Aranka

He can't help it he is a Frisbeetarianism : the belief that when you die, your soul goes up on the roof and gets stuck. The status quo sucks., just think off center maddog For as he himself said : "I wanna live. I don’t wanna die. That’s the whole meaning of life: Not dying! I figured that shit out by myself in the third grade."

Same :yuckky: I got both....I saw the pics opened up larger WITH some advertisments to porn sites, but when I had to verify I was 18 years I was redirected to livejasmin.com . I'm not remotely interested in THOSE kind of girls. Not from a sexual nor from an esthetic point of view. Anyway, at least the pictures worked (now I hope my firewall does too) Nina Agdal [8] Paolla Rehmeier [1] This seems like it's going to be a quick win , not that I mind though

Not guilty Ever rammed your fist into a wall out of frustration ??

BabyJude - the Enigma chose Gigi Paris as a contestant. And the pictures of her are not that bad, which ones would you have suggested then ?? Thanks Jennka for making an update But uhm......Why are we voting up to 10 votes again where previously it was 8 so there would be more continuaty of the votes. Not that I'm complaining if there is now enough interest to keep it going, but in my absence I haven't been really able to keep track

Well after a long break away from Bellazon....I'm back once more . Good to see the thread I originally started out of a whim is still running strong....thanks guys and girls Too bad Gigi Paris lost <_< But oh well, here goes the voting Nina Agdal [4] Charlbi Dean Kriek [1]

Well if your member pic is a pic of you, you really do look like her. Which of course would be a great compliment since "Gigi" Paris is a beautifull girl. Hope she gets new offers though since the Delias pictures, though all nice, do look a bit the same . Ironically the younger pics of her also look a lot like my little sister now looks. Vanessa and babyjude...thanks for showing all the nice pics

Undertow - Pain of Salvation

The burden is mine alone - Green Carnation

On Demons and Wizards - Fiddler on the green

Seen a lot of bands but I'll also have to go with Pink Floyd Other recommendations are: - Suzanne Vega - Cat Stevens - Leonard Cohen - Eric Clapton Thought they are all past their prime they still seem to sound very clear while singing their songs. Not much of a show but pure musically they are great live.

High Hopes - Pink Floyd

1.Pink Floyd 2. Riverside 3. Cat Stevens 4. Van den Plas 5. Boudewijn de Groot 6. Blind Guardian/Demons and wizards (Hansi Kursch vocals) 7. Simon and Garfunkel 8. Ayreon 9. Camel 10. Therion

Judgment at Nuremburg Ernst Janning: We have fallen on happy times, Herr Hahn. In old times it would have made your day if I'd deigned to say good morning to you. Now that we are here in this place together... you feel obliged to tell me what to do with my life... Listen to me, Herr Hahn, there have been terrible things that have happened to me in my life. But the worst thing that has ever happened... is to find myself in the company of men like you. Ernst Janning: There was a fever over the land. A fever of disgrace, of indignity, of hunger. We had a democracy, yes, but it was torn by elements within. Above all, there was fear. Fear of today, fear of tomorrow, fear of our neighbors, and fear of ourselves. Only when you understand that - can you understand what Hitler meant to us. Because he said to us: 'Lift your heads! Be proud to be German! There are devils among us. Communists, Liberals, Jews, Gypsies! Once these devils will be destroyed, your misery will be destroyed.' It was the old, old story of the sacrifical lamb. What about those of us who knew better? We who knew the words were lies and worse than lies? Why did we sit silent? Why did we take part? Because we loved our country! What difference does it make if a few political extremists lose their rights? What difference does it make if a few racial minorities lose their rights? It is only a passing phase. It is only a stage we are going through. It will be discarded sooner or later. Hitler himself will be discarded... sooner or later. The country is in danger. We will march out of the shadows. We will go forward. Forward is the great password. And history tells how well we succeeded, your honor. We succeeded beyond our wildest dreams. The very elements of hate and power about Hitler that mesmerized Germany, mesmerized the world! We found ourselves with sudden powerful allies. Things that had been denied to us as a democracy were open to us now. The world said 'go ahead, take it, take it! Take Sudetenland, take the Rhineland - remilitarize it - take all of Austria, take it! And then one day we looked around and found that we were in an even more terrible danger. The ritual began in this courtoom swept over the land like a raging, roaring disease. What was going to be a passing phase had become the way of life. Your honor, I was content to sit silent during this trial. I was content to tend my roses. I was even content to let counsel try to save my name, until I realized that in order to save it, he would have to raise the specter again. You have seen him do it - he has done it here in this courtroom. He has suggested that the Third Reich worked for the benefit of people. He has suggested that we sterilized men for the welfare of the country. He has suggested that perhaps the old Jew did sleep with the sixteen year old girl, after all. Once more it is being done for love of country. It is not easy to tell the truth; but if there is to be any salvation for Germany, we who know our guilt must admit it... whatever the pain and humiliation. Judge Dan Haywood: Janning, to be sure, is a tragic figure. We believe he *loathed* the evil he did. But compassion for the present torture of his soul must not beget forgetfulness of the torture and death of millions by the government of which he was a part. Janning's record and his fate illuminate the most shattering truth that has emerged from this trial. If he and the other defendants were all depraved perverts - if the leaders of the Third Reich were sadistic monsters and maniacs - these events would have no more moral significance than an earthquake or other natural catastrophes. But this trial has shown that under the stress of a national crisis, men - even able and extraordinary men - can delude themselves into the commission of crimes and atrocities so vast and heinous as to stagger the imagination. No one who has sat through this trial can ever forget. The sterilization of men because of their political beliefs... The murder of children... How *easily* that can happen! There are those in our country today, too, who speak of the "protection" of the country. Of "survival". The answer to that is: *survival as what*? A country isn't a rock. And it isn't an extension of one's self. *It's what it stands for, when standing for something is the most difficult!* Before the people of the world - let it now be noted in our decision here that this is what *we* stand for: *justice, truth... and the value of a single human being!* Hans Rolfe: I'll make you a wager... Judge Dan Haywood: I don't make wagers. Hans Rolfe: [chuckles] A gentleman's wager... in five years, the men you sentenced to life imprisonment will be free. Judge Dan Haywood: Herr Rolfe, I have admired your work in the court for many months. You are particularly brilliant in your use of logic... [Rolfe nods with an appreciative smile] Judge Dan Haywood: -so, what you suggest may very well happpen. It *is* logical, in view of the times in which we live. *But to be logical is not to be right*, and *nothing* on God's earth could ever *make it* right! [Rolfe wipes the smile from his face] Ernst Janning: Judge Haywood... the reason I asked you to come: Those people, those millions of people... I never knew it would come to that. You *must* believe it, *You must* believe it! Judge Dan Haywood: Herr Janning, it "came to that" the *first time* you sentenced a man to death you *knew* to be innocent.

1) Hair 2) Sound of Music 3) Grease 4) Jesus Christ Superstar 5) Phantom of the Opera

Der Sjunde Inseglet Antonius Block: Who are you? Death: I am Death. Antonius Block: Have you come for me? Death: I have long walked by your side. Antonius Block: So I have noticed. Death: Are you ready? Antonius Block: My body is ready, but I am not. J?ns: Our crusade was such madness that only a real idealist could have thought it up. Antonius Block: Faith is a torment. It is like loving someone who is out there in the darkness but never appears, no matter how loudly you call. Antonius Block: We must make an idol of our fear, and call it god. Is it so terribly inconceivable to comprehend God with one's senses? Why does he hide in a cloud of half-promises and unseen miracles? How can we believe in the faithful when we lack faith? What will happen to us who want to believe, but can not? What about those who neither want to nor can believe? Why can't I kill God in me? Why does He live on in me in a humiliating way - despite my wanting to evict Him from my heart? Why is He, despite all, a mocking reality I can't be rid of? I want knowledge! Not faith, not assumptions, but knowledge. I want God to stretch out His hand, uncover His face and speak to me. Death: But He remains silent. Antonius Block: I call out to Him in the darkness. But it's as if no one was there. Death: Perhaps there isn't anyone. Antonius Block: Then life is a preposterous horror. No man can live faced with Death, knowing everything's nothingness. Death: Most people think neither of death nor nothingness. Antonius Block: But one day you stand at the edge of life and face darkness. Death: That day. Antonius Block: I understand what you mean. J?ns: Love is the blackest of all plagues... if one could die of it, there would be some pleasure in love, but you don't die of it. Just love the black humour in this movie

Mixed with drums but still a great guitar intro...actually two guitars

Perfect

Well that is a very short and bleak summary of the progression of prog music if I might say so. King Crimson in itself did not define prog as we know it. Early influences of prog could already be seen in the works of Jemi Hendrix, The Pink Floyd Sound (name of Pink Floyd before the decay of Syd Barret) and maybe even in some works of the Beatles. Personally I would like to include the Velvet Underground and more psychedelic related bands of the mid 60's to this list. Furthermore it is not really a linear progression from one band evolving to a style towards another band but there were myriad bands playing prog music at the time who all influenced and formed each other indirectly in maybe one way or another, although all retaining their own unique sounds. Some of the sounds differed so much from the other prog bands that one genre could not define them truly leading to the rise of new sub genres. The closer the bands were located to each other geographically the bigger the influence was. Early on in prog history it was mostly england which was churning out most of the quality bands. Although this is true it would do injustice to the italian scene who actually had such an active symphonic scene which sounded slightly different from their north european counterparts that they in effect might be seen as their own subgenre. I will not go into all the different branches of genres and their singular development since that would take too long so now having sort of told about the origin in the history of prog I would instead like to give a short history. There were like 3 era's in which prog got an increase in popularity though none being so large as the first one: 1) end of the 60's and beginning of the 70's. A lot of progressive bands formed during this period and this era really represents the epitome of progressive popularity in the general media. It lost popularity near 1974 since people started to get bored by it and thought it too slow. Shorter catchier songs, mainly the rise of disco, would replace the popularity enjoyed by prog before. Afterwards prog was seen as more something of pretentious people trying too hard to impress. 2) The second wave came somewhat in the early mid 80's mainly in the United States and the U.K. and featured a harder rock take towards prog music with bands like IQ,Marillion,Pendragon,Pallas,Radiohead. Songs were more upbeat and also generally speaking shorter lengthened then previous prog songs. This era was known mainly as neo-prog, for it came after the previous peak of prog. 3) The third peak in popularity of prog rock came not through the rock orientated vein of music but to yet again another genre, namely progressive metal. Fates Warning, Dream Theater,Opeth and Queensryche had been playing since the late 80's and got general attention in the beginning of the 90's. In the case of Queensryche this happened solely based on one song, Silent Lucidty, which stormed the charts when it came out because of it's slower melodic appeal. At the same time bands like Spock's Beard, Porcupine Tree, Echolyn and White Willow who had been having a steady but not so great fan base already continuted playing their music. They also got some benefit from this rising popularity brought on by the more metal related popularity since now people who had not been listening to prog themselves at least were trying out prog again. What the future will bring for prog we can not say though I still have good hope. Bands like Riverside,Van den Plas, Circus Maximus, Neo, Galahad and others still provide hope that there are still bands capable of making music WORTH listening to. It also gladdens me that they seem to retain a stable, though pretty small, fanbase over the years Though if I have to be honest I fear for the worst when I look at the massive popularity of people like Justin Bieber,Snoop Dog,Britney Spears,Lady ga ga,Miley Cyrus and other "artists". Oh well....one might go on hoping that some day people will get bored of all this crap. Or are our ears already that much destroyed by previous prolonged exposure towards this "music" ??

Out of interest Limer, what's the real stuff and what's the fake? Real prog is (Peter Gabriel era) Genesis, Camel, Yes, Early Rush, King Crimson, Emerson Lake and Palmer, Spock's Beard. Those bands that embody prog. Mahavishnu i think personally is more Jazz Fusion (But Jazz Fusion and prog is so close in some respects) Fake prog is more or less something like Coheed And Cambria, who some people say is prog but i just don't see it. I just wanted to see if she knew about Camel Well debating on wheter Jazz Fusion could or could not be prog is generally a long discussion. On that line I would also be willing to suggest that Return to Forever is actually also Jazz Fusion. Personally I'm not that into the specifics but I got a lot of my knowledge about prog bands from the website "progarchives.com" which has an extensive database on everything prog related. It also gives a definition of prog. It goes like this: Progressive rock (often shortened to prog or prog rock) is a form of rock music that evolved in the late 1960s and early 1970s as part of a "mostly British attempt to elevate rock music to new levels of artistic credibility." The term "art rock" is often used interchangeably with "progressive rock", but while there are crossovers between the two genres, they are not identical. Progressive rock bands pushed "rock's technical and compositional boundaries" by going beyond the standard rock or popular verse-chorus-based song structures. Additionally, the arrangements often incorporated elements drawn from classical, jazz, and world music. Instrumentals were common, while songs with lyrics were sometimes conceptual, abstract, or based in fantasy. Progressive rock bands sometimes used "concept albums that made unified statements, usually telling an epic story or tackling a grand overarching theme." Progressive rock developed from late 1960s psychedelic rock, as part of a wide-ranging tendency in rock music of this era to draw inspiration from ever more diverse influences. The term was applied to the music of bands such as King Crimson, Yes, Genesis, Pink Floyd, Jethro Tull, Soft Machine and Emerson, Lake and Palmer. Progressive rock came into most widespread use around the mid-1970s. While progressive rock reached the peak of its popularity in the 1970s and early 1980s, neo-progressive bands have continued playing for faithful audiences in the subsequent decades. Musical characteristics Form: Progressive rock songs either avoid common popular music song structures of verse-chorus-bridge, or blur the formal distinctions by extending sections or inserting musical interludes, often with exaggerated dynamics to heighten contrast between sections. Classical forms are often inserted or substituted, sometimes yielding entire suites, building on the traditional medleys of earlier rock bands. Progressive rock songs also often have extended instrumental passages, marrying the classical solo tradition with the improvisational traditions of jazz and psychedelic rock. All of these tend to add length to progressive rock songs, which may last longer than twenty minutes. Timbre (instrumentation and tone color): Early progressive rock groups expanded the timbral palette of the then-traditional rock instrumentation of guitar, organ, bass, and drums by adding instruments more typical of jazz or folk music, such as flute, saxophone and violin, and more often than not used electronic keyboards, synthesizers, and electronic effects. Some instruments – most notably the Moog synthesizer and the Mellotron – have become closely associated with the genre. Rhythm: Drawing on their classical, jazz, folk and experimental influences, progressive rock artists are more likely to explore time signatures other than 4/4 and tempo changes. Progressive rock generally tends to be freer in its rhythmic approach than other forms of rock music. The approach taken varies, depending on the band, but may range from regular beats to irregular or complex Time Signatures. Melody and Harmony: In prog rock, the blues inflections of mainstream rock are often supplanted by jazz and classical influences. Melodies are more likely to be modal than based on the pentatonic scale, and are more likely to comprise longer, developing passages than short, catchy ones. Chords and chord progressions may be augmented with 6ths, 7ths, 9ths, and compound intervals; and the I-IV-V progression is much less common. Allusions to, or even direct quotes from, well-known classical themes are common. Some bands have used atonal or dissonant harmonies, and a few have even worked with rudimentary serialism. Texture and imagery: Ambient soundscapes and theatrical elements may be used to describe scenes, events or other aspects of the concept. For example, Leitmotif is used to represent the various characters in Genesis' "Harold the Barrel" and "Robbery, Assault and Battery." More literally, the sounds of clocks and cash registers are used to represent time and money in Pink Floyd's The Dark Side of the Moon. Other characteristics Technology: To aid timbral exploration, progressive rock bands were often early adopters of new electronic musical instruments and technologies. The mellotron, particularly, was a signature sound of early progressive bands. Pink Floyd utilized an EMS Synthi A synthesizer equipped with a sequencer on their track "On the Run" from their 1973 album Dark Side of the Moon. In the late 1970s, Robert Fripp, of King Crimson, and Brian Eno developed an analog tape loops effect (Frippertronics). In the 1980s, Frank Zappa used the Synclavier for composing and recording, and King Crimson utilized MIDI-enabled guitars, a Chapman Stick, and electronic percussion. Concept albums: Collections of songs unified by an elaborate, overarching theme or story are common to progressive rock. As songs by progressive rock acts tend to be quite long, such collections have frequently exceeded the maximum length of recorded media, resulting in packages that require multiple vinyl discs, cassettes, or compact discs in order to present a single album. Concepts have included the historical, fantastical, and metaphysical, and even, in the case of Jethro Tull's Thick as a Brick, poking fun at concept albums. Lyrical themes: Progressive rock typically has lyrical ambition similar to its musical ambition, tending to avoid typical rock/pop subjects such as love, dancing, etc., rather inclining towards the kinds of themes found in classical literature, fantasy, folklore, social commentry or all of these. Peter Gabriel (Genesis) often wrote surreal stories to base his lyrics around, sometimes including theatrical elements with several characters, while Roger Waters (Pink Floyd) combined social criticism with personal struggles with greed, madness, and death. Presentation: Album art and packaging is often an important part of the artistic concept. This trend can be seen to have begun with The Beatles' Sgt. Pepper's Lonely Hearts Club Band and played a major part in the marketing of progressive rock. Some bands became as well known for the art direction of their albums as for their sound, with the "look" integrated into the band's overall musical identity. This led to fame for particular artists and design studios, most notably Roger Dean for his work with Yes, and Hipgnosis for their work with Pink Floyd and several other progressive rock groups. Stage theatrics: Beginning in the early 1970s, some progressive rock bands began incorporating elaborate and sometimes flamboyant stage theatrics into their concerts. Genesis lead singer Peter Gabriel wore many different colourful and exotic costumes in one show and frequently acted out the lyrical narrative of the songs, and the band used lasers and giant mirrors synchronized with the music. Yes incorporated futuristic stage sets designed by Roger Dean, including massive spaceship props and complex lighting. Yes also performed 'in-the-round', with the band on a round stage set up in the middle of the arena. Jethro Tull released rabbits on stage (see here). One of ELP's many stage antics include Emerson's "flying piano" at the California Jam concert, in which a Steinway grand piano would be spun from a hoist. Pink Floyd used many stage effects, including crashing aeroplanes, a giant floating pig, massive projection screens, and, in 1980, an enormous mock brick wall for The Wall performances. Rush incorporated lasers and film backdrops into their stage show. Frank Zappa and The Mothers of Invention used a giant giraffe prop and did improvisational comedy skits. Marillion's former lead singer Fish wore a jester costume inspired by the band's first album, Script for a Jester's Tear. A long definition but then again...it is a hard genre to describe

Never had it for uhm.....one and a half year now since I've been having this IUD's

It is not really like someone who is 17 will actually get a lot taller or less curvier To be more runway ready would in this case depend more on outward changes with regards to the policy then vanessa itself. Though I personally think and presume it might look good on the runway I am not one who decides the standard.

When I was studying I used to listen to Camel's album Snowgoose a lot. It was nice music to listen to without really losing your focus. Don't know why but the song Rhayader always made me cry, liked it so much And although I like the latin influences of Return to Forever I fear I'm a bit mainstream on it for preferring Romantic Warrior as their best album. It's a bit more symphonic orientated then their previous albums, but can appreciate the other ones too though not as much. My favourite song by them is Duel Of The Jester And The Tyrant, a 12 minute grand epos.

I personally presume the friend in question knows how to voice her own opinion and defend her own case but maybe that's just my own opinion of her. Furthermore, I sincerly doubt friends of mine would really take offense to some text being sent back and forth, they're pretty confident enough of themselves not to let such trivial things bother them. Oh and talking about cheap and uncalled for shots....making false assumptions of someones personal life would apply to that definition. On the other hand....the notion of a 34 year old guy I don't even know presuming I do not have any friends doesn't really bother me either

Cut it off already....I was apologizing towards COP11 and not to you. I see that maybe...somewhere....I could have offended her with one or two statements, but never did I make any direct comments at you. Now I understand you want to be like her personal spokesman or something but really....that was not where I was talking to when making my apologies. I'm not trying to explain myself to you, since there is nothing where I should get forgiveness from you for. Your personal view on me I already understood so you don't need to rince and repeat it to me, that is unless you love typing the same thing over and over in which case I would say indulge at your hearts delight. Sorry for the long post but just had to say it. Once again, COP11, I am sorry for my misplaced comments and any harm I might have caused you because of them.

Before I saw your new response I had already edited my comment on it seeing it was indeed a bit inapproriate.