Quadrant Model of Reality Book 34 Religion and Art

Religion Chapter

The symbol in the Bahai religion "the Greatest Name" contains a quadrant

QMRChurch of Scientology cross symbol This symbol is mainly used to specifically denote the Church of Scientology, and may or may not represent the practice of Scientology in general. The cross's eight points represent the eight dynamics in Scientology.[citation needed] See Scientology cross for more details on this symbol. The eight stages actually fit the quadrant model pattern

QMRDianetics symbol. The stripes of this symbol represent green for growth, and yellow for life. The four green stripes recall the four divisions of a human's urge to survive which are revealed in Dianetics.[citation needed]

QMRAs a measure of religiosity (in sociology of religion)[edit] According to the sociologist Mervin Verbit, knowledge may be understood as one of the key components of religiosity. Religious knowledge itself may be broken down into four dimensions: content frequency intensity centrality The content of one's religious knowledge may vary from person to person, as will the degree to which it may occupy the person's mind (frequency), the intensity of the knowledge, and the centrality of the information (in that religious tradition, or to that individual).[27][28][29]

QMRThe Bergen rune-charm is a runic inscription on a piece of wood found among the medieval rune-staves of Bergen. It is noted for its similarities to the Eddaic poem Skírnismál (particularly stanza 36);[1] as a rare example of a poetic rune-stave inscription; and of runes being used in love magic. The inscription is number B 257 in the Bryggen inscriptions numbering and in the corresponding Rundata project, and P 6 in McKinnell, Simek and Düwel's collection.[2] It is thought to date from the fourteenth century.[3] Text[edit] The stave is four-sided, with text on each side, but one end is missing, leaving the text of each side incomplete. As normalised and edited by McKinnell, Simek and Düwel, and 'somewhat tentatively' translated by Hall, the charm reads:[4]

Buddhism Chapter

QMrWith a total area of approximately 513,000 km2 (198,000 sq mi), Thailand is the world's 51st-largest country. It is the 20th-most-populous country in the world, with around 66 million people. The capital and largest city is Bangkok, which is Thailand's political, commercial, industrial, and cultural hub. About 75–95% of the population is ethnically Tai, which includes four major regional groups: central Thai, northeastern Thai (Khon [Lao] Isan),[2] northern Thai (Khon Mueang); and southern Thai. Thai Chinese, those of significant Chinese heritage, are 14% of the population,[5] while Thais with partial Chinese ancestry comprise up to 40% of the population.[15] Thai Malays represent 3% of the population, with the remainder consisting of Mons, Khmers and various "hill tribes". The country's official language is Thai and the primary religion is Theravada Buddhism, which is practised by around 95% of the population.

Christianity Chapter

Bosnia The State Law on Religious Freedom reaffirms the right of every citizen to religious education. The law calls for an official representative of the various churches or religious communities to be responsible for teaching religious studies in all public and private preschools, primary schools, and universities throughout Bosnia. These individuals are employees of the municipality in which they teach but have been accredited by the religious body governing the curriculum. However, the law was not always fully implemented, particularly in segregated school systems or where there was political resistance from nationalist party officials at the municipal level. During the period covered by this report, the entity, cantonal, and municipal governments gave varying levels of financial support to the four traditional religious communities - Muslim, Serb Orthodox, Catholic, and Jewish. Religious communities tended to receive the most funding in areas where their adherents were in the majority. The leaders of the four traditional religious communities participated in the Interreligious Council of Bosnia and Herzegovina, which continued to operate despite occasional significant disagreements and funding constraints.

Communist period[edit] A typical Sarajevo city center street At the end of World War II Bosnia and Herzegovina become a republic in the Socialist Federal Republic of Yugoslavia. Political currents in Yugoslavia favored industrialization that required an emphasis on development of public housing to serve migration of population from rural to urban areas. To overcome cultural conflicts anti-historicism with modern architectural vocabulary became a prevalent design strategy for the majority of architectural projects. Hence homogeneity of materials replaced traditional heterogeneity and concrete became a material of choice for construction. Such practices, however, caused several problems. Industrialization caused pollution of cities but more importantly it caused flight from rural areas that further caused discrepancies in production, which damaged the economy. There was insufficiency of infrastructure, electricity, water and central heating to sustain new public housing development due to poor planning while residential skyscrapers inappropriately intermingled with existing architectural context. Poor construction methods and lack of quality due to lack of resources caused unhealthy living environments. All these issues led to diminishing cultural identity of Bosnia and Herzegovina while draining its natural and human resources. On the other hand, there were few architectural projects that attempted to address issues of cultural diversity. Residential House “Dino” in Sarajevo built in 1987 by Amir Vuk and Mirko Maric was one of those attempts. It is the duplex residential house where one follows the oriental architectural vocabulary while the other has rather western European philosophy of the façade organization while they share a common entrance. Another example is the Holiday Inn Hotel built in 1983 and the “Unis” Twin Towers built in Sarajevo in 1986 and designed by Ivan Štraus. Among the people of the city, the twin towers are commonly called Momo (Serbian name) and Uzeir (Bosniak name). There is no consensus among the people of the city which tower carried the Serbian or Bosnian name. This ambiguity of the names accentuated the cultural unity as its primary architectural quality.

QMRVirgin and Child with Four Angels (or Virgin and Child with Angels) is a small oil-on-panel painting by the Early Netherlandish artist Gerard David. Likely completed between 1510 and 1515, it shows the Virgin Mary holding the child Jesus, while she is anointed Queen of Heaven by two angels above her, accompanied by music provided by another two angels placed at either side of her. In its fine detail and lush use of colour the work is typical of both David and late period Flemish art.

QMRThe four Beatitudes in Luke 6:20–22 are set within the Sermon on the Plain. Verse 20 introduces them by saying, "and he lifted up his eyes on his disciples, and said" Blessed be ye poor: for yours is the kingdom of God. Blessed are ye that hunger now: for ye shall be filled. Blessed are ye that weep now: for ye shall laugh. Blessed are ye, when men shall hate you, and when they shall separate you from their company, and shall reproach you, and cast out your name as evil, for the Son of man's sake. Luke 6:23 ("Rejoice ye in that day, and leap for joy: for, behold, your reward is great in heaven: for in the like manner did their fathers unto the prophets.") appears to parallel the text in Matthew 5:11-12, which reads, "Blessed are you when people insult you, persecute you and falsely say all kinds of evil against you because of me. Rejoice and be glad, because great is your reward in heaven, for in the same way they persecuted the prophets who were before you". The four woes that follow in Luke 6:24–26[4] Woe to you who are rich, for you have already received your comfort. Woe to you who are well fed now, for you will go hungry. Woe to you who laugh now, for you will mourn and weep. Woe to you when everyone speaks well of you, for that is how their ancestors treated the false prophets.

QMRThe Way International is a nontrinitarian biblical research, teaching and fellowship ministry based in New Knoxville, Ohio, with home fellowships located in the United States as well as other countries.[3] It was founded by Victor Paul Wierwille in 1942 as a radio program, and became The Chimes Hour Youth Caravan in 1947,[4] and The Way, Inc., in 1955. The ministry distributes works such as The Way Magazine through its publishing company, the American Christian Press, and has developed classes and other programs in several languages. It formed The Way Corps in 1970, a leadership training program, which continues today. The Way actively offers classes in biblical studies to its followers, highlighting The Way of Abundance and Power class series. According to them there were four people crucified with Jesus, (on a Wednesday) rejecting the standard interpretation which holds that there were two. Different Greek words were used for those crucified with Jesus in the different Gospel accounts, as well as discrepancies in timing, statements, and actions of the characters in the narrative. Two malefactors (kakourgoi) were initially led and crucified with Jesus in Luke 23:32, then two robbers (lestai) were later crucified after his accusation was fastened in Matthew 27:38. Accordingly, two others were crucified on both sides of Jesus for a total of four.

QMRPractical theology is an academic discipline that examines and reflects on religious practices in order to understand the theology that is enacted in those practices and in order to consider how theological theory and theological practices can be more fully aligned, changed, or improved. Richard Osmer explains that the four key questions and tasks in practical theology are: What is going on? (descriptive-empirical task) Why is this going on? (interpretative task) What ought to be going on? (normative task) How might we respond? (pragmatic task)[1]

Codewords are 8 bits long and use the Reed–Solomon error correction algorithm with four error correction levels. The higher the error correction level, the less storage capacity. The following table lists the approximate error correction capability at each of the four levels: Level L (Low) 7% of codewords can be restored. Level M (Medium) 15% of codewords can be restored. Level Q (Quartile)[40] 25% of codewords can be restored. Level H (High) 30% of codewords can be restored.

Islam Chapter

Hinduism Chapter

Judaism Chapter

QMRA dreidel (Yiddish: דרײדל dreydl plural: dreydlekh,[1] Hebrew: סביבון sevivon) is a four-sided spinning top, played with during the Jewish holiday of Hanukkah. The dreidel is a Jewish variant on the teetotum, a gambling toy found in many European cultures. Each side of the dreidel bears a letter of the Hebrew alphabet: נ (Nun), ג (Gimel), ה (He), ש (Shin), which together form the acronym for "נס גדול היה שם" (Nes Gadol Hayah Sham – "a great miracle happened there"). These letters were originally a mnemonic for the rules of a gambling game played with a dreidel: Nun stands for the Yiddish word nisht ("nothing"), He stands for halb ("half"), Gimel for gants ("all"), and Shin for shtel ayn ("put in"). In Israel, the fourth side of most dreidels is inscribed with the letter פ (Pei) instead, rendering the acronym, נס גדול היה פה, Nes Gadol Hayah Poh—"A great miracle happened here" referring to the miracle occurring in the Land of Israel. Some stores in Haredi neighborhoods sell the ש dreidels. Origins[edit] The dreidel developed from an Irish or English top introduced into Germany in late Roman Empire times and known as a teetotum, inscribed with letters denoting the Latin words for “nothing,” “half,” “everything” and “put in.” In German this came to be called a trendel, with German letters for the same concepts. Adapted to the Hebrew alphabet when Jews adopted the game, these letters were replaced by shin (=shtel arayn (put in); nun smile emoticon nit (not, i.e., nothing); gimel, representing gants (whole/everything); and he (=halb (half)). The letters served as a means to recalling the rules of the game. When the game spread to Jewish communities that were unfamiliar with Yiddish, the denotations of the Hebrew letters were not understood. There arose as a result Jewish traditions to explain their assumed meaning. Some claimed the 4 letters cyphered Babylon, Persia, Greece and the Roman Empire, the four ancient empires that tried to destroy Israel; a gematriya reading yielded the number 358, identical to the value of the 4 letters used for Moshiach (Messiah). A third popular conjecture had it that the letters abbreviated the words nes gadol haya sham (a great miracle happened there), an idea that became attached to dreidels when the game entered into Hanukkah festivities. [2] At this point, a tradition arose that the game was developed by cave-dwelling Jews who studied the Torah in seclusion as they hid from the Seleucids under Antiochus IV. At the first sign of Seleucids approaching, their Torah scrolls would be concealed and be replaced by dreidels.[3][4] The variant names goyrl (destiny) and varfl (a little throw) were also current in Yiddish until the Holocaust.[2] In the wake of Zionism, the dreidel was renamed sevivon in modern Hebrew, and the letters altered, with shin generally replaced by pe. This yields the reading nes gadol haya po (a great miracle happened here.') Etymology[edit] Dreidels for sale at Mahane Yehuda market in Jerusalem The Yiddish word dreydl comes from the word dreyen ("to turn", compare to drehen, meaning the same in German). The Hebrew word sevivon comes from the Semitic root "SBB" ("to turn") and was invented by Itamar Ben-Avi (the son of Eliezer Ben-Yehuda) when he was 5 years old. Hayyim Nahman Bialik used a different word, "kirkar" (from the root "KRKR" – "to spin"), in his poems,[5] but it was not adopted into spoken Hebrew. In the lexicon of Ashkenazi Jews from Udmurtia and Tatarstan the local historian A.V. Altyntsev was fixed several other appellations of a dreidel such as "volchok", "khanuke-volchok", "fargl", "varfl", "dzihe" and "zabavke". [6] Symbolism[edit] Some rabbis ascribe symbolic significance to the markings on the dreidel. One commentary, for example, connects the four letters with the four nations to which the House of Judah was historically subject—Babylonia, Persia, Seleucid Empire and Rome.[7] While not mandated (a mitzvah) for Hanukkah (the only mandated mitzvot are lighting candles and saying the full hallel), spinning the dreidel is a traditional game played during the holiday.[8] Rules of the game[edit] Each player begins with an equal number of game pieces (usually 10–15). The game pieces can be any object, such as chocolate gelt, pennies, or raisins. At the beginning of each round, every participant puts one game piece into the center "pot". Every player puts one in the pot after every turn. Each player spins the dreidel once during their turn. Depending on which player side is facing up when it stops spinning, they give or take game pieces from the pot: a) If נ (nun) is facing up, the player does nothing. b) If ג (gimel) is facing up, the player gets everything in the pot. c) If ה (hay) is facing up, the player gets half of the pieces in the pot. (If there are an odd number of pieces in the pot, the player takes the half the pot rounded up to the nearest whole number) d) If ש (shin) or פ (pei) is facing up, the player adds a game piece to the pot (often accompanied with the chant "Shin, Shin, put one in"[9]). In some game versions a Shin results in adding three game pieces to the pot (one for each stem of the Shin). If the player is out of pieces, they are either "out" or may ask another player for a "loan".[10] These rules are comparable to the rules for a classic four-sided teetotum, where the letters A, D, N and T form a mnemonic for the rules of the game, aufer (take), depone (put), nihil (nothing), and totum (all). Similarly, the Hebrew letters on a dreidel may be taken as a mnemonic for the game rules in Yiddish. Occasionally, in the United States, the Hebrew letters on the dreidel form an English-language mnemonic about the rules: Hay, or "H" standing for "half;" Gimel, or "G" standing for "get all;" Nun or "N" standing for "nothing;" and Shin or "S" standing for "share". Thomas Robinson and Sujith Vijay have shown that the expected number of spins in a game of dreidel is O(n2), where n is the number of game pieces each player begins with. The implied constant depends on the number of players.[11] Collections[edit] Childhood enjoyment of dreidels has led to interest in collecting them in adulthood.[12] Jewish institutions such as the Spertus Institute for Jewish Learning and Leadership, Yeshiva University and Temple Emanu-El in New York, house dreidel collections, as do museums such as the Spinning Top and Yo-Yo Museum in Burlington, Wisconsin.[12] Tournaments[edit] Dreidel is now a spoof competitive sport in North America. Major League Dreidel (MLD), founded in New York City in 2007, hosts dreidel tournaments during the holiday of Hanukkah. In MLD tournaments the player with the longest Time of Spin (TOS) is the winner. MLD is played on a Spinagogue, the official spinning stadium of Major League Dreidel. Pamskee was the 2007 MLD Champion. Virtual Dreidel was the 2008 MLD Champion.[13] In 2009, Major League Dreidel launched a game version of the Spinagogue.[14] In 2009, Good Morning America published a story on Dreidel Renaissance reporting on the rising popularity of the dreidel.[15] Dreidel games that have come out on the market since 2007 include No Limit Texas Dreidel,[16] a cross between traditional dreidel and Texas Hold'em poker, invented by a Judaica company called ModernTribe.[17] Other new dreidel games include Staccabees[18] and Maccabees.[19]

Art Chapter

Austro-Hungarian period[edit] The Academy of Fine Arts was originally built to serve as an Evangelical Church in 1899. Franciscan monastery in Fojnica National and University Library of Bosnia and Herzegovina in Sarajevo In 1878 Bosnia was up for another cultural diversification as Austro-Hungarian Empire annexed the country. In the short time that Austrian Empire ruled Bosnia they had an immense influence in future urban planning and architecture. Some of the changes introduced by Austrian influence included introduction of new building code regulations such as, required building permits, life safety and fire protection requirements, regulated wall thickness and building heights. Some changes in urban planning involved classification of street types and consequent building regulations, requirement for harmonious design with immediate surroundings and compliance with overall regulation plan. There were also changes in a general design philosophy. Stylistically, Bosnia was to be assimilated into the European mainstream, save for the appearance of the Orientalist style (also Pseudo-Moorish style). The aim was to promote Bosnian national identity while avoiding its association with either the Ottoman Empire or the growing pan-Slavic movement by creating an "Islamic architecture of European fantasy".[1] This style drew its inspiration from the Moorish and Mudéjar architecture of Spain as well as Mamluk architecture of Egypt and Syria, as exemplified by Mostar Gymnasium. This included application of ornamentations and other "Moorish" design strategies neither of which had much to do with prior architectural direction of indigenous Bosnian architecture. The new architectural languages added to diversity of already complex urban composition in Bosnian cities. These and other changes caused certain other consequences in Bosnia. For example, building life safety was improved however local building contractors and architects become obsolete due to new regulations and construction methods. This caused immigration of skilled labor from Central Europe that further doubled and diversified the population of Bosnia and Herzegovina which in the turn stimulated the economy. Finally, cities began changing their character. The majority of projects during the time of Austrian influence dealt with administrative building designs. The post office in Sarajevo for example follows distinct formal characteristics of design like clarity of form, symmetry, and proportion while the interior followed the same doctrine. The National and University Library of Bosnia and Herzegovina in Sarajevo is an example of Orientalist architectural language using Moorish-Mamluk decoration and pointed arches while still integrating other formal elements into the design.

Ottoman period[edit] Stari most in Mostar Svrzo House in Sarajevo Bridge on the Drina river in Višegrad. In the late 15th century, the Ottoman Empire came to the Balkans. They addressed the need to develop urban areas and cities, from this emergerged the basic form and organization of urban areas which are still distinctive today. Dušan Grabrijan, an architectural theoretician, defined the primary organization of typical Bosnian cities. He recognized that cities had five authentic components defined by a set of "unwritten laws": surrounding hills defined the form of the city, the main road is the spine, “Čarsija” is the heart, vegetation are lungs, river is the spirit. Juraj Neidhard another theoretician described a typical Bosnian city in one of his books as following: “ What is the charm of the Orient that starts in Sarajevo and which Westerners can’t resist? Here there are no planned actions that would come from rational thinking, it is all a matter of improvisation, the result of ad hoc ideas and temporary needs. Here you cannot find a clear axis and absolute symmetry. Here you can’t even find construction systems being built properly. Here everything displays the need to please humans. Composition, in the West, thought and built according to logic and plan, here becomes an agglomeration of parts, every time a result of different needs and every time improvised differently; but always in relation to the senses. ” The fact that people used river as a main element of urban life led to construction of Stari most in 1566 in Mostar in Herzegovina. At the time it was built it was the longest single span arch stone bridge in the world. Its meaning had however rather more profound power. It symbolized the connection between eastern and western civilization. In addition to urban planning, architecture of Bosnia has emerged with a bit clearer architectural vocabulary. Architecture however was organized around a set of unwritten architectural laws including: human scale, unobstructed views, geometry, open and flexible spaces, simple furniture, spatial links to nature and use of local materials and traditional building techniques. In addition design philosophy favored heterogeneity of materials. In other words, each material had a particular intrinsic function given to it by social perception of the people involved in the architectural process. Juraj Neidhard described this perception as following:” “ ''The point is that Bosnian man has his style. He makes his pottery, space, city, according to himself, in human scale, he is not a mystic, but a realist and that is the source of all this realistic architecture, which is at the same time comfortable, humble and democratic. All roofs and doors of these houses are almost the same, we could call them homes for anyone, all of them [houses] in the human scale, all almost grown out of the land, all the decoration brought from their construction and structure - architecture built of the natural and the local. ” Hence foundations were built out of stone, ground floor out of clay, unburnt brick and wooden ties, first floor out of wooden frame and roof almost always out of wood. Organizationally, a typical Bosnian residence from the 17th century consisted of five main elements: a fence that faced and defined the street and clearly differentiated private from public, a courtyard usually built of pebble or flat stone pattern for easier maintenance, an outdoor fountain (Šadrvan) for hygienic purposes, a lower level "semi-public" private space called the Hajat where the family would gather, and the Divanhan, an upper-level semi-private/private space used for relaxation and enjoyment.

Medieval period[edit] Castle in Velika Kladuša Bobovac, seat of the rulers of Bosnia. The medieval period in Bosnia lasted until the invasion of Ottoman Empire. The social organization of Bosnia of that time developed into a system known as Zadruga. In Zadruga, the community was organized such that a few families with common interests would live closely together in housing clusters. The leaders of the community were selected according to their age and high ethical standards. The Zadruga system was primarily found a rural, agrarian communities, greatly dependent on natural resources. As the community grew, segments of families would collectively move to another area forming a new cluster or a village. The continuing links between these related clusters stimulated both trade and economy. Individual families lived together in houses known as Dinaric houses. These were simple structures build of natural materials (usually timber and wickerwork). Interior space was organized around the hearth in a central room with separate private quarters for men and women. Even though military fortresses in Bosnia and Herzegovina date from Roman times, most of them were built between the 12th and 15th century. The structures were built out of ruff cut stone on hills overlooking a river, route or town. Today there are around 300 of them but most of them are in ruins. The most beautiful and well preserved are: Sarajevo, Srebrenik, Blagaj, Jajce, Travnik, Tešanj, Počitelj, Doboj, Vranduk, Bobovac, Stolac, Maglaj, Gradačac, Ljubuški, Sokol, Sokolac na Uni Dobor, Ključ, Bihać, Bosanska Krupa, Ostrožac, Oštrovica, Velika Kladuša, Višegrad, Zvornik, etc. The court in Kraljeva Sutjeska was even richly engraved in Gothic style. An example of medieval Gothic and Romanesque tower is the Tower of St. Luke located in Jajce and created in the 15th century.

QMRThe architecture of Bosnia and Herzegovina is largely influenced by four major periods where political and social changes determined the creation of distinct cultural and architectural habits of the region.

QMRThe architecture of Bosnia and Herzegovina is largely influenced by four major periods where political and social changes determined the creation of distinct cultural and architectural habits of the region.

QMROrdinary People (Slovak: Obyčajní Ľudia), full name Ordinary People and Independent Personalities[4] (Slovak: Obyčajní Ľudia a nezávislé osobnosti, OĽaNO), is a conservative[5] political party in Slovakia. It ran four candidates on the list of the Freedom and Solidarity (SaS) party in the 2010 parliamentary election to the National Council, and all four were elected. The party is led by Igor Matovič, one of the four MPs. The four Ordinary People MPs were Igor Matovič, Erika Jurinová, Martin Fecko, Jozef Viskupič.[6] OĽaNO sat in the National Council with the SaS and signed an agreement with the SaS that its members could not cross the floor to another group. In June and July 2010,[6] it was rumoured that OĽaNO would refuse to back the programme of the new centre-right coalition,[7] which included Freedom and Solidarity, and whose majority depended on Ordinary People.[8]

QMRWestern Slovakia is one of the four NUTS-2 Regions of Slovakia. It is created with the Nitra Region, Trnava Region and Trenčín Region. Western Slovakia is the most populated of the four regions of Slovakia and its GDP per capita is 68,4% of the European Union average (€16,100 per year).

QMR The Mandarin varieties as a linguistic territory have been described as "Geographical Mandarin" in the journal of Chinese linguistics Sino-Platonic Papers. See Robert M. Sanders, "The Four Languages of Mandarin." http://www.sino-platonic.org/complete/spp004_mandarin_chinese.pdf ^ Jump up to: a b

QMRDialects[edit] Official usage of the Slovak language in Vojvodina, Serbia There are many Slovak dialects, which are divided into the following four basic groups: Eastern Slovak dialects (in Spiš, Šariš, Zemplín and Abov) Central Slovak dialects (in Liptov, Orava, Turiec, Tekov, Hont, Novohrad, Gemer and the historic Zvolen county) Western Slovak dialects (in remaining Slovakia: Kysuce, Trenčín, Trnava, Nitra, Záhorie) Lowland (dolnozemské) Slovak dialects (outside Slovakia in the Pannonian Plain in Serbian Vojvodina, and in southeastern Hungary, western Romania, and the Croatian part of Syrmia) The fourth group of dialects is often not considered a separate group, but a subgroup of Central and Western Slovak dialects (see e.g. Štolc, 1968), but it is currently undergoing changes due to contact with surrounding languages (Serbo-Croatian, Romanian, and Hungarian) and long-time geographical separation from Slovakia (see the studies in Zborník Spolku vojvodinských slovakistov, e.g. Dudok, 1993). The fourth is always different

QMRProglas (Old Church Slavonic Glagolitic ⰒⰓⰑⰃⰎⰀⰔⰟ, Cyrillic Прогласъ; meaning Foreword) is the foreword to the Old Church Slavonic translation of the four Gospels. It was written by Saint Cyril in 863-867 in Great Moravia (present day Moravia and Slovakia). Proglas is considered to be the first poem in literary Old Church Slavonic.

QMRThe Visegrad Group, also called the Visegrad Four, or V4 is an alliance of four Central European states – Czech Republic, Hungary, Poland and Slovakia – for the purposes of furthering their European integration as well as advancing their military, economic and energy cooperation with one another.[1] The Group's name in the languages of the four countries is Visegrádská čtyřka or Visegrádská skupina (Czech); Visegrádi Együttműködés or Visegrádi négyek (Hungarian); Grupa Wyszehradzka (Polish); and Vyšehradská skupina or Vyšehradská štvorka (Slovak). It used to be sometimes referred to as the Visegrád Triangle, since it was an alliance of three states at the beginning – the term is not valid now, but appears sometimes even after all the years since the dissolution of Czechoslovakia in 1993.

QMRColemill Panther Re-engined Navajo with 350 hp (261 kW) Lycoming TIO-540-J2B engines, four-blade "Q-Tip" propellers and optional winglets. Conversion designed by Colemill Enterprises of Nashville, Tennessee.[28][29][30]

Painting Chapter

QMRMirza Kadym Irevani,[2] (Azerbaijani: Mirzə Qədim Məmməd-Hüseyn oğlu İrəvani[3], 1825, Erivan — 1875, Erivan) was an Azerbaijani[4][5][6] ornamentalist artist and portraitist, founder of Azerbaijani panel painting, whose works greatly influenced Azerbaijani visual art of the modern period.[7] Mirza Kadym Irevani is famed both for his pictures-stencils for embroidery, mural paintings, jewelry, lacquer paintings and glass paintings. His most famous works are portraits Sitting Woman,[8] Young man, Fath Ali Shah" and four big portraits painted in oil, in the 1850s, on the walls of the Palace of Erivan sardars. Mirza Kadym Irevani's creativity evidences the origination of easel forms in Azerbaijani art. However some of his works, such as the portraits Sitting woman and Young man painted in watercolors and kept in Baku, in the Rustam Mustafayev Azerbaijan State Museum of Art were created in the middle of the 19th century and are more related to traditions of medieval miniature. Irevani expressed great interest in human's view. He portrayed humans not against a conditional flat background, but on the three-dimensional space of the specific interior. Such a usage of volumetric-plastic modelling of the form and presentation of similarity with model evidenced of significant turn, which was noticed in Azerbaijani art of the modern period [10] and overcoming the traditions of conditionality and flatness of the picture.[11] Among the works of Mirza Gadim Irevani are famous pictures in the Palace of Sardar in Erivan, including four portraits of Fath Ali Shah, Abbas Mirza, Mah Tellet Khanim and Vajullah Mirza. Besides these works, the portrait of an unknown soldier was also painted. The palace was destroyed in 1914 (including four portraits on the walls of the palace) and the pictures of the portraits have only survived in copies. Iravani's works, such as Female dancer (Azerbaijani: Rəqqasə), Darvish, Strongman (Azerbaijani: Pəhlivan), and Cavalryman (Azerbaijani: Süvari) are also famous.

Look how mt. Rushmore has the four faces the fourth is different from the previous three. The first three are together the fourth is different. The fourth always points to the nature of the fifth. Mt Rushmore has the four that reveal the quadrant pattern. This is the quadrant pattern. The first two is the duality. The first is weird second is homeostasis and normal. The third is related to doing and the most solid. The fourth is transcendent and contains qualities of the previous three. The fourth is connected to and indicates a questionable fifth. The fifth becomes the first square of a new quadrant. What i say may seem crazy but read my books on my blog starting from book 1 and see how this pattern is the fundamental pattern of reality/ existence. I talk about mt rushmore in one of my books. In another of my books i talk about the mersenne primes how the first three are similar the fourth is different and transcendent the fifth is different and ultra transcendent. The fifth is questionable and related to God the fourth is different and transcendent

QMR This is from a website I just read Embedded in Leonardo Divinci’s Vitruvian Man is one of the greatest secrets regarding enlightenment. You will notice there are two sets of arms, two sets of legs with a circle and square around the image. This mystical and yet very recognizable drawing is depicting the sacredness of the four bodies of human vibrational existence. The Divine truth within this drawing ultimately reveals the path to enlightenment and the secret of the Holy Grail. Deep to the surface of our human personality and emotional day-to-day conditions is an inner secret that opens the door to not only our spirituality but the workings of the heart and the path to awakening and enlightenment. Within this sacred art manuscript the following meanings are found: The image of the man represents the physical body. The multiple arms and legs represent the dynamic state of the emotional body. The square represents the confined and limited nature of the mental body. The circle represents the spiritual body. So what is the secret? Your Physical Body: Your physical body is the vessel that your spirituality, emotions and creativity flow through. The physical, emotional, mental and spiritual bodies are literal vibrational fields of energy that overlap and affect each other profoundly. The physical body has a great capacity to inform you when something is wrong or right. It can be positively or negatively affected by the foods we eat, the thoughts we think and the emotional state that we reside in at any given moment. Feeling a situation as opposed to thinking about a situation is the way to properly use your physical body. This is the ultimate and intended use of the body; the heart will always express itself to you through your feeling/physical body. Learning to “feel” what your body is telling you and responding to those messages is the key to finding harmony and balance. This is the vibrational secret of the Vitruvian Man. You must learn to feel and understand the multitude of energy signatures or messages that your heart is sending through your physical body. In the modern day, people primarily live in their minds separating themselves from their physical body. Our cells energetically remember everything that has ever happened to you, good or bad, and influence the present. Emotional Body: Your emotional body is the sum total of every emotional experience you have ever had and also your general concerns pleasures and desires. Did you know that the word emotion means “energy in motion?” Where thoughts and feelings go energy flows. Hurtful experiences throughout life are energetically held as layers of memory (within the subconscious and unconscious mind) within the body that drive day-to-day thoughts and feelings. Therefore, if you are not aware of your inner wounds and have not healed these past wounds you become a prisoner to the negative energetic influences. Have you ever felt yourself exhibiting unwanted behaviors or reacting in a certain way that did not feel like your true self? These unwanted reactions are the result of emotional wounds that exist as contracted energy living within you and driving your behavior. Also residing within the emotional body is love. When something is right or good we feel the joyous moment our heart is communicating to us via our positive emotion. This is the desired state of being. Our life’s purpose is the fulfillment of the heart. Honoring all that is positive, passionate, joyful and harmonious leads to this fulfillment. When we heal the layers of emotional wounds we then move ourselves to a predominate state of joy and love as opposed to experiencing it in fleeting moments. Mental Body: The mental body is also a powerful, dynamic energy instrument. There are two parts to the mental body: the egoic mind (little mind) and the Divine mind. The egoic mind is a powerful tool for creating a harmonious reality or a reality of suffering. It was not meant to be the driving force of our existence; only a tool to be used to direct and achieve our expanded awareness. When its task of setting an intention or forming a desire is finished, which could be in a few seconds, we should then turn this tool off and return to residing within the feeling body. This gives way to experiencing or residing in Divine mind (I AM PRESENCE). The vibrational experience of Divine mind begins as a subtle calming that deepens into the peace beyond understanding. When existing from Divine mind the constant mental churning is surrendered. However, in modern day, the programming of living within the egoic mind prevents this from happening. It is up to you to choose where you wish to reside – in the churning egoic mind or the peaceful Divine mind. Spiritual Body: The circle in the Vitruvian Man represents the spiritual body which is the infinite doorway to many high vibrational states of expanded awareness, enlightened awakening, and our mystical self. The secret of the four bodies of existence is that when the physical, mental and emotional bodies reach a state of harmony and balance, the higher vibration of our spiritual body is activated. Thus begins the ever increasing unfoldment of our spiritual nature that begins to open the doorway into enlightened and expanded states of consciousness. These states of expanded consciousness lead to the direct experience of the light of the soul or SOULMERGING. Since the time of the Arthurian legends man has searched for the Holy Grail, yet to no avail. The Holy Grail has always been in the most unlikely place. It is the illumination within us, an exalted state of illuminated presence that is achieved during the SOULMERGE. Throughout the history of humanity, this illuminated state has been lying dormant, waiting to be discovered. It has always been available to mankind. However, for millennium mans’ inhumanity to man has perpetuated the prison of pain and suffering.

Music Chapter

QMROriginally a four-piece instrumental group who had put out one surfing instrumental, "Smoke & Stack", they formed in Sydney in 1963. With the advent of the Merseybeat sound, they added a lead singer, Billy Thorpe. His powerful voice and showmanship (which made him one of the most popular and respected rock performers in Australian music), completed the original line-up, which consisted of drummer Col Baigent, bassist John "Bluey" Watson and guitarists Valentine Jones and Vince Maloney (who later played with The Bee Gees).Valentine Jones left the band shortly after Billy Thorpe had joined and was later replaced by Tony Barber.

QMRFour Friends is a 1981 American Comedy-drama film directed by Arthur Penn. The semi-autobiographical screenplay by Steve Tesich follows the path of the title characters from high school to college during the often turbulent 1960s and beyond. The cast features Craig Wasson, Jodi Thelen, Jim Metzler and Glenne Headly. Contents [hide] 1 Plot synopsis 2 Cast 3 Production notes 4 Critical reception 5 DVD 6 References 7 External links Plot synopsis[edit] The titular quartet are Yugoslavian-born Danilo Prozor, who arrived in America at the age of twelve and ever since has been trying to distinguish between the reality of his adopted homeland and the idealistic vision of it he brought with him; overweight, Jewish mama's boy David; Tom, the attractive WASP jock who has a way with the ladies; and free-spirited, self-assured Georgia, who fancies herself the reincarnation of Isadora Duncan, dreams of a successful career as a dancer, and is loved in turn by each of her three friends.

QMRBowed[edit] Kokyū - bowed lute with three (or, more rarely, four) strings and a skin-covered body

Spanish tiples[edit] In Spain there are similar instruments. This tiny guitar has four strings and is found in Minorca. Other types of small guitars in Spain are the guitarra, guitarro and guitarrico.

American tiple[edit] The tiple was redesigned in 1919 by the American guitar company C.F. Martin & Co. for the William J. Smith Co. in New York. This tiple is smaller than the Colombian version, closer in size to a baritone ukulele. It has ten steel strings in four courses of 2, 3, 3, and 2 strings, tuned similarly to a D-tuned ukulele: A4 A3 • D4 D3 D4 • F#4 F#3 F#4 • B3 B3. Similar instruments were developed by other companies around the same time.

Tiple Peruano[edit] Peru has a tiple with four single or doubled steel strings. It is tuned A3, E4, B4, F#5.

QMRColombian tiple[edit] Main article: Colombian tiple Colombian Tiple The tiple Colombiano (Colombian tiple) is an instrument of the guitar family, similar in appearance although slightly smaller (about 18%) than a standard classical guitar. The typical fretboard scale is about 530 mm (just under 21 inches), and the neck joins the body at the 12th fret. There are 12 strings, grouped in four tripled courses. Traditional tuning from lowest to highest course is C E A D, although many modern players tune the instrument like the upper four strings of the modern guitar: D G B E. The outer two strings of each of the three lowest triple courses is tuned an octave higher than the middle string in the course (giving C4 C3 C4 • E4 E3 E4 • A4 A3 A4 • D4 D4 D4 in traditional tuning, or D4 D3 D4 • G4 G3 G4 • B4 B3 B4 • E4 E4 E4 in modern tuning). An 18 or 19 fret fingerboard give the tiple Colombiano a range of about 2-2/3 octaves, from C3 - G#5 (or A5). This tiple is associated with Colombia, and is considered the national instrument. Tiple virtuoso David Pelham has this to say about the Colombian tiple: "The tiple is a Colombian adaptation of the Renaissance Spanish vihuela brought to the New World in the 16th century by the Spanish conquistadors. At the end of the 19th century, it evolved to its present shape. Its twelve strings are arranged in four groups of three: the first group consists of three steel strings tuned to E, the second, third and fourth groups have a copper string in the middle of two steel strings. The central ones are tuned one octave lower than the surrounding strings of the group. This arrangement produces the set of harmonics that gives the instrument its unique voice." Outside of Colombia the "copper" strings are more likely to be standard brass or bronze wound steel guitar strings. There is also a tiple Colombiano requinto, often simply called tiple requinto. This instrument is about 10-15% smaller than the tiple Colombiano, and the central octave strings of the larger instrument are replaced with unisions, giving either a C4 C4 C4 • E4 E4 E4 • A4 A4 A4 • D4 D4 D4 tuning (traditional), or a D4 D4 D4 • G4 G4 G4 • B4 B4 B4 • E4 E4 E4 tuning (modern). The tiple requinto is sometimes made in more of a violin or "hourglass" shape, than a guitar shape. These differences give it a generally thinner, higher-pitched sound than the tiple Colombiano, even though most of its tuning is in the same range as the larger instrument

QMRThe Tahitian ukulele (ʻukarere or Tahitian banjo) is a short-necked fretted lute with eight nylon strings in four doubled courses, native to Tahiti and played in other regions of Polynesia. This variant of the older Hawaiian ukulele is noted by a higher and thinner sound and an open back,[1] and is often strummed much faster.

qMRVic Ruggiero, lead singer of the Slackers, recorded tracks in Japan for his upcoming solo album. He plays a four-string cigar box guitar built by Adam Holmes, of Dust Box Guitars.[10]

QMRTurner recorded his fifth studio album in Burbank, California, in October 2012. The reason for recording abroad the first time in California was that producer Rich Costey wouldn't come to England with all his equipment so he convinced Turner to record it in Burbank.[6] Frank Turner announced via Twitter on 28 October 2012 that recording was completed, and mixing and mastering would be done in time for a March 2013 release date. During the November and December UK tour a free CD titled Good Hangs from Xtra Mile Recordings was distributed for free at Frank Turner shows, this included a yet-to-be-released Turner song titled "Tattoos" plus the Möngöl Hörde song "Casual Threats From Weekend Hardmen". On Christmas Day 2012, the song "Four Simple Words" was released on Xtra Mile Recordings' website as a free download along with the b-side "Cowboy Chords".

QMRFrank Turner plays a four-string cigar box guitar built by Adam Holmes, of Dust Box Guitars.[10]

QMRThe Big Four: Live from Sofia, Bulgaria is a DVD/Blu-ray featuring live concert performances by Metallica, Slayer, Megadeth, and Anthrax, collectively known as "the big four" of thrash metal.[1] The event took place on June 22, 2010 at the Sonisphere Festival at Vasil Levski National Stadium, Sofia, Bulgaria. Before its DVD release, it was shown at 450 movie theaters in the United States and over 350 movie theaters across Europe, Canada, and Latin America on June 22, 2010.

QMRIn 2013, Bonnaroo brought its stage to YouTube.[23] In conjunction with talent and Bonnaroo fans, Bonnaroo and Los Angeles production company Kids At Play[24] created Soopergroop – a band created from four musical acts brought together over four days to create and share original works at Bonnaroo 2013 and launch Bonnaroo’s YouTube channel.[25] The channel’s title, Bonnaroo 365, refers to the celebration’s intention to be part of fans’ daily lives. YouTube’s position with musician and fans – amassing 1.9 billion views of music videos in 2012[26] – made it an essential platform for the music festival. Soopergroop[27] talent was chosen for their musicality and YouTube audiences. They met for the first time at Bonnaroo in June. Their work process over the four-day festival was the subject of an eight-part documentary series by Kids At Play released on Bonnaroo’s YouTube Channel. The artists were: Soul Khan, an American songwriter, rapper and retired battle rapper from Brooklyn, N.Y.. Jenny Suk, known as JENI, singer and songwriter from the San Francisco Bay Area. Knower, the Los Angeles duo of Louis Cole and Genevieve Artadi, electronic funk-pop artists. Black Violin, an American hip-hop duo from Miami (Kev Marcus on violin and Wil B on viola).

"Mode de valeurs et d'intensités"[edit] This movement is the most-discussed of the four, as the first work by a European composer to apply numerical organisation to pitch, duration, dynamics, and mode of attack (timbre) (Toop 1974, 142). Because the treatment of the parameters is modal and not serial (that is, the elements are treated simply as a scale, without any implications for how they are to be ordered), there is no question of the material determining the work's form (Toop 1974, 148). According to the composer's own description, there are separate modes composed of 36 pitches, 24 durations, 12 attacks, and 7 dynamics. The duration scale is separated into three overlapping scales, called "tempi" by the composer, which correspond to the high, middle, and low registers of the piano, and occur in simultaneous superimposition. The first tempo uses 12 chromatic durations applied to the semidemiquaver, the second does the same with the semiquaver unit quaver, and the third with the quaver (Sherlaw Johnson 1989, 105). "The durations, intensities and attacks operate on the same plane as the pitches; the combination of modes reveals colors of durations and intensity; each pitch of the same name has a different duration, attack and intensity for each register in which it appears; the influence of register upon the quantitative, phonetic, and dynamic sounscape, and the division into three temporal regions imbues the passage with the spirit of the sounds that traverse them, creating the potential for new variations of colors" (Messiaen 1994). "Neumes rythmiques"[edit] The first of the four to be composed, this étude alternates two separate sets of refrains with longer strophes given over to the rhythmic neumes of the title. The first set of refrains is marked "rythme en ligne triple: 1 à 5, 6 à 10, 11 à 15", which means there are three durations, short, medium, and long, which are progressively expanded, upon each repetition, by the addition of a semiquaver unit. The second set of refrains is marked "Nombre premier en rythme non rétrogradable" (A prime number in non-retrogradable rhythm) and, like the first set of refrains with which they alternate, are expanded upon repetition—in this case by a series of progressively larger prime numbers: 41, 43, 47, and 53 semiquavers. The strophes which occur between the refrains are marked "neumes rythmiques, avec résonances et intensités fixes" (rhythmic neumes, with fixed resonances and intensities). From his studies of the neumatic notation symbols of plainchant, Messiaen had formed the idea of exploring the rhythms corresponding to them. "In an interplay of transposition, the neumatic symbol as an indication of a sinuous melodic entity is now applied to a rhythmic motive. Each rhythmic neume is assigned a fixed dynamic and resonances of shimmering colours, more or less bright or somber, always contrasting" (Messiaen 1994). The collage-like rhythmic structure grows from the iambic rhythm found at the beginning of the first strophe. As in the refrains, there is a process of augmentation upon repetition, in which new duration units are added in order to form more complex rhythmic cells. The pitches grow out of the major seventh and the tritone found at the beginning of the first strophe and in its third bar, respectively. Five basic dynamic-envelope patterns are applied to different groups, while at the same time the melodic motives constantly re-emerge in different rhythms (Sherlaw Johnson 1989, 104–105).

History[edit] The four pieces which the composer collectively termed Études de rythme are not a "cycle" like Messiaen's earlier Vingt regards sur l'enfant-Jésus (1944) or Visions de l’Amen (1943). Messiaen composed "Neumes rythmiques" and "Mode de valeurs et d’intensités" in 1949 (the latter at Darmstadt) and added the other two études in the following year, when he was at Tanglewood (Sherlaw Johnson 1989, 104; Toop 1974, 142). The four movements were premiered on 6 November 1950 in Tunis (at that time under the French protectorate of Tunisia) by the composer himself, who shortly afterward made the first recording of the second and third études. The French premiere was given in Toulouse on 7 June 1951 by Yvonne Loriod (Anon. n.d.). Analysis[edit] The work consists of four movements "Ile de feu I" (Fire Island I) "Mode de valeurs et d'intensités" (Mode of Durations and Intensities) "Neumes rythmiques" (Rhythmic Neumes) "Ile de feu II" (Fire Island II) "Ile de feu I"[edit] The title refers to Papua New Guinea, and the thematic material of this movement has "all the violence of the magic rites of this country" (Messiaen 1994). The piece consists of five sections, in alternating pairs of musical ideas. The first part of each section is a melodic theme with accompaniment, the second is a departure which Messiaen calls a trait ("episode"). The first section consists of a thematic statement and trait. The first half of the next three develop the initial theme. The fifth and final section introduces a new, longer theme in two periods which are immediately repeated before the etude is concluded by a final trait amounting to a short coda (Barash 2002, 18–19).

QMRQuatre études de rythme (Four Rhythm Studies) is a set of four piano compositions by Olivier Messiaen, written in 1949 and 1950. A performance of them lasts between 15 and 20 minutes.

QMRLessons for Children is a series of four age-adapted reading primers written by the prominent 18th-century British poet and essayist Anna Laetitia Barbauld. Published in 1778 and 1779, the books initiated a revolution in children's literature in the Anglo-American world. For the first time, the needs of the child reader were seriously considered: the typographically simple texts progress in difficulty as the child learns. In perhaps the first demonstration of experiential pedagogy in Anglo-American children's literature, Barbauld's books use a conversational style, which depicts a mother and her son discussing the natural world. Based on the educational theories of John Locke, Barbauld's books emphasise learning through the senses.

The eagles four members

QMRFranz Sylwester is a crippled down and out down-timer musician – and former maestro violinist introduced in "The Sound of Music" – who was victimized by a rival for his prestigious post as first violinist of the Cathedral of Mainz. His left (fingering) hand was deliberately mutilated by his rival, such that he can no longer play the violin. Sylwester makes his way eking out an existence writingcorrespondence for the illiterate. He gradually wends his way to Grantville, where he is exposed to modern Rock and Roll (which appalls him), but also to modern musical knowledge from "Master Herr Professor Wendell" (the high school music teacher), and a local girl, Marla Linder, a singer-musician that befriends him. From both he learns about the breadth and depth of modern musical instruments and the systematized musical theory available from these strange people from the future. He also becomes emotionally entangled with Marla, while fighting off feelings of unworthiness since he is crippled and cannot hope to support her. Author David Carrico brings the two characters back in a succession of stories beginning with "Heavy Metal Music", in effect serializing stories told primarily from Sylwester's viewpoint, and uses the character, with the help of the good-natured Marla, to explore interactions between the 1630s musical world and the intriguing blended culture coming into existence in central Europe. At Marla's suggestion, Franz reverses the order of the four strings of his violin and learns to play it left-handed (holding the bow in his left hand and fingering with is undamaged right hand), and in "Command Performance" Franz demonstrates his newly learned left-handed mastery of the violin at a triumphant debut concert. Hosted by the redoubtable "Dame of Magdeburg" Mary Simpson, the concert also features Marla and the expanding circle of her down-timer students. The same tale is used as background to introduce the Simpsons into the novel 1634: The Baltic War toward the conclusion of the events around the industrial accident and river set ablaze that begins the novel.

QMrFour Musketeers[edit] Half-disparaging, half-humorous, and half-well-intentioned name given to the four bright, somewhat nerdy, and inseparable senior war gamers who are suddenly "orphaned" by the Ring of Fire and left on their own. They take on a large role in 1632, many short stories, and other sequels. Larry Wild Eddie Cantrell Jeff Higgins Jimmy Andersen

QMREddie Cantrell[edit] Cantrell first appeared as one of the four teens (affectionately called the "Four Musketeers" by Stearns) rescuing the Richter family in the end phase of the Battle of the Crapper in the NTL summer of 1631. In the David Weber short story: "In the Navy" (Ring of Fire, winter '32–'33 NTL) he convinces Mike Stearns that an ironclad navy is needed to help Gustavus Adolphus fight a war efficiently. Thrust into working for John Chandler Simpson, who originally opposed Mike Stearns and his policies, Eddie's unique character helps to transform Simpson, and the two develop a close but unspoken relationship which verges on father-and-son. Cantrell later becomes a Navy Lieutenant-Commander. He appears in several stories in Ring of Fire: In one story Eddie is involved in a gun fight with downtimers stealing firearms from the chaotic environs of Grantville. In 1633, Lt. Cantrell heads up the mixed forces charged with defending Wismar Bay from the invading League of Ostend forces. In the action, he is lamed and captured by the Danish forces. In 1634: The Baltic War, as a prisoner of war, he falls in love with and eventually weds King Christian IV of Denmark's morganatic daughter Anne Cathrine. Eddie is the main character in 1636: Commander Cantrell in the West Indies

4321 qmr

By redman, methodman, DMX, and LL Cool J

QMRPoint Me (Four-Point Spell) Pronunciation: /ˈpɔɪntmiː/ poynt-mee, as in English Description: Causes the caster's wand tip to point to the north cardinal point, acting like a compass. Seen/mentioned: By Harry during the third task of the Triwizard Tournament in Goblet of Fire.

QMRThree Snakes and One Charm is the fourth album by the American blues rock band The Black Crowes. It was released on July 23, 1996.

QMR"Bodies" (often called "Let the Bodies Hit the Floor")[1] is a song by the American rock band Drowning Pool and also is the lead single from their debut album Sinner. Released in May 2001, the song is Drowning Pool's signature song[1] and has been featured in various films, TV programs, and advertisements since its release. It was also the theme song for the 2001 WWE SummerSlam pay-per-view event, as well as that of the ECW brand in 2006 to early 2008. Considered a nu metal song,[2][3][4][5] "Bodies" features a heavy use of "Let the bodies hit the floor". Its lyrics build by gradually counting up from one to four, shouting the number each time, until reaching its intense chorus. Clean vocals in the song's bridge administer a contrast from the many harsh vocals. The guitar structure of "Bodies" features a heavy use of the wah pedal. In media and popular culture[edit] This song was also on a compilation album released by footwear company Journeys, along with the song "Start the Commotion" by The Wiseguys. This song was used by WWE personnel Stephanie McMahon during The Invasion. It was also used as the theme song for Ohio Valley Wrestling. Similarly it was used as an entrance song by the former UFC Interim Heavyweight Champion, Shane Carwin. The song is featured in the films The One and Jason X, the trailer for The Punisher, the TV series Skins, the video game Guitar Hero: Warriors of Rock, the documentary McConkey and in the HBO miniseries Generation Kill. The song was parodied by the band Psychostick on their album Space Vampires VS Zombie Dinosaurs in 3D under the title "Numbers (I Can Only Count to Four)". A slightly remixed version of the song is featured in the movie XXX. The song gained more popularity in later years after it was offered to content creators of YouTube as a free song to be dubbed over their video for audio.

Dance Chapter

QMRRhiannon: Curse of the Four Branches is an adventure game developed by Arberth Studios. It was originally published in English by Got Game Entertainment and Lighthouse Interactive. However, following the financial collapse of Lighthouse Interactive early in 2009, all European rights reverted to Arberth Studios. The developer then converted itself into a publisher and began selling the English game directly.

Pinky[edit] Pinky is the Pink Ghost who, in the original arcade game, positions him/herself in front of Pac-man. In the Pac-Man cartoon, Pinky (voiced by Chuck McCann) is depicted as male dimwitted shape shifter. In recent games, and Pac-Man and the Ghostly Adventures, Pinky (voiced by Ashleigh Ball in the TV series and by Julie Kliewer in the video game and sequel) is depicted as a female with a crush on Pac-Man, which often puts her at odds with Cylindria. Inky[edit] Inky is the Cyan Ghost who, in the original arcade game, has a fickle mood. He can be unpredictable. Sometimes he chases Pac-Man aggressively like Blinky; other times he jumps ahead of Pac-Man as Pinky would. He might even wander off like Clyde on occasion. In the Pac-Man cartoon, Inky (voiced by Barry Gordon) is depicted as dim and loony. In Pac-Man and the Ghostly Adventures, Inky (voiced by Lee Tockar in the TV series and by Bryce Papenbrook in the video game) is the youngest member. Though the smartest, he lacks focus most of the time. In Pac-Man, Inky likes to appear in front of Pac-Man's face. Clyde[edit] Clyde is the Orange Ghost who, in the original arcade game, acts stupid. He will chase after Pac-man in Blinky's manner, but will wander off to his home corner when he gets too close. In Ms. Pac-Man, this ghost is named Sue, and in Jr. Pac-Man, this ghost is named Tim. In the animated series, Clyde (voiced by Neil Ross) is the leader of the group. In recent games and Pac-Man and the Ghostly Adventures, Clyde (voiced by Brian Drummond in the TV series and by Orion Acaba in the video game) is depicted as a large ghost who is simple, but not unintelligent and has an appetite equal to Pac-Man's. He lacks the devious natures of his brothers and sister and is considerate towards others. In the Pac-Man World games, Clyde and Blinky's roles are reversed.

QMRKnown Ghosts[edit] Below is the description of each Ghost.[6] Color Puck Man (Original)[7] Pac-Man (American) Character (Personality) Translation Nickname Translation Alternate Character Alternate Nickname Character (Personality) Nickname Red Oikake (追いかけ) Chaser Akabei (赤ベイ) Red guy Urchin Macky Shadow Blinky Pink Machibuse (待ち伏せ) Ambusher Pinky (ピンキー) Pink guy Romp Micky Speedy Pinky Cyan Kimagure (気まぐれ) Fickle Aosuke (青助) Blue guy Stylist Mucky Bashful Inky Orange Otoboke (お惚け) Feigning Ignorance Guzuta (愚図た) Slow guy Crybaby Mocky Pokey Clyde Blinky[edit] Blinky is the Red Ghost who, in the original arcade game, follows behind Pac-man. He is considered the leader of the ghosts. In the Pac-Man cartoon, Blinky (voiced by Chuck McCann) is slow-witted and cowardly with grammar problems. In Pac-Man and the Ghostly Adventures, Pac-Man and the Ghostly Adventures 2, & Mappy: The Movie, Blinky (voiced by Ian James Corlett in the TV series and by Lucien Dodge in the video game) is the default leader of the Ghost Gang Family and tends to help the winning side. Blinky receives a speed boost after a number of pac-pellets have been cleared. This mode has been informally referred to as "Cruise Elroy".[6][8]

QMrThe Gobliiins series consists of four puzzle adventure games developed and released by Coktel Vision (and later Sierra On-Line) for the Amiga, Atari ST, MS-DOS, and Macintosh (and later iOS and Windows) platforms.[1] The first three titles were released in the early 1990s, the fourth in 2009.

QMRSki jumping is a form of Nordic skiing in which athletes descend a specially constructed takeoff ramp (known as the inrun), jump from the end of it (the table) with as much power as they can generate, and "fly" as far as possible down a steeply sloped hill.[1] Points are awarded for distance and style by five judges, with competition sanctioned by the International Ski Federation (FIS). To enable the athletes (who are known as ski jumpers) to effectively glide such long distances and land safely, the skis they use are considerably wider and longer than their cross-country and alpine skiing counterparts. Ski jumping is predominantly a winter sport and has been part of the Winter Olympic Games since its inception in 1924,[2] but it can also be performed in the summer on artificial surfaces made from plastic. Along with cross-country skiing, ski jumping is one of two sports which form the Nordic combined discipline. The ski jump is divided into four parts: in-run, take-off (jump), flight and landing. In each part the athlete is required to pay attention to and practice a particular technique in order to maximize the outcome of ultimate length and style marks.

Qms The fourth is always different and transcendent. The fifth is always questionable. Jumps are referred to by how many times the skater turns in the air. One revolution (one and a half for the Axel) is a "single" jump. Two revolutions (two and a half for the Axel) is a "double" jump. Three revolutions (three and a half for the Axel) is a "triple" jump. Four revolutions (four and a half for the Axel, although this has never been landed in competition) is a "quadruple" or "quad" jump. The first triple jump landed in competition was a loop jump. It was landed by Dick Button in 1952. The first quadruple jump landed in competition was a toe loop jump. It was landed by Kurt Browning in 1988. Currently, men in world-class competition usually attempt a full set of triples and sometimes one or two quadruple jumps in their free skating programs. Triple Axels are rare for ladies, and quadruple jump attempts even more so.

QMrThe Four Hills Tournament (German: Vierschanzentournee) or the German-Austrian Ski Jumping Week is a ski jumping event composed of four World Cup events and has taken place in Germany and Austria each year since 1952. With a few exceptions the ski jumping events are held chronologically at Oberstdorf, Garmisch-Partenkirchen, Innsbruck and Bischofshofen.

QMrBASE jumping, also sometimes written as B.A.S.E. jumping, is parachuting or wingsuit flying from a fixed structure or cliff. "BASE" is an acronym that stands for four categories of fixed objects from which one can jump: building, antenna, span, and Earth (cliff).[1][2] Due to the lower altitudes of the jumps, BASE jumping is significantly more dangerous than skydiving from a plane. In the U.S.,BASE jumping is currently regarded by many as a fringe extreme sport or stunt.[3] In some jurisdictions or locations, BASE jumping is prohibited or illegal; in some places, however, it is permitted, like Perrine Bridge, in Twin Falls. BASE jumping became known to the wider public by depictions of BASE jumping in a number of action movies.

QMrThe long jump (historically called the broad jump) is a track and field event in which athletes combine speed, strength, and agility in an attempt to leap as far as possible from a take off point. This event has a history in the Ancient Olympic Games and has been a modern Olympic event for men since the first Olympics in 1896 and for women since 1948. Takeoff[edit] The objective of the takeoff is to create a vertical impulse through the athlete's center of gravity while maintaining balance and control. This phase is one of the most technical parts of the long jump. Jumpers must be conscious to place the foot flat on the ground, because jumping off either the heels or the toes negatively affects the jump. Taking off from the board heel-first has a braking effect, which decreases velocity and strains the joints. Jumping off the toes decreases stability, putting the leg at risk of buckling or collapsing from underneath the jumper. While concentrating on foot placement, the athlete must also work to maintain proper body position, keeping the torso upright and moving the hips forward and up to achieve the maximum distance from board contact to foot release. There are four main styles of takeoff: the kick style, double-arm style, sprint takeoff, and the power sprint or bounding takeoff. Kick[edit] The kick style takeoff is where the athlete actively cycles the leg before a full impulse has been directed into the board then landing into the pit. This requires great strength in the hamstrings. This causes the jumper to jump to large distances. Double-arm[edit] The double-arm style of takeoff works by moving both arms in a vertical direction as the competitor takes off. This produces a high hip height and a large vertical impulse. Sprint[edit] The sprint takeoff is the style most widely instructed by coaching staff. This is a classic single-arm action that resembles a jumper in full stride. It is an efficient takeoff style for maintaining velocity through takeoff. Power sprint or bounding[edit] The power sprint takeoff, or bounding takeoff, is one of the more common elite styles. Very similar to the sprint style, the body resembles a sprinter in full stride. However, there is one major difference. The arm that pushes back on takeoff (the arm on the side of the takeoff leg) fully extends backward, rather than remaining at a bent position. This additional extension increases the impulse at takeoff. The "correct" style of takeoff will vary from athlete to athlete.

Literature Chapter

qMRFour Upbuilding Discourses, 1843 From Wikipedia, the free encyclopedia This article is written like a personal reflection or opinion essay that states the Wikipedia editor's particular feelings about a topic, rather than the opinions of experts. Please help improve it by rewriting it in an encyclopedic style. (July 2014) Four Upbuilding Discourses Author Søren Kierkegaard Original title Fire opbyggelige Taler Country Denmark Language Danish Series First authorship (Discourses) Genre Christianity, Psychology, Philosophy Publisher Bookdealer P. G. Philipsen Publication date December 6, 1843 Published in English 1944 – first translation Media type Paperback Pages 73 ISBN 0-691-02087-6 Preceded by Repetition (Kierkegaard) Followed by Two Upbuilding Discourses, 1844 Kierkegaard writes these discourses because he's not sure that the other two have done their job.[1] He revisits the story of Job once more but here he puts the emphasis not on what he said but what he did.[2] He "traced everything back to God; he did not detain his soul and quench his spirit with deliberation or explanations that only feed and foster doubt."[3] He then has two discourses, each with the same title as one of his first discourses, in which he wrote about God's perfect gifts from above. In that discourse he had said, "if a person is to be able to find peace in these words in his lifetime, he must be able to decide either what it is that comes from God or what may legitimately and truly be termed a good and perfect gift. But how is this possible? Is every human life, then, a continuous chain of miracles? Or is it possible for a human being’s understanding to make it through the incalculable series of secondary causes and effects, to penetrate everything in between, and in that way to find God? Or is it possible for a human being’s understanding to decide with certainty what is a good and perfect gift from him? Does it not run aground on this again and again?"[4] He explores the kind of knowledge that is necessary for an individual to determine, with certainty, that he has this good and perfect gift. His last discourse is about the battle between God and the world for the soul of every single individual. According to Kierkegaard the only weapon needed to fight this battle is patience. This battle is not an external battle against external enemies but entirely internal. Heiberg reviewed these discourses and remarked that the first discourse in this series was the only one of his eighteen discourses that seemed like a sermon, the rest seemed too philosophical in nature and Kierkegaard agreed with him.[5] Contents [hide] 1 Structure 1.1 The Lord Gave, and the Lord Took Away; Blessed Be the Name of the Lord 1.2 Every Good Gift and Every Perfect Gift Is from Above 1.3 Every Good Gift and Every Perfect Gift Is from Above 1.4 To Gain One's Soul in Patience 2 Criticism 3 Notes 4 References 5 Sources 5.1 Primary sources 5.2 Secondary sources 6 External links Structure[edit] The Lord Gave, and the Lord Took Away; Blessed Be the Name of the Lord. (Job 1:20-21) Every Good Gift and Every Perfect Gift Is from Above (James 1:17-22) Every Good Gift and Every Perfect Gift Is from Above To Gain One's Soul in Patience

QMRThe Mysterious Benedict Society is a novel written by Trenton Lee Stewart and illustrated by Carson Ellis, first published in 2007. It tells the story of four gifted children. Reynie Muldoon, Sticky Washington, Kate Wetherall, and Constance Contraire, who all are formed into the "Mysterious Benedict Society" and are sent to investigate a facility called L.I.V.E. (the Learning Institute for the Very Enlightened), run by the brilliant but evil Ledroptha Curtain.

MQRThe Neapolitan Novels is a 4-part series by the Italian novelist Elena Ferrante, translated by Ann Goldstein and published by Europa Editions (New York). They include the texts: My Brilliant Friend, The Story of a New Name (2013), Those Who Leave and Those Who Stay (2014), and The Story of the Lost Child (2015). The series has been characterized as a bildungsroman, or coming-of-age story.[1] In an interview for the Harper's Magazine, Elena Ferrante stated that she considers the four books to be ""a single novel", published serially for reasons of length and duration.[2] The series follows the lives of two perceptive and intelligent girls, Elena (sometimes called “Lenù”) Greco and Raffaella (“Lila”) Cerullo, from childhood to adulthood as they try to create lives for themselves amidst the violent and stultifying culture of their home– a poor neighborhood on the outskirts of Naples, Italy.[3] The novels are narrated by Elena Greco. Contents [hide] 1 Themes 2 Awards 3 Characters 3.1 The Greco family 3.2 The Cerullo family 3.3 Sarratore family 3.4 Solara family 4 Bibliography 5 References 6 External links Themes[edit] Central themes in the novels include: women’s friendship and the shaping of women’s lives by their social milieu, sexual and intellectual jealousy and competition within female friendships, female ambivalence about filial and maternal roles, the ascent of intelligent children out of violent domestic and social environments, class conflict, the role of literature and the social responsibility of the writer amidst social upheaval and within protest movements, the changing conditions of women in the 1970s, early computerization, and the Italian factory strikes of the 1970s.[4][5] Awards[edit] My Brilliant Friend: Longlist of the International IMPAC Dublin Literary Award.[6] The Story of the Lost Child: nominated for the Strega Prize, an Italian literary award. Characters[edit] The Greco family[edit] Elena (“Lenù”) Greco Peppe, Gianni, and Elisa Greco (Elena's younger siblings) The Cerullo family[edit] Raffaella (“Lila”) Cerullo Rino Cerullo (Lila's older brother) Nunzia Cerullo (Lila's mother) Fernando Cerullo (Lila's father) Sarratore family[edit] Donato Sarratore Lidia Sarratore (wife of Donato) Nino Sarratore Marisa Sarratore (sister of Nino) Pino, Clelia, and Ciro Sarratore (younger children) Solara family[edit] Silvio Solara Manuela Solara Marcello Solara Michele Solara

So, 4 things happened today. 1 I woke up. 2 went outside. 3 met a really hot girl. 4 kissed a really hot girl. But did that in order 2,3,4,1

QMRBatman: The Cult is a four-issue comic book mini-series. It was published by DC Comics in their prestige format books and released in 1988. It was written by Jim Starlin, illustrated by Bernie Wrightson, colored by Bill Wray and edited by Denny O'Neil. The concept of an underground army was used in The Dark Knight Rises film, with the villain Bane as the leader instead of Deacon Blackfire.

QMR I talked about this one in a previous book but I ran into it again on wiki here it is again. Charles Milles Manson (born Charles Milles Maddox, November 12, 1934)[2]:136–7 is an American criminal who led what became known as the Manson Family, a quasi-commune that arose in the California desert in the late 1960s. Manson and his followers committed a series of nine murders at four locations. Conviction and penalty phase[edit] On January 25, 1971, guilty verdicts were returned against the four defendants on each of the 27 separate counts against them.[2]:411–419 Not far into the trial's penalty phase, the jurors saw, at last, the defense that Manson—in the prosecution's view—had planned to present.[2]:455 Atkins, Krenwinkel, and Van Houten testified the murders had been conceived as "copycat" versions of the Hinman murder, for which Atkins now took credit. The killings, they said, were intended to draw suspicion away from Bobby Beausoleil, by resembling the crime for which he had been jailed. This plan had supposedly been the work of, and carried out under the guidance of, not Manson, but someone allegedly in love with Beausoleil—Linda Kasabian.[2]:424–433 Among the narrative's weak points was the inability of Atkins to explain why, as she was maintaining, she had written "political piggy" at the Hinman house in the first place.[2]:424–433, 450–457 Midway through the penalty phase, Manson shaved his head and trimmed his beard to a fork; he told the press, "I am the Devil, and the Devil always has a bald head."[2]:439 In what the prosecution regarded as belated recognition on their part that imitation of Manson only proved his domination, the female defendants refrained from shaving their heads until the jurors retired to weigh the state's request for the death penalty.[2]:439, 455 The effort to exonerate Manson via the "copycat" scenario failed. On March 29, 1971, the jury returned verdicts of death against all four defendants on all counts.[2]:450–457 On April 19, 1971, Judge Older sentenced the four to death Interviews[edit] In the 1980s, Manson gave four notable interviews. The first, recorded at California Medical Facility and aired June 13, 1981, was by Tom Snyder for NBC's The Tomorrow Show. The second, recorded at San Quentin Prison and aired March 7, 1986, was by Charlie Rose for CBS News Nightwatch; it won the national news Emmy Award for "Best Interview" in 1987.[86] The third, with Geraldo Rivera in 1988, was part of that journalist's prime-time special on Satanism.[87] At least as early as the Snyder interview, Manson's forehead bore a swastika, in the spot where the X carved during his trial had been. The swastika is the quadrant. In 1989, Nikolas Schreck conducted an interview of Manson, cutting the interview up for material in his documentary Charles Manson Superstar.

QMRFour past Midnight is a collection of novellas by Stephen King. It is his second book of this type, the first one being Different Seasons. The collection won the Bram Stoker Award in 1990 for best collection[1] and was nominated for a Locus Award in 1991.[2] In the introduction, Stephen King says that, while a collection of four novellas like Different Seasons, this book is more strictly horror with elements of the supernatural.[this quote needs a citation]

QMRThe Ryan C-1 Foursome, also known as the "Baby Brougham" was a single-engine, four-seat light aircraft built in the United States in 1930 as an executive transport.[1] It was a high-wing, braced monoplane based on Ryan's highly successful Brougham design, but substantially smaller.[2] The interior was luxuriously furnished, with deeply upholstered seats,[2] and an oversize cabin door was fitted to ease boarding and disembarking for the three passengers.[1] Only three examples were built before deteriorating economic conditions led to the sale of the Ryan factory in October 1930.[3] One of the three machines was fitted with a Packard DR-980 diesel engine and designated the C-2.[4] This latter aircraft was lost during an attempted transatlantic crossing by Alex Loeb and Richard Decker in August 1939.[5] They were en route to Ireland[5] with Palestine perhaps their intended final destination.[4]

QMRThe Four Branches of the Mabinogi or Y Pedair Cainc Mabinogi are the earliest prose literature of Britain. Originally written in Wales in Middle Welsh, but widely available in translations, the Mabinogi is generally agreed to be a single work in four parts, or "Branches." The interrelated tales can be read as mythology, political themes, romances, or magical fantasies. They appeal to a wide range of readers, from young children to the most sophisticated adult. The tales are popular today in book format, as storytelling or theatre performances; they appear in recordings and on film, and continue to inspire many reinterpretations in artwork and modern fiction. I already did this one

QMRLiao-Fan's Four Lessons (了凡四訓) is a book written by Yuan Liaofan, who was born during the Ming Dynasty, in about 1550, in Wujiang County, Jiangsu Province. Yuan wrote the book to teach his son, Yuan Tian-Chi. The principal idea behind these lessons is that destiny can be changed through proper cultivation of kindness and humility. Thus one should not be bound by fate, but by one's own actions. Yuan Liaofan was told by a Taoist monk surnamed Kong that he would only live to the age of 53 and have no son. At first, he disregarded this monk's words as farcical nonsense, but as Kong's other predictions began to occur with great accuracy, he then proactively made an effort to rewrite his fate. In relating his own life experience in changing destiny, Yuan, at the age of 69, wrote and taught these four lessons to his son. The first lesson shows how to create destiny. The second lesson explains the ways to reform. The third reveals the ways to cultivate kindness and the fourth discloses the benefits of the virtue of humility. The book, still in circulation after more than 500 years, is said to be a useful foundation in learning Confucianism and Buddhism.

QMRThe Penderwicks: A Summer Tale of Four Sisters, Two Rabbits, and a Very Interesting Boy is a children's novel by Jeanne Birdsall, published by Knopf in 2005. It won the annual U.S. National Book Award for Young People's Literature (United States).[1]

QMRThe Four Books for Women (Nǚ sìshū[1]) was a collection of material intended for use in the education of young Chinese women. In the late Ming and Qing dynasties, it was a standard text read by the daughters of aristocratic families.[2] The four books had circulated separately and were combined by the publishing house Duowen Tang in 1624.[2]

Precepts for Women[edit] Ban Zhao also wrote on the four desired "Precepts for Women" which were intended to guide women in society. These precepts were: womanly virtue, womanly speech, womanly manner, and womanly merit. "“There are four edifying behavioural characteristics for women: the first is womanly virtue (fude), the second is womanly speech (fuyan), the third is womanly manner (fuyong), and the fourth is womanly merit (fugong).What is womanly virtue? She does not distinguish herself in talent and intelligence. What is womanly speech? She does not sharpen her language and speech. What is womanly manner? She does not seek to be outwardly beautiful or ornamented. What is womanly merit? She does not outperform others in her skills and cleverness.”[1]

QMRLessons for Women (Chinese: 女誡; pinyin: Nǚjiè; Wade–Giles: Nuchieh), also translated as Admonitions for Women, is a work by the Han dynasty female intellectual Ban Zhao. As one of the Four Books for Women, Lessons had wide circulation in the late Ming and Qing dynasties. Lessons outlines the four virtues a woman must abide by, proper virtue, proper speech, proper countenance, and proper conduct. The book itself describes the status and position of women in society. It is a small book and many women had the sections memorized[citation needed]. The book contains only 7 chapters as outlined below.

QMRFour-pin Molex connector KK family This is a special variant of the Molex KK connector with four pins but with the locking/polarisation features of a three-pin connector. The additional pin is used for a pulse-width modulation signal to provide variable speed control.[22] These can be plugged into 3-pin headers, but will lose their fan speed control. The Molex part number of receptacle is 47054-1000. The Molex part number of individual crimp contacts is 08-50-0114. The Molex part number of the header is 47053-1000. Four-pin Molex connector This connector is used when connecting the fan directly to the power supply. It consists of two wires (yellow/12 V and black/ground) leading to and splicing into a large in-line four-pin male-to-female Molex connector. This is the same connector as used on hard drives before the SATA became standard.

QMRBy World War I most ceiling fans were made with four blades instead of the original two, which made fans quieter and allowed them to circulate more air.

QMRThe Never Miss a Super Bowl Club is a group of people that was popularized in a Visa commercial in 2010. They have attended every Super Bowl since 1967.[1] As shown on the commercial, the group consisted of four people, although it was announced in February 2011 that one member would not be able to attend that year's game.

QMRPoem[edit] Vodník tells a story in four parts of a mischievous water goblin who traps drowning souls in upturned teacups.[1][2] A water goblin is sitting on a poplar by the lake, singing to the moon and sewing a green coat and red boots for his wedding soon to come. A mother tells her daughter of a dream she had about clothing her daughter in white robes swirling like foaming water and with pearls of tears hiding deep distress around her neck. She feels this dream was a presentiment and warns her daughter not to go to the lake. Despite the mother's warnings, the daughter is drawn to the lake as if possessed and leaves for the lake to do her laundry. The moment she hands down her first garment into the water, the bridge on which she was sitting collapses. As the water engulfs her she is abducted by the malevolent water goblin who lives there. He takes her to his underwater castle and marries her with black crayfish for the groomsmen and fishes for her bridesmaids. After the birth of their first child, the abducted wife sings it a lullaby, which enrages the water goblin. She tries to calm him down and pleads to be allowed ashore to visit her mother once. He gives in on three conditions: She is not to embrace a single soul, not even her mother; she has to leave the baby behind as a hostage; and she will return by the bells of the evening vespers. The reunion of mother and daughter is very sad but full of love. When evening falls the distraught mother keeps her daughter and forbids her to go even when the bells are ringing. The water goblin becomes angry, forsakes his lair in the lake and thumps on the door ordering the girl to go with him because his dinner has to be made. When the mother tells him to go away and eat whatever he has for dinner in his lair, he knocks again, saying his bed needs to be made. Again the mother tells him to leave them alone, after which the goblin says their child is hungry and crying. To this plea the mother tells him to bring the child to them. In a furious rage the goblin returns to the lake and through the shrieking storm screams that pierce the soul are heard. The storm ends with a loud crash that stirs up the mother and her daughter. When opening the door the mother finds a tiny head without a body and a tiny body without a head lying in their blood on the doorstep of her hut.

QMRThroughout A Christmas Carol the personality of Ebenezer Scrooge shifts from a man who only cares about himself and his wealth to a man who cares about others. This change in personality is due to the messages of all four visiting ghosts. The first ghost, the ghost of Jacob Marley, gave Scrooge the initial warning of how a wasted life of greed, spite and selfishness towards others, such as shady business practices, meagre wages, long work hours, and unreasonable punishment, will result in an agonizing afterlife full of unending torment; constantly suffering and never resting. The Ghost of Christmas Past reminds Scrooge of how kind he used to be and makes him realize how much he’s changed since then. It reminded Scrooge of the joy he once felt and could spread to others, such as his sister or wife. The Ghost of Christmas Present showed him the abundance of society and how it was not properly distributed amongst the social classes. Want and Ignorance appear to show that if the people are not taken care of properly, then the gap between the classes and the anger in society will grow. Finally, the Ghost of Christmas Yet to Come shows what Scrooge’s fate is; however, Scrooge questions if it was Christmas yet to come, or Christmas of what could be. This final encounter really showed Scrooge that in order for others to care about someone, that person must first care about others.

QMRThroughout A Christmas Carol the personality of Ebenezer Scrooge shifts from a man who only cares about himself and his wealth to a man who cares about others. This change in personality is due to the messages of all four visiting ghosts. The first ghost, the ghost of Jacob Marley, gave Scrooge the initial warning of how a wasted life of greed, spite and selfishness towards others, such as shady business practices, meagre wages, long work hours, and unreasonable punishment, will result in an agonizing afterlife full of unending torment; constantly suffering and never resting. The Ghost of Christmas Past reminds Scrooge of how kind he used to be and makes him realize how much he’s changed since then. It reminded Scrooge of the joy he once felt and could spread to others, such as his sister or wife. The Ghost of Christmas Present showed him the abundance of society and how it was not properly distributed amongst the social classes. Want and Ignorance appear to show that if the people are not taken care of properly, then the gap between the classes and the anger in society will grow. Finally, the Ghost of Christmas Yet to Come shows what Scrooge’s fate is; however, Scrooge questions if it was Christmas yet to come, or Christmas of what could be. This final encounter really showed Scrooge that in order for others to care about someone, that person must first care about others.

QMrThe Four Letter Failure is the debut EP by the Australian band In Fiction.[1] The EP reached number seventy-two on the Australian ARIA Charts and stayed in the top 100 for five weeks.[2]

The "lost" generation, 1930–1970[edit] While this "home literature" has continued to be produced ever since, a new generation of LDS writers arose in the mid century, one that was able to be published nationally and gain national recognition, but generally at the expense of close ties to the Church and in rebellion against the provinciality and moralism of "home literature," leading this generation to be called the "lost" generation. The "lost" generation included Vardis Fisher, who won the Harper Prize in 1939 for Children of God: An American Epic (1939); Maurine Whipple, who won the Houghton Mifflin Literary Prize in 1938 and published The Giant Joshua (1941); and Virginia Sorensen, best known for A Little Lower Than the Angels (1942) and what many[who?] consider the best Mormon novel to date, The Evening and the Morning (1949), and Miracles on Maple Hill (1957). This period is also known for the humorous writing of Samuel W. Taylor (Heaven Knows Why, 1948) who is nationally known for the short story on which the film The Absent-Minded Professor was based. Faithful realism, after 1960[edit] Another shift in LDS fiction occurred in the 1960s, mainly spearheaded by the poet Clinton F. Larson. Larson managed to depart both from the didactic and inward-looking provinciality of the first two periods and the elitist, patronizing provinciality of his contemporaries in the "lost generation." He began in the 1950s to write a unique Mormon poetry of modernist sensibility and skill but also informed and passionate faith. In fiction, Larson's sensibilities were followed by BYU professors Douglas Thayer and Donald R. Marshall, who began to write skillful stories that explored Mormon thought and culture in a critical but fundamentally affirmative way. Marshall was the first to publish collections, The Rummage Sale: Collections and Recollections (1972) and Frost in the Orchard (1977), while Thayer began publishing stories in Brigham Young University Studies and Dialogue in the mid-1960s, and published his collection of short stories, Under the Cottonwoods, in 1977. Perhaps the most important work to date from this period is Levi S. Peterson's redemptive novel, considered by some[who?] the best yet by a Mormon, The Backslider (1986).[2][3] All of Peterson's work explores in some form the conflicts in Mormon experience and popular thought between the Old Testament Jehovah of rewards and punishments and the New Testament Christ of unconditional acceptance and redemptive love. The development of this new movement was aided by the development of the first academic and literary periodicals, including BYU Studies (1959) and Dialogue: A Journal of Mormon Thought (1966). This period also saw the development of popular LDS fiction, starting as early as the late 1970s, when the leading LDS publisher, Church-owned Deseret Book, began publishing fiction, in response to the success of self-published and small-press fiction and the development of independent LDS bookstores. Authors in this wave of popular fiction, including Shirley Sealy, Randy Jernigan, Susan Evans McCloud, Jack Weyland, Brenton G. Yorgason and Blaine M. Yorgason, and Carroll Hofeling Morris, produce new "home literature," following the example set by authors nearly a century earlier.[citation needed]

QMRDespite its relatively low profile, LDS literature has a long history that begins at the same time as the LDS Church. The history of this literature is generally divided into four periods. Foundations, 1830–1880[edit] John Lyon While early written works among Mormons were generally non-fiction, including scripture, missionary tracts, and doctrinal literature, this period did see creative efforts also, especially poetry, which was often used in hymns. Notable poetry includes the works of Eliza R. Snow, Parley P. Pratt, and W. W. Phelps, along with the published volume of poetry by John Lyon, The Harp of Zion: A Collection of Poems, Etc. (1853). This period also produced the first work of LDS fiction, Parley P. Pratt's Dialogue between Joseph Smith and the Devil[1] first published in the New York Herald in 1844. Home literature, 1880–1930[edit] Fiction among LDS Church members first developed in earnest once the Mormons had settled in Utah and developed a degree of prosperity. By the 1880s, Orson F. Whitney was calling for a fine and virtuous "home literature", and proceeded to participate in developing just such a literature. While LDS periodicals were filled with moralistic and faith-promoting stories, poets Josephine Spencer and Augusta Joyce Crocheron published didactic and narrative poems, Charles Walker recited his Southern Utah folk poetry, and Whitney published hymns, lyric poetry, and a book-length poem, Elias, an Epic of the Ages (1904). Nephi Anderson Novels were not far behind. This period produced the single most successful work of LDS fiction to date, the novel Added Upon (1898) by Nephi Anderson. Following a man and woman from their pre-earth life, through life on the earth and into the afterlife, Added Upon also served as a model plot for later LDS fictional works, such as the 1970s musical Saturday's Warrior by Lex de Azevedo. Brigham Young's daughter, Susa Young Gates published a fairly successful novel, John Stevens' Courtship (1909), and B. H. Roberts wrote a novel, Corianton that was turned into a play performed on Broadway in New York. The literary development in this period then stimulated the development of the first professional LDS publishing company independent of the Church, George Q. Cannon and Sons, now part of Church-owned Deseret Book.

QMRThe Four Aces Club was a pioneering music and recreational space in Dalston, London, that in the 1960s and '70s was one of the first venues to play black music in Britain,[1] being credited with a significant "role in the evolution of reggae into dance music, from ska, to rocksteady, to dub, to lovers, to dancehall and the evolution of jungle."[2] A host of notable Afro-Caribbean musicians appeared at the Four Aces – often referred to as "the jewel in Dalston's crown"[1][3] – as well as soul and R&B artists, its clientele over the years including stars such as Bob Marley, Stevie Wonder and Jimmy Cliff.[4] With the Thatcher era came more divisionist politics; racial tensions built in the area and the club was a target for police raids.[5] In the early 1990s, its character changed as it became home to the early indoor "rave scene", featuring drum & bass and acid house, and appealing to a new, predominantly white audience, under the name Labrynth, where The Prodigy made their first live public appearance.[6][7][8]

QMRThe Four Aces Club was a pioneering music and recreational space in Dalston, London, that in the 1960s and '70s was one of the first venues to play black music in Britain,[1] being credited with a significant "role in the evolution of reggae into dance music, from ska, to rocksteady, to dub, to lovers, to dancehall and the evolution of jungle."[2] A host of notable Afro-Caribbean musicians appeared at the Four Aces – often referred to as "the jewel in Dalston's crown"[1][3] – as well as soul and R&B artists, its clientele over the years including stars such as Bob Marley, Stevie Wonder and Jimmy Cliff.[4] With the Thatcher era came more divisionist politics; racial tensions built in the area and the club was a target for police raids.[5] In the early 1990s, its character changed as it became home to the early indoor "rave scene", featuring drum & bass and acid house, and appealing to a new, predominantly white audience, under the name Labrynth, where The Prodigy made their first live public appearance.[6][7][8]

LL Cool J Feat Method Man, Redman, Canibus, DMX & Master P '4,3,2,1'

QMRFour female writers of the Golden Age are considered the four original "Queens of Crime": Christie, Dorothy L. Sayers, Ngaio Marsh and Margery Allingham. Apart from Ngaio Marsh (a New Zealander) they were British.

QMRThe National Book Award for Fiction is one of four annual National Book Awards, which recognize outstanding literary work by United States citizens. Since 1987 the awards have been administered and presented by the National Book Foundation, but they are awards "by writers to writers".[1] The panelists are five "writers who are known to be doing great work in their genre or field".[2] General fiction was one of four categories when the awards were re-established in 1950. For several years beginning 1980, prior to the Foundation, there were multiple fiction categories: hardcover, paperback, first novel or first work of fiction; from 1981 to 1983 hardcover and paperback children's fiction; and only in 1980 five awards to mystery fiction, science fiction, and western fiction.[3] When the Foundation celebrated the 60th postwar awards in 2009, all but three of the 77 previous winners in fiction categories were in print.[4] The 77 included all eight 1980 winners but excluded the 1981 to 1983 children's fiction winners.[5]

QMRFictional detectives generally fit one of four archetypes: The amateur detective (Miss Marple, Jessica Fletcher, Lord Peter Wimsey); From outside the field of criminal investigation, but gifted with knowledge, curiosity, desire for justice, etc. The private investigator (Dupin, Holmes, Marlowe, Spade, Poirot, Magnum, Millhone); Works professionally in criminal and civic investigations, but outside the criminal justice system. The police detective (Dalgliesh, Kojak, Morse, Columbo, Frost, Clouseau); Part of an official investigative body, charged with solving crimes. The forensic specialist (Scarpetta, Quincy, Cracker, CSI teams, Thorndyke); Affiliated with investigative body, officially tasked with specialized scientific results rather than solving the crime as a whole.

Rita Stearns Simpson[edit] Rita Stearns Simpson is a nurse, the sister of Mike Stearns, and Tom Simpson's wife. Their wedding reception was interrupted by the Ring of Fire. Subsequent events in 1632 lead to Tom and Rita into total estrangement from John and Mary Simpson. In emerging Early Modern Europe, professional diplomat was not yet a profession and such roles were generally filled by a relation of the "ruler". Since Rita is the sister of Mike Stearns, at that time president of the NUS of the CPoE, she is an acceptable choice for Ambassador. In 1633 she agrees to be the figurehead of an embassy to the court of Charles I of England. Tom accompanies Rita on the mission to London. Without even meeting them, Charles places the party under house arrest, confining them in the Tower of London. Rita provides medical care for the guards, prisoners and families in the tower, earning their loyalty by preventing the diseases which are sweeping the city. After nine months in captivity, the group is rescued in 1634: The Baltic War by Harry Lefferts' commando group, the Wrecking Crew. They escape down the Thames and are met and picked up by a ship brought over by Mike Stearns and carried to The Netherlands. Tom Simpson[edit] Tom Simpson is the son of John Simpson and Mary Simpson. He weds Mike's sister Rita Stearns, much to his parents' disgust. John and Mary's treatment of Rita leads to Tom's estrangement from them, but Mike Stearns is as good as his word; he manages to arrange a reconciliation between Tom and his parents. Though not quite NFL material, Tom is a huge man and a varsity college football player. In 1632 he joins the New United States Armed Forces out of lack of anything more suitable for his skill set. His talent for picking up languages helps transition German refugees into the nascent USE (United States of Europe) army.

QMRSimpson family[edit] Rita Stearns Simpson, and husband Tom Simpson have the distinction of opening 1632 in scenes shared by Mike Stearns and James Nichols. They are celebrating with their guests at their wedding reception when the Ring of Fire happens. Rita, younger sister raised by Mike Stearns since their father's death, is off with her bridesmaids and visiting other guests, enjoying the best day of her life, radiant as all brides should be, while her new husband and brother are trading severe looks with the groom's parents. Tom Simpson opens the flagship novel with a scene where he is apologizing to Mike for his parents' attitude. Stearns has paid for the wedding and reception, but it is clearly not up to the standards of the big-city big shot snobbish elder John and Mary Simpson, industrialist and socialite both—and they are not hiding their attitudes. Subsequent events in 1632 lead Tom and Rita into total estrangement from John and Mary Simpson for several years. John Simpson[edit] John Chandler Simpson was introduced in 1632 as a snob who thinks he is better than the West Virginians attending his son's wedding to Mike Stearns' sister Rita, who of course is beneath the Simpsons' station in life. Throughout 1632 he displays arrogance, wanting to keep Grantville to itself, not share Grantville's resources, and not allow immigration. His position against allowing refugees to vote reminds Stearns of Jim Crow Laws. Gathering supporters, he runs against Stearns, but is defeated. He and his wife Mary become completely estranged from their son Tom. He is rehabilitated somewhat in the Ring of Fire story "In the Navy", where Mike Stearns wisely taps him to lead the as-yet-nonexistent USE Navy. He is almost assassinated by agents of Richelieu, and ascends further in esteem and importance in limited scenes of 1633 as a somewhat likeable strong character of principles that will naturally have occasional clashes with the likes of Mike Stearns or Frank Jackson. His past is also revealed in conversations with Stearns, where he states that he was a career Navy officer who only became a businessman after his father died, leaving the family firm to him. Showing how much he has changed, he asked Stearns to help arrange a reconciliation contact with his estranged son Tom and daughter-in-law Rita Stearns, which Mike says he will try to do. In 1634: The Baltic War, he becomes sympathetic, almost likable, remaining somewhat stiff-necked but a true hero of the book as the navy he carefully builds up takes center stage. As the Ironclads leave Magdeburg, Simpson has to suppress himself from issuing commands, and stand as an observer while a seventeenth-century captain maneuvers the ship. It is a telling personal moment, for after squelching his impulse, Simpson privately admits to himself that developing his little fleet is unquestionably the most satisfactory accomplishment, in a lifetime filled with many achievements. Mary Simpson[edit] Mary Simpson is the wife John Simpson, and is a socialite with a penchant for organization and fund raising. She did not approve of Rita Stearns as a wife for her son, and admits in 1633 that she treated Rita horribly. She becomes a major figure in Magdeburg society, arranging parties, founding schools and doing important charitable work. She confronts John with the mistakes they both made, and convinces him to urge Gustavus Adolphus to implement tax breaks for charitable works that will bring civilizing culture to Germany. She also tells him she wants to make contact with their son again. Although she and John Simpson assume that uptime "high society" was no different than downtime nobility, Mike Stearns explains that her common courtesy to her servants is renowned and is partly responsibly for her title, "The American Lady". He insists that she appear on the palace steps with other important figures whose presence and speeches help to quell a riot, and although she is terrified, she does it. In 1634: The Bavarian Crisis she accompanies Veronica Dreeson and a trade mission to the Upper Palatinate.

QMRThe Four Feathers is a 1902 adventure novel by British writer A. E. W. Mason that has inspired many films of the same title. In December 1901, Cornhill Magazine announced the title as one of two new serial stories to be published in the forthcoming year.[1] Against the background of the Mahdist War, young Faversham disgraces himself by quitting the army, which others perceive as cowardice, symbolized by the four white feathers they give him. He redeems himself with acts of great courage and wins back the heart of the woman he loves.[2]

Cinema Chapter

QMRTeeth is a 2007 black comedy horror film written and directed by Mitchell Lichtenstein. The movie stars Jess Weixler, Hale Appleman, and John Hensley, and was produced by Lichtenstein on a budget of US$2 million.[1] The film premiered at the Sundance Film Festival on January 19, 2007, and was distributed by Roadside Attractions for a limited release in the United States.

qMRImagining America is a 1989 anthology film consisting of four shorts with the central theme being life in the United States. It was originally broadcast on the PBS television series American Playhouse.[1][2][3][4][5] Overview[edit] Imagining America is an anthology of four short films by different directors. Ralph Bakshi's This Ain't Bebop is about a man's odyssey through surreal downtown Los Angeles as he tries to find the life he once had. Ed Lachman's Get Your Kicks on Route 66 tells the story of America's famous highway. Tribe by Matt Mahurin examines myths in American society. Reflections of a Native Son by Mustapha Khan is a stylized portrait of the South Bronx district of New York City. The original TV series "American Playhouse" is produced by John H. Williams, and it is from this series the four pieces to this anthology comes. Together they give a personal view of America. Only one of the four, Ralph Bakshi's "This Ain't Bebop," is a narrative, while two others are documentaries: Ed Lachman's "Get Your Kicks on Route 66," all about the great American '50s highway, and Mustapha Khan's "Reflections of a Native Son," a vivid look at the teenage subculture of South Bronx. The fourth piece is Matt Mahurin's "Tribe," is a cross between impressionist documentary, music video and live-action photo-essay.[3]

QMRThree-and-out[edit] Further information: 1905 Washburn vs. Fairmount football game Three and out is a situation in American football in which a team, after starting an offensive possession, executes three plays and fails to get a first down, thereby in most cases forcing them to punt or, if close enough, attempt a field goal. The term comes from the standard practice that an offensive unit only has three "real" plays before they are expected to punt. While, in theory, a team is allowed a fourth play, this usually does not apply, as using the fourth down to execute a play is a risky move under most circumstances. If they fail to convert to a new first down on a fourth down play, the opposing team will be allowed to take over possession at the spot where they left off, giving them better field position than if the ball is punted farther toward the opposing team's end zone. Typically, a team will only attempt a play on 4th down if they are trailing late in a close game, are close enough to the first down marker (usually a yard or less) and in the opposing team's territory, or are deep enough where a punt likely results in a touchback, but just out of field goal range. Punting following a three-and-out is unlike a turnover on downs. Punting after a three-and-out allows a team the opportunity to set their opposition farther back in field position. On a turnover on downs there is no punt, and the opposing team takes over possession of the ball at the spot of field where the 4th down attempt failed.

QMrThe Cult of Skaro first appeared in the double-episode "Army of Ghosts" / "Doomsday". They are described as an elite organisation created by the Emperor of the Daleks to think as their enemies think and find new ways of surviving - and killing enemies. Their creative task extends to them developing imaginations and taking on individual names: Dalek Sec, Dalek Thay, Dalek Caan and Dalek Jast.[1]According to the Doctor Who Files book on the Cult of Skaro, the members of the cult were commanders of different sections of the Dalek army, before being selected and promoted by the Dalek Emperor. In their task they even outrank the Emperor but still revere him; however, by the time of their first on-screen appearance they have survived the demise of the Emperor (in "The Parting of the Ways") and believe themselves to be the last four Daleks in existence. The Cult of Skaro escaped the end of the Time War in a void ship along with a captured Time Lord prison ship containing millions of Daleks, which they call the Genesis Ark. In the episode "Doomsday", it is explained that the Genesis Ark can only be opened by the touch of a time-traveller and The Doctor and Rose Tyler both refuse, but Mickey Smith accidentally touches it, releasing the Daleks. The Doctor ultimately manages to use the vortex manipulator at the Torchwood Institute to suck what he believes to be all the Daleks back into the Void. Unknown to the Doctor, the four members of the Cult managed to initiate an emergency temporal shift and ended up in 1930s New York City. In "Daleks in Manhattan", operating from a laboratory underneath the Empire State Building, the Cult use "Pig-slaves" to capture people for their experiments. As the last of their race, the Cult's situation became desperate, with Thay sacrificing his rear casing for construction of a mast at the top of the building. Sec questioned the genetic superiority of the Dalek race, and proposed the evolution into Hybrid Daleks, which he hoped would combine the best traits of both humans and Daleks. In "Evolution of the Daleks", Sec, who had transformed into a "human Dalek", was removed from command by Caan and eventually killed by Thay. The Dalek Humans, tainted by Time Lord DNA due to the Doctor's interference with Thay's aforementioned casing, turned on the Cult, killing both Thay and Jast. Caan escaped a confrontation with the Doctor by another emergency temporal shift. QMRTelevision in the United States had long been dominated by the Big Three television networks, ABC, CBS and NBC; however Fox, which launched in October 1986, has gained prominence and is now considered part of the "Big Four." QMRGOTE, which stands for "Goal, Obstacle, Tactics, and Expectation", is an acronym devised by Robert Cohen to remind actors of four basic elements to consider while preparing a character for the theater. Cohen introduced the acronym in his book, Acting One, which has become one of the most widely used textbooks for college theater students in the United States.[1] GOTE is also often taught as part of the larger field of Practical Aesthetics. The GOTE method, briefly stated, is as follows: Goal refers to what a character desires—what drives their actions. Goals often involve specific details (e.g. "I want to create peace in the West Bank") but the strong verb (in this case "to create") is the crucial part of the goal because it impels actor and character to action. Beginners may use the verbs "to be," "to get," or a verb in the negative form. These choices often muddy the acting. Teachers differ on using goals that attempt to evoke specific emotions from other characters (e.g. "I want to make him cry.") Such phrasings may put one's scene partner in a difficult position. At the same time characters do not always succeed and this may mitigate problems while this usage may help create emotional vitality. Teachers also differ on using physically oriented goals. Some find them petty while others find they help actors act more convincingly by lending a sense of physical truth in addition to mental/willful truth. Obstacle refers to what stops the character from achieving their goal. Drama needs (both in terms of practice and the need for interest) conflicts, which arise not only from the goals but from fighting against obstacles to achieve those goals. Obstacles will often define the possible range of tactics (see T), help an actor define emotions, help integrate new information, clarify the drama and plot and many other vital elements. The obstacle, however, should not be "played." In other words the actors should pursue their goals, rather than looking whiny about their obstacle. Note: O can also stand for "Other" in which case it refers to the other characters in the scene. Ideally, actors see other people in the play as the object of goals or tactics for good interplay. Tactics refers to the methods used to achieve goals. Tactics can range from totally threatening to wholly inducing, and usually actors should use a wide variety to create believable interactions. If an actor has, for instance, the goal "to threaten" then various tactics might be used to threaten. One might threaten the character, the character's family, livelihood, etc. If none of these tactics work the actor may try more inducing tactics (in this case maybe implicit threats) or change their goal altogether to something more likely to achieve their expectation (see E). If an actor follows Cohen completely, they find they should justify every word and gesture as a tactic. Usually tactics color different attempts at the goal, but occasionally they themselves are verbs and are like small, short goals. The difference between tactics and goals may become mainly a question of the length. Expectation refers to one's expectation of succeeding in achieving goals. If one did not expect to achieve one's goals then one would not pursue them. Ultimately the script may have the character fail but the actor should always act as if they believe they can succeed. Expectation can also involve the character's journey. In this case goals cover anywhere from a "beat" to a scene. They become smaller units moving toward the expectation and goal and expectation usually become related as a when/then statement (e.g. "when I convince (goal with a strong verb) him (the other) of my plan then I can take over the company and be rich (expectation.)" The actor using this fictional GOTE should also find various tactics, or ways of "convincing." Any or all of these aspects can shift at any time during and there should probably be at the very least one goal per scene. Many actors like to also use an overall character goal (or expectation) for the play or even for the character's life in addition to getting a handle on smaller "beats" with a GOTE. QMRPractical Aesthetics is an acting technique originally conceived by David Mamet and William H. Macy, based on the teachings of Stanislavsky, Sanford Meisner, and the Stoic philosopher Epictetus.[1]Practical Aesthetics is based on the practice of breaking down a scene using a four-step analysis that entails the following: 1) The "Literal": The essential and most basic description of what is taking place. 2) The "Want": What does one character ultimately want the other character to say or do. 3) The "Essential Action": An evocative and relevant description of what the actor wants within the scene. It is essential to understand that what the character is doing and what the actor is doing are separate. 4) The "As If": This relates the "essential action" to the actor's own life. For example: "Essential Action" – To retrieve what is rightfully mine. "As If" – It's as if my girlfriend has taken away my favorite album that I was going to give as a gift. I need to retrieve it because it is mine. This step is a memory device, a spark to involve the actor in the scene. It helps the actor escape the fiction, find the truth, and apply it elsewhere. This technique is aimed at making the experience of acting entirely based on the will of the actor. It is in response to "The Method, " which some believe uses more introverted and self-based practices. The Practical Aesthetic asks an actor only to commit his will to the pursuit of an action based on the other actor. QMRImpractical Jokers is an American hidden camera-practical joke reality series filmed mainly in New York City and New Jersey that premiered on TruTV on December 15, 2011. It follows Joseph "Joe" Gatto, James "Murr" Murray, Brian "Q" Quinn and Salvatore "Sal" Vulcano, the four members of the comedy troupe The Tenderloins as they coerce one another into doing public pranks while being filmed by hidden cameras. The show differs from other prank television programs in that the stars of Impractical Jokers do not know the details of the prank until the moment they are performing it on strangers. While one or two cast-member(s) performs the prank, the other comedians in the troupe are behind the scenes feeding lines to their friend(s) via microphone (with an earpiece). The lines fed to the prankster(s) are meant to create a humorous and awkward exchange between the prankster(s) and the stranger being pranked. In some instances, the jokers create PowerPoint presentations for each other, creating the same kind of humorous effect to trip each other up They also sometimes have to present ridiculous books and products invented by the other jokers. The show holds a TV-14 rating due to strong language (although some of the words are bleeped out), suggestive dialogue/content, and crude humor. QMRWhy Did I Get Married? is a 2007 comedy-drama film adaptation written, produced, directed, and starring Tyler Perry, which was inspired by his play of the same name. The film also stars Janet Jackson, Jill Scott, Malik Yoba, Sharon Leal, Tasha Smith, Michael Jai White, Richard T. Jones, and Keesha Sharp. The film was released in the United States by Lionsgate on October 12, 2007. The four couples, who are also best friends, converge on a house in the mountains for a week-long retreat that has become their ritual of sorts to help work out their marital problems and ask the question "Why did I get married?". Though the couples have committed to being physically present for the week, some of them have not been emotionally present in their respective marriages for quite some time. The week is not planned out in a well-programmed sequence, so the events unfold somewhat spontaneously, beginning with their "adventures" in getting up to the mountain retreat. The first couple, over-worked Diane and over-ignored Terry, drive up together and argue most of the way because Dianne (a lawyer) refuses to stop working . She takes calls on her phone instead of talking to her husband Terry. The second couple, over-the-top Angela and over-Angela'd Marcus, take the train. Angela constantly argues with Marcus and anyone who dares to interrupt them. The third couple is overweight Sheila and over-Sheila Mike. Sheila is made to deplane because of her weight and the requirement to purchase two seats and drive the long distance in the snow, while her husband Mike continues on the flight with Sheila's single friend, Trina. The fourth couple is overly-perfect Patricia and depressed Gavin who arrive by limo cab. Their journey is not documented. However, right before they leave to go to the retreat, Gavin shows up to pick up Patricia at a lecture she was giving (she is the author of a book called "Why Did I Get Married?") and artlessly dodges a question about their own marriage. QMRDuring the voyage of Ferdinand Magellan around the globe, 18 hourglasses from Barcelona were in the ship's inventory, after the trip being authorized by emperor Charles V.[12] It was the job of a ship's page to turn the hourglasses and thus provide the times for the ship's log. Noon was the reference time for navigation, which did not depend on the glass, as the sun would be at its zenith.[13] A number of sandglasses could be fixed in a common frame, each with a different operating time, e.g. as in a four-way Italian sandglass likely from the 17th century, in the collections of the Science Museum, in South Kensington, London, which could measure intervals of quarter, half, three-quarters, and one hour (and which were also used in churches, for priests and ministers to measure lengths of sermons).[14] QMrJimmy Andersen[edit] Jimmy Andersen is one of the four bright, somewhat nerdy, and inseparable senior war gamers who are suddenly "orphaned" by the Ring of Fire and left on their own. Jimmy evolved into a communications specialist, while in New United States Army 1631–1633; then SoTF National Guard as a radio operator 1634–1635; and later in the USE Army, on Mike Stearns' staff June 1635. Jimmy Andersen was in the party from Grantville sent to Amsterdam to warn the Dutch of impending French treachery of before the siege of 1633–1634. Foie Humain The story plots the lives and some key events of the regulars at The Plantation Club in Blore Court in London, a place that bears a resemblance to The Colony Room. These include the acquisition of a bar boy called Hilary, trips to the art exhibitions or plays of the regulars and funerals for some of the regulars. Everybody in the story is either a hard drinker or being groomed to be one. The decay and detritus that builds up within the club over the years parallels the buildup and eventual decay in (The Plantation Club landlord) Val Carmichael's Liver. The Regulars are all profane in their language and are referred to by monikers (such as The Poof, the Dog, The Typist, His Nibs) rather than by their given names. Over the course of time Val becomes weaker and weaker as he continues to drink heavily on a daily basis, till eventually the inevitable happens with the result of Hilary taking his place at the bar as the new proprietor and employing a new bar boy (Stevie) and one of the regulars revealing that they are exactly as their name suggests. Leberknödel Joyce Beddoes is a terminally ill elderly woman with liver cancer who travels to Switzerland from her home in England to meet with Dr Hohl, to prepare for euthanasia. Travelling with her is her daughter Isobel. In the last few hours before her appointment Joyce mulls over her life. Upon entering Dr Hohl's flat she relaxes and begins eating truffles and an anti-emetic before he finally presents her with a glass of poison. At this moment, holding the glass, Joyce finds herself thinking about a wasp. She leaves without drinking the poison and abandons her clingy and slovenly daughter to a Swiss women's prison. Taking advantage of a Catholic hospice's pastoral care arrangements, she lives on until deciding to eventually use the services of Dr Hohl's assisted suicide clinic at a delayed time of her own choosing, while taking the opportunity to tour Zurich. The title of this story, Leberknödel, is a German dish of Liver Dumplings. The story is also presented in smaller sections; Introitus, Kyrie, Sequentia, offertorium, Sanctus, Benedictus, Agnus Dei and Communio. Prometheus A transposition of the ancient Greek myth of theft of divine prerogatives, human hubris and retribution, in which Zeus is a corporate CEO, Athena is his glamorous daughter, Pandora is an upmarket sex worker and Prometheus and Epimetheus are advertising agency executives. Like his namesake Prometheus' liver is eaten daily; in this variation by a griffon vulture three times a day. The bird itself is adept at seeking him out when it is time to feed. At one point negotiating a busy kitchen to find Prometheus waiting in the bathroom. These feedings leave Prometheus in a weakened condition as the day progresses and he has less and less of a functioning liver. Birdy Num Num A hepatitis virus describes the lives and clients of a Soho flat's drug dealer resident from a parasite's point of view. One of the users caught up in the action of the story believes himself to be Peter Sellers in his role as Hrundi V. Bakshi in the film The Party with the other characters of the story filling in for the characters in the film. The story is opened by the virus promising the reader a tale of its latest victim, not a whodunit, but whether-they-deserved-it. All of the stories in the collection contain connections to one another with characters and places from each, such as The Plantation Club, cropping up in other stories. This is a common trait of Self's work and can be seen in his previous use of the character Zack Busner QMRLarry Wild[edit] Larry Wild is one of the Four Musketeers introduced midway through the novel 1632, and is the central character in "When the Chips are Down", which canonically reveals some of the problems and solutions incorporated into the Emergency Committee policy of Gearing down. Wild is killed in the Battle of Wismar while piloting the most capable speed boat, "The Outlaw", as the Grantvillers support Gustav's Confederated Principalities of Europe under the onslaught of League of Ostend naval forces accompanying invading expeditionary forces. His death, along with that of aviator Hans Richter inspires the feelings of nationalism that shortly afterwards sweep through central Germany and result in the new stronger government of the United States of Europe with Mike Stearns as first prime minister. Flavor of loveTore Up from the Floor Up[edit] First aired June 10, 2007 The five remaining girls learn about the four types of men to avoid in relationships: the Player (charismatic), the Professional (wealthy), the Pushover (sensitive), and the Parolee (high sexual aptitude). The one that they should look for is the Urban Renaissance Man, who possesses all four qualities in equal measure