There is something transgressively bland about this vein of blogs that I'd hit.
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In subsequent sequences, members of their unlikely chorus show up to ask ontological questions, flirt transgressively with potential daddies and reproachfully — and fearfully — imagine the lives they have yet to live.
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Lenny Kravitz will perform a tribute set for the late and immeasurably great Prince, honoring his idol and trying to one-up the effusive but decidedly not transgressively sexual Bruno Mars.
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The group's latest project is Popstar: Never Stop Never Stopping, a transgressively hilarious feature film about a performer named Conner4Real (played by Samberg, with Taccone and Schaffer playing his original musical partners).
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But Godin's most transgressively old-school move was to swaddle the space in fabric: Prussian-blue velvet walls in his bedroom; linen-paneled dressing room doors; yards and yards of light-blocking curtains in the plushest black velvet.
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And transgressively raw though these beardos are, they're also comedians: try "Shin Splints," about racing to make a flight, or "Pistol Dave," about a dirtbag who couldn't even hack the low-level job they had the heart to give him?
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Her encyclopedic artistic references (or parallels) are always transgressively erudite, and when not supplied by the curators (the case in Basel) come to mind on their own: Loie Fuller, Yvonne Rainer, Alfons Schilling's body/vision extenders, Vito Acconci, and, of course, the early body-centric work of Bruce Nauman.
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But he did not do so transgressively, like a Lenny Bruce, but in the manner of American ethnic comics like the masters of Jewish shtick, as the natural expression of a people. For most of his career, Alvarez Guedes’ humor was laced with vulgarity and his audiences laughed accordingly. Yet he never told truly off- color jokes and his comic persona was deadpan and straight, sometimes affecting righteous indignation.
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The Upper Cambrian Deadwood Formation was transgressively deposited on the low-relief Precambrian surface. The Deadwood is characterized by shallow marine and coastal plain sediments, with abundant glauconite giving the formation a distinctive green color. The basin started subsiding due to strike-slip movement along northeast-southwest trending faults, resulting in the deposition of the Winnipeg Group, which lies unconformably on the Deadwood. The Winnipeg consists of shallow marine sandstone, shale and shaly carbonate.
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Ordovician rocks include numerous limestone and marl sequences in the Kunda, Aseri, Lasnamae, Uhaku, Idavere, Johvi, Keila, Rakvere, Nabala, Vormsi, Pirgu and Porkuni stages. Juuru Stage microcrystalline nodular limestone and red marl from the Silurian transgressively overlies Ordovician rocks, ascending through a sequence that includes the Raikkula, Adavere, Jaani, Jaagarahu, Siesartis, Dubysa, Pagegiai, Minija and Jura stage rocks, which include argillite, dolomite, marl, clay and other basin sediments. The early DevonianTilzee and Stoniskiai Stage rocks are disconformably overlain by the Kemeri Stage with clays and siltstones up to 170 meters thick. This is in-turn overlain disconformably by the Rezekne Stage.
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The Smoky Group is conformably and transgressively followed by the Wapiti Group and rests conformably on the Dunvegan Formation sandstone. The Cardium sandstone and Muskiki shale are replacing the upper parts of the Kaskapau Formation in the south-east of the distribution area. The entire group correlates with the Blackstone Formation, Cardium Formation and Wapiabi Formation of the Alberta Group in the southern foothills. The equivalent stratigraphic sequence in central Alberta consists of the Lea Park Formation and the upper Colorado Group, in north-eastern Alberta it correlates with Labiche Formation, and with the Kotaneelee Formation in the Liard River area.
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Le Guin returned to the Hainish Cycle in the 1990s after a lengthy hiatus with the publication of a series of short stories, beginning with "The Shobies' Story" in 1990. These stories included "Coming of Age in Karhide" (1995), which explored growing into adulthood and was set on the same planet as The Left Hand of Darkness. It was described by scholar Sandra Lindow as "so transgressively sexual and so morally courageous" that Le Guin "could not have written it in the '60s". In the same year she published the story suite Four Ways to Forgiveness, and followed it up with "Old Music and the Slave Women", a fifth, connected, story in 1999.
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Nick Schager of Slant Magazine rated it 4/4 stars and wrote, "Sitting through Peckinpah's controversial classic is not unlike watching a lit fuse make its slow, inexorable way toward its combustible destination—the taut build-up is as shocking and vicious as its fiery conclusion is inevitable." Philip Martin of the Arkansas Democrat-Gazette wrote, "Peckinpah's Straw Dogs is a movie that has remained important to me for 40 years. Along with Stanley Kubrick's A Clockwork Orange, Straw Dogs stands as a transgressively violent, deeply '70s film; one that still retains its power to shock after all these years." Rotten Tomatoes, a review aggregator, reports that 83% of 40 surveyed critics gave the film a positive review; the average rating is 8.46/10.
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Bruce Clarke, writing in South Atlantic Review, found Reading Pound Reading to be "another reminder that many canonical modernists are most powerfully attended to at their margins, not in their stories and poems but in their 'nonfictions,' in the rhetorics of their 'doctrinal' discourses." Clarke describes Lindberg's study as one that > deposits [Pound] with pen and paper in the rhetorical study, reading and > writing transgressively. Pound the literary/political performance artist > attempting to dominate historical events; Pound the deconstructive writer/ > critic anarchistically disrupting textual forms. We are beginning to > appreciate just how completely these two Pound-personae are allotropic forms > of the same ego-phenomenon, how this turbulent ego-phenomenon is a modernist > Medusa—when we hold up the mirror to aim the spear, our own evasive faces > are reflected in the glass.
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