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  • Country USA
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  • Director Alla Kovgan
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I love this song. Cunningham children's home urbana illinois. Level 1 Rosas did laundry from Thibs era. Just like Jesus Christ did laundry after Yandhi level 2 He has cleared out a good chunk of the Rosas era too! Vonleh Bell Napier level 1 Rosas said “IMMA FIX WOLVES” level 1 Well it clearly wasnt working before so good. level 1 Around 6 months is all it took for rosas to be one of the best pobo in our history. level 2 On paper. It still has to work level 2 Build around Jordan McLaughlin level 1 I love this. Cleaning house. We needed change badly. Welcome to r/timberwolves Reddit Inc 2020. All rights reserved.


Cuningham group. Cunningham vs fury. I just bought Cunningham as soon as I got off work and powered him all the way up. He is a 96 overall on my ravens theme team with 40/40 ravens passing. I started him one game and sold him right after. Not because he was bad. But because I felt like a traitor lol. I am a huge ravens and Lamar Jackson fan. So for that reason alone I sold the full Cunningham and put the PU at backup where he is still a 93 ovr. level 1 I kinda want him because he looks insane. But he was before my time and hes not exactly a Ravens legend, plus with the season Lamar is having it would feel weird to not use him lol level 1 He only went upto 96 after 94 PU with 40/40 passing? What were some of his stats? level 2 91 speed 98 throw power 99 deep accuracy. Those were the big ones. level 1 Agreed with you about wanting to use Lamar just because we're more fans of his. Can just sub Cunningham in if you know you're throwing deep on a play level 2 Yeah but thats obvious level 1 If I level him up can i use a 91/92 pass to get him to 93.

Im coming for you Charli WHAT DID I DO JORDAN. I love this man. Gives me throwback vibes to Kurt Hummel honestly. Cunningham cemetery. Critics Consensus Cunningham may frustrate viewers hoping for a purer distillation of its subject's work, but it remains a solid tribute to a brilliant talent. 86% TOMATOMETER Total Count: 49 100% Audience Score User Ratings: 5 Cunningham Ratings & Reviews Explanation Tickets & Showtimes The movie doesn't seem to be playing near you. Go back Enter your location to see showtimes near you. Cunningham Videos Movie Info CUNNINGHAM traces Merce's artistic evolution over three decades of risk and discovery (1944-1972) from his early years as a struggling dancer in postwar New York to his emergence as one of the world's most visionary choreographers. The 3D technology weaves together Merce's philosophies and stories, creating a visceral journey into his innovative work. A breathtaking explosion of dance, music, and never-before-seen archival material, CUNNINGHAM is a timely tribute to one of the world's greatest modern dance artists. Rating: PG (for some smoking) Genre: Directed By: In Theaters: Dec 13, 2019 limited Runtime: 93 minutes Studio: Magnolia Pictures Cast News & Interviews for Cunningham Critic Reviews for Cunningham Audience Reviews for Cunningham Cunningham Quotes News & Features.

Cunningham nfl. Cunningham gas. Cunningham north east pa. Cunningham cichlids. Level 1 This seat's results will probably be close to mirroring the presidential race. Hopefully Democrats can win both. level 2 Competitive North Carolina races does seem to end up in close margins most of the time. Like how Trump won in 2016 while Roy Cooper also won in 2016. I think it can be very possible for the Senate and Presidency to go different ways. level 1 Read Tillis' number at 32 at first, was way too excited lol level 2 Stay on on target level 1 Would there be any change of Trump winning the state but Cunningham getting the Senate seat? level 2 Cooper won the governorship in 2016 while Trump won. It is not likely, but definitely not impossible. level 1 As far as I'm aware Tillis has not been ahead in any hypothetical poll thus far, although they've all been close and have all had a modest amount of undecideds. Not a good sign for an incumbent going against an opponent who still has a lot of room to grow in name recognition. level 2 Tillis barely unseated Kay Hagan in a good year for the GOP. He won by 1% and his approval has been in the toilet for a long time. I think people are really sleeping on this race and it's one of our biggest pickup opportunities this year. If someone like a Joe Biden is our nominee, he'd likely take NC and Cunningham would probably win by a wider margin than if Sanders gets the nominee. I do think Cunningham will win, but the margin will depend on our nominee.

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Cunningham and nelson in roxboro nc obituaries. Cunninghamia lanceolata. Ok but umm best original Christmas song of 2019. Cunningham muffins guy. Cunningham ks. Cunningham cylinder. Cunningham funeral home. Cunningham auction. 2:00 I felt that moment so bad lol. As long as you believe I know you'll receive 🍃🤗💓👏❤ Amen #2019 💓 #weneedyoulord. Why do you talk like a gril 😂😂😂 GRIL Btw you don't talk like a gril. I once stayed up till 6am on a school night. Cunningham film. Buena buena 👏🏻. No one: Litterly no one: Them: Sees a half zebra half bird animal* 😂😂😂😂😂😂. Cunningham park. Cunningham construction. /r/DisneyPlus is a subreddit for discussion of Disney's streaming service, Disney. Disney+ is a direct-to-consumer streaming service offering movies, series and short form content from Disney, Pixar, Marvel, Star Wars, National Geographic, and more. This is a fan-run community in no way authorized, sponsored or endorsed by Disney+ or the Walt Disney Company.

1 win & 6 nominations. See more awards  » Edit Storyline Even for those who know little about dance, Merce Cunningham is a recognizable name - an iconic figure in his field. His mid-20th century collaborations with composer John Cage (his lifelong partner) and visual artist Robert Rauschenberg were central to an era of transformation. Cunningham resisted "avant-garde" or any other label. "I don't describe it. I do it. he once said. Now, with Cunningham, we have a chance to experience what he did. Filmmaker Alla Kovgan assembles the last generation of Cunningham dancers (led by Merce Cunningham Dance Company assistant director of choreography Jennifer Goggans) to present landmark works from the Cunningham repertoire. The film concentrates on the three decades from 1942 to 1972 when Cunningham was making his reputation. Gorgeously shot in 3D, Cunningham brings us closer to these works than any audience has ever been before. Taking an inventive approach with locations, the film places dancers in evocative backdrops such as a tunnel, a... Written by Toronto International Film Festival Plot Summary, Add Synopsis Taglines: One choreographer defined 20th century modern dance. See more  » Details Release Date: 13 December 2019 (USA) Box Office Opening Weekend USA: 18, 422, 15 December 2019 Cumulative Worldwide Gross: 211, 175 See more on IMDbPro  » Company Credits Technical Specs See full technical specs  ».

Cunningham covers. Cunningham campers. Cunningham& 39;s law. Wanna ride a bike well ya cant cause theres a baby 😤👊🏼. Vegan leather cord. Cunningham restaurant group indianapolis. Cunningham brothers auto parts. Cunningham brothers. Vegan leather cleaner. Cunningham vs glowacki. Cunningham piano company. Cunningham madison. Cunningham falls. Cunningham cars. Cunningham's towson. Merce Cunningham Merce Cunningham in 1961 Born Mercier Philip Cunningham April 16, 1919 Centralia, Washington Died July 26, 2009 (aged 90) New York, New York Occupation Dancer, choreographer Years active 1938–2009 Partner(s) John Cage [1] Website Mercier Philip " Merce " Cunningham (April 16, 1919 – July 26, 2009) was an American dancer and choreographer who was at the forefront of American modern dance for more than 50 years. He is also notable for his frequent collaborations with artists of other disciplines, including musicians John Cage, David Tudor, Brian Eno, Radiohead, artists Robert Rauschenberg, Bruce Nauman, Andy Warhol, Roy Lichtenstein, Frank Stella, Jasper Johns, and costume designer Rei Kawakubo. Works that he produced with these artists had a profound impact on avant-garde art beyond the world of dance. As a choreographer, teacher and leader of the Merce Cunningham Dance Company, 2] Cunningham had a profound influence on modern dance. Many dancers who trained with Cunningham formed their own companies. They include Paul Taylor, Remy Charlip, Viola Farber, Charles Moulton, Karole Armitage, Robert Kovich, Foofwa d'Imobilité, Kimberly Bartosik, Flo Ankah, Jan Van Dyke, Jonah Bokaer, and Alice Reyes. In 2009, the Cunningham Dance Foundation announced the Legacy Plan, a precedent-setting plan for the continuation of Cunningham's work and the celebration and preservation of his artistic legacy. [3] Cunningham earned some of the highest honors bestowed in the arts, including the National Medal of Arts and the MacArthur Fellowship. He also received Japan's Praemium Imperiale and a British Laurence Olivier Award, and was named Officier of the Légion d'honneur in France. Cunningham's life and artistic vision have been the subject of numerous books, films, and exhibitions, and his works have been presented by groups including the Paris Opéra Ballet, New York City Ballet, American Ballet Theatre, White Oak Dance Project, and London's Rambert Dance Company. Biography [ edit] Merce Cunningham was born in Centralia, Washington in 1919, the second of three sons. Both his brothers followed their father, Clifford D. Cunningham, 4] into the legal profession. Cunningham first experienced dance while living in Centralia. He took tap class from a local teacher, Mrs. Maude Barrett, whose energy and spirit taught him to love dance. Her emphasis on precise musical timing and rhythm provided him a clear understanding of musicality that he implemented in his later dance pieces. [5] He attended the Cornish School in Seattle, headed by Nellie Cornish, from 1937 to 1939 to study acting, but found drama's reliance on text and miming too limiting and concrete. Cunningham preferred the ambiguous nature of dance, which gave him an outlet for exploration of movement. [6] During this time, Martha Graham saw Cunningham dance and invited him to join her company. [7] In 1939, Cunningham moved to New York and danced as a soloist in the Martha Graham Dance Company for six years. He presented his first solo concert in New York in April 1944 with composer John Cage, who became his lifelong romantic partner and frequent collaborator until Cage's death in 1992. [8] In the summer of 1953, as a teacher in residence at Black Mountain College, Cunningham formed the Merce Cunningham Dance Company. Over the course of his career, Cunningham choreographed more than 200 dances and over 800 "Events. or site-specific choreographic works. In 1963 he joined with Cage to create the Walker Art Center 's first performance, instigating what would be a 25-year collaborative relationship with the Walker. In his performances, he often used the I Ching in order to determine the sequence of his dances and, often, dancers were not informed of the order until the night of the performance. In addition to his role as choreographer, Cunningham performed as a dancer in his company into the early 1990s. In 1968 Cunningham and Francis Starr published a book, Changes: Notes on Choreography, containing various sketches of their choreography. He continued to lead his company until his death, and presented a new work, Nearly Ninety, in April 2009, at the Brooklyn Academy of Music, New York, to mark his 90th birthday. [9] Cunningham lived in New York City, and was Artistic Director of the Merce Cunningham Dance Company. He died in his home at the age of 90. [10] Merce Cunningham Dance Company [ edit] Cunningham formed Merce Cunningham Dance Company (MCDC) at Black Mountain College in 1953. Guided by its leader's radical approach to space, time and technology, the Company has forged a distinctive style, reflecting Cunningham's technique and illuminating the near limitless possibility for human movement. The original company included dancers Carolyn Brown, Viola Farber, Paul Taylor, and Remy Charlip, and musicians John Cage and David Tudor. In 1964 the Cunningham Dance Foundation was established to support his work. [11] MCDC made its first international tour in 1964, visiting Europe and Asia. [11] From 1971 until its dissolution in 2012, the company was based in the Westbeth Artists Community in West Village; for a time Cunningham himself lived a block away at 107 Bank Street, with John Cage. On July 20, 1999 Merce Cunningham and Mikhail Baryshnikov performed together at the New York State Theater for Cunningham's 80th birthday. [12] In its later years, the company had a two-year residency at Dia:Beacon, where MCDC performed Events, Cunningham's site-specific choreographic collages, in the galleries of Richard Serra, Dan Flavin, and Sol LeWitt among others. In 2007, MCDC premiered XOVER, Cunningham's final collaboration with Rauschenberg, at Dartmouth College in New Hampshire. In 2009, MCDC premiered Cunningham's newest work, Nearly Ninety, at the Brooklyn Academy of Music. The Company concluded its farewell tour on December 31, 2011 [13] with a performance at the Park Avenue Armory. [14] Artistic philosophy [ edit] Collaboration [ edit] Still frame from Loops, a digital art collaboration with Cunningham and The OpenEnded Group that interprets Cunningham's motion-captured dance for the hands. Merce Cunningham Dance Company frequently collaborated with visual artists, architects, designers, and musicians. Many of Cunningham's most famous innovations were developed in collaboration with composer John Cage, his life partner. Cunningham and Cage used stochastic (random) procedures to generate material, discarding many artistic traditions of narrative and form. Famously, they asserted that a dance and its music should not be intentionally coordinated with one another. [15] After his death, John Cage was succeeded in the role of music director by David Tudor. After 1995, MCDC's music director was Takehisa Kosugi. MCDC commissioned more work from contemporary composers than any other dance company. Its repertory included works by musicians ranging from John Cage and Gordon Mumma to Gavin Bryars as well as popular bands like Radiohead, Sigur Rós and Sonic Youth. [16] The Company also collaborated with an array of visual artists and designers. Robert Rauschenberg, whose famous "Combines" reflect the approach he used to create décor for a number of MCDC's early works, served as the Company's resident designer from 1954 through 1964. Jasper Johns followed as Artistic Advisor from 1967 until 1980, and Mark Lancaster from 1980 through 1984. The last Advisors to be appointed were William Anastasi and Dove Bradshaw in 1984. Other artists who have collaborated with MCDC include Daniel Arsham, Tacita Dean, Liz Phillips, Rei Kawakubo, Roy Lichtenstein, Bruce Nauman, Ernesto Neto, Frank Stella, Benedetta Tagliabue, and Andy Warhol. Chance operations [ edit] John Cage and I became interested in the use of chance in the 50s. I think one of the very primary things that happened then was the publication of the " I Ching. the Chinese book of changes, from which you can cast your fortune: the hexagrams. Cage took it to work in his way of making compositions then; and he used the idea of 64—the number of the hexagrams —to say that you had 64, for example, sounds; then you could cast, by chance, to find which sound first appeared, cast again, to say which sound came second, cast again, so that it's done by, in that sense, chance operations. Instead of finding out what you think should follow—say a particular sound—what did the I Ching suggest? Well, I took this also for dance. I was working on a title called, Untitled Solo. and I had made—using the chance operations—a series of movements written on scraps of paper for the legs and the arms, the head, all different. And it was done not to the music but with the music of Christian Wolff. —  Merce Cunningham, Merce Cunningham: A Lifetime of Dance, 2000 Cunningham valued the process of a work over the product. Because of his strong interest in the creation of the choreography he used chance procedures in his work. A chance procedure means that the order of the steps or sequence is unknown until the actual performance and is decided by chance. For instance in his work Suite by Chance he used the toss of a coin to determine how to put the choreographed sequences together. Indeterminacy was another part of Cunningham's work. Many of his pieces had sections or sequences that were rehearsed so that they could be put in any order and done at any time. [17] Although the use of chance operations was considered an abrogation of artistic responsibility, 18] Cunningham was thrilled by a process that arrives at works that could never have been created through traditional collaboration. This does not mean, however, that Cunningham considered every piece created in this fashion a masterpiece. Those dances that did not "work" were quickly dropped from repertory, while those that do were celebrated as serendipitous discoveries. Cunningham used "non-representational" choreography which simply emphasizes movement, and does not necessarily represent any historical narrative, emotional situation, or idea. Such non-representational dance appears in many styles throughout history, but was not commonly used by ballet or Martha Graham, Cunningham's primary influences. In the use of chance procedures Cunningham abandoned the more traditional structured form of dance, he did not believe that a dance needs a beginning, middle or end. [17] 19] Examples in works [ edit] In Sixteen Dances for Soloist and Company of Three (1951) Cunningham used Indeterminacy for the first time in this piece; the changing element for each show was the sequence of the sections. In Field Dances (1963) Cunningham experimented with giving the dancer more freedom. Each dancer was given a sequence of movements with which they could do as they pleased. This included exiting and entering at will, executing it in any order and as many times as desired. In Story (1963) Cunningham experimented with the variables of costumes and sets. Before each performance dancers chose an outfit from a pile of second hand clothes picked out by the designer, Robert Rauschenberg. Rauschenberg was also responsible for creating a new set for every show with items he found in the theatre. Suite by Chance (1953) was his first work made entirely through chance procedures. Charts were created listing elements such as space, time, and positions. A coin was then tossed to determine each of these elements. Canfield (1969) was created by using playing cards. Each movement was assigned a playing card and chosen randomly. [20] Use of technology [ edit] Cunningham's lifelong passion for exploration and innovation made him a leader in applying new technologies to the arts. He began investigating dance on film in the 1970s, and after 1991 choreographed using the computer program DanceForms. Cunningham explored motion capture technology with digital artists Paul Kaiser and Shelley Eshkar to create Hand-drawn Spaces, a three-screen animation that was commissioned by and premiered at SIGGRAPH in 1998. This led to a live dance for the stage, BIPED, for which Kaiser and Eshkar provided the projected decor. In 2008, Cunningham released his Loops choreography for the hands as motion-capture data under a Creative Commons license; this was the basis for the open source collaboration of the same name with The OpenEnded Group. Cunningham was one of the first choreographers to begin experimenting with film. He created an original work for the video Westbeth (1974) in collaboration with filmmaker Charles Atlas [17] In 2009, Cunningham's interest in new media led to the creation of the behind-the-scenes webcast Mondays with Merce. [21] Perspective [ edit] The use of stage space also changed in Cunningham's choreography. The "front and centre" spot traditionally coveted by soloists no longer exists in his works. Dance can take place on any part of the stage; it need not even be frontally oriented, but can be viewed from any angle (at performances in Cunningham's own studio, for instance, audiences are seated in an L-shaped configuration. The viewer's focus is never directed to a particular spot; he must often decide among many centres of activity. [22] Merce Cunningham saw randomness and arbitrariness as positive qualities because they exist in real life. [17] Most of Cunningham's choreographic process works to break the boundaries of "putting on a show. the removal of center stage is an example of this—without a focal point for the audience, no one dancer or step holds the most value and can be seen as arbitrary. or not. Legacy Plan [ edit] The Cunningham Dance Foundation announced the Legacy Plan (LLP) in June 2009. The Plan provided a roadmap for the future of the Merce Cunningham Dance Company, as envisioned by Cunningham. The first of its kind in the dance world, the plan represented Cunningham's vision for continuing his work in the upcoming years, transitioning his Company once he was no longer able to lead it, and preserving his oeuvre. The Legacy Plan included a comprehensive digital documentation and preservation program, which ensures that pieces from his repertory can be studied, performed and enjoyed by future generations with knowledge of how they originally came to life. By other provisions of the plan, the Merce Cunningham Trust, established by Cunningham to serve as the custodian for his works, controls his dances for licensing purposes; Cunningham associates prepared detailed records of the dances so they could be licensed and given authentic productions by other companies. [23] In addition, the plan outlined a final international tour for the Company, and, ultimately, the closure of the Cunningham Dance Foundation and Merce Cunningham Dance Company and the transfer of all assets to the Merce Cunningham Trust. From Merce's death at age 90 through the Board's last meeting in 2012, the Legacy Plan implemented his wish that the Company complete a worldwide legacy tour and then close. The final performance of the Merce Cunningham Dance Company was on December 31, 2011, at the Park Avenue Armory in New York City. The final meeting of the Board of Directors for the Merce Cunningham Dance Company was held March 15, 2012, in Cunningham's studio at the top of the Westbeth building in the West Village. [24] Exhibitions [ edit] There have been numerous exhibitions dedicated to Cunningham's work. In addition, his visual art is represented by Margarete Roeder Gallery. The major exhibition Invention: Merce Cunningham & Collaborators at the New York Public Library for the Performing Arts closed on October 13, 2007. Merce Cunningham: Dancing on the Cutting Edge, an exhibition of recent design for MCDC, opened at the Museum of Contemporary Art, North Miami, in January 2007. A trio of exhibitions devoted to John Cage, Robert Rauschenberg, and Merce Cunningham, curated by Ron Bishop, were shown in the spring of 2002 at the Gallery of Fine Art, Edison College, Fort Myers, Florida. A major exhibition about Cunningham and his collaborations, curated by Germano Celant, was first seen at the Fundació Antoni Tàpies in Barcelona in 1999, and subsequently at the Fundação de Serralves, Porto, Portugal, 1999; the Museum Moderner Kunst Stiftung Ludwig, Vienna, 2000; and the Museo d'Arte Contemporanea, Castello di Rivoli, Turin, 2000. Works [ edit] Cunningham choreographed almost 200 works for his company. [25] Suite for Five (1956–1958) Music: John Cage, Music for Piano Costumes: Robert Rauschenberg [26] Lighting: Beverly Emmons Crises (1960) Music: Conlon Nancarrow (from Rhythm Studies for Player Piano) Costumes, Lighting: Robert Rauschenberg Rainforest (1968) Music: David Tudor Décor: Andy Warhol (Silver Clouds) Costumes: Jasper Johns (uncredited) Lighting: Richard Nelson Second Hand (1970) Music: John Cage, Cheap Imitation) Décor & Costumes: Jasper Johns Lighting: Richard Nelson (1970) Christine Shallenberg (2008) Sounddance (1975) Music: David Tudor, Toneburst & Untitled (1975/1994) Décor, Lighting, Costumes: Mark Lancaster Fabrications (1987) Music: Emanuel Dimas de Melo Pimenta, Short Waves & SBbr Décor, Costumes: Dove Bradshaw Lighting: Josh Johnson CRWDSPCR (1993) Music: John King, blues 99 Ocean (1994) Music: David Tudor, Soundings: Ocean Diary and Andrew Culver, Ocean 1–95 Décor, Lighting, Costumes: Marsha Skinner BIPED (1999) Music: Gavin Bryars, Biped Décor: Paul Kaiser, Shelley Eshkar Costumes: Suzanne Gallo Lighting: Aaron Copp Split Sides (2003) Music: Radiohead, Sigur Rós Décor: Robert Heishman, Catherine Yass Costumes: James Hall Lighting: James F. Ingalls Views on Stage (2004) Music: John Cage, ASLSP and Music for Two Décor: Ernesto Neto, Other Animal eyeSpace (2006) Music: Mikel Rouse, International Cloud Atlas Décor: Henry Samelson, Blues Arrive Not Anticipating What Transpires Even Between Themselves Costumes: Henry Samelson eyeSpace (2007) Music: David Behrman, Long Throw and/or Annea Lockwood, Jitterbug Décor: Daniel Arsham, ODE/EON Costumes: Daniel Arsham XOVER (2007) Music: John Cage, Aria (1958) and Fontana Mix (1958) Décor & Costumes: Robert Rauschenberg, Plank Nearly Ninety (2009) Music: John Paul Jones, Takehisa Kosugi, Sonic Youth Décor: Benedetta Tagliabue Costumes: Romeo Gigli for io ipse idem Lighting: Brian MacDevitt Video Design: Franc Aleu Honors and awards [ edit] 2009 Jacob's Pillow Dance Award Skowhegan Medal for Performance 2008 Honorary Doctorate of Fine Arts from Bard College, Annandale-on-Hudson, NY 2007 Nelson A. Rockefeller Award, Purchase College School of the Arts, State University of New York Montgomery Fellow (Arts and Literature) Dartmouth College, Hanover NH 2006 Honorary Doctorate of Fine Arts, Cornish College of the Arts, Seattle WA 2005 Honorary Doctorate of Humane Letters, University of Minnesota, Minneapolis MN Praemium Imperiale, Tokyo 2004 Officier of the Légion d'Honneur, France 2003 Edward MacDowell Medal in interdisciplinary art, the MacDowell Colony, Peterborough NH 2002 Kitty Carlisle Hart Award for Outstanding Achievement in the Arts ( Arts & Business Council) New York NY MATA (Music at the Anthology) Award, New York NY Medal of the City of Dijon, France 2001 Coat of Arms of the City of Mulhouse, France La Grande Médaille de la Ville de Paris (echelon vermeil) from the Mayor of Paris Career Transition for Dancers Award, New York NY Herald Archangel Award, Glasgow, Scotland Village Award, Greenwich Village Society for Historic Preservation, New York Honorary degree from Edith Cowan University, Perth, Western Australia 2000 Nijinsky Special Prize, Monaco The Dorothy and Lillian Gish Prize, New York NY Named a "Living Legend" by the Library of Congress, Washington DC 1999 Premio Internazionale "Gino Tani. Rome Handel Medallion from the Mayor of New York City NY Isadora Duncan Dance Award for Lifetime Achievement, San Francisco CA Fellow of the Academy of Performing Arts, Hong Kong The key to the City of Montpellier, France 1998 Bagley Wright Fund Established Artists Award, Seattle WA 1997 Barnard College Medal of Distinction, New York NY Grand Prix of the Société des Auteurs et Compositeurs Dramatiques, France 1996 Nellie Cornish Arts Achievement Award from his alma mater, Cornish College of the Arts, Seattle WA 1995 Honorary degree from Wesleyan University, Middletown CT Carina Ari Award (Grand Prix Video Danse with Elliot Caplan) Stockholm, Sweden Golden Lion of the Venice Biennale, Italy 1993 Inducted into the National Museum of Dance's Mr. Mrs. Cornelius Vanderbilt Whitney Hall of Fame in Saratoga Springs, NY Dance and Performance Award for Best Performance by a Visiting Artist, London, England Medal of Honor from the Universidad Complutense of Madrid, Spain (With John Cage, posthumously) the Wexner Prize of the Wexner Center for the Arts at Ohio State University, Columbus OH New York Dance and Performance Award ( Bessie. New York NY Tiffany Award from the International Society of Performing Arts Administrators, New York NY 1990 National Medal of Arts, Washington DC Porselli Prize, Italy Digital Dance Premier Award, London, England Award of Merit from the Association of Performing Arts Presenters, New York NY 1989 Chevalier of the Légion d'Honneur, France 1988 Dance/USA National Honor, New York NY 1987 Algur H. Meadows Award for Excellence in the Arts, Southern Methodist University, Dallas TX 1985 Laurence Olivier Award for Best New Dance Production (Pictures) London, England Kennedy Center Honors, Washington DC MacArthur Fellowship from the John D. and Catherine T. MacArthur Foundation, Chicago IL 1984 Inducted as an Honorary Member into the American Academy and Institute of Arts and Letters, New York NY 1983 The Mayor of New York's Award of Honor for Arts and Culture, New York NY 1982 The Samuel H. Scripps/American Dance Festival Award, Durham NC Commandeur de l'Ordre des Arts et des Lettres, France 1977 Capezio Award, New York NY 1975 New York State Award, Albany NY 1972 BITEF Award, Belgrade, Yugoslavia Honorary degree from the University of Illinois, Champaign/Urbana IL 1966 Gold Medal for Choreographic Invention at the Fourth International Festival of Dance, Paris 1964 Medal of the Society for the Advancement of Dancing in Sweden, Stockholm 1960 Dance Magazine Award, New York NY 1959 & 1954 Fellowships from the John Simon Guggenheim Memorial Foundation, New York NY Footnotes [ edit] "Merce Cunningham obituary. Telegraph (UK. July 27, 2009. Retrieved 2010-01-26. Merce Cunningham who died on July 26 aged 90, was a 20th-century choreographer; his career in dance, which lasted more than 60 years, began when, as a Seattle-based dance student in 1939, he was invited by Martha Graham to join her company in New York ^ Merce Cunningham Dance Company. Archived from the original on 2009-07-13. Retrieved 2010-01-26 { inconsistent citations} "Legacy Plan. Cunningham Dance Foundation. Retrieved 2010-01-26 { inconsistent citations} "Cunningham, Merce (1919-2009) Choreographer. Retrieved 2014-09-26. ^ Merce Cunningham. Cunningham Dance Foundation, 1980. VAST: Academic Video Online. Alexander Street Press. Accessed 27 June 2015. ^ Interview with Merce Cunningham. MacNeil-Lehrer Productions, 1999. Dance in Video: Volume II. Accessed 27 June 2015. ^ Merce Cunningham. 2013. Retrieved 2013-03-13. ^ Kaufman, Susan (30 August 2012. John Cage, with Merce Cunningham, revolutionised music, too. Washington Post. Retrieved 28 June 2015. ^ Vaughan, David (July 27, 2009. Merce Cunningham. The Guardian. London. Retrieved May 12, 2010. ^ Entertainment, Arts & Culture, Dance great Cunningham dies at 90. BBC News. 2009-07-28. Retrieved 2012-11-18. ^ a b "History. Merce Cunningham Trust. Retrieved 28 June 2015. ^ Macauley, Alistair (23 March 2008. aryshnikov's Artistry, Behind the Camera. The New York Times. Retrieved 28 June 2015. ^ Village Voice, Deborah Jowitt, Wednesday, September 7, 2011. ^ Macaulay, Alastair (2011-12-30. Merce Cunningham Dance Company at Park Avenue Armory. ISSN   0362-4331. Retrieved 2019-01-14. ^ Merce Cunningham. Retrieved 28 June 2015. ^ Vadukul, Alex (April 20, 2009. Sonic Youth, John Paul Jones Give Merce Cunningham's Dance Show a Fierce Soundtrack. Rolling Stone. Retrieved 31 January 2012. ^ a b c d Au, Susan. Ballet and Modern Dance. ^ Johnston, Jill (1996. Jasper Johns: Privileged Information. New York: Thames and Hudson. ISBN   0500017360. Quoted in Glueck, Grace (9 Feb 1997. Hiding Behind the Flag. The New York Times Book Review. Retrieved 29 June 2015. ^ Au, Susan. Ballet and Modern Dance. Thames & Hudson. p. 156. ISBN   978-0-500-20352-1. ^ Au, Susan. Ballet and Modern Dance (2nd ed. ISBN   978-0-500-20352-1. ^ Mondays with Merce ^ Au, Susan (2012. London, England: Thames & Hudson world of art. ISBN   978-0-500-20411-5. ^ Daniel J. Wakin (June 9, 2009) Merce Cunningham Sets Plan for His Dance Legacy New York Times. ^ Sutton's Law: A Final Goodbye. 2012-03-18. Retrieved 2012-11-18. ^ Merce Cunningham Dance Company – Biography. 2009. Archived from the original on 2006-10-01. Retrieved 2009-07-28. ^ Robert Rauschenberg" Wikipedia, 2019-01-08, retrieved 2019-01-14 Sources [ edit] Bredow, Moritz von. 2012. "Rebellische Pianistin. Das Leben der Grete Sultan zwischen Berlin und New York. Biography, 368 pp, in German. Schott Music, Mainz, Germany. ISBN   978-3-7957-0800-9 (Biography on pianist Grete Sultan, John Cages's and Merce Cunningham's close friend. Many aspects regarding Cage and Cunningham! Bremser, M. (Ed) 1999) Fifty Contemporary Choreographers. Routledge. ISBN   0-415-10364-9 Cunningham, Merce (1968) Changes/Notes on Choreography. Something Else Press. Cunningham, M. and Lesschaeve, J. (1992) The Dancer and the Dance. Marion Boyars Publishers. ISBN   0-7145-2931-1 Vaughan, David (1999) Merce Cunningham: Fifty Years. Aperture. ISBN   0-89381-863-1 Vaughan, D. and Cunningham, M. (2002) Other Animals. ISBN   978-0-89381-946-0 Kostelanetz, R. (1998) Merce Cunningham: Dancing in Space and Time. Da Capo Press. ISBN   0-306-80877-3 Brown, Carolyn (2007) Chance and Circumstance Twenty Years with Cage and Cunningham. Alfred A. Knopf. ISBN   978-0-394-40191-1 Biography 53750 External links [ edit] Merce Cunningham Trust Merce Cunningham Dance Company Archival footage of the Merce Cunningham Dance Company performing in Sounddance in 2009 at Jacob's Pillow. DLAR Artists bio PBS:American Masters biography Kennedy Center biography Archive footage of the Merce Cunningham Dance Company performing Cunningham's piece Banjo in 1955 at Jacob's Pillow American Ballet Theater biography Merce Cunningham Film & Video at Electronic Arts Intermix Merce Cunningham ìn the Mediateca Media Art Space Merce Cunningham on IMDb Merce Cunningham — Daily Telegraph obituary Guardian Obituary Obituary in the Star-Gazette New York Times Obituary 28 July 2009.

A remarkable achievement by filmmaker Alla Kovgan, spending seven years to make this classic tribute to the late dancer/choreographer Merce Cunningham.
Working with both archive footage and valuable sound recordings, she conjures up the avant-garde artist through recordings of his work, his philosophy of his art and comments by many close collaborators including notably John Cage and Robert Rauschenberg. Not meant as a biopic, film concentrates on spectacularlhy cinematic (in 3-D) new performances of many of his dances, executed by members of his company, which disbanded in 2011, after Merce's death in 2009.
At a q&a following the screening, Kovgan indicated that Wim Wenders' innovative 2011 3-D dance film about German choreographer Pina Bausch inspired her to take on this formidable project, finally starting shooting in Stuttgart in 2015 with principal photography taking place in 2018.
Her use of 3-D technique is outstanding, resulting in gripping visual images, enhanced by the accompaniment of the original dance scores by John Cage and others. For a novice like me, not overly familiar with Merce's achievements, the movie brings his dance to life and points to how 3-D technology can be used artfully rather than as a gimmick, or its current excuse to permit higher price points for movie admissions to films, both animated and action-oriented, that should play just as well if not better in 2-D on large screens.

Cunningham middle school. My rough understanding from the deep dive is that, spoilers) Alt is the first free AI beyond the Blackwall that the voodoo boys believe they can reach. They are actively looking to break her out of the Blackwall (or believe that she will be the first to do it herself. I then imagine Johnny is either part of another AI or an AI himself that has slipped a very small part of itself past the wall, and wants to use V to get Alt through. It's possible that there are several interested parties based on parts of night city: The Voodoo Boys are out for straightforward gains and are the gang route, there will almost certainly be a Corpo looking for Alt, and Johnny perhaps is the real Johnny and reflects the immortality through AI offered by the chip, genuinely just wanting to be reunited with Alt. Or maybe he is himself a figment of another interested party. Any way you go, a V played smart enough is probably going to be kingmaker in any of this.

Cunningham road. 2 Posted by 2 months ago Nice one EA, Cunningham has 83 kick power! Higher than my actual kicker 7 comments 75% Upvoted Log in or sign up to leave a comment log in sign up Sort by level 1 7 points 2 months ago Cunningham punted a couple times in games. Even has a 91 yard punt to his name. Might be a nod to that. level 2 3 points 2 months ago he was an all american punter in college while playing qb level 2 Original Poster -2 points 2 months ago Yeah that is cool and all but we cant put him at kicker so whats the point lol Continue this thread   level 1 2 points 2 months ago Oop P Cunningham level 1 1 point 2 months ago His receiving stats are padded a bit too.

Cunningham movie. I love this song and you telling the truth if you wanna find out something that's the place to be. Cunningham recreation. Cunningham turch funeral home alexandria va. Read an article on Jared Lorenzen and about how he had an eating problem and I realized that it's an addiction just like drugs or alcohol but for some reason society doesn't handle it like that, like I'm an over eater and my friends and I use to think it's funny that I could eat 14 slices of pizza but it sucks when no one is around and you're always hungry and even when I'm not hungry I still want to eat. It's hard and his article made me realize that people of all kinds of backgrounds deal with this stuff. I'm glad for him and I feel bad for Eddy Lacy and Kelvin Benjamin that they have to deal with the jokes because it isn't taken as serious as Josh Gordon's drug addiction. Didn't mean to rant just having a couple beers and his death is really sad and a real issue in the US.

You don't remember leaving me on mary poppins. HAHAHAHAHHAHA. Warning: Some of these choices may be controversial, but remember that this is just some twat on Reddit's opinion. Nothing more. Anyway, all of that said, MGS is kinda renown for its' quirky, zany boss fights with equally quirky and zany characters, but let's not beat around the bush, some of 'em kinda suck. Some have immediate go-to games with what they consider shit bosses, others don't. Me? I don't give a shit a boss' personality. Having an iconic personality doesn't make a boss fight. It's how any boss actually plays out. Do the controls work in your favor? Are the skills you've amassed actually coming in handy? And are you having fun? Feel free to disagree, but these are the bosses across all the MGS games that didn't do it f'er me, with 12 being tolerable and 1 being a pure "WTF" as well as what I think the solutions could've been to make these fights genuinely great: 12) The Fear (MGS3. This isn't a bad boss. I still have a save file for it, and it's pretty fun. It's just insultingly easy, and a massive missed opportunity. The entirety of the opening cutscene makes that poison bolt feel like it's gonna factor into the boss fight, like mess with y'er perception and make you see shit. But after 2 minutes of Grandpa Pickles monologuing about spider poison, and all ya do is flick it out and administer cure it's like nothing happened. From there, all Fear does is leap around, telegraphing his attacks, most of which aren't hard to avoid. And if ya have thermals, good night. Solution is simple, do something long term with the poison, and make the boss arena larger. Fuckers' name is 'The Fear. I should feel intimidated and unnerved, not knowing where this tosser's at. That kinda goes away when there's not many places he can hide. 11) Colonel Volgin (MGS3. Love Volgin as a villain 'cuz he's got no pretenses of 'misguided anti-hero. He's a full fledged asshole, but unlike Liquid, he's a more enjoyable asshole. That said, whichever game designer uttered the words "cage match" for this fight deserves to have a thick rubber band flicked at their twat. It completely ruined what could've been an amazing boss fight. MGS games weren't designed with action or head on combat. It's designed for more methodical, slower paced stealth action. Non lethally throwing Volgin to the ground repeatedly isn't just inane, it's boring. And trying to use weapons is borderline archaic. Solution? Lose the cage match idea, fire and wedgie the bellend who suggested it, and just fight Volgin across the entire hanger, and once again, dunno why I gotta keep repeating this, but implement stealth. 10) Revolver Ocelot (MGS1. Yeah, yeah, iconic, Ocelot, blah blah blah. It's very easy to have fun with this fight if ya use cover. It's not very long, but it's functional. Problem is, all y'er doin' is runnin' in a sodding square for two minutes, and it becomes very easy to just run and shoot constantly. BTW, this is the first boss fight in a game where y'er supposed to be using stealth and combat is s'posed to be a last resort. So why can't I use stealth against this twat? It isn't hard. It isn't complex. And I don't care about all the delicious taunts Ocelot gives, that doesn't make this actual fight fun. Solution? Make the bloody arena bigger, and let us actually use stealth, like having to seek Ocelot out and shoot him before he spots us. Have those cover and ricochet mechanics, but use a bigger arena with more cover spots and hiding spots. That degree of disconnect between gameplay and boss fights isn't good game design IMO. Bosses should be informed on the game at large, not rely on gimmicks that won't ever come up in the main game again. 9) Liquid Snake (MGS1. Again, iconic, and it's the final boss, whatever. This has the potential to be fun. Problem is, IMO, it ain't. The CQB of MGS1 wasn't good at all. Hit detection was bollocks, especially in this fight where Liquid will stand still, but if you hit him wrong, either he'll just move out of the way, or you'll land a shot, but miss the combo, then get hit by an unavoidable combo of Liquid's. And TBH, just doing one bloody thing all fight long is fucking boring. I don't enjoy this fight, and whatever challenge it poses comes from the shit CQB controls and stiff movement, not the actual fight. Solution? Just fucking stop doing these shirtless fist fights at the end of every game in the Solid trilogy, FFS. What do they have to do with stealth? Why is the final boss completely unrelated to all the skills I've learned all game long? Why is the MSX final boss of Metal Gear 2 infinitely better than a game that came out 8 years later on a better console? 8) Vamp (MGS4. Here's an example of diminishing returns on cheap gimmicks in Metal Gear games. A dull boss battle against a vicious villain where the challenge isn't the boss, but figuring out how to kill him. Problem is, once you know the truth, what is the challenge? Ya just shoot Vamp nonstop for two minutes, then he's dead. Then ya plug his neck meat with a syringe, and that's it, make way for yet another fucking split screen moment where the non-interactive half is way more eventful than the tedious Suicide Gecko part. Solution? Have the stupid sodding gimmick, but do more with the bloody boss fight! Give Vamp more moves, have more stages where ya can't just shoot him constantly. Even MGS2 gave him the shadow piercers or the part when he's bullet proof. And let us shoot his sodding blades. I didn't even like his boss fight in MGS2, and it still ran laps around his mediocre MGS4 battle. There's a way to add stealth to the Vamp fight. If ya kill him, and hide, then Vamp will search for you. Do somethin' with that, where Vamp's impervious, and ya gotta get the drop on him. Why do I gotta keep asking for stealth for boss fights in a stealth series? I feel like Mugatu taking crazy pills here! XD 7) The Man on Fire Horseback Chase (MGSV. I love the actual Man on Fire boss. But the Awakening encounter is absolute bollocks, and pisses on my salad. If people wonder why I'm salty about MGS4, missions like Awakening are textbook examples, and nowhere is that more present than Man on Fire's boss. He's chasing Venom and Ishmael all across the hospital, so naturally, none of it is interactive, and when it finally does become interactive, all ya do is jump out of a fucking window, then have yet another piss in my cereal rail shooter. One that's mercifully short and visually great, but functionally, what the fuck is the point if it's so brief and impossible to lose? Solution? Go full fucking Outlast in Awakening. Have that bullshit horseback chase, but have the parts where Man on Fire is chasing you actually interactive throughout the Hospital, and give the player options for dispatching Man on Fire each time. It literally baffles my brain hole when people say this is the best mission in MGSV. Fuck Awakening for being everything wrong with MGS and for compromising what could've been a truly nail biting boss chase. 6) Raging Raven (MGS4. Pretty much everything about Vamp but slightly duller, since Raven has more HP and even longer wind up for attacks, of which, she has fewer than Vamp. I don't know what KojiPro were thinking when they made this fight take place on a narrow tower top, but Jesus was this a terrible location for a boss fight, let alone an areal one. Chryslias works as well as it does 'cuz ya had that entire Mayan Ruins to hide across, and Chrysalis itself was masked by the mist. Solution? Pretty obvious, a much larger boss arena with more destructible cover spots and buildings, and have Raven and her flock tear through them physically, not just with her grenade launcher. The part reaching the top when she's flying in and out of walls was way more intense than the actual battle. 5) Null (MPO. This fight is perhaps the single most disappointing part about MPO. It had all the makings of a truly epic boss fight, one that, despite the terrible controls of MPO, could've been one of the best in the series. A one on one wide range battle against an overwhelmingly powerful enemy. Epic. Soooo naturally, ya can't implement stealth in any way, and Null always knows y'er fucking position and deflects every shot, high or low and knows every trap you lay out. So, instead of utilizing the massive Substation or even the Silo Entrance, ya just end up sticking to one little crate, and walk in a slow circle around it, waiting for Null to shoot 3 times, then shooting him every time he reloads. Solution? Cut out the constantly fixed on your position bollocks. Implement the ability to shake Null off and have him actively seek you out. So you can use traps. So you can hit him from behind. End result? One of the best sodding fights in MGS then and there, despite its' simplicity. 4) Lt. Cunningham (MPO. I loved Cunningham. I thought he was a great character and he left one of the most immediately imposing first impressions a villain ever left. He was a merciless brute, and a surprisingly cunning one at that, the ham. So, naturally, he's a slightly more advanced hover trooper in his boss fight, and a tedious one at that. Honestly, I dunno who keeps insisting Metal Gear bosses do away with stealth and take place on narrow areas, but that person needs to just stop. There's no complexity to Cunningham's boss fight. Just keep shooting his craft, then shoot him when he lowers. And his attacks aren't especially hard to dodge. And go figure, a brute isn't fought physically. I had more fun fighting other players who used Cunningham online than I did the actual boss. This fight is tedious and a complete insult to an otherwise strong villain. Solution? Bugger off with that entire boss fight, have one take place in the actual underground fortress, like that whole arena is perfect for a mano-y-mano showdown, and give Cunningham a few weapons and traps. Have him swap between his laser and his M60, and have him occasionally lob those mousy traps and grenades. And, for the billionth time, stop not including stealth, goddammit. 3) Sniper Wolf (MGS1. I'll never get this obsession with Sniper Wolf. She has one 8 minute sob story after she's been lung shot, and somehow, she's an amazing character despite none of her three other scenes before that hinting at this amazing character? Nah, I don't buy it. I especially don't buy her as the best of anything Metal Gear related, especially boss fights. I fucking hated her sniper battles, the first one especially. Sniping in MGS1 is absolute bollocks. First, Snake immediately lays down, and aims like a 90 year old with arthritis, and every single time he's shot, his scope jerks like a motherfuck, and ya gotta slowly aim all over again. This is a boss fight where everything about MGS1's controls and mechanics are working against you. And the second fight might have that nikita bollocks, but that just makes the fight even more boring and now, consequence free. IMO, Sniper Wolf was a shit boss through and through, and an overrated boss character on top of that. Solution? Well, TTS had better sniping, but the fight still sucked. So, I'd say the solution is do away with that border bollocks where if ya move too far out, ya immediately get shot. Have more vantage points and hiding points, and don't have Wolf always know your location. Sniping is the epitome of stealth action. The End, Crying Wolf, and Quiet all did it right. How the first one completely buggered it up is beyond me. 2) Metal Gear Rex (MGS1. This boss fight plays out one of two ways. Either ya constantly toss chaffs and shoot rockets at the Radome, then Liquid, with absolutely zero deviation from that pattern in either phase of the fight. Or, ya try and outrun rockets and see how fucked the controls are when the missiles become impossible to outrun 90% of the time, and eat away at your Rations if ya made the mistake of trying to aim when the rockets started flying. Worse yet, the Stinger is buggered during this fight, cuz it takes for-fucking-ever to lock on half the times, and by the time it does, Rex is already peeing rockets. Solution? You guessed it. Fucking stealth, goddammit! Here's the crazy part, stealth actually is in this fight. You can use chaffs to scramble Rex, then hide, and it'll actually not know where you are. But here's the thing, the arena is so damn small that in order to even be in the line of sight for Rex's weakpoints, you have to be in its' line of sight. So again, stealth, and make the arena bigger. Boom, problem solved, and instead of a frustrating slog, ya have an excellent and tense boss fight that works within the limitations of the PS1's controllers. 1) Fortune (MGS2. I mean, should it even count as a boss fight when literally all ya do is stand stock still for a minute, then move to another place to stand stock still for another minute? And again, why is this taking place in such a tiny arena? It's brief. It's underwhelming in every sense of the word. And it completely buggers what should've been a brilliant combo for an amazing boss encounter. Fortune is, now and forever, the single most piss poor excuse for a boss fight to ever stain the MGS series. Solution? Sooo many things. Obvious one is make the arena much bigger. Do the Speed Buster thing from No More Heroes where the objective isn't to fight, but to reach the enemy, all the while avoiding devastating blasts from her shopping cart canon or in Fortune's case, her railgun. Have us time our movements to go from cover to cover as we try to reach Fortune or a certain area, instead of waiting on an elevator. And have crates be much weaker, so only one or two blasts is all it takes. Towards the end of the boss fight, have Fortune go batshit and start blasting the ceiling so debris and shit starts falling and creating obstructions via fuel fires or rubble, or darkening the arena. As it stands, Fortune going nuts is all for show. As is the entire boss fight. Looks amazing, plays like ass. Dishonorable Mentions: The Tanks (PW. Yeah, they're dull and the extra op battles are a slog. They are perfectly functional, however, and allow for stealth and other creative means of beating the main mission ones. So, I don't really consider them the worst. Eli (MGSV. I actually really like this boss fight. I just hate that I gotta work against that bullshit QTE bollocks, cuz using the in-game CQC instead is way more fun. I wish this fight was implemented against a different enemy, preferably one where you could use lethal ammo against him, and that they had more HP. Shagohod (MGS3. I actually dislike this boss more than Volgin, looking back, but it's perfectly functional, and also really brief. It's just dull as shit, and the first half is legitimately terrible 'cuz it's once again on rails and Eva is about as reliable a driver as a drunken chimpanzee on Quaaludes. PW. Everything about this boss fights works really well, except one 's sodding great wall of HP, which turns an otherwise excellent boss fight into the epitome of grindy. Python (MPO. Same bollocks as Null, only Python is way more functional since ya don't gotta rely on waiting for him to reload to hit him. Problem is, he always knows your position, and the mist / arena would've been perfect for a hunter stealth boss.

Vegan leather puffer. Cunningham and nelson obituaries. Cunningham duct cleaning. Love the song. Cunningham gas products. God: here Ill give them ears and we will put ear wax in them Humans: cotton buds Also humans oh we need those cotton buds out God :lets make candles Humans WE CAN PUT THAT IN OUR EARS. Cunningham elementary school. Cunningham technique. Cunningham clamp. When youre under eighteen and living in an extremely rural area so no one can find you and therefore you cant get drafted. cha cha real smooth.

Level 1 Got stuck at a difficult puzzle in a game, posted the wrong answer to it on an image board, got corrected within two minutes. level 1 I used a variation of this on my supervisors. They were weak micro managers and if I just did stuff on my own they would complain to the big boss that I was just doing my own thing or not doing anything. So I used to ask them a question. "Do you want me to do "what is important and urgent" or "this thing that is really stupid and a time waster. Surprisingly they would usual pick the thing I was going to do anyway. But now I was a team player. level 2 I do this too. When you want to do something, sandwich it between a more aggressive and a more conservative option. 9/10 managers will pick the middle path. level 1 This technique is widely used in social engineering by hackers. level 2 How so? Ask you to verify your info but provide incorrect details, prompting you to correct them? level 1 I didn't notice until right now! I'm taking a Linguistics course where we must interview a speaker of Hausa and get a complete grammatical and phonetic inventory of the language. My professor showed us how to do elicitations on the first day, and she kept repeating words back incorrectly to the Nigerian participant, so that he would say them slower and closer to the Standard Hausa, so she can monitor the differences between Standard and casual speech. Genius. level 1 I actually use it at work. If someone is not giving me an answer directly, ill email them with some other people from my team stating the wrong answer on purpose so they can correct me in front of people. I clued my whole team on this because they didn't believe me and then got to laugh when it single time. level 1 I don't think this works. level 1 I constantly do this with my young daughters. Instead of asking about their day, I narrate what I imagine they did and then they correct me. level 2 That's exactly what my dad does, he just starts off by saying that I was with my (nonexistent) boyfriend to try to get me to talk and also to anoy me lol. At this point i just let him create his own scenario because it's just more entertaining than my life. level 1 I do this on reddit sometimes. I will get downvoted. but I will get the answer I want. Internet points cannot compare to closure. level 2 Thats why you use an alt for both closure and lack of downvotes. level 1 First off Cunningham's law is about something completely different. level 2 No it isn't and you cant convince me otherwise.

Cunningham peaches schedule. Level 1 Im glad yall finally got a QB lol some Vikings fans were complaining sooo much about qbs. Happy for yall. Watch Brett Farve come out in a few weeks lol. level 1 Nice dude. Im not sure if I wanna drop the 900k on one but Id look about the same. level 2 Thanks man, working towards the 50/50 competitive lineup. I hear you though, its hard to say where his price will fall. level 2 It's not worth it. Snagged him for 750k when he came out and end up selling for 998k bc not being able to have escape artist and roaming deadeye is a huge blow. Roaming deadeye is really op as u can get deadeyes on throws on the run by manipulating it and it's so easy. They should just do away with escape artist it's so stupid bc it's a must have ability or you're slow af behind the line of scrimmage but as soon as you cross that imaginary line you're automatically Usain bolt. Sucks bc I love Cunninghams release but il stick with the 91 and use him in Taysom Hill package level 1 Lookin nice! What abilities did you put on him? level 2 Safety valve, gutsy scrambler, and escape artist level 1 How much training did it take to get him to 94 level 1 Lmao Id probably end up copping too... its been a drought man, we still need a few more pieces but I cant complain rn. level 1 I am waiting for the price to drop I made one and sold him for the profit his set was way cheap this morning level 1 I had quite the stack saved for harvest and didnt like any of the cards so I didnt mind, but that wouldve definitely been the better route.

Level 1 Cnn reported that Republicans spent 1. 5 million on a TV ad to boost Smith. level 2 They probably think she's a weaker candidate against Tillis. We need to lock this primary down and go after Tillis. level 2 Democrats should do that with Kris Kobach level 2 Yup, they're doing the same strategy Claire McCaskill did against Todd Akin, and we know how that turned out. level 1 So despite some republican support for Smith, support is starting to coalesce behind Cunningham. Would be better if it was happening more rapidly but at least things are moving in a positive direction level 2 We gotta get him some more funding and name recognition. level 1 Also just a fyi the NC legislature passed a bill changing the primary winner threshold after GOP problems in getting preferred candidates through. Instead of 40% 1 whoever wins the primary only needs 30% 1. level 1 I really do think we have two great candidates who can win here. Looking forward to seeing our nominee kick some arse in November.

Cunningham falls state park. YouTube. Cunningham school.




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