The letter yud (י) is depicted by a point with a cusp at its head. The point-like nature of the yud corresponds to the sefirah of chochmah, which is likened to the initial spark, or point of potential through which a new insight enters reality. The cusp, or tip of the yud reaches upwards and alludes to the super-conscious root of chochmah, which resides in Keter. The first letter hei (ה) of the Tetragrammaton represents the expansion of the point of the 'yud' into all three spatial dimensions. This corresponds to the sefirah of Binah, which expands and develops the seminal point of wisdom (chochmah) into a detailed idea. The letter vav (ו) resembles a vertical line that connects the higher intellectual faculties with the emotive powers of the psyche. The gematria of the letter vavis 6, corresponding to the six emotive sefirot from loving-kindness to foundation. The final letter hei (ה) of the Tetragrammaton represents the sefirah of malchut.
The cusp of the yud (קוצו של י)Keter
vav (ו)six sefirot:
Chesed, Gevurah, Tiferet, Netzach, Hod, Yesod
These ten levels are associated with Kabbalah's (Zohar) four different "Worlds" or planes of existence, the main part from the perspective of the descending "chain of progression" (Seder hishtalshelus), that links the Infinite Divine Ein Sof with the finite, physical realm. In all Worlds, the 10 sefirot radiate, and are the Divine channels through which every level is continuously created from nothing. Since they are the attributes through which the unknowable, infinite Divine essence becomes revealed to the creations, all ten emanate in each World. Nonetheless, the structure of the Four Worlds arises because in each one, certain sefirot predominate. Each World is spiritual, apart from the lower aspect of the final World, which is the "Asiyah Gashmi" ("Physical Asiyah"), the physical Universe. Each World is progressively grosser and further removed from consciousness of the Divine, until in this World it is possible to deny God. In descending order:
World of Emanation (Hebrew: אֲצִילוּת, Atzilut): In this level the light of the Ein Sof radiates and is united with its source. Divine Chochmah, the limitless flash of wisdom beyond grasp, predominates.
World of Creation (Hebrew: בְּרִיאָה or alternatively בְּרִיָּה, Beri'ah): In this level, is the first creation ex nihilo, where the souls and angels have self-awareness, but without form. Divine Binah, the intellectual understanding, predominates.
World of Action (Hebrew: עֲשִׂיָּה, Assiah): On this level creation is relegated to its physical aspect, the only physical realm and the lowest World, this realm with all its creatures. The Divine Kingship of Malchut predominates, the purpose of Creation.
In the Zohar and elsewhere, there are these four Worlds or planes of existence. In the Lurianic system of Kabbalah, five Worlds are counted, comprising these and a higher, fifth plane, Adam Kadmon-manifest Godhead level[clarification needed], that mediates between the Ein Sof and the four lower Worlds.
As the four Worlds link the Infinite with this realm, they also enable the soul to ascend in devotion or mystical states, towards the Divine. Each World can be understood as descriptive of dimensional levels of intentionality related to man's natural "desire to receive", and a method for the soul's progress upward toward unity with or return to the Creator. (The terminology of this formulation is based on the exposition of Lurianic Kabbalah by the 20th Century Kabbalist Yehuda Ashlag).
According to the Zohar, a foundational text for kabbalistic thought, Torah study can proceed along four levels of interpretation (exegesis). These four levels are called pardes from their initial letters (PRDS Hebrew: פרדס, orchard).
Peshat (Hebrew: פשט lit. "simple"): the direct interpretations of meaning.
Derash (Hebrew: דרש from Heb. darash: "inquire" or "seek"): midrashic (Rabbinic) meanings, often with imaginative comparisons with similar words or verses.
Sod (Hebrew: סוד lit. "secret" or "mystery"): the inner, esoteric (metaphysical) meanings, expressed in kabbalah.
ABRACADABRA FOUR ONE FOUR (IT IS MAINLY THE FIRST FOUR LETTERS ABCD)
The late Amram Kehati (PDF) argued that the origin was Hebrew and that it was comprised of three words: ARBA – ACHAD – ARBA, meaning FOUR – ONE – FOUR; which seems to correspond to the prescription by Serenus that the amulet be worn for nine days.
Numerous other explanations of abracadabra have been given, none of them any more convincing. Its source has been proposed as Aramaic avad k’davra, “it has perished like the plague.” (Alas, though this interpretation provides the “killing curse” of Avada Kedavra in J.K. Rowling’s Harry Potter series, no Aramaic word davra corresponding to Hebrew dever, “plague,” exists.) As the invention of Jewish Christians, abra being an acronym of Hebrew av, ben, and ruaḥ ha-kodesh, “father,” “son,” and “holy spirit,” and kadabra of ha-kadosh barukh hu, “the Holy One Blessed Be He.” (This strikes one as far-fetched—and, once again, why the diminution?) As Abrasax or Abraxas, the supreme archon or ruler of this world, considered an evil demiurge in certain forms of Gnosticism. (This name is indeed found on many ancient amulets, but how did its ending change from “sax” or “xas” to “cadabra?”) As a nonsense word formed from “a,” “b,” “c,” and “d,” the first four letters of the Latin alphabet. (How, though, unless we are dealing with an ancient placebo, would a nonsense word have affected a demon?) And on and on.
One of the more recent ideas concerning abracadabra’s reputed Jewish provenance comes from the late Amram Kehati, an Israeli student of Jewish mysticism who argues that the word is a garbling of Hebrew ארבע-אחד-ארבע, arba-eḥad-arba or “four-one-four.” As far as I can follow Kehati’s reasoning, it’s that ancient Hebrew or Aramaic magic spells against demons must have consisted of nine rather than eleven characters, nine being a symbol of evil in the Jewish numerology of the age, and that the demon’s name was shrunk by progressively removing the letters on either side of the middle one until that alone remained; arba-eḥad-arba, its ḥet pronounced by the gutturally-challenged Romans as a hard “c,” would thus have been a generic term for all such spells, not a proper name in one of them. Yet while it’s a nice theory, there’s no external evidence to back it up. On the contrary: shabrirey (שברירי), the only example of such a Hebrew/Aramaic spell that we have from talmudic times, has six letters, not nine.
JUNG CONSIDERED THAT THE GNOSTIC JEWISH CREATOR GOD ABRASAX WAS RELATED TO THE WORD ARBA FOUR
The Gnostic Jung: Including Seven Sermons to the Dead
IN JUNGS SEVEN SERMONS TO THE GODS HE PROPOSES FOUR PRINCIPAL GODS. THE FOURTH, THE DEVIL, IS DIFFERENT
Four is the number of the principal gods, as four is the number of the world’s measurements.
One is the beginning, the god-sun.
Two is Eros; for he bindeth twain together and outspreadeth himself in brightness.
Three is the Tree of Life, for it filleth space with bodily forms.
Four is the devil, for he openeth all that is closed. All that is formed of bodily nature doth he dissolve; he is the destroyer in whom everything is brought to nothing.
BARBELO THE DEITY IN FOUR
She is obscurely described by Irenaeus as "a never-aging aeon in a virginal spirit", to whom, according to certain "Gnostici", the Innominable Father wished to manifest Himself, and who, when four successive beings, whose names express thought and life, had come forth from Him, was quickened with joy at the sight, and herself gave birth to three (or four) other like beings.
William Wigan Harvey (on Irenaeus), and Richard Adelbert Lipsius (Gnosticismus, p. 115; Ophit. Syst. in Hilgenfeld's Zeitschrift for 1863, p. 445) have proposed Barba-Elo, 'The Deity-in Four', with reference to the tetrad, which by the report of Irenaeus proceeds from her. Her relation to this tetrad bears however no true analogy to the Col-Arba of Marcus; it forms only the earliest group of her progeny; and it is mentioned but once.
HOOPER EXTREMELY FAMOUS NIGHTHAWKS THREE PLUS ONE COMPOSITION ALSO PARODIED IN THE SIMPSONS LIKE MANETS THREE PLUS ONE COMPOSITION LUNCHEON
Nighthawks is a 1942 oil on canvas painting by Edward Hopper that portrays people in a downtown diner late at night.
It has been described as Hopper's best known work and one of the most recognizable paintings in American art. Within months of its completion, it was sold to the Art Institute of Chicago on May 13, 1942 for $3,000.
Starting shortly after their marriage in 1924, Edward Hopper and his wife Josephine (Jo) kept a journal in which he would, using a pencil, make a sketch-drawing of each of his paintings, along with a precise description of certain technical details. Jo Hopper would then add additional information about the theme of the painting.
A review of the page on which Nighthawks is entered shows (in Edward Hopper's handwriting) that the intended name of the work was actually Night Hawks and that the painting was completed on January 21, 1942.
Jo's handwritten notes about the painting give considerably more detail, including the possibility that the painting's title may have had its origins as a reference to the beak-shaped nose of the man at the bar, or that the appearance of one of the "nighthawks" was tweaked in order to relate to the original meaning of the word:
Night + brilliant interior of cheap restaurant. Bright items: cherry wood counter + tops of surrounding stools; light on metal tanks at rear right; brilliant streak of jade green tiles 3/4 across canvas--at base of glass of window curving at corner. Light walls, dull yellow ocre [sic] door into kitchen right.
Very good looking blond boy in white (coat, cap) inside counter. Girl in red blouse, brown hair eating sandwich. Man night hawk (beak) in dark suit, steel grey hat, black band, blue shirt (clean) holding cigarette. Other figure dark sinister back--at left. Light side walk outside pale greenish. Darkish red brick houses opposite. Sign across top of restaurant, dark--Phillies 5c cigar. Picture of cigar. Outside of shop dark, green. Note: bit of bright ceiling inside shop against dark of outside street--at edge of stretch of top of window.
In January 1942, Jo confirmed her preference for the name. In a letter to Edward's sister Marion she wrote, "Ed has just finished a very fine picture--a lunch counter at night with 3 figures. Night Hawks would be a fine name for it. E. posed for the two men in a mirror and I for the girl. He was about a month and half working on it."
TIBETAN BUDDHISM ADDS A TRANSCENDENT FOURTH TO THE THREE
Traditionally, the first step in most Buddhist schools requires taking Three Refuges, also called the Three Jewels (Sanskrit: triratna, Pali: tiratana) as the foundation of one's religious practice. Pali texts employ the Brahmanical motif of the triple refuge, found in the Rigveda 9.97.47, Rigveda 6.46.9 and Chandogya Upanishad 2.22.3–4. Tibetan Buddhism sometimes adds a fourth refuge, in the lama. The three refuges are believed by Buddhists to be protective and a form of reverence.
The Three Jewels are:
The Buddha, the Gotama, the Blessed One, the Awakened with true knowledge
The Dharma, the precepts, the practice, the Four Truths, the Eightfold Path
The Sangha, order of monks, the community of Buddha's disciples
Reciting the three refuges is considered in Buddhism not as a place to hide, rather a thought that purifies, uplifts and strengthens.
THE MISSING FOURTH IN PLATO'S TIMEAUS AND THE TETRACTYS
THE AMERINDIAN SUN DANCE AND THE CHRISTIAN CROSS
FOUR PRAISE NAMES OF THE SUPREME DEITY OF THE BAILA
Primitive Man as Philosopher BOOK
BAVILI SUPREME GOD NAMED "PERSONAL ESSENCE OF THE FOURS"
THE SUPREME GOD OF THE LAKOTA 16 ASPECTS IN A FOUR BY FOUR QUADRANT MODEL
I DESCRIBED I WATCHED A DOCUMENTARY ON THE HEAVENS GATE CULT LEADER A LONG TIME AGO HE INTENTIONALLY HAD THE FOLLOWERS DO FOUR THINGS AND THE FOURTH WAS DIFFERENT BEFORE THEY KILLED THEMSELVES- THE THIRD THING WAS CASTRATION
MYTHOLOGY LEGENDS FROM AROUND THE GLOBE
THE ZURVANITES TEACH THAT ZORASTER THE PROPHET OF ZOROASTRIANISM TAUGHT THAT GOD WAS A QUATERNITY- FOUR GODS AND THE ZOROASTRIAN DIVISION OF THE CALENDAR INTO FOUR PARTS CORRESPONDS TO THE FOUR PARTS OF GOD
FOUR NOVELLAS STEPHEN KING
Four 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 and was nominated for a Locus Award in 1991. In the introduction, 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]
STEPHEN KING FOUR NOVELLAS
Different Seasons is the 15th book published by Stephen King, and was his second collection of stories. The book was released by Viking on 27 August 1982, and collected four novellas. King has stated that the collection was "lucky", because it did not contain horror. The book has spawned three very well-recieved film adaptions, Stand by Me, and The Shawshank Redemption, and Apt Pupil.
Hope Springs Eternal: "Rita Hayworth and Shawshank Redemption"
Summer of Corruption: "Apt Pupil"
Fall From Innocence: "The Body"
A Winter's Tale: "The Breathing Method"
THE BUDDHA AND THE CROSS
Buddha was known as a carpenter in several Jatakas, but also he overthrows a great carpenter (maya) O’ archatect your house has been destroyed (like Jesus/anti-Christ destroying the temple)
Many, many examples of Pre-Christian Myrterdom, were texts repeat that the Buddha gives his life for all. One time he is beheaded by a king, using the social contract of Socrates and Jesus (who did not run from his cross) also the Crucifixion in the Mrcchakatika, and also keeping in mind that both of these figures were imPALEd on a stake and that the Pali Paligha (cross bar) was used to represent an obsticle, the Buddha introduces this symbolic speech in the pre-Christian Pali texts by illustrating a man impaled on a stake over a ditch.
NOW THAT I HAVE TWO COMPUTERS I HAVE BEEN ABLE TO LOOK UP STUFF WITHOUT BEING AS SCARED MY COMPUTER WILL FREEZE BECAUSE OF TOO MANY WINDOWS- SO IT HAS BEEN LESS STRESSFUL DOING THE RESEARCH AND BETTER
BUDDHA AND THE CRUCIFIXION
For the last twenty years I have been studying the problem of the literary indebtedness of the New Testament to the vast collection of the pre-Christian Buddhist Scriptures. As a result, I was able to publish a book and a monograph a few years ago. I have also contributed my mite to a comparative study of the parables of the Buddha and Jesus in the form of conference presentations to the flourishing Buddha-Christ studies, without attempting a full-fledged comparative analysis of the teachings of the two masters. All this time I had the hunch that there must be Buddhist parallels to the gospel narratives of the trial, death and resurrection of Jesus. A few years ago, I succeeded serendipitously in making a literary connection between the Sanskrit play Mrcchakatika (The Little Clay Cart), which is a dramatic enactment of the trial of Charudatta and the resurrection of the courtesan Vasantasena, who returns in the nick of time to rescue Charudatta from execution by crucifixion ordered by the king. At about the same time, Dr. Christian Lindtner from Denmark identified the Buddhist story of “The Passion and Death of Gautama” found in the Sanghabhedavastu of the Mahaparinirvanasutra of the Buddhist Sarvastivadins as another source for the gospel passion narratives. After having shared and discussed with each other our discoveries, we have concluded that the Gautama-story was the source of Mrcchakatika and the evangelists used both Indian works in the composition of the gospel passion narratives.
HANDELS FOUR CORONATION ANTHEMS
A coronation anthem is a piece of choral music written to accompany the coronation of a monarch.
Many composers have written coronation anthems. However the best known were composed by George Frideric Handel. Handel's four coronation anthems use text from the King James Bible and were designed to be played at the coronation of the British monarch. They are Zadok the Priest, Let Thy Hand Be Strengthened, The King Shall Rejoice, and My Heart Is Inditing. Each was originally a separate work but they were later published together.
Although part of the traditional content of British coronations, the texts for all four anthems were picked by Handel—a personal selection from the most accessible account of an earlier coronation, that of James II of England in 1685. One of George I of Great Britain's last acts before his death in 1727 was to sign an "Act of naturalisation of George Frideric Händel and others". His first commission from Handel as a newly naturalised British subject was to write the music for the coronation of George II of Great Britain and Queen Caroline which took place on 11 October the same year. Within the coronation ceremonies Let thy hand be strengthened was played first, then Zadok, then The King shall rejoice, and finally My heart is inditing at the coronation of the Queen. (In modern coronations the order is Zadok, Let thy hand be strengthened, The King shall rejoice and My heart is inditing, with the order of Let thy hand be strengthened and The King shall rejoice sometimes reversed.)
Right from their composition the four anthems have been popular and regularly played in concerts and festivals even during Handel's own lifetime. He re-used substantial extracts from them in many of his oratorios without many changes (other than to the text), notably Esther and Deborah. Two of the anthems were played at the 1742 inauguration of the Holywell Music Room in Oxford, a hall dedicated to chamber music. Their success perhaps contributed to the popular image of Handel as a composer whose music required a huge number of singers and musicians (the more the better)—in other words, the character criticised by Berlioz as "a barrel of pork and beer". In practice, Handel often adapted his music to the occasion and to the skill of those for whom he was writing, and no occasion could be grander than a coronation. The ceremonial style of the anthems differs from his music for the theatre just as his Music for the Royal Fireworks (the latter designed for open-air performance) differs from his instrumental concertoes. The anthems show a completely extrovert tone, managing massed forces and important contrasts rather than delicate colours—with the wide spatial reverberation in Westminster Abbey, he did not waste time and effort trying to show small points of detail.
The means he had at his disposal were the most important of the era—the choir of the Chapel Royal was augmented by 47 singers, with an orchestra which reached perhaps 160 people. The chorus was divided into 6 or 7 groups (with the tenors kept together) and a large string section, made up of three groups of violins (rather than the two which were usual).
Zadok the Priest
Main article: Zadok the Priest
Zadok the Priest (HWV 258) is thought to have been composed between 9 September and 11 October 1727.
The text of Zadok the Priest is derived from the biblical account of the anointing of Solomon by Zadok and Nathan and the people's rejoicing at this event. These words have been used in every English coronation since that of King Edgar at Bath Abbey in 973, and Handel's setting has been used at every British coronation since 1727. It is traditionally performed during the sovereign's anointing and its text is after 1 Kings (1:38–40). Its duration is just over five minutes. It is written in D major for: two sopranos, two altos, tenor, two basses, choir, and orchestra (two oboes, two bassoons, three trumpets, timpani, strings, and continuo). The music prepares a surprise in its orchestral introduction via the use of static layering of soft string textures, followed by a sudden rousing forte tutti entrance, augmented by three trumpets.
The middle section "And all the people rejoic'd, and said" is an imitative dance in 3/4 time, mainly with the choir singing in a homophonic texture and a dotted rhythm in the strings.
The final section "God save the King, ..." is a return to common time (4/4), with the "God save the King" section in homophony, interspersed with the "Amens" incorporating long semiquaver runs which are taken in turn through the six voice parts (SAATBB) with the other parts singing quaver chords accompanying it. The chorus ends with a largo plagal cadence on "Allelujah".
Let Thy Hand Be Strengthened
Let Thy Hand Be Strengthened (HWV 259) is thought to have been composed between 9 September 1727 and 11 October 1727.
The text of the second hymn is from Psalm 89 (verses 13-14). It is divided into three parts: a cheerful light beginning in G major, a melancholy, slow middle section in E minor and a closing Alleluia part again in G major.
The King Shall Rejoice
The King Shall Rejoice (HWV 260) is thought to have been composed between 9 September 1727 and 11 October 1727.
Taking a text from Psalm 21 (verses 1-3, 5), Handel splits this work into separate sections. The first movement is in D major, on the king's joy in God's power. This is full of festive pomp and fanfares, with a long ritornello of the introduction, using the full force of the choir and orchestra. The second is in A major and gentler, using no trumpets and drums. It is played on a three-time cadence and uses the highest and lowest string sections in a playful conversation, resulting in a triplet. It then enjoys long chains of suspensions on the phrase "thy salvation". The third movement begins with a radiant D major chord by the chorus and is a brief outburst of triumphalism with an extraordinary harmonic surprise, telling of the king's coronation with a crown of pure gold and ending in a B minor fugue. This links it directly to the fourth movement, which is again in three-time but this time counterpointed with a fugue. Handel builds the passion by adding instruments one by one—first the strings, then the oboes and finally the trumpets and drums. The final movement is an exuberant D major double fugue (a fugue with two melodies simultaneously played against each other right from the start), ending in a closing 'Alleluia' that was to be played at the precise moment the king was crowned.
My Heart is Inditing
My Heart is Inditing (HWV 261) is thought to have been composed between 9 September 1727 and 11 October 1727.
This piece sets a text developed by Henry Purcell for the 1685 coronation, consisting of a shortened adaptation of verses from Psalm 45 (verses 1, 10, 12) and Book of Isaiah (chapter 49, verse 23). In 1727 it was sung at the end of the coronation of queen Caroline, with adaptations by Handel to make its words more appropriate for a queen. The music is in four sections and characterised by a more refined and distinguished air than the other anthems.
The overture to its first movement is not a flamboyant trumpet fanfare but a three-time andante. The first section is in D major, begun by the soloists (originally 2 singers from each group to balance against the full breadth of the orchestra) before alternating between soloists and full choir. The second section is in A major and is also an elegant andante and sets up a charming base line which is taken up by the orchestra, and the melody begins with a long note followed by a casual dotted rhythm pointing out the words "King's daughters". The third movement in E major is yet again an andante, keeping up the graceful and feminine air until the joyous dotted rhythm reappears on the words "and the King shall have pleasure". Handel then keeps up the allegro until the end and the orchestra begins the final movement in D major (after Isa. 49.23) with a virtuoso ritornello before the choirs enter with all the solemn ceremonial pomp of the other anthems. Handel kept the trumpets back in reserve throughout the piece right until the end, where they add another triumphal dimension to the finale.
HALLELUJAH MEANS PRAISE THE TETRAGRAMMATON IT MEANS PRAISE THE THREE PLUS ONE LETTERS- HANDELS MESSIAH REPEATS HALLELUJAH
THE FOUR NOTE MOTIF OF CAROL OF THE BELLS
"Carol of the Bells" is a popular Christmas carol composed by Ukrainian composer Mykola Leontovych in 1914 with lyrics by Peter J. Wilhousky. The song is based on a Ukrainian folk chant called "Shchedryk". Wilhousky's lyrics are copyrighted, although the original musical composition is not.
The song is recognized by a four-note ostinato motif (see image to the right). It has been arranged many times for different genres, styles of singing and settings and has been covered by artists and groups of many genres: classical, metal, jazz, country music, rock, and pop. The piece has also been featured in films, television shows, and parodies.
FOUR NOTE MOTIF
FOUR NOTE MOTIF 007
Like John Barry, David Arnold has left his own mark in the music of James Bond. In this case, he has established what can be called the "suspense motif", which is a descending, repetitive four-note motif that can be heard in most of the Bond films he has scored, starting with Tomorrow Never Dies. It is usually an underlying motif playing under the main melody, and is usually orchestrated with piano trills, high strings, horns, blaring trumpets, and an underlying snare drum. This motif can be heard in:
Tomorrow Never Dies — "Station Break", "*-3-Send", "Underwater Discovery"
The World Is Not Enough — "Pipeline", "Submarine"
Die Another Day — "Death of Moon", "Antonov"
Casino Royale — "Miami International", "Dirty Martini", and very briefly in "African Rundown"
In some countries, X or XXX is or has been a motion picture rating reserved for the most explicit films. Films rated X are intended only for viewing by adults, usually defined as people over the age of 18 or 21.
SCHUMANN FOUR NOTE MOTIF SECOND MOST FAMOUS BEHIND BEETHOVENS FIFTH SYMPHONY
Following the outbreak of World War II, Schumann enlisted, eventually becoming the musical director of the Armed Forces Radio Service. He worked with most of the major acts of the war on all the radio shows AFRS produced during this time. After the war, he returned to Los Angeles and worked in the movie and television industry as a composer and arranger, mostly on several Abbott & Costello films. In 1949, Schumann was asked to compose a new theme for a police detective show about to make its debut on the NBC Radio network. He began his theme with a four-note motif—quite possibly the second most famous four-note motif after Beethoven's Fifth Symphony. Dragnet became a smash hit on the radio, and then television and Schumann's theme quickly became instantly recognizable.
HORNERS FOUR NOTE THEME UBIQUITOUS IN MOVIES
FOUR NOTE MOTIF
DSCH is a musical motif used by the composer Dmitri Shostakovich to represent himself. It is a musical cryptogram in the manner of the BACH motif, consisting of the notes D, E flat, C, B natural, or in German musical notation D, Es, C, H (pronounced as "De-Es-Ce-Ha"), thus standing for the composer's initials in German transliteration: D. Sch. (Dmitri Schostakowitsch), also pronounced as "De-Es-Ce-Ha."
More than twenty years after its release, Bowie considered both Station to Station and Low "great, damn good" albums, but due to his disconnected state during its recording, listened to Station to Station "as a piece of work by an entirely different person". He elaborated:
First, there's the content, which nobody's actually been terribly clear about. The "Station to Station" track itself is very much concerned with the stations of the cross. All the references within the piece are to do with the Kabbala. It's the nearest album to a magick treatise that I've written. I've never read a review that really sussed it. It's an extremely dark album. Miserable time to live through, I must say.
THE FOUR SYMPHONIES OF SCHUMANN
There are four complete symphonies by the Romantic composer Robert Schumann.
Number Key Opus Year Incipit
"Zwickau" G minor WoO 29 1832/33
"Spring" B♭ major Op. 38 1841 Schumann Sy1 Incipit.gif
2 C major Op. 61 1846 Schumann Sy2 Incipit.gif
"Rhenish" E♭ major Op. 97 1850 Schumann Sy3 Incipit.gif
4 D minor Op. 120 1841 (revised in 1851) Schumann Sy4 Incipit.gif
THE FOUR GREAT GERMAN CONCERTI
The Germans have four violin concertos. The greatest, most uncompromising is Beethoven's. The one by Brahms vies with it in seriousness. The richest, the most seductive, was written by Max Bruch. But the most inward, the heart's jewel, is Mendelssohn's.
The Four Pieces for Piano (German: Klavierstücke) Op. 119, are four character pieces for piano composed by Johannes Brahms in 1893. The collection is the last composition for solo piano by Brahms.
CRUCIFIXION IN TERMINATOR SALVATION
Visual crucifixion of Terminator Salvation's cyborg
SCHISM IN THEIR LYRICS MAKES A REFERENCE TO "SQUARING THE CIRCLE" AND THE MUSIC VIDEO SHOWS A QUADRANT AND A CIRCLE- SQUARING THE CIRLCE IS CALLED THE QUADRATURA CIRCULI. THE QUADRANT X IS THROUGHOUT THE VIDEO AND THE X EVEN APPEARS ON THE BACK OF THE CHARACTERS HEAD
The poetry that comes from the squaring off between
And the circling is worth it, finding beauty in the dissonance
If there is one primary, identifiable theme going on in Schism, it is certainly the alchemical concept most commonly known as “squaring the circle“. Hence, the interlude..
The poetry that comes from the squaring off between
And the circling is worth it, finding beauty in the dissonance
Squaring the circle is a subject that can’t easily be summed up in a small article, but I’ll provide some quotes to start with:
“The ‘squaring of the circle’ is one of the many archetypal motifs which form the basic patterns of our dreams and fantasies. But it is distinguished by the fact that it is one of the most important of them from the functional point of view. Indeed, it could even be called the archetype of wholeness.”
-Carl Jung from Mandalas (1955)
“The intent behind alchemy and the alchemical work is personal individuation, which is wholeness. In order to attain wholeness, it is said, one must square the circle… To square the circle is to see equally in the four directions, and so to be whole… To find a new equilibrium where inner, outer, above, and below are balanced and in harmony, is to be One… The viscous flame of oneness comes burning away all division of spirit and flesh, and the diamond body becomes the eternal fuel of this emancipative, destructive union.”
-Jack Haas from OM, Baby! (2005)
Squaring the circle is also referred to as “quaternity” or “quadratura circuli“, and is represented in countless artistic works going back to ~1000 AD (and probably before then). It is, as Jung and Haas point out, a symbol of wholeness and balance between the inner portion of the Self (i.e. the spirit), the outer portion of the Self (i.e. the body), the heavens above, and the Earth below.
The album's minimalist name "IV" derives not only from its being the band's fourth studio album, but also from a running piece of backstage humor, as related by Larkin and Erna:
We have this security guy, a big, tough guy named J.C. He's another Boston guy. And in Boston, it's "fou." They don't really have the "R." It's not "four," it's "fou." He'd be hanging around backstage and chicks would walk by and he would rate them from 1 to 10. But if it wasn't a 10, there was no 1, 2, 3, or 5. It was always you were a "ten" or a "fou." He just pulled the funniest things. Sometimes, he'd just hold up four fingers and wouldn't have to say it anymore, and we'd all just burst out laughing. And then the funniest one, this guy walked by with a chick on each arm, and he goes, "Hey, bub, two fous don't make an eight!" So when it came up, it's our fourth full-length record, everybody was like, "Fou!" And we were like, "That's it, Man." We're not trying to break any records for originality here. I know there's Black Sabbath Vol. 4, Foreigner 4, Led Zeppelin IV, a million IVs. We just thought it's fitting.
FOUR MEMBERS OF FOREIGNER ON FOUR
Lou Gramm – lead vocals, percussion
Mick Jones – guitar, backing vocals, keyboards
Rick Wills – bass guitar, backing vocals
Dennis Elliott – drums, backing vocals
FOUR MEMBERS OF FOREIGNER ON URGENT ON HIT ALBUM FOUR
WAITING FOR A GIRL LIKE YOU FOREIGNER FOUR ALBUM
Burj al Arab – World’s Largest Christian Cross
Updated on May 26, 2017 in Architecture Rumbling
This is probably an outdated news and it is all over the internet, anyway, Burj al Arab was designed by Tom Wright of WS Atkins PLC, during the designing stage, the world was told that it was built to resemble a sail, but critics are claiming that Wright designed the cross after he had a dream to have a Christian influence in a Muslim country.
Some locals claim that this was an intentional move on the part of the British architects. This issue is more ironic when one considers that the Tower of the Arabs is widely considered to be Dubai’s most important landmark. A Conspiracy indeed, but no words yet from the architect himself. The real question is, does it matter if it looks like a cross?
In the year 2001, Dubai introduced the 4th series number plate. It has the Burj al Arab symbol, due to conspiracy theories and controversies surrounding Burj Al Arab’s resemblance to the Christian cross, the Burj Al Arab symbol was removed without any explanation in the year 2004.
An interesting story is told back to back which says that apparently any cars registered in Dubai, that have one of the older license plates which have an image of the Burj Al Arab on them, aren’t allowed to drive into Saudi Arabia.
Coming from a country that the official religion is Islam, I find it hard to digest the fact that Malaysian of other faith such as Buddhist, Christian, Hindus and others are not allowed (unofficially) to built any religious structure or building that exceed the height of any mosque in their respective towns, except for a few temples and churches like the Batu Caves temple and Kek Loh Si temple. It is not a written law, don’t believe me? Ask any senior draftsperson or architects.
Bias it may be but when the British disapproved the Mega-Mosque in London, the British Muslim was pissed, the mega mosque is believed to be so huge that it will dwarf many of Britain’s Christian cathedrals.
Councilor Craig, who lives in a city with 300 mosques and 500 madrassahs, suggests that Britain not allow any more mosques until Muslims allow churches in Saudi Arabia. Craig said, “Why should the Saudis pay for a mosque in the UK when there is not one single church, temple, goodwara, synagogue in Saudi at all?” – CBN
What goes around comes around, and if you need to look for a guilty then you only need to look into a mirror. After all, Burj al Arab is on Muslim soil, some minor renovation can be done to rectify this whole Christian cross issue, now, the real question is why don’t they do it? What say you?
THE COVER IS A QUADRANT
Van Halen is the debut studio album by American hard rock band Van Halen. Released on February 10, 1978, the album peaked at number 19 on the Billboard 200. The album became widely recognized as the band's popularity grew, selling more than ten million copies in the United States by August 7, 1996 and being certified Diamond.
X (pronounced ten) is the eighth studio album by English rock band Def Leppard, released on 30 July 2002 by Island Records in the US and sister label Mercury worldwide. Much like 1996's Slang, it featured another departure from their signature sound by moving into the pop genre.
The album features the Roman numeral 'X', recognising it as their tenth album release, although the album is in fact only their eighth collection of all-new studio material. The other two albums released by the band prior to the release of X, Retro Active and Vault, were a rerecording of B-sides and rarities and a greatest hits set respectively.
The 'marketing mix (also known as the 4 Ps) is a foundation model in marketing. The marketing mix has been defined as the "set of marketing tools that the firm uses to pursue its marketing objectives in the target". Thus the marketing mix refers to four broad levels of marketing decision, namely: product, price, promotion, and place. Marketing practice has been occurring for millennia, but marketing theory emerged in the early twentieth century. The contemporary marketing mix, or the 4 Ps, which has become the dominant framework for marketing management decisions, was first published in 1960
In the 1990s, the model of 4 Cs was introduced as a more customer-driven replacement of the 4 Ps. There are two theories based on 4 Cs: Lauterborn's 4 Cs (consumer, cost, communication, convenience), and Shimizu's 4 Cs (commodity, cost, communication, and channel).
ALICE IN CHAINS MAN IN A BOX X
TRIDENTS ARE CROSSES
These are the original "tridents" from the World Trade Center
THE MALAYSIAN PLANE TRIDENT SYMBOL
Look at the Malaysian Plane that went missing.
Now flip it
It becomes a "double trident"
THE THREE PLUS ONE PATTERN AND THE BIBLE WHEEL
The 3 . 1 pattern also appears in the large-scale tri-radiant structure generated by the seven canonical divisions since it consists of three pairs of divisions aligned on the first two Cycles, and one Cycle, the third, that is an undivided whole. This also is reflected in Ezekiel's prophetic Temple with its three pairs of gates centered on the altar standing before the one door to the Holy of Holies (Spoke 4, BW book pg 180). The same pattern is seen yet again in the Seven Days of Creation which has three pairs of corresponding Days and one Day, the Sabbath, that is set apart. And all of this is united in the design of the sevenfold Menorah with its three pairs of branches symmetrically arrayed about one central lamp (BW book pg 49). It is this integration of the Menorah with the Wheel that reveals a second correlation between the Four Faces and the progressive structure of the whole body of Scripture:
Correlation of the Four Gospels/Cherubim with the divisions/branches of the Bible Wheel/Menorah
Lion: Just as Matthew emphasizes the righteousness of the Law and the fulfillment of the Prophets, so the Lion corresponds to the Law and the Major Prophets (Divisions 1 . 4). This corresponds to the creation of Light and Light Bearers on the First and Fourth Days of Creation, for "The commandment is a lamp [light bearer], and the Law is light" (Prov 6:23). Note also "The lion hath roared, who will not fear? the Lord GOD hath spoken, who can but prophesy?" (Amos 3:8).
Ox: Just as Mark emphasizes the actions of Christ, so the Ox corresponds to Israel's historical actions as she ploughed through the Twelve OT History Books, which also were the central focus of the Twelve Minor Prophets (Divisions 2 . 5). Note that Division 2 begins with the parting of the waters of the Jordon River, just as the waters were divided on the Second Day and in the Second Book (Spoke 2, BW book pg 144).
Man: Just as Luke emphasizes the humanity and wisdom of Christ, so the Man corresponds to the Five Books of Wisdom and Five NT History Books (Divisions 3 . 6). This interweaves with everything we have seen concerning the creation of Man in the likeness of God on the Sixth Day, the Incarnation of God in the likeness of Man in the Sixth Division, and its reiteration on the Sixth Spoke (pgs 204, 206).
Eagle: Just as John is marked with the greatest density of the word faith in any Book of the Bible, and it contains the explicit declaration that "This is the work of God, that ye believe on him whom he hath sent" (John 6:29), so the Eagle corresponds to the 22 NT Epistles (Division 7) which is marked with the clarion call of NO WORKS, salvation is through faith alone. This corresponds exactly with the ultimate spiritual meaning of the Seventh Day of Creation, the Sabbath Rest (pg 49). It is through faith in the Son of God that we "overcome the world" (1 John 5:5) and soar like eagles into the heights of heaven to be with our Saviour God.
This new correlation reveals yet another level of the limitless depth of Divine Wisdom that God invested in the structure of His Holy Word. We have the full synergistic integration of the Seven Days of Creation, the Sevenfold Menorah, and the Seven Canonical Divisions with the Four Gospels and the Four Faces revealed in Ezekiel on Spoke 4 and in Revelation 4! This is an exceedingly dense and reiterative compounding of manifold symbolic elements, not unlike the Divine Synergy of the Four Symbols of the Circle, the Cross, the Alphabet, and the Number Seven discussed in Part I (BW book pg 52). The Four Faces therefore simultaneously represent two aspects of the Divine Word; one recognized since ancient times (the Four Gospels) and one newly revealed by the integration of the Wheel with the Menorah.
God enthroned amongst the Four CherubimThe differences between Ezekiel's vision and that of Revelation 4 are as important as their similarities. In Revelation, the Four Faces are separated and distributed amongst the Four Cherubim and the wheels are absent. These represent the Four Gospels in their traditional canonical order, and are listed by number as the first, second, third, and fourth. In contrast, Ezekiel reveals the Cherubim with Four Faces each. This signifies their composite unity � four aspects of one being. They simultaneously represent four aspects of the One Lord Jesus Christ, the Living Word, and four aspects of His Bible, the Written Word, that reveals Him to us. Each stands beside a huge wheel that has another wheel within it. Scripture strongly emphasizes their unity with the Cherubim, twice stating that "the spirit of the living creature was in the wheels" (Ezek 1:20f). This unity is naturally displayed in the Wheel with the Four Faces distributed according to the 3 . 1 pattern of Ezekiel's Temple and the Bible Wheel the seven canonical divisions (see The Sevenfold Light of God's Word, BW book pg 47). This is why Scripture says that each wheel itself had Four Faces like the Cherubim (Ezek 1:15). It represents the full fourfold pattern of the entire unified Word of God � four aspects of one being � and so reveals God enthroned between the cherubim of His Holy Word! Recall also that the tri-radiant form of the Word of God is isomorphic to the tri-radiant form of Ezekiel's prophetic Temple where once again the eternal Lord is seen enthroned amongst the Cherubim. The whole Bible is a revelation of its True Author, the Almighty Lord of History !
the three plus one pattern and seven days of creation bible wheel
Yet this is but the beginning of wonders. God used exactly the same sevenfold symmetry when He designed the Seven Days of Creation! The first Three Days correspond to the second Three Days; the First with the Fourth (1/4), the Second with the Fifth (2/5), and the Third with the Sixth (3/6). This pattern has been noted by numerous scholars, such as Scroggie, who also sees a hint of its structure in the phrase "formless and void" from Genesis 1:2. The first Three Days were Days of Formation that were empty and void until God filled them on the Three Days that followed. As shown in the table below, this is identical to the form of the Seven Divisions of the Canon Wheel. Both follow a 3+1 pattern with the same three pairs of numbered elements � 1/4, 2/5, 3/6 � and the Seventh Day/Division set apart by itself. This means that God prophetically set the pattern of the entire Bible, revealed now thousands of years later, in the creation account of Genesis 1! The numerical structures of the Word of Creation and of the Holy Bible are ONE. Both were designed symmetrically upon the Number Seven, and both exemplify the full set ideas associated with it. What prophecy! What Wisdom! How mighty are the Lord�s Works! This is the Wisdom by which God "founded the earth" (Prov 3:19) fulfilling Proverbs 9:1: "Wisdom hath builded her House [Word/Cosmos], she hath hewn out her seven pillars."
bible wheel the three plus one pattern and Paul
4 Personal Epistles written to three individuals. These divide into a "3 + 1" pattern like the Gospels. The first three were written to the pastors Timothy and Titus, and so are called "Pastoral Epistles." Paul wrote the fourth to his close friend and convert, Philemon.
the foursquare and the prophetic temple
Ezekiel: The Foursquare Prophetic Temple
So he measured the court, an hundred cubits long, and an hundred cubits broad, foursquare; and the altar that was before the house.
Ezekiel 40:47 (Spoke 4, Cycle 2)
Ezekiel's Prophetic TempleThe supernatural manifestation of the Number 4 on the Fourth Spoke continues unabated in the last nine chapters of Ezekiel where almost everything about the prophetic Temple is foursquare. For example, the angel specifically measured it from all four directions:
42:16 He measured the east side, five hundred reeds
42:17 He measured the north side, five hundred reeds
42:18 He measured the south side, five hundred reeds
42:19 He turned about to the west side, and measured five hundred reeds
42:20 He measured it by the four sides ...
Both the Number 4 and the geometric figure of a square are also prominent in the description of the altar that lies at the exact center of the Temple, marked by an "A" in the diagram:
So the altar shall be four cubits high; and from the altar and upward shall be four horns. And the altar shall be twelve cubits long, twelve broad, square in the four squares thereof.
the four elementary symbols
There are four elementary symbolic elements that God united when He designed the Bible Wheel. They are discussed in the following articles:
The Eternal Circle
Sealed with the Sign of the Cross
The Capstone Signature of
God's Word (Aleph Tav)
The Bible Sealed with Seven Seals
We are now able to see how God united these four elements into a single compound symbol declaring the absolute perfection of His Holy Word. The Circle encompasses the whole, the Cross seals it once on Spoke 22 and again in the tri-radiant cruciform symmetry, the Hebrew Alphabet represents the Word itself and its completeness from Aleph to Tav, and the Number Seven, like the Cross, seals and completes the whole Bible once in the sevenfold tri-radiant cruciform symmetry and again on Spoke 22 in the Last Book, the Book of Sevens.
The implications of this revelation know no limit. Never in the history of the world has anyone beheld such a profoundly compact and reiterative compound symbol in the structure of any book, let alone a book that proclaims itself Divine, that defines and exemplifies the symbols in its own text.
Of the many Christian teachers who have expounded on the relation between Tav and the Cross of Christ, one of the earliest on record is Origen (died 254 AD). He drew his insight from the Tav used in Ezekiel's vision, as he explained in his commentary on that prophet:
This [the Letter Tav] bears a resemblance to the figure of the cross; and this prophecy (Ezek. ix. 4) is said to regard the sign made by Christians on the forehead, which all believers make whatsoever work they begin upon, and especially at the beginning of prayers, or of holy readings.
Likewise, Saint Francis of Assisi (died 1226 AD), following the ancient tradition, took up the Tav as his own mark. A modern member of his Order explained its meaning and linked it to Ezekiel's vision in an article called The Tau Cross in Franciscan Tradition This link takes you off the Bible Wheel site and opens a new window:
For our purposes, the last Letter of the Hebrew alphabet represented the fulfillment of the entire revealed Word of God. This Letter was called the Tau (pronounced "Tav" in Hebrew). When the Prophet Ezekiel (9:4) uses the imagery of the last letter of the alphabet he is com-mending Israel to remain faithful to God until the last, to be recognized as symbolically "sealed" with the mark of the Tau on their foreheads as God's chosen people until the end of their lives. Those who remained faithful were called the remnant of Israel, often the poor and simple people who trusted in God even without understanding the present struggle in their lives.
Seal of the A.R. Presbyterian Church
Seal of the A.R.
Presbyterian Church This link takes you off the Bible Wheel site and opens a new window
This is the overwhelming wonder of the Bible Wheel. The Last Letter Tav, the Divine symbol of both the Cross of Christ and the Seal of the Covenant, simultaneously consummates, completes, and finishes both the thematic and the geometric structures of Scripture. It is not merely a metaphoric "fulfillment of the entire revealed Word of God." The Tav Cross literally fulfills and seals the entire Biblical revelation on Spoke 22, the Last Spoke of the Wheel (see pg 69 of the Bible Wheel book). God engraved the essential sign of the Gospel in the structure of His Word. Yet this is only one of two great wonders. The pattern of the Cross appears again in the tri-radiant cruciform structure that simply falls together when we roll up the Bible and color the seven canonical divisions so now the primary message of the text � the Gospel of our Salvation � is seen to be engraved in two independent ways and we recognize again that the Holy Bible itself is a multifaceted Divine Icon of the Faith taught within its pages. All these ideas come together in countless denominational church seals such as that of the Associate Reformed Presbyterian Church which incorporates the Circle, Cross, Alpha Omega, Dove, and Bible. Page 56 of the Bible Wheel book shows more examples. This amplifies the symbolic overtones of the Canon Wheel yet again, suggesting it to be a Divine Seal of the universal Christian Church, designed by God Himself as a template for the very Book that defines it.
"ONLY FOUR PARTICLES ARE NEEDED, THE REST SEEM TO BE SUPERFULOUS"- I POSTED A LONG TIME AGO THE BOOK WHERE THE PHSYCISIST WHO DISCOVERED THE STANDARD MODEL OF PARTICLE PHYSICS HAD A QUOTE WHERE HE IS SAYING "WE DONT KNOW WHY BUT THE PARTICLES OF REALITY ARE ORGANIZED IN GROUPS OF FOUR" AND THE FOURS WERE THREE THREE PLUS ONES AND A FOURTH THREE PLUS ONE THAT WAS DIFFERENT- HOPEFULLY SOON MAYBE IN A MONTH OR SO I PLAN TO START GOING BACK IN STUFF I POSTED A LONG TIME AGO AND PUTTING IT ON THE WEBSITE. I HAVE TO CLEAR UP SPACE ON BOTH OF MY CPUS AND GET THE STUFF ORGANIZED HOPEFULLY
I RUN INTO SCIENTISTS SAYING THIS SO MUCH "WE DONT KNOW WHY THIS IS SO" AND I HAVE ALWAYS BEEN ABLE TO SAY "BECAUSE OF THE QUADRANT MODEL" FOR INSTANCE WHEN I WAS IN COLLEGE THE PROFESSOR SAID "WE DONT KNOW WHY THERE ARE FOUR TISSUE TYPES EPITHELIEL CONNECTIVE (THE SECOND IS HOMEOSTASIS) MUSCULAR (THE THIRD IS THE DOER) AND NERVOUS (THE TRANSCENDENT FOURTH) BUT THERE IS" I SAY YES I KNOW WHY THE QUADRANT MODEL- HERE THE PHYSICST SAYS HE DOES NOT UNDERSTAND WHY THERE ARE THESE THREE GENERATIONS OF FERMIONS. THE THREE GENERATIONS EACH TAKE A THREE PLUS ONE PATTERN. THEN THERE ARE FOUR MORE PARTICLES WHICH ARE BOSONS. THAT IS A 12 PLUS FOUR WHICH IS A THREE QUADRANTS PLUS ONE QUADRANT WHICH IS AN OVERALL THREE PLUS ONE STRUCTURE. YES YOU MIGHT NOT KNOW THINGS ARE THAT WAY BUT I DO
IN REGARD TO THE FOUR PARTICLES THAT MAKE UP REALITY THE UP AND DOWN QUARK ARE THE DUALITY THE DOER THIRD IS THE ELECTRON AND THE TRANSCENDENT FOURTH IS THE ELECTRON NEUTRINO. FIRST OFF PHYSICISTS HAD A DIFFICULT TIME FINDING THE NEUTRINO AND THE NEUTRINO IS TRANSCENDENT AND CAN BECOME THE PREVIOUS THREE THE NATURE OF THE FOURTH
TRIBLASTIC V TETRABLASTIC THE THREE FOUR DYNAMIC. BIOLOGISTS SAY THE NEURAL CREST IS THE TRANSCENDENT FOURTH GERM LAYER TETRABLASTIC
Early in the process of development, vertebrate embryos develop a fold on the neural plate where the neural and epidermal ectoderms meet, called the neural crest. The neural crest produces neural crest cells (NCCs), which become multiple different cell types and contribute to tissues and organs as an embryo develops. A few of the organs and tissues include peripheral and enteric (gastrointestinal) neurons and glia, pigment cells, cartilage and bone of the cranium and face, and smooth muscle. The diversity of NCCs that the neural crest produces has led researchers to propose the neural crest as a fourth germ layer, or one of the primary cellular structures in early embryos from which all adult tissues and organs arise. Furthermore, evolutionary biologists study the neural crest because it is a novel shared evolutionary character (synapomorphy) of all vertebrates.
Researchers began arguing that the neural crest is a germ layer at the turn of the twenty-first century. Previously, researchers recognized three germ layers: the ectoderm, mesoderm, and endoderm. In 1999 Brian Hall, at Dalhousie University in Nova Scotia, Canada, published The Neural Crest And Neural Crest Cells In Vertebrate Development And Evolution, in which he argued that the neural crest meets the requirements to be a germ layer. First, he claims that germ layers are defined as primary tissues from which an embryo develops. Hall notes that there are two types of germ layers, primary and secondary. The primary germ layers, the ectoderm and endoderm appear first in the developing vertebrate embryo, before fertilization. Some animals, which scientists call diploblastic, have only these two germ layers. This group includes organisms such as jellyfish and sponges. Tripoblastic animals, however, have a third germ layer, called mesoderm, which evolved in animals whose ancestors were diploblasts. These animals, called triploblasts, also belong to a group called bilateria, which includes flat worms and humans, all of which have a primary axis of symmetry down the center of the body from head to tail.
Researchers consider the mesoderm a secondary germ layer because it arises from the interactions of the first two germ layers. Hall argues that like mesoderm, neural crest is a secondary germ layer. He says that similar to the mesoderm, the neural crest arises early in development from interactions in a primary germ layer, the ectoderm. Also, it contributes to a large number of tissues and organs. Furthermore, the neural crest is a vertebrate synapomorphy, like mesoderm is a bilaterian synapomorphy. Hall claims that the neural crest appears after the evolution of the tripoblasts. Therefore, he argues that the animals that came subsequently, the vertebrates, should be called tetrablastic, meaning four layers. Hall argues that because the neural crest appears early in development, because it is ectodermal in origin, and because it is a vertebrate synapomorphy, it should be considered a secondary germ layer.
LIKE I SAID HOPEFULLY SOON I CAN ALSO WATCH THE DVDS I WATCHED BEFORE AND POST ALL OF THE AMAZING EXAMPLES I SAW JUST A LOT OF IT I FORGOT TEACHING COMPANY DVDS. IF YOU SAW ALL THAT I SAW YOU WOULD KNOW THE QUADRANT MODEL WAS THE THEORY OF EVERYTHING
GADV-protein world is a hypothetical stage of abiogenesis. GADV stands for the 1-letter codes of four amino acids, namely, glycine (G), alanine (A), aspartic acid (D) and valine (V), the main components of GADV proteins. In the GADV-protein world hypothesis, it is argued that the prebiotic chemistry before the emergence of genes involved a stage where GADV-proteins were able to pseudo-replicate. This hypothesis is contrary to RNA world hypothesis, which is the most accepted theory of abiogenesis.
The GADV-protein world hypothesis was first proposed by Kenji Ikehara at Nara Women's University. It is supported by GNC-SNS primitive gene code hypothesis (GNC hypothesis) also formulated by him. In the GNC hypothesis, the origin of the present standard genetic code is considered to be the GNC genetic code that includes the codons GGC, GCC, GAC, GUC, respectively coding glycine, alanine, aspartic acid, and valine; it also follows the SNS primitive genetic code that codes 10 amino acids where N denotes arbitrary four RNA bases and S denotes guanine (G) and cytosine (C).
The GADV hypothesis proposes these mechanisms:
Analysis on present proteins and simulation using chemical factors of amino acid shows GADV-proteins that contains almost the same amount of the four amino acids can form four basic structures of protein, namely, hydrophobic and hydrophilic structures, α-helices and β-sheets.
Therefore, GADV-proteins polymerized from randomly chosen amino acids from the four choices, probably becoming globular and water-soluble like some present proteins.
Proteins generated like this have different primary structures, but their simple composition leads to formation of similar spherical and water-soluble proteins that have bulky and hydrophobic valines inside and hydrophilic aspartic acids outside.
GADV-peptides can polymerize by simple cycles of evaporation and hydration. This gives a rationale for the production of GADV-peptides in tide pools on the primitive Earth. Moreover, GADV-peptides randomly polymerized as above have catalytic activity to hydrolyze peptide bonds in bovine serum albumin and therefore they can catalyze the formation of peptide bonds as the reverse reaction.
GADV-proteins can multiply by pseudo-replication in the absence of genes, taking the features above into consideration.
Each word used is described as a cognitive stopping point in the development of humanity's number concepts. Different patterns-of-three might very well be labeled as various (word related) historical counting limits, with the present one as a representative model, in context.
The idea of a cognitive limit, whether portrayed with numbers, words, symbols or whatever, should be explored further since we can find a similar activity occurring in genetics with respect to amino acids. The following charts describe three to 1 ratio variations of such limiters: :(3 Stops to 1 Start)
The Genetic Code (DNA): These are the codons as they are read on the (5' to 3') strand of DNA. Except that the nucleotide thymidine (T) is found in place of uridine (U), they read the same as RNA codons. However, mRNA is actually synthesized using the (3' to 5') as the template.
Review: 3 stops to 1 start. 3 amino acids the same while 1 is different. Surely you can recognize these two examples as a repeating pattern. But is it merely a repeating cognitive pattern scribed out by the present evolutionary state of the human mind/brain, or is it in fact a recurring theme in nature that supercedes any cognitive-cultural imposition?
The genetic code is almost universal. The same codons are assigned to the same amino acids and to the same START and STOP signals in the vast majority of genes in animals, plants, and microorganisms. However, some exceptions have been found. Most of these involve assigning one or two of the three STOP codons to an amino acid instead.
Mitochondrial genes: When mitochondrial mRNA from animals or microorganisms (but not from plants) is placed in a test tube with the cytosolic protein-synthesizing machinery (amino acids, enzymes, tRNAs, ribosomes) it fails to be translated into a protein. The reason for this is that these mitochondria use UGA to encode Tryptophan (Trp) rather than as a chain terminator. When translated by cytosolic machinery, synthesis stops where Trp should have been inserted.
In addition, most:
Animal mitochondria use AUA for methionine not isoleucine and
All vertebrate mitochondria use AGA and AGG as chain terminators.
Yeast mitochondria assign all codons beginning with CU to threonine instead of leucine (which is still encoded by UUA and UUG as it is in cytosolic mRNA).
Plant mitochondria use the universal code, and this has permitted angiosperms to transfer mitochondrial genes to their nucleus with great ease.
The above table information and accompanying comments are adapted from:
FOUR VERSIONS OF THE COVER AND WRITTEN AS A QUADRANT
The album's cover art is a parody of the pop art work LOVE by Robert Indiana, with the words "LOVE" replaced with "RAGE". The album shipped with four different versions of the cover: either red lettering with black and either blue or green background, or with the red and black switched.
"Little by Little" is a song by English rock band Oasis, first released as the sixth track on their fifth studio album Heathen Chemistry. In September 2002, it was released with "She Is Love" as the first (and only) double A-side single by the band, peaking at #2 in the UK Singles Chart (see 2002 in British music). Noel Gallagher provides lead vocals on both tracks, which he also wrote.
Amor, National Sculpture Garden DC Robert Indiana
Love sculpture in Hebrew is displayed at the Israel Museum
LOVE Cross exemplifies Indiana’s interest in the spiritual nature of love, which he traces back to his childhood and the Christian Scientist churches he attended, where the inscription “God is Love” was often the only form of decoration. The painting was commissioned by John and Dominique de Menil for a proposed Vatican Oecumenical Pavilion at the 1968 Hemisfair in San Antonio, Texas, for which Indiana designed the official poster. Although the pavilion was never realized, the commission was completed, and the work was first shown in the artist’s 1968 solo show at the Institute of Contemporary Art in Philadelphia.
Indiana has experimented with multiple configurations of his famous LOVE design, including four-panel square works such as LOVE Wall and two-panel rectangular works such as The Imperial Love. His interest in the subject of the cross arose while working at the Cathedral of St. John the Divine, where the artist transcribed a manuscript on the subject. This led him to create his 1958 mural Stavrosis, composed of 44 joined pieces of paper, and he later employed the cruciform format in his 1964 painting The Demuth American Dream #5.
The 15-foot LOVE Cross consists of five panels, and is one of Indiana’s largest works. The panels have various orientations of his four-letter LOVE design; rendered in a vibrant red and blue combination, the work is both spiritually and artistically provocative.
ROBERT INDIANA EXPLODING NUMBERS- NUMBER FOUR DIFFERENT
EXPLODING NUMBERS, 1964-1966
ROBERT INDIANA CHANGED HIS NAME AFTER A CRUCIFIXION PIECE 44 SHEETS
In 1956, two years after moving to New York, Indiana met Ellsworth Kelly, and upon his recommendation took up residence in Coenties Slip, once a major port on the southeast tip of Manhattan. There he joined a community of artists that would come to include Kelly, Agnes Martin, James Rosenquist, and Jack Youngerman. The environment of the Slip had a profound impact on Indiana’s work, and his early paintings include a series of hard-edge double ginkgo leaves inspired by the trees which grew in nearby Jeannette Park. He also incorporated the ginkgo form into his 19-foot mural Stavrosis (1958), a crucifixion pieced together from forty-four sheets of paper that he found in his loft. It was upon completion of this work that Indiana adopted the name of his native state as his own.
LOVE WALL IS A 16 SQUARE QUADRANT MODEL
“The LOVE paintings sprang like a crop from that seed planted at your museum, Larry, the painting you commissioned, “Love is God”, which burst into mind when I learned that you were converting an old Christian Science Church in Ridgefield…for I, as a child, was raised as a Christian Scientist, and the world LOVE was indelibly imprinted in the mind, for there is that slightly different phrase, “God is Love”, on every front wall of every one of Mary Baker Eddy’s houses throughout the world. It was in that church, too, that the circle was impressed upon me, as the symbol of life everlasting (in Stable III is a tondo “Eternal Love”), and almost every painting that I have done as Indiana has included the circle. Your own gray “Love” is reflected in the one piece of sculpture in the show, a 12 inch cube of cut aluminum brought to a mirror finish, that is like most of the other LOVE paintings, the single LOVEs, the reflected LOVEs, the reverse LOVEs, the multiple LOVEs which do indeed form a LOVE WALL, exist without a circle, the square taking its own this time. LOVE has come to me personally and did come through ‘resplendidly’ this year.” — Robert Indiana
ROBERT INDIANA DISCUSSES THE CRUCIFORM DREAM AND THIS X (QUADRANT) FIVE
“This is one of five paintings executed all in 1963 given to the theme of and in homage to Charles Demuth’s “Five” painting in the collection of the Metropolitan Museum of Art, New York City. The central and major painting of this series is “The Demuth American Dream #5”, exhibited for the first time in the same Americans 1963 show at the Museum of Modern Art, but subsequently going into the Dunn International Exhibition at the Beaverbrook Art Gallery, Fredericton, New Brunswick, from which it was purchased by the Toronto Gallery of Art, but then went on to be exhibited at the Tate Gallery, London, in the same show, becoming my first major painting to be exhibited publicly in Europe. “The X-5” is auxilliary (sic) to this painting, stripped of its literary connotations and associations to my own American Dream series. The literary aspect is in relation, through the Demuth painting, to a poem by William Carlos Williams about the golden figure 5 which he saw on a passing fire engine, which inspired Demuth in 1928, by coincidence the year of my own birth. In the parent painting there are three 5’s against each star, which becomes in my mind 3 5, or the difference between 63 (the year of my painting) and 28 (the year of Demuth’s painting), thereof giving rise to another coincidence: Demuth died in ’35. And by a more unpleasant coincidence William Carlos Williams died in 1963 after my painting was executed. Whereas “The Dream” is cruciform, “The X-5” is an X, relating it backwards to my “Beware-Danger American Dream #4,” now owned by Joseph Hirshhorn, and railroadwise (my grandfather was an engineer for the Pennsylvania RR) to “Highball on the Redball Manifest” in the James A. Michener Foundation Collection, Allentown Art Museum. Within the current body of my work this is the first all black, white and gray painting — a considerable departure from the general polychromy of my paintings and constructions. Its relatives the larger “Diamond Five” and the smaller “Diamond Five” are in the collections respectively of Robert Scull and John Kloss. The fifth and last painting of the Demuth series is “The Figure Five”, a rectangular canvas, reproduced in the catalogue of the Stankiewicz-Indiana Exhibition, The Walker Art Center, 1963, and permanently in my own collection. “The X-5” is one of my own favorite paintings.” – Robert Indiana
ROBERT INDIANA ON THE CRUCIFORM DREAM
For the major painting of the “Dream” I chose the cruciform, a polyptych of unusual form in the history of painting if not sculpture – the obvious exception to this of course being Cimabue’s Crucifix, so recently nearly destroyed – by the use of which I meant to set this particular painting most apart from all others given that its theme and internal form is in direct dialogue with the original inspiration. The head, the arms, the foot, or less particularly the surrounding members echo and reinforce Deumth’s composition though somewhat simplified to fit the nature of my own work, stripped as it is of all the allusions to a cubist cityscape.” — Robert Indiana
“THE AMERICAN DREAM is an ongoing series of paintings begun in 1960 and which became the artist’s first major canvas to be sold and the purchaser was the Museum of Modern Art. Obviously the fourth in the series the “BEWARE DANGER” designation comes from the very nature of the number “4” itself, which in the scale of man’s life from one to ten, indicates adolesence [sic] and a reference to road signs which signal “Danger” via these colors. Here there is also the oblique reference to the German Nazi flag which heralded great “danger” to all mankind, not only in the colors, but in the very configuration of the four “4”s when arranged in this manner, greatly suggesting the swastika. The impact of the Second World War on America is, of course, a matter of history.”
– Robert Indiana
THE BIG FOUR (FOUR FOURS), 1964
Barbaralee Diamonstein: Perhaps we should begin by your telling us how you happened to create LOVE. . .
Robert Indiana: Well it all started probably a long, long time ago, and it comes, of course, from a spiritual rather than an erotic beginning. When I was a child I was exposed to and involved in the Christian Science church, and all Christian Science churches are very prim and pure. Most of them have no decoration whatsoever, no stained glass windows, no carvings, no paintings, and, in fact, only one thing appears in a Christian Science church, and that’s a small, very tasteful inscription in gold, usually, over the platform where the readers conduct the service. And that inscription is God Is Love.
Well a few years ago, in the mid-sixties [Larry Aldrich] . . . had the inspiration to expose his rather large private collection to a broader public. There happened to be a building available for this in Ridgefield; it had been a grocery store back in the early nineteenth century. . .this grocery store, later on, some time in the 1920s, became a Christian Science church. Then the Christian Scientists wanted better facilities so they built themselves a new church next door.
I was at a party at Andy Warhol’s old Factory, and Aldrich was there. I didn’t know him very well, but well enough to confront him. I was a little piqued because he had no Indiana, and I thought he should. I told him that an excellent opportunity was forthcoming for a special Indiana, because since he was making his museum in a former Christian Science church, I had an idea to do a special painting just for him. And that was the reversal of the religious motto. My painting read Love Is God instead.
. . .Although the Love Is God canvas bears no relationship to what now has become a logo, it started me thinking about the subject of love. I had been at one time employed as a typist for the man who was to become the bishop of California- then Dean [James A.] Pike, later Bishop Pike, and now in some area of sainthood, I suppose. He, of course, was greatly involved with the subject of love, particularly from an ecclesiastic standpoint.
All these things kind of came together. I like to work on a square canvas, since the way I put the letters down, it is the most economical, the most dynamic way to put four letters on a square canvas.
That is how the LOVE came about . . .
Excerpt from Barbarelee Diamonstein, “Interview with Robert Indiana,” in Inside New York’s Art World (New York: Rizzoli International Publications, Inc., 1979)
OUTSIDE OF LOVE ROBERT INDIANA IS BEST KNOWN FOR EAT- EAT IS A X QUINCUNX- THE WORK IS PLACED AT FOOD PLACES AND HAS BEEN WIDESPREAD
Outside of his worldwide famous sculptures, paintings and prints of LOVE, Robert Indiana is arguably best known for another one word recurring subject, EAT. The EAT sign commissioned by architect Philip Johnson, showcased in the1964 New York World’s Fair’s New York State Pavilion, bears the familiar composition of the screenprint hanging in our Boca Raton art gallery. Eat is an integral part of Robert Indiana’s body of work and is indicative of the artist’s highly personalized motivations that underlie the meaning of his art. In fact, “eat” is one of the last words spoken by the artist’s mother, literally asking Robert if he wanted something to eat just a moment before dying. Yet, EAT also represents universally American signage, such as that closely associated with restaurants, thereby lending it popular culture reference. This is the duality of Robert Indiana’s professional life as a Pop Artist. In this limited edition screenprint, the there is a sense of multiple degrees of depth created from the gradient background coloring and powerful lettering knocked out of black circles in the foreground.
HUGE INTERNET MEME- THE TING GOES GUN SOUND- BEGINS WITH TWO PLUS TWO IS FOUR MINUS ONE THATS THREE QUICK MATHS- THE THREE FOUR DYNAMIC- HE REPEATS FOUR MANY TIMES
Twitter Can’t Get Enough Of “The Ting Goes” Meme
“The ting go.. skrrra pap pap ka ka ka skidiki.”
I HAD FRIENDS WHO REALLY LIKED THIS SONG BY 50 CENT BORROWING FROM THE ILL WHIP YO HEAD FROM DONT BE A MENACE- IT BEGINS TWO N WORDS IN THE FRONT TWO N WORDS IN THE BACK THATS FOUR N WORDS RIDING STRAPPED IN GRANDPAS CADILLAC
ON THE TITLE TRACK OF 100 MILES AND RUNNIN FOR NWA DR DRE MENTIONS HOW THERE IS ONLY FOUR OF THEM BECAUSE THE "FIFTH COULDNT MAKE IT" THE ULTRA TRANSCENDENT FIFTH--- THERE IS POPULAR T SHIRTS THAT I POSTED A WHILE AGO AND STUFF THAT SHOW THE FIVE NWA MEMBERS AND ICE CUBE CROSSED OFF MAKING ONLY FOUR IN ACTUALITY
The group makes a number of references to Ice Cube. On the title track, Dre states: "It started with five but yo, one couldn't take it / So now there's four 'cause the fifth couldn't make it". In "Real Niggaz" he is likened to Benedict Arnold, the proverbial American traitor, and MC Ren says, "Only reason niggaz pick up your record is cause they thought it was us", referring to Ice Cube's first solo album AmeriKKKa's Most Wanted, which had been released earlier that year. Ice Cube responded to these attacks on Death Certificate (1991) on a song named "No Vaseline", which many thought won the battle.
I POSTED ALL THIS STUFF A LONG TIME AGO- IN NWA N WORDS 4 LIFE THEY PUT FOUR IN THE TITLE- THE ALBUM ACTUALLY AGAIN ONLY HAS FOUR MEMBERS THE FIFTH ICE CUBE WAS NOT PUT IN IT- AGAIN I TALKED ABOUT HOW IT WAS POPULAR TO WEAR T SHIRTS AND OTHER STUFF SHOWING FIVE NWA MEMBERS BUT XING OUT ICE CUBE MAKING ONLY FOUR- ICE CUBE RESPONDED WITH HIS DISS TRACKS AGAINST NWA
Niggaz4Life (also known as EFIL4ZAGGIN or Efil4zaggin) is the second and final studio album by gangsta rap group N.W.A, released in 1991. It was their final album, as the group disbanded later the same year after the departure of Dr. Dre and songwriter The D.O.C. to form Death Row Records; the album features only four members of the original line-up, as Ice Cube had already left the group in 1989. Niggaz4Life debuted at number 2 on the Billboard 200, but in its second week peaked at #1.
I POSTED A LONG TIME AGO THE FOUR ELEMENTS OF HIP HOP- LAUREN HILL DEPCITED AS FOUR ARMED GODDESS CONTROLLING THE FOUR ELEMENTS OF HIP HOP
Gods and Goddesses are generally no strangers to controlling the elements: Earth, wind, etc. That Captain Planet shit. But for their 1996 photo issue Rap Pages mutated Lauryn Hill into a four-armed goddess that controlled the elements of hip-hop culture. Okay, four element worship is sort of a cheesy premise today, but putting the focus on Lauryn specifically predicted her forthcoming run as the most successful female rapper of all-time by a few years.
VIBE AND THE FOUR PRINCIPLES OF DEATH ROW
At the height of the East Coast/West Coast feud, it seemed like one party or the other was on the cover of VIBE every month. For this Death Row cover they presented the label's four principles—Snoop, Pac, Suge, and Dre—as mafioso kingpins, brothers united, in a perfect visual articulation of cover writer Kevin Powell's threatening description of the the gangster workings of label.
I TOLD MY FRIEND AKASH ABOUT THE FOUR ELEMENTS AND THE QUADRANT MODEL IN COLLEGE MY SOPHOMORE YEAR AND HE TOLD ME HE RECENTLY WATCHED A DOCUMENTARY ON THE FOUR ELEMENTS OF HIP HOP
Hip hop music, also called hip-hop or rap music, is a music genre developed in the United States by inner-city African Americans in the 1970s which consists of a stylized rhythmic music that commonly accompanies rapping, a rhythmic and rhyming speech that is chanted. It developed as part of hip hop culture, a subculture defined by four key stylistic elements: MCing/rapping, DJing/scratching with turntables, break dancing, and graffiti writing.
THE FOUR TRADITIONAL DANCES OF HIP HOP
The four traditional dances of hip hop are rocking, b-boying/b-girling, locking and popping, all of which trace their origins to the late 1960s or early 1970s
I POSTED ALL THIS STUFF YEARS AGO- THE FOUR ELEMENTS OF BREAK DANCING
Breakdancing, also called breaking or b-boying, is an athletic style of street dance. While diverse in the amount of variation available in the dance, breakdancing mainly consists of four kinds of movement: toprock, downrock, power moves, and freezes.
There are four primary elements that form breakdancing. They are toprock, downrock, power moves, and freezes.
Toprock generally refers to any string of steps performed from a standing position. It is usually the first and foremost opening display of style, though dancers often transition from other aspects of breakdancing to toprock and back. Toprock has a variety of steps which can each be varied according to the dancer's expression (i.e. aggressive, calm, excited). A great deal of freedom is allowed in the definition of toprock: as long as the dancer maintains cleanliness, form, and attitude, theoretically anything can be toprock. Toprock can draw upon many other dance styles such as popping, locking, tap dance, Lindy hop, or house dance. Transitions from toprock to downrock and power moves are called "drops".
Downrock (also known as "footwork" or "floorwork") is used to describe any movement on the floor with the hands supporting the dancer as much as the feet. Downrock includes moves such as the foundational 6-step, and its variants such as the 3-step. The most basic of downrock is done entirely on feet and hands but more complex variations can involve the knees when threading limbs through each other.
Power moves are acrobatic moves that require momentum, speed, endurance, strength, flexibility, and control to execute. The breaker is generally supported by his upper body while the rest of his body creates circular momentum. Some examples are the windmill, swipe, back spin, and head spin. Some power moves are borrowed from gymnastics and martial arts. An example of a power move taken from gymnastics is the Thomas Flair which is shortened and spelled flare in b-boying.
Freezes are stylish poses that require the breaker to suspend himself or herself off the ground using upper body strength in poses such as the pike. They are used to emphasize strong beats in the music and often signal the end of a set. Freezes can be linked into chains or "stacks" where breakers go from freeze to freeze to freeze in order to hit the beats of the music which displays musicality and physical strength.
THE FIRST HIP HOP GROUP TO RECEIVE A RECORD DEAL WERE FOUR MEMBERS THEN THEY ADDED ANOTHER MAKING THEM THE FOUR PLUS ONE
Funky 4 + 1 was an American hip hop group from The Bronx, New York. They were the first hip hop group to receive a recording deal, and the first to perform live on national television. The group was also notable for being the first to have a female MC.
Formed in 1976, the original four members were the Voice of K.K., aka K.K. Rockwell (Kevin Smith); Keith Keith (Keith Caesar); Sha Rock (Sharon Green); and Rahiem (Guy Todd Williams). The group was the first hip hop group to have a female MC, Sha Rock. Rahiem later left the group to join Grandmaster Flash and The Furious Five. Sha Rock temporarily left as well. They were replaced by Li'l Rodney C! (Rodney Stone) and MC Jazzy Jeff (Jeffrey Miree), becoming the New Funky Four. With the return of Sha Rock, they became the Funky Four Plus One More.
BEATS IN RAP ARE ALMOST ALWAYS IN A 4/4 TIME SIGNATURE
Rapping, also referred to as MCing or emceeing, is a vocal style in which the artist speaks lyrically and rhythmically, in rhyme and verse, generally to an instrumental or synthesized beat. Beats, almost always in 4/4 time signature, can be created by sampling and/or sequencing portions of other songs by a producer.
THESE 16 PAD DRUM MACHINES ARE THE MOST POPULAR- THE 16 PADS ARE A FOUR BY FOUR QUADRANT MODEL- I WATCHED A DOCUMENTARY ON HIP HOP AND THE 16 PAD DRUM MACHINE WAS WHAT THE BIGGEST RAP MUSICIANS USED AND THEY STILL USE IT
The MPC60 is a 16 voice polyphonic 12-bit 40 kHz sampler / 99 track sequencer designed in large part by Roger Linn after Linn Electronics closed. It was similar to the Linn 9000. Akai released it in 1988. It had 750 kB memory standard, expandable to 1.5 MB. The sequencer is very flexible and powerful, famous both for its "swing" setting, and its easy to use step programming. It had 2 MIDI inputs / 4 MIDI outputs, allowing it to control up to 64 devices. The sequencer itself was offered as a separate product, known as the ASQ10, also released in 1988. The MPC60-II was nearly identical to the MPC60, but it featured a headphone output, and a plastic case, instead of the metal case of the original. It was released in 1991.
16 velocity-sensitive pads
2 pad banks (64 voices per program)
sampling rate of 40 kHz (freq response 20 Hz - 18 kHz)
16-bit ADC and DAC, with data stored in special non-linear 12bit format (for low noise)
750 kB sampling memory (13.1 seconds), upgradable to 1.5 MB (26.2 seconds) (expansion card: EXM003)
128 sounds in memory, 64 sounds per program, 16 voice polyphony.
2 MIDI inputs, 4 MIDI outputs
20 songs, 99 sequences, 99 tracks, 60,000 note capacity
timing resolution of 96ppq (parts per quarter note)
syncable via MIDI Time Code (MTC), MIDI Clock, FSK24, SMPTE, 1/4 note click.
SMPTE supported frame rates: 24, 25, 29.97 drop, and 30.
8 assignable outputs + 1 stereo + 1 effects send/return
Internal 3½" floppy drive (Double Density 720 kB)
optional 3rd-party SCSI interface (by Marion Systems)
An AKAI MPC2000 sampler
THE FOUR YORKSHIREMEN
The "Four Yorkshiremen" sketch is a comedy sketch written by Tim Brooke-Taylor, John Cleese, Graham Chapman and Marty Feldman and originally performed on their TV series At Last the 1948 Show in 1967. It later became associated with the comedy group Monty Python (which included Cleese and Chapman), who performed it in their live shows, including Monty Python Live at the Hollywood Bowl. The sketch is a parody of nostalgic conversations about humble beginnings or difficult childhoods, featuring four men from Yorkshire who reminisce about their upbringing. As the conversation progresses they try to outdo one another, and their accounts of deprived childhoods become increasingly absurd.
At Last the 1948 Show
The Four Yorkshiremen sketch was originally written and performed for the 1967 British television comedy series At Last the 1948 Show by the show's four writer-performers: Tim Brooke-Taylor, John Cleese, Graham Chapman and Marty Feldman.  Barry Cryer is the wine waiter in the original performance and may have contributed to the writing. The original performance of the sketch by the four creators is one of the surviving sketches from the programme and can be seen on the At Last the 1948 Show DVD.
I'm Sorry I'll Read That Again
A near derivative of the sketch appears in the BBC Radio show I'm Sorry I'll Read That Again Series 7, Episode 5 on 9 February 1969, in which the cast (Cleese, Graeme Garden, Tim Brooke-Taylor, Bill Oddie and David Hatch) in the guise of old buffers at a gentlemen's club, employ the same trope of out-doing each other for hardship, this time in the context of how far and how slowly they had to walk to get to various places in former days. It even ends with the same payoff line "...and if you tell that to the young people today, they won't believe you..."
Cleese and Chapman were later among the founder members of the comedy group Monty Python. The "Four Yorkshiremen" sketch has been performed by Python during their live shows, Live at Drury Lane (1974, no video recording available), Live at the Hollywood Bowl (1982) and Monty Python Live (Mostly) (2014, performed at The O₂), each performance varying slightly in its content. The performers in each case were Chapman (replaced by Cleese in the 2014 performance), Eric Idle, Terry Jones and Michael Palin (Palin is the only member of the group actually from Yorkshire). It was also performed by Cleese, Jones, Palin and Rowan Atkinson for The Secret Policeman's Ball, the 1979 Amnesty International benefit gala.
The sketch was revived for the 2001 Amnesty show We Know Where You Live, performed by Harry Enfield, Alan Rickman, Eddie Izzard and Vic Reeves. In 1989 the script was published in the charity fundraiser The Utterly, Utterly Amusing and Pretty Damn Definitive Comic Relief Revue Book under the title "The Good Old Days", with the characters named as Joshua, Obadiah, Josiah and Ezekiel. This book was launched on an edition of the primetime chat show Wogan where the sketch was performed by Terry Wogan, Stephen Fry, Gareth Hale and Norman Pace.
In the mid 1990s the Hungarian comedy group Holló Színház translated and performed an adapted version of the sketch, substituting "four millionaires" for the Yorkshiremen. The sketch had a particular resonance for older Hungarians as exaggerating the level of your family's poverty and proletarian origins was a common practice to gain favour with Communist authorities in the immediate post-war period through to the 1950s.
In March 2015 the sketch was revived and adapted in a live television performance, for Red Nose Day 2015, by Davina McCall, John Bishop, David Walliams and Eddie Izzard.
I POSTED ALL THIS STUFF YEARS AGO BUT NOW IVE BEEN PUTTING STUFF ON THE WEBSITE SUMMARY PAGES- BUT THE WIND IN THE WILLOWS WAS EXTREMELY FAMOUS AND I REMEMBER LEARNING ABOUT IT AS A KID- THERE ARE FOUR ANTHROPOMORPHIC ANIMALS AS THE MAIN FOCUS
The Wind in the Willows is a children's novel by Kenneth Grahame, first published in 1908. Alternately slow moving and fast-paced, it focuses on four anthropomorphised animals in a pastoral version of Edwardian England. The novel is notable for its mixture of mysticism, adventure, morality and camaraderie, and celebrated for its evocation of the nature of the Thames Valley.
I RECENTLY WENT TO A FESTIVAL WITH A FRIEND AND THEY PLAYED THIS SONG- HE SAYS "GIVE IT TO ME ONE TIME TWO TIMES THREE TIMES FOUR TIMES" AND THERE IS A CORRESPONDING ONE HUH SOUND TWO THREE AND FOUR- MAKING A TETRACTYS TEN CLAPS- AND HIS NUMBER IS 5446 REPETITION OF FOURS
The collagen of the sclera is continuous with the cornea. From outer to innermost, the four layers of the sclera are: