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Волейбол Очер

Волейбол Очер

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Волейбольная жизнь жителей Очерского г.о.

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✞ FUNERAL PARTY ✞. Los Angeles-based Funeral Party formed late one night while drinking in a park in Whittier, California, a sleepy suburb that sits on the outskirts of Los Angeles County. Chad Elliott, James Torres, and Kimo Kauhola formed Funeral Party as a means of escaping a nowhere town set amidst a cultural wasteland. The moroseness evoked by their moniker is undermined by Funeral Party's debut album, Golden Age of Knowhere, an up-tempo powerhouse that weaves a barrage of aggressively catchy melodies, propulsive basslines, and relentless rhythms with Elliott's raw, throaty vocals and the band's shouty group sing-alongs. The album opens with a triad of punchy tracks: New York City Moves To The Sound of L.A., Carwars, and first U.S. single Finale.
Golden Age of Knowhere is comprised of songs that capture the urgency of youth. This undoubtedly reflects the context from which the band emerged. According to Elliot, Whittier is pretty much a dead town. It's boring. That's one of the biggest reasons we wanted to be in a band, just to get the fuck out of there. Elliott's collaborators share his view of the landscape that bore Funeral Party, and the prevalent themes of Golden Age of Knowhere. Everyone in our neighborhood is connected in some way, Torres explains, and you're trapped. It's why I learned to play guitar, to tune it all out. Kauhola elaborates, We definitely want the music to sound like an escape.
During the time of Funeral Party's inception, hardcore and metal bands dominated the local music scene. South of Whittier, in Orange County and Long Beach, screamo bands were popping up, and in Downtown Los Angeles, the burgeoning Smell scene was well underway. In the East Los Angeles neighborhoods adjacent to Whittier, however, a post-punk, dance-craze revival was exploding, garnering partygoers from all over Southern California.
Elliott, Torres, and Kauhola were well aware of the East L.A. backyard party scene and decided to book some parties, however, they needed a name first. Elliott brought the name Funeral Party to the others after a friend played him a Cure song of the same title. We chose the name Funeral Party because it was just the most depressing song I'd ever heard, Elliott explains. It was the perfect name for a band like ours because we come from this jail town: no one gets out until they're dead. We also liked the name because it sounded like a hardcore band, but it had the word 'party' in it, so it fit in on the East L.A. dance party fliers. Elliott concludes, Initially, that name tricked people into seeing us.
Funeral Party began gigging every weekend, adding their own chapter to East Los Angeles's rich musical history. They owned no equipment and had to borrow gear from the other bands that played backyard parties and warehouses. Funeral Party was quickly embraced by the hundreds of dance-starved teenagers that came out to jungle-juice parties every weekend. This did not go unnoticed by law enforcement. Many Funeral Party gigs were shut down, usually before they played their first note, fuelling interest in the band and adding to their mythic stature.
Funeral Party was invited to record at The Mars Volta's studio in East L.A. They still had no instruments. Back then, we only had three songs, explains Kauhola. Elliott adds, I had no lyrics. I had to use raw emotion to summon the words. That's still how I write. I conjure emotions and they tell me what to sing. Torres reminisces, It was an adventure recording those demos because we didn't have our own equipment, so we had sneak in during off-hours and use the gear that was already there.
The stage provided Funeral Party their only opportunity to write and practice.

✞ FUNERAL PARTY ✞

a door to the other world. The Spirit of God himself prays and intercedes for the believers, who even though they did not pray, spiritual groanings crop up in them, according to the Lord’s Prayer, which is the prayer of the Holy Spirit.
It was an important step toward creating a solid foundation of the Evangelical movement in Russia. Everything that transpired – worship services, the Lord’s Supper, the open and honest discussion of the most difficult topics of the development and ministry of the Evangelical church, prayer services and fellowship – leads us to believe that the Evangelical movement is the reality of the Church today and to see its future.

a door to the other world

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فروغ فرخزاد - Forugh Farrokhzad. Forugh Farrokhzād (Persian: فروغ فرخزاد) (January 5, 1935 — February 14, 1967) was an Iranian poet and film director. Forugh Farrokhzad is arguably Iran's most significant female poet of the twentieth century. She was a brilliant modernist poet and an iconoclast.Forugh (also spelled as Forough) was born in Tehran to career military officer Colonel Mohammad Bagher Farrokhzad and his wife Touran Vaziri-Tabar in 1935. She was the third of seven children (Amir, Massoud, Mehrdad, Fereydon, Pouran, Gloria) and attended school until the ninth grade, then learning painting and sewing at a girl's school for the manual arts. At age sixteen or seventeen she was married to Parviz Shapour, an acclaimed satirist. Forugh continued her education with classes in painting and sewing and moved with her husband to Ahvaz. A year later, she had her only child, a son named Kāmyār (subject of A Poem for You).
Within two years, in 1954, Forough and her husband divorced. Parviz won custody of the child. She moved back to Tehran to write poetry and published her first volume, entitled The Captive, in 1955.
Forough, as a female divorcée writing controversial poetry with a strong feminine voice, became the focus of much negative attention and open disapproval. In 1958 she spent nine months in Europe and met film-maker/writer Ebrahim Golestan, who inspired her to express herself and live independently. She published two more volumes, The Wall and The Rebellion before going to Tabriz to make a film about Iranians affected by leprosy. This 1962 film was called The House is Black and won awards world-wide. During 12 days of shooting, she became attached to Hossein Mansouri, the child of two lepers, whom she adopted and had live in her mother's house.
In 1963 she published the volume Another Birth and by now her poetry was mature and sophisticated, also being a profound change from previous modern Iranian poetic conventions.
On February 13, 1967, at 4:30 pm, Forough died in a car accident at age thirty-two. In order to avoid hitting a school bus, she swerved her Jeep, which hit a stone wall; she died before reaching the hospital. Her poem Let us believe in the beginning of the cold season was published posthumously and is considered the best-structured modern poem in Persian.
A brief literary biography of Forough, Michael Hillmann's A lonely woman: Forough Farrokhzad and her poetry, was published in 1987. Also about her is a chapter in Farzaneh Milani's work Veils and words: the emerging voices of Iranian women writers (1992).
She is the sister of the singer, poet and political activist Fereydoon Farrokhzad (1936 — 1992; assassinated in Bonn, Germany). Translations into English include those by Sholeh Wolpe, The Sad Little Fairy Maryam Dilmaghani, Sin: Selected poems of Forough Farrokhzad. Nasser Saffarian has directed three documentaries on her; The Mirror of the Soul (2000), The Green Cold (2003), and Summit of the Wave (2004).

فروغ فرخزاد - Forugh Farrokhzad