The lolloping form of a copper-mesh by the Dutch design duo Odd Matter greets visitors like a bounding spaniel as they enter.
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"We want to keep a balance sheet at the lower end of the range between 1 and 2 times (net debt to EBITDA), in part to leave ourselves with a bit of dry ammunition should a stray rabbit come lolloping down the path towards us," CEO Rupert Soames said regarding possible acquisitions.
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Whatever it is—sunflower seeds discarded on the grubby-brown floor of a bus heading towards Penge, a fat man in a suit sweating on Blackfriars Bridge, a pint pot spattered and speckled with piss lolloping in the long grass of Hilly Fields—it probably isn't what you want to think about when you're thinking about the place.
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The start of the game was obscured by the fog of flares and smoke bombs from the stands, and it was through that fog that Kuyt came barrelling towards the goalmouth over and over, lolloping tirelessly and tenaciously onwards like a straw-maned warhorse, giving another of those 'big game' performances with which he has become synonymous both at home and abroad.
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NME's Barry Nicolson said, "the dreamy, detached sneer of the vocals, the lolloping XXL basslines, all that unwashed hair… Some scenes come roaring out of the traps; B-Town seemed to roll out of bed, insular and uncontrived, smirking at its own in- jokes".
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When not hunting for prey or a mate, Portia species, including P. schultzi, adopt a special posture, called the "cryptic rest posture", pulling their legs in close to the body and their palps back beside the chelicerae ("jaws"), which obscures the outlines of these appendages. When walking, most Portia species have a slow, "choppy" gait that preserves their concealment: pausing often and at irregular intervals, waving their legs continuously and their palps jerkily up and down, moving each appendage out of time with the others, and continuously varying the speed and timing. P. schultzi uses what Forster and Murphy (1986) call a "lolloping" gait, flexing and stretching the legs. They suggest that the long legs are advantageous for moving through webs, and that lolloping enables P. schultzi to use the long legs while keeping the body near the surface.
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Both sexes have tufts of orange to dark orange above the eyes, which are fringed with pale orange hairs. Males' abdomens are yellow-orange to orange- brown with blackish mottling, and on the upper sides are black and light orange hairs, and nine white tufts. Those of females are pale yellow and have black markings with scattered white and orange-brown hairs on the upper side. P. schultzi has relatively longer legs than other Portia, and a "lolloping" gait.
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The film earned rentals of US$1 million in North America and US$1.4 million in other countries. After all costs were deducted it recorded an overall loss of US$615,000. In a contemporaneous review, Variety called the film "engaging" and noted "Travers and McKenna unselfishly subdue their performances to the star demands of the lolloping young rascal, Mij, but keep the interest firmly alive by their tactful playing." The National Board of Review placed Ring of Bright Water on its list of the Top Ten Films for 1969.
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According to John McDonnell of The Guardian: > "Unlike all the other genres covered in this column, crabcore isn't defined > by sonics or BPMs or lyrical content, or tied to a geographic location. > Crabcore is defined by the body contortions of the band's guitarists when > they perform. This is the lolloping crab-like stance adopted while a guitar > player shreds, and it's not dissimilar to a sumo wrestler having extreme > muscle spasms while readying themselves to engage with an opponent." Music associated with "crabcore" and the use of the term itself has been met with criticism.
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Christa Ludwig's reading was more effective poetically, but her tone was somewhat flawed by the deficiencies of her vocal production. Achim von Arnim, painted by Peter Edward Stroehling in 1818 Von Stade sang better in the Gesellen cycle than in the Rückert-Lieder, in some passages outdoing even Baker. Her "Ging heut' Morgen über's Feld" went with "a spring, instead of that curiously lolloping tread" perpetrated by Baker's conductor, John Barbirolli. In "Wenn mein Schatz Hochzeit macht" too, von Stade had none of Baker's and Barbirolli's heavy-handedness.
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Richard Carnes of Resident Advisor felt that "Going Thru Life"'s "lolloping piano riff" showcases the duo's "visceral approach to music making." He also considered that the Ride material - included as the album's second side - "should really be looked upon as a different entity to the first half", as it features a "darker and more vocal-led direction to their first EP." He added that Ride "could easily slot into a set of contemporary techno." A "low-slung house" track, "School Hall" alludes to the high school parties were Lewis and Sanders were introduced to house music. "Never Want To Lose You" has been referred to as "jacking balladry".
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" Nick Levine from BBC Music wrote that the song is "as easy to resist as a pie cooling on your neighbor's windowsill." Jon O'Brien from Allmusic wrote that the song "is a charming M.I.A.-inspired ditty that fuses a lolloping childlike bassline with bouncy beats and some surprisingly sugary-sweet melodies, although Mike Posner's guest rap is the pure definition of 'phoned-in'." Joe Rivers from No Ripcord agreed, writing: "It's another good, catchy song, save for a hateful Mike Posner guest spot, which paints him to be the kind of lecherous predator you pray doesn't take your daughter to prom." Alexis Petridis of The Guardian stated: "It is a far better pop single than you might expect a former X Factor contestant to dish up.
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The mostly spoken vocal is accompanied by electric piano-style chords (another similarity to "Don't You Want Me"), all underpinned by a catchy lolloping bassline, and adorned by a prominent brass solo (also played on a synthesiser). Despite the fact that many reviews of Hysteria identified Louise as a stand out track with Melody Maker's Colin Irwin speculating that it could be a potential number one single for the Human League, the song was not Virgin Records first choice as a single release from the album. That went to "The Lebanon". The lyrical story telling of "Louise" superficially seems to be a story about a chance encounter between a man and a woman on a bus who seem to be on the verge of a lover's reconciliation. But like much of Oakey's song writing, what seems ‘sugary sweet’ on the surface actually has a much darker subtext. Oakey points out that the story is actually about the original protagonists from "Don’t You Want Me" meeting up 4 years later.
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