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RE: Last to post wins - Creeperopolis - 02-22-2024
Dookie is the third studio album by the American rock band Green Day, released on February 1, 1994, by Reprise Records. The band's major label debut and first collaboration with producer Rob Cavallo, it was recorded in mid-1993 at Fantasy Studios in Berkeley, California. Written mostly by frontman and guitarist Billie Joe Armstrong, it is largely based on his personal experiences, with themes such as boredom, anxiety, relationships, and sexuality. It was promoted with four singles: "Longview", "Basket Case", a re-recorded version of "Welcome to Paradise" (which originally appeared on the band's second studio album, 1991's Kerplunk), and "When I Come Around".
After several years of grunge's dominance in popular music, Dookie brought a livelier, more melodic rock sound to the mainstream, and propelled Green Day to worldwide fame. Considered one of the defining albums of the 1990s and punk rock in general, it was also pivotal in solidifying the genre's mainstream popularity. Its influence permeated into the new millennium and beyond, being cited as an inspiration by many punk and pop-punk bands, as well as artists from other genres.
Dookie received critical acclaim upon its release, although some early fans called the band a sell-out for leaving their independent label, Lookout! Records, and embracing a more polished sound. The record won a Grammy Award for Best Alternative Album in 1995. It was also a worldwide success, peaking at number two on the Billboard 200 in the United States and reaching top ten positions in several other countries. It was later certified Diamond by the Recording Industry Association of America (RIAA), and has sold over 20 million copies worldwide, making it the band's best-selling album and one of the best-selling albums worldwide. It has been labeled by critics and journalists as one of the greatest albums of the 1990s and one of the greatest punk rock and pop-punk albums of all time; Rolling Stone placed Dookie on three iterations of their "500 Greatest Albums of All Time" list,[1] and at number 1 on their "50 Greatest Pop-Punk Albums" list.[2]
A 30th-anniversary deluxe edition of the album, released on September 29, 2023, includes outtakes, demos, and two live concert recordings.[3]
RE: Last to post wins - Creeperopolis - 02-23-2024
"Open Arms" is a song by American singer-songwriter SZA from her second studio album, SOS (2022), featuring American rapper Travis Scott. It is a ballad backed by an acoustic guitar, conceived as part of an effort to explore soundscapes outside of SZA's usual R&B-leaning music. The lyrics are addressed to a former lover, whom the narrator leaves for the sake of her self-esteem despite her persistent feelings of attachment to him. A tribute to SZA's deceased grandmother, Norma Rowe, begins the song, done in the form of a skit. Rowe's vocals featured prominently on SZA's debut album, Ctrl (2017); "Open Arms" is the only SOS track on which she appears.
Upon release, "Open Arms" charted in the United States, Canada, and Australia, with a number 67 peak on the Billboard Global 200. Critics focused on Scott's appearance on the song—some considered him a fitting addition, welcoming his uncharacteristically gentle tone on the third verse. "Open Arms" marks his fourth collaboration with SZA; a solo version appears on the website-exclusive digital edition of SOS, released in January 2023. The following month, SZA began the SOS Tour, and she regularly included "Open Arms" on the concerts' set lists.
RE: Last to post wins - Creeperopolis - 02-24-2024
Nestor Ivanovych Makhno[a] (7 November 1888 – 25 July 1934), also known as Bat'ko Makhno ("Father Makhno"),[b] was a Ukrainian anarchist revolutionary and the commander of the Revolutionary Insurgent Army of Ukraine during the Ukrainian War of Independence. He established the Makhnovshchina (loosely translated as "Makhno movement"), a mass movement by the Ukrainian peasantry to establish anarchist communism in the country between 1918 and 1921. Initially centered around Makhno's home province of Katerynoslav and hometown, Huliaipole, it came to exert a strong influence over large areas of southern Ukraine, specifically in what is now Zaporizhzhia Oblast of Ukraine.
Raised by a peasant family in the fervor around the 1905 Revolution, Makhno participated in a local anarchist group and spent seven years imprisoned for his involvement. With his release during the 1917 Revolution, Makhno became a local revolutionary leader in his hometown and oversaw the expropriation and redistribution of large estates to the peasantry. In the Ukrainian Civil War, Makhno sided with the Soviet Russian Bolsheviks against the Ukrainian nationalists and White movement, but his alliances with the Bolsheviks did not last. He rallied Bolshevik support to lead an insurgency defeating the Central Powers's occupation forces at the Battle of Dibrivka and establishing the Makhnovshchina. Makhno's troops briefly integrated with the Bolshevik Red Army in the 1919 Soviet invasion of Ukraine but split over differences on the movement's autonomy. Makhno rebuilt his army from the remains of Nykyfor Hryhoriv's forces in western Ukraine, routed the White Army at the Battle of Perehonivka, and captured most of southern and eastern Ukraine, where they again attempted to establish anarchist communism.
Makhno's army fought the Bolshevik re-invasion of Ukraine in 1920 until a White Army offensive forced a short-lived Bolshevik–Makhnovist alliance that drove the Whites out of Crimea and ended the Southern Front of the Russian Civil War. The Bolsheviks immediately turned on Makhno, wounding him and driving him westward in August 1921 to Romanian concentration camps, Poland, and Europe before he settled in Paris with his wife and daughter. Makhno wrote memoirs and articles for radical newspapers, playing a role in the development of platformism. He became alienated from the French anarchist movement after disputes over synthesis anarchism and personal allegations of antisemitism. His family continued to be persecuted in the decades following his death of tuberculosis at the age of 45. Anarchist groups continue to draw on his name for inspiration.
RE: Last to post wins - Creeperopolis - 02-25-2024
The Benty Grange hanging bowl is a fragmentary Anglo-Saxon artefact from the seventh century AD. All that remains are parts of two escutcheons: bronze frames that are usually circular and elaborately decorated, and that sit along the outside of the rim or at the interior base of a hanging bowl. A third disintegrated soon after excavation, and no longer survives. The escutcheons were found in 1848 by the antiquary Thomas Bateman, while excavating a tumulus at the Benty Grange farm in western Derbyshire, and were presumably buried as part of an entire hanging bowl. The grave had probably been looted by the time of Bateman's excavation, but still contained high-status objects suggestive of a richly furnished burial, including the hanging bowl and the boar-crested Benty Grange helmet.
The surviving escutcheons are made of enamelled bronze and are 40 mm (1.6 in) in diameter. They show three dolphin-like creatures arranged in a circle, each biting the tail of the one ahead of it. Their bodies and the background are made of enamel, likely all yellow; the creatures' outlines and eyes are tinned or silvered, as are the borders of the escutcheons. Although three escutcheons from a hanging bowl at Faversham also contain dolphin-like creatures, the Benty Grange design is most closely paralleled by Insular manuscripts, particularly figures in the Durham Gospel Fragment and the Book of Durrow. Surviving illustrations of the third escutcheon show that it was of a different size and style, exhibiting a scroll-like pattern; it parallels the basal disc of a hanging bowl from Winchester, and may too have been originally placed at the bottom of the Benty Grange bowl.
What remains of one escutcheon belongs to Museums Sheffield and as of 2023 was in the collection of the Weston Park Museum. The other is held by the Ashmolean Museum at the University of Oxford; as of 2023 it is not on display.
RE: Last to post wins - Creeperopolis - 02-26-2024
"Last Gasp" is the fourth episode of the first series of the British dark comedy anthology television programme Inside No. 9. It first aired on 26 February 2014 on BBC Two. The story revolves around the ninth birthday of the severely ill Tamsin (Lucy Hutchinson). Tamsin's parents Jan (Sophie Thompson) and Graham (Steve Pemberton) have arranged with the charity WishmakerUK for the singer Frankie J Parsons (David Bedella) to visit as a treat for their daughter. Frankie dies after blowing up a balloon, leading to arguments between Graham, the WishmakerUK representative Sally (Tamsin Greig), and Frankie's assistant Si (Adam Deacon) over the now-valuable balloon containing Frankie's last breath. The story, written by Pemberton and Reece Shearsmith, was inspired by someone Pemberton had seen on Swap Shop who collected air from different places.
"Last Gasp" is a morality tale that satirizes and critiques celebrity culture. Though reviewers praised the episode for its humour and performances, critics frequently note that it compares unfavourably to other episodes of Inside No. 9. In retrospect, Pemberton claimed that "people hated" the episode.[2] On its first showing, "Last Gasp" drew 872,000 viewers, lower than any previous Inside No. 9 episode. After "Last Gasp" aired, Pemberton sold a balloon containing his own breath on eBay, with proceeds going to a Sport Relief charity.
RE: Last to post wins - Creeperopolis - 02-27-2024
The polar bear (Ursus maritimus) is a large bear native to the Arctic and nearby areas. It is closely related to the brown bear, and the two species can interbreed. The polar bear is the largest extant species of bear and land carnivore, with adult males weighing 300–800 kg (660–1,760 lb). The species is sexually dimorphic, as adult females are much smaller. The polar bear is white- or yellowish-furred with black skin and a thick layer of fat. It is more slender than the brown bear, with a narrower skull, longer neck and lower shoulder hump. Its teeth are sharper and more adapted to cutting meat. The paws are large and allow the bear to walk on ice and paddle in the water.
Polar bears are both terrestrial and pagophilic (ice-living) and are considered to be marine mammals due to their dependence on marine ecosystems. They prefer the annual sea ice but live on land when the ice melts in the summer. They are mostly carnivorous and specialized for preying on seals, particularly ringed seals. Such prey is typically taken by ambush; the bear may stalk its prey on the ice or in the water, but also will stay at a breathing hole or ice edge to wait for prey to swim by. The bear primarily feeds on the seal's energy-rich blubber. Other prey include walruses, beluga whales and some terrestrial animals. Polar bears are usually solitary but can be found in groups when on land. During the breeding season, male bears guard females and defend them from rivals. Mothers give birth to cubs in maternity dens during the winter. Young stay with their mother for up to two and a half years.
The polar bear is considered to be a vulnerable species by the International Union for Conservation of Nature (IUCN) with an estimated total population of 22,000 to 31,000 individuals. Its biggest threats are climate change, pollution and energy development. Climate change has caused a decline in sea ice, giving the polar bear less access to its favoured prey and increasing the risk of malnutrition and starvation. Less sea ice also means that the bears must spend more time on land, increasing conflicts with people. Polar bears have been hunted, both by native and non-native peoples, for their coats, meat and other items. They have been kept in captivity in zoos and circuses and are prevalent in art, folklore, religion and modern culture.
RE: Last to post wins - Creeperopolis - 02-28-2024
Freedom: The Regine Velasquez-Alcasid Digital Concert was a livestream concert by Filipino recording artist Regine Velasquez. The concert was produced and broadcast by ABS-CBN Events through four live streaming platforms at 8:00 p.m. Philippine Standard Time on February 28, 2021. The concert's premise was "freedom of singing", stemming from Velasquez's desire to cover songs from several music genres and create a live experience on a stream for her fans longing for a sense of human connection. The set list included renditions of songs from artists such as Elton John, Chris Isaak, George Michael, Sara Bareilles, Dua Lipa, and Billie Eilish. Bamboo Mañalac performed as a special guest.
Freedom was filmed at ABS-CBN Studios in Manila, with musicians, background vocalists, and dancers on set. Initially scheduled for Valentine’s Day, Freedom was postponed due to potential COVID-19 exposure among the production team, in line with strict quarantine guidelines affecting the city. The concert received positive reviews, praise centering on Velasquez's stage presence and performance. Commercially, ticket sales exceeded ₱1 million (US$20,000) within twelve hours after they were made available for purchase. There was a reshowing of the livestream, broadcast exclusively via Stageit on April 4, 2021.
RE: Last to post wins - Fruituson - 02-28-2024
Tis for I BELIEVE that creeper has won, but for what?
What has the Creeperian wiki-expert gained from this?
Only time will tell, if he won!
Only. time. will. tell.
RE: Last to post wins - Creeperopolis - 02-29-2024
Blood on the Floor is a suite in nine movements composed for orchestra and jazz trio by Mark-Anthony Turnage. It was composed over a span of three years (1993–1996) after a commission from the Ensemble Modern—a German music group—to produce a piece for an evening jazz event in 1994. After the performance, Turnage expanded the piece into the larger nine movement suite that is now performed. During this period of composition, Turnage's brother Andrew died of a drug overdose, shaping the music greatly. As a result, drug culture is one of the main themes in the suite. Blood on the Floor also draws influences from the paintings of Francis Bacon and Heather Betts; the suite's title is an adaptation of Bacon's painting Blood on Pavement.
Like other compositions by Turnage, Blood on the Floor incorporates elements of both classical and jazz music. Due to this, it has been described as being part of the "third stream" genre, a term coined by Turnage's former teacher Gunther Schuller. The suite is written as a concerto grosso and features a blend of classical, jazz, non-western and electronic instruments. As part of this fusion, the suite contains space for soloists to improvise in four of its movements. Blood on the Floor shows elements of non-functional harmony and has complex rhythmic changes, often changing metre every bar. Motifs are found recurring throughout the suite.
Blood on the Floor was premiered by the Ensemble Modern at the Queen Elizabeth Hall, London, in May 1996. The suite received a mixed reception from music critics. Some enjoyed the suite's fusion of classical and jazz music, while others found it to be an unfulfilling combination. Outside of the Ensemble Modern, Blood on the Floor has been performed by various ensembles, including the Berlin Philharmonic, Melbourne Symphony Orchestra and Boston Symphony Orchestra.
RE: Last to post wins - Fruituson - 02-29-2024
Now, Ignoring my 4th wall commentary is a creeperian at all of his glory, posting about what seems to be an article about a random thing.
Now, See.
Tis is for which it is.
he starts by introducing us to a musical piece, to which what his ultimate goal to gain from this?
what does he gain from typing, well more so copying from other sources into the forum of which he controls!
that creeperian mastermind, starts off by staging us and flexing his punctuality!
but yet! but only yet!
did he realise he hasn't won yet!
and see he will read this very sentence!
to which what will he say?
to which what will he think?
to which what will he feel?
Our will to read this, and I typing this very letters into a small keyboard on a pentium intel computer, is getting quite boring.
For which, I do not know why I am writing this?
Is to prove a point?
Is it to be philisophical?
Is to just relieve boredom, as I have no-one to talk at the moment?
Surely, He understands?
Surely, He will.