It turned out though the food he gave her was not "good."
The following stanzas outline a number of other factors of their relationship she would like to get rid of. She wants to cast off his "love," "lies," "gifts," and "vows." The love he claimed to have for her resembles "Death's raven" and his "vows" were crafted to suit and sway her. She does not want to be a weak person and therefore needs to be strong in her assertions.
In the final lines, she asks that he take from her the childish "delight" she once felt. There is nothing true about what they experienced together and she has no need for it. This is emphasized by the fact that there is another woman in the listener's life who is sharing his fake love. The speaker will not be a second choice, or a backup, to a woman with a "snow[y]" or white, "bosom."
Analysis of A Song of Faith Forsworn
Stanza One
Take back your suit.
It came when I was weary and distraught
With hunger. Could I guess the fruit you brought ?
I ate in mere desire of any food,
Nibbled its edge and nowhere found it good.
In the first stanza of 'A Song of Faith Forsworn', the speaker begins with a phrase that, while altered, will become a refrain in the following eight stanzas. The speaker repeatedly asks the as yet unknown listener to "Take back…" something. This occurs at the beginning and end of each six line section. In this first sestet, the speaker asks that the listener "Take back your suit." Here the speaker is using the word "suit" to mean a request for a woman's affections. The listener presented his "suit" to her and she is giving it back.
She is looking back over her life and seeing the relationship they had in a clearer light. The "suit" came to her when she was "weary and distraught." She was not in a good state of mind to process his statements and proposed affections. The speaker states that at that time she was hungry for something and because he was there she "ate in mere desire of any food." She took what he was offering because he was the only one offering anything.
Since then she has been "Nibbl[ing]" at his food, or processing his presentation of love and found that it was "nowhere…good." With this new understanding, she asks that he take back any offers made to her.
Stanza Two
Take back your love,
It is a bird poached from my neighbour's wood :
Its wings are wet with tears, its beak with blood.
'Tis a strange fowl with feathers like a crow :
Death's raven, it may be, for all we know.
Take back your love.
In the second stanza of 'A Song of Faith Forsworn', the speaker moves on to more precisely ask that he take back the "love" he claimed to have for her. It is described as being a "bird poached from [her] neighbour's wood." Its details and claims belong to another. From this line, it is clear the speaker believes the listener has made up everything he told her. She does not think he is being true.
The "love" he showed her is like a bird whose wings are "wet with tears." It is drenched in its own tears and blood, with black wings like a raven. It is not a good symbol of what love should be. It might be, "for all we know…/ "Death's raven." It portends the only disaster in the future. This section concludes with the speaker repeating the refrain once more, asking that he "take back [his] love."
Stanza Three
Take back your gifts.
False is the hand that gave them ; and the mind
That planned them, as a hawk spread in the wind
To poise and snatch the trembling mouse below.
To ruin where it dares — and then to go.
In the third stanza of 'A Song of Faith Forsworn', the speaker is asking that the listener take back his "gifts." It is not the gifts themselves that are distasteful to the speaker but the "hand that gave them." The listener was "False" in his giving.
Here again, De Tabley chooses to utilize a bird related metaphor. His speaker states that the gifts were planned in the same way a "hawk" plans to catch a "mouse" from the ground below. The speaker sees herself as being this mouse that was so carefully sought out and captured. This is not something that sits well with her.
The gifts were planned to "ruin" her and then to let her go. This one line might lead one to the interpretation that the listener in this narrative wanted to grow close to the speaker, to use her for his own purposes. Then carelessly abandon her to her fate. During the period that this was written, the mid to late 1800s, a woman's life would've been ruined by any rumour of impropriety.
Stanza Four
Take back your vows.
Elsewhere you trimmed and taught these lamps to burn ;
You bring them stale and dim to serve my turn.
You lit those candles in another shrine.
Guttered and cold you offer them on mine.
In the fourth stanza of 'A Song of Faith Forsworn', the speaker is addressing the "vows" that the listener made to her. These were likely promises rather than traditional wedding vows. The situation would've been much different and more complicated if that was the case. He might've pledged to stay with her, love her, marry her, if only she would do as he asked.
The speaker sees these "vows" in a very different light now. Wherever the listener went to he carried with him the light of his passions, words, and decisions. When he came to her though, these "lamps" were "stale and dim." They did not serve her well and offered her nothing, especially in comparison to how he acts with others. This is the first reference to another person coming between the speaker and her listener. There are a few more references to what might've happened between them in the following sestets.
Stanza Five
Take back your words.
What is your love ? Leaves on a woodland plain,
Where some are running and where some remain :
What is your faith ? Straws on a mountain height,
Dancing like demons on Walpurgis night.
The speaker asks that the listener take back with him all the "words" he gave to her. She sees his love as being worth nothing. It is like "Leaves on a woodland plain." Some of them stay, some go; there is no way to tell which leaf will go where. It is in this same manner that the listener operates around the speaker.
She goes on to question the listener's "faith." She compares it to "Straws on a mountain height." In the second to last line the speaker references "Walpurgis night." This is the eve of a Christian feast day, celebrated on April 30th.
The tradition comes out of German folklore in which on that night it is said witches meet in the mountains. The "Straws" mentioned previously are representing the sticks of bonfires and how they dance in the firelight. They are random and sporadic in their movements. The speaker knows her ex-partner's love is as fluid as a "demon" dancing on the same night.
Stanza Six
Take back your lies.
Have them again: they wore a rainbow face,
Hollow with sin and sprout with disgrace:
Their tongue was like a mellow turret bell
To toll hearts burning into wide-lipp'd hell
It is clear by this point that the speaker deeply dislikes the man she might once have loved. He has "lied" to her and now she is asking that he take all that back. She wants him to "Have them again" as she has no use for the lies. Their faces were "rainbow" and changeable. One could not trust the things he said. His words are "Hollow" and are filled only with "sin" and "disgrace."
The speaker is personifying the lies the listener told. They take on the agency of their own and animal characteristics. She describes them as having a "tongue…like a mellow turret bell." They sound off like a bell and call hearts into "hell." Once more the speaker uses the first line of the stanza as the sixth, "Take back your lies."
Stanza Seven
Take back your kiss
Shall I be meek, and lend my lips again
To let this adder daub them with his stain?
Shall I turn cheek to answer, when I hate?
You kiss like judas in the garden gate!
Take back your kiss.
The seventh stanza of 'A Song of Faith Forsworn' progresses in a similar manner to those which came before it. Here, the speaker asks that the listener takes from her the "kiss" he previously gave her. In a rhetorical question aimed mostly at herself, she asks if she is going to continue to be weak enough to allow him to "daub" her lips with "his stain?"
She is of course not going to do this. There will be no more acquiescing to his requests. He is a "judas," or traitor, at the gate of the "garden" or heaven. He positioned himself in a realm she desired: love, and then betrayed her as Judas did Christ.
Stanza Eight
Take back delight,
A paper boat launch'd on a heaving pool
To please a child, and folded by a fool;
The wild elm roar'd: it sail'd— a yard or more.
Out went our ship, but never came to shore.
Take back delight.
The eighth stanza asks that the listener take back "delight." She is not a child who can be pleased so simply. Her pleasures are not to be crafted like a paper boat and sent out on a pool. This is how she sees the relationship the two had with one another. It was brief, only traveling "a yard or more" and never returning. It sunk there in the water and delight was over.
The speaker is deeply troubled by his perception of her as being weak. It is something she is trying hard to shake off. She does not want to look, act, or be interpreted as childish.
Stanza Nine
Take back your wreath.
Has it done service on a fairer brow?
Fresh, was it folded round her bosom snow?
Her cast-off weed my breast will never wear:
Your word is 'love me;' my reply, 'despair!'
In the final stanza of 'A Song of Faith Forsworn', the speaker refers again to another woman the man turned his affections towards. First, though, she asks that he take "back [his] wreath." She is ridding herself of his choice of her. She does not want to be placed on a false pedestal or recognized as being important to him.
In fact, she knows that the "wreath" she was given was "folded round" another woman's white "bosom." She does not want to be his second choice, or stand in for her when the other woman is not around. With the concluding lines the speaker recognizes that the man will continue to say "'love [her]'" and she will "reply, 'despair!'" There are no more lies he can tell to make her believe him.
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Emma Baldwin
Emma graduated from East Carolina University with a BA in English, minor in Creative Writing, BFA in Fine Art, and BA in Art Histories. Literature is one of her greatest passions which she pursues through analysing poetry on Poem Analysis.
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October 29, 2018 Sam Leveridge
La Liga 2018/19: Barcelona vs Real Madrid
This post was initially featured on our dedicated Real Madrid analysis site, realmadridanalysis.com
Heartbreak. Pain. Disaster. Crisis. There are many words which could be used to describe the way that coach Julen Lopetegui went down with a sinking ship as Real Madrid produced a Titanic-esque display at the Camp Nou on Sunday in the Clasico. Fighting for their lives and their manager's job having dropped to ninth in La Liga earlier on in the day, Los Blancos were left humiliated by a 5-1 defeat at the hands of arch nemesis, Barcelona. Here, our tactical analysis will use statistics to identify what key points Real Madrid can take from the game in a disastrous afternoon for Los Blancos as Luis Suarez and co. ran riot on Lopetegui's side.
It's over for Julen Lopetegui at Real Madrid
An analysis of where it went wrong for Lopetegui could go on for so long that it would probably take longer to write than Lopetegui actually spent at Real Madrid. Sunday was no different. Leaving Alvaro Odriozola out again in favour of Nacho, and then Lucas Vazquez at half-time was baffling. Leaving Vinicius Junior out, having refused to allow him to play for Castilla and spent all week battling his suspension this weekend, was even more confusing.
Substitutions came too late and weren't the right ones. The team were crying out for fresh legs and new impetus to try to sustain the 10 minutes of success that they enjoyed after the break. Instead, Lopetegui waited until the 77th minute and after Luis Suarez had already given Barcelona a two-goal lead again. By that point the introductions of Marco Asensio and Mariano Diaz just had no impact on a side who had been zapped of all hope and energy.
Victory over Viktoria Plzen in midweek bought him time and some will say that things could have been different. Had VAR not been in play, Barcelona may never have been two goals up. Equally, had Luka Modric's effort on the hour mark, just after Marcelo's strike, deflected off the post and in rather than across the face of goal and out, then it could have been an entirely different game. Narrow margins, but having made so many mistakes, Lopetegui can have no excuses.
Sergio Ramos is no longer an elite defender
The form of Real Madrid's two central defenders has been a major concern of late. Even though Raphael Varane conceded a penalty for a second consecutive La Liga match, it was Sergio Ramos who was left looking like a clown. His error directly led to Barcelona's fourth goal, whilst also hardly covering himself in glory for any of the first, third or fifth as his positioning was caught all over the place.
In the first goal, his decision making left a lot to be desired. As shown below, Ramos' ball-watching led to a decision which would ultimately cost his team a goal. His midfield had been caught on the counter and he was left with two decisions, halt his run to occupy the space which would be left behind in the penalty spot, or continue to run through into an area which would already be covered by the onrushing Thibaut Courtois and Raphael Varane. As a result, rather than blocking the cut back or even posing a challenge to Philippe Coutinho, by the time the ball fell to the Brazilian the Real Madrid captain was behind the goal-line.
Speaking after the final whistle about earning respect, rather than imposing it and coming just days after he was filmed lashing balls at Sergio Reguilon, perhaps it's time for Sergio Ramos to do some self-introspection. After all, Julen Lopetegui was his suggestion for the role of coach and it's turned out to be one of the biggest failures of Florentino Perez's reign.
Gareth Bale either isn't fit or isn't good enough
This was his big chance. At last, years after making the move to Spain, Gareth Bale had a Clasico where he would be the superstar. All eyes were on him on his big chance as he looked to prove a point and establish himself as Real Madrid's superstar in attack. Yet he failed to turn up and produced a performance even more bland than he has in other fixtures of late. Coming not long after he was hauled off in the Madrid derby at half-time due to muscle fatigue, questions can again be raised of the Welshman as he produced a sluggish display.
With just two shots, he started brightly but soon faded as his pace down the flanks turned out to not be enough to really threaten Barcelona. What should have been a real asset on the wings to help drive counter-attacks instead became slow and lethargic, with Bale taking too many touches and not finding the space as often as he should have.
His lack of involvement was so evident that he made fewer passes than in any other fixture in which he has played over 45 minutes this season. Just 19 passes reflects the way that the game passed him by. For a player of his quality and stature, it is unacceptable to allow such a high profile and important game to pass him by. If the level of quality has dropped from Cristiano Ronaldo to this Gareth Bale, it's logical that the team will drop from third in La Liga to ninth.
The first challenge for a new coach will be organisation
From start to finish, Real Madrid were all over the place. What should have been a neatly organised midfield diamond became confused and muddled, with Isco flitting in between a role in the front three or in a midfield four. Defensively, the team was all over the place. Sergio Ramos and both full-backs continually looked to carry the ball forward and break but that left huge gaps in behind, which only Casemiro was really trying to fill.
After the break, Lucas Vazquez's introduction offered more in attack as he effectively became another winger, helping to bombard Barcelona and produce the only 10 minutes that Real Madrid could claim to enjoy. Without Gareth Bale, Toni Kroos, Luka Modric or anyone else being aware enough to drop back and cover him though, it left the visitors exposed to the kind of deadly counter attacks that led to Barcelona's third goal which put the game to bed.
Antonio Conte looks likely to be the new man in charge and discipline will be one of the first things that he will look to instil in this side. He may struggle to field his preferred three man defence at first given current injuries and a shallow range of options at the back, but he will need to reign in his full-backs and captain if not.
Tactical analyst based in Madrid tracking LaLiga. Featured in MARCA, FourFourTwo and La Liga Lowdown. Follow me on Twitter at @samleveridge.


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