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Silver And Black Wallpaper Definition

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Silver & Black is the third studio album released by rap group, Luniz, released in 2002. It is their fourth album overall. It peaked at #53 on the Billboard Top R&B/Hip-Hop Albums chart.[1]Black Clouds & Silver Linings is the tenth studio album by American progressive metal band Dream Theater, released on June 23, 2009 through Roadrunner Records.[2][3] It is the band's last album to feature drummer and founding member Mike Portnoy before his departure on September 8, 2010.[4] The album was recorded between October 2008 and March 2009 at Avatar Studios in New York City. It was produced by John Petrucci and Portnoy, and was engineered and mixed by Paul Northfield.Dream Theater began to work on the album in October 2008.[3] Mike Portnoy described Black Clouds & Silver Linings as, "a Dream Theater album with 'A Change of Seasons', 'Octavarium', 'Learning to Live', 'Pull Me Under' and 'The Glass Prison' all on one album."[5] Jordan Rudess later explained during a demonstration at the NAMM Show for Spectrasonics software (which he used heavily on the album), "We've been entering into the Gothic domain quite a bit on this album."[6] but as he was at a Music Industry trade show speaking about a specific piece of software at the time, debate exists whether he was making an overarching statement about the sonic or lyrical tone of the album or simply the keyboard sounds when using said software.The album's lyrics were written by John Petrucci and Mike Portnoy, and all except one concern personal experiences about disturbing or difficult moments of their lives. Though most songs were written by Pettrucci, "A Nightmare to Remember" was based on a childhood car incident. "The Count of Tuscany", about an actual encounter he had in Tuscany, and "Wither" about the process of songwriting for him.[7] "The Best of Times" was written by Mike Portnoy about his father, who died from cancer. "I just wanted to write something that was a tribute to our life together," said Portnoy, who played the song for his father prior to his death.[8] "The Shattered Fortress" is the final part of Portnoy's Twelve-step Suite, reprising and concluding themes and motifs from the suite that began on 2002's Six Degrees of Inner Turbulence album. The remaining song, "A Rite of Passage", concerns Freemasonry; a video of the edited single was released on May 8, 2009.

"Wither" was released as a single on September 15, 2009. In addition to the album version of the song, the single contained an alternate version featuring only a piano and vocals, a demo version with John Petrucci on vocals, and a demo version of "The Best of Times” with Mike Portnoy on vocals. There was also a video to follow it which was released on November 18, 2009.Initial critical response to Black Clouds & Silver Linings was generally favorable. At Metacritic, which assigns a normalized rating out of 100 to reviews from mainstream critics, the album has received an average score of 68, based on five reviews.[19] Rich Wilson, author of Lifting Shadows, previewed the album for Metal Hammer, calling the album "Dream Theater’s finest and most balanced album in a decade."[20] Eduardo Rivadavia of Allmusic gave the album four out of five stars writing, "Black Clouds & Silver Linings is still an archetypal Dream Theater album; one that's unlikely to broaden their audience all that much, but is conversely guaranteed to thrill their hardcore converts with its renewed devotion to the most exigent and stimulating facets of the band's chosen musical domain."[9] Similarly David Buchanan of Consequence of Sound, an online music magazine, said: "that this release will not necessarily bring in new fans but will also not disappoint the current flock, and this is very true. There are no improvements, but no sheer letdowns, either." He gave the album four and a half stars out of five.[21] The album was named as one of Classic Rock‘s 10 essential progressive rock albums of the decade.[22]

The album debuted at #6 on the Billboard 200 selling 40,285 copies.[23] It was the first time in the band's history that they have cracked the Top 10 on that chart, and is currently the band's highest single week sales of an album. The album also debuted at #1 on Billboard Top Internet Albums, and #2 on Billboard Top Rock Albums.[24] The album also marked the first time that the band came at the number one spot in Finland.

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Silver And Black Wallpaper Hd Android Desktop Abstract Iphone 5 Design Backgournd Mobile

Silver And Black Wallpaper Hd Android Desktop Abstract Iphone 5 Design Backgournd Mobile

Silver And Black Wallpaper Hd Android Desktop Abstract Iphone 5 Design Backgournd Mobile

Silver And Black Wallpaper Hd Android Desktop Abstract Iphone 5 Design Backgournd Mobile

Silver And Black Wallpaper Hd Android Desktop Abstract Iphone 5 Design Backgournd Mobile

Silver And Black Wallpaper Hd Android Desktop Abstract Iphone 5 Design Backgournd Mobile

Silver And Black Wallpaper Hd Android Desktop Abstract Iphone 5 Design Backgournd Mobile

Silver And Black Wallpaper Hd Android Desktop Abstract Iphone 5 Design Backgournd Mobile

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Modern Black Wallpaper Hd Android Desktop Abstract Iphone 5 Design Backgournd Mobile

Modern Black Wallpaper Definition

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Black separatism is a movement to create separate institutions for people of African descent in societies historically dominated by whites, particularly in the United States. Black separatists also often seek a separate homeland. Black separatists generally think that black people cannot advance in a society dominated by a white majority.

In his discussion of black nationalism in the late nineteenth and early twentieth centuries, the historian Wilson Jeremiah Moses observes that "black separatism, or self-containment, which in its extreme form advocated the perpetual physical separation of the races, usually referred only to a simple institutional separatism, or the desire to see black people making independent efforts to sustain themselves in a proven hostile environment."[1]

Scholars Talmadge Anderson and James Stewart further make a distinction between the "classical version of Black separatism advocated by Booker T. Washington" and "modern separatist ideology." They observe that "Washington's accommodationist advice" at the end of the nineteenth century "was for Blacks not to agitate for social, intellectual, and professional equality with Whites." By contrast, they observe, "contemporary separatists exhort Blacks not only to equal Whites but to surpass them as a tribute to and redemption of their African heritage."[2] Anderson and Stewart add, moreover, that in general "modern black separatism is difficult to define because of its similarity to black nationalism."[2]

Indeed, black separatism's specific goals were historically in flux and varied from group to group. Martin Delany in the 19th century and Marcus Garvey in the 1920s outspokenly called for African Americans to return to Africa, by moving to Liberia. Benjamin "Pap" Singleton looked to form separatist colonies in the American West. The Nation of Islam calls for several independent black states on American soil. More mainstream views within black separatism hold that black people would be better served by schools and businesses exclusively for black people, and by local black politicians and police.

Some individual mainstream black separatists supported anti-segregationists and integrationists within the African American community.[citation needed] They generally hold that black people can and should advance within the larger American society and call on them to work to achieve that through personal improvement, educational achievement, business involvement, and political action. Martin Luther King, Jr., who was a key speaker and leader in the political effort to overthrow segregation in the 1960s, and Malcolm X, who until May 21, 1964 was known as a black separatist from the Nation of Islam, may personify the opposition between the two views.See also

    African-Centered Education
    Black supremacy
    List of organizations designated by the Southern Poverty Law Center as hate groups
    White separatism

Notes

    ^ Moses 1988, p. 23
    ^ a b Anderson & Stewart 2007, p. 203

References

    Moses, Wilson Jeremiah (1988), The Golden Age of Black Nationalism, 1850-1925, Oxford: Oxford University Press, ISBN 978-0-19-520639-5.
    Anderson, Talmadge; Stewart, James B. (2007), Introduction to African American studies: Transdisciplinary Approaches and Implications, Baltimore: Inprint, ISBN 978-1-58073-039-6.

Further reading

    Jenkins, B. L., & Phillis, S. (1976). Black separatism: a bibliography. Westport, Conn: Greenwood Press.
    Hall, R. L. (1977). Black separatism and social reality: rhetoric and reason. New York: Pergamon Press.
    Hall, R. L. (1978). Black separatism in the United States. Hanover, N.H.: Published for Dartmo College    by the University Press of New England.
    Bell, H. H., Holly, J. T., & Harris, J. D. (1970). Black separatism and the Caribbean, 1860. Ann Arbor:
Black separatism is a movement to create separate institutions for people of African descent in societies historically dominated by whites, particularly in the United States. Black separatists also often seek a separate homeland. Black separatists generally think that black people cannot advance in a society dominated by a white majority.

In his discussion of black nationalism in the late nineteenth and early twentieth centuries, the historian Wilson Jeremiah Moses observes that "black separatism, or self-containment, which in its extreme form advocated the perpetual physical separation of the races, usually referred only to a simple institutional separatism, or the desire to see black people making independent efforts to sustain themselves in a proven hostile environment."[1]

Scholars Talmadge Anderson and James Stewart further make a distinction between the "classical version of Black separatism advocated by Booker T. Washington" and "modern separatist ideology." They observe that "Washington's accommodationist advice" at the end of the nineteenth century "was for Blacks not to agitate for social, intellectual, and professional equality with Whites." By contrast, they observe, "contemporary separatists exhort Blacks not only to equal Whites but to surpass them as a tribute to and redemption of their African heritage."[2] Anderson and Stewart add, moreover, that in general "modern black separatism is difficult to define because of its similarity to black nationalism."[2]

Indeed, black separatism's specific goals were historically in flux and varied from group to group. Martin Delany in the 19th century and Marcus Garvey in the 1920s outspokenly called for African Americans to return to Africa, by moving to Liberia. Benjamin "Pap" Singleton looked to form separatist colonies in the American West. The Nation of Islam calls for several independent black states on American soil. More mainstream views within black separatism hold that black people would be better served by schools and businesses exclusively for black people, and by local black politicians and police.

Some individual mainstream black separatists supported anti-segregationists and integrationists within the African American community.[citation needed] They generally hold that black people can and should advance within the larger American society and call on them to work to achieve that through personal improvement, educational achievement, business involvement, and political action. Martin Luther King, Jr., who was a key speaker and leader in the political effort to overthrow segregation in the 1960s, and Malcolm X, who until May 21, 1964 was known as a black separatist from the Nation of Islam, may personify the opposition between the two views.See also

    African-Centered Education
    Black supremacy
    List of organizations designated by the Southern Poverty Law Center as hate groups
    White separatism

Notes

    ^ Moses 1988, p. 23
    ^ a b Anderson & Stewart 2007, p. 203

References

    Moses, Wilson Jeremiah (1988), The Golden Age of Black Nationalism, 1850-1925, Oxford: Oxford University Press, ISBN 978-0-19-520639-5.
    Anderson, Talmadge; Stewart, James B. (2007), Introduction to African American studies: Transdisciplinary Approaches and Implications, Baltimore: Inprint, ISBN 978-1-58073-039-6.

Further reading

    Jenkins, B. L., & Phillis, S. (1976). Black separatism: a bibliography. Westport, Conn: Greenwood Press.
    Hall, R. L. (1977). Black separatism and social reality: rhetoric and reason. New York: Pergamon Press.
    Hall, R. L. (1978). Black separatism in the United States. Hanover, N.H.: Published for Dartmouth College by the University Press of New England.
    Bell, H. H., Holly, J. T., & Harris, J. D. (1970). Black separatism and the Caribbean, 1860. Ann Arbor:

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Modern Black Wallpaper Hd Android Desktop Abstract Iphone 5 Design Backgournd Mobile

Modern Black Wallpaper Hd Android Desktop Abstract Iphone 5 Design Backgournd Mobile

Modern Black Wallpaper Hd Android Desktop Abstract Iphone 5 Design Backgournd Mobile

Modern Black Wallpaper Hd Android Desktop Abstract Iphone 5 Design Backgournd Mobile

Modern Black Wallpaper Hd Android Desktop Abstract Iphone 5 Design Backgournd Mobile

Modern Black Wallpaper Hd Android Desktop Abstract Iphone 5 Design Backgournd Mobile

Modern Black Wallpaper Hd Android Desktop Abstract Iphone 5 Design Backgournd Mobile

Modern Black Wallpaper Hd Android Desktop Abstract Iphone 5 Design Backgournd Mobile

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Darker Than Black Wallpaper Hd Android Desktop Abstract Iphone 5 Design Backgournd Mobile

Darker Than Black Wallpaper Definition

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At the beginning of the series, The Syndicate (Soshiki?) is introduced as a mysterious underground organization with no apparent objective. Its operatives work with both Contractors and Dolls and even have access to M.E. technology in order to erase sightings of their affairs from witness' minds. The Syndicate makes extensive use of "word of mouth" communication in relaying both missions and operative status. In the later course of the show, it is revealed that The Syndicate is in fact merely another façade for a global organization in control of PANDORA, that declares to be looking for stabilizing the world order and destroying Hell's Gate.

At the ending of Ryūsei no Gemini, a new Syndicate is established consisting of Misaki, Kobayashi, Mao and Madame Oreille after American occupation forces have subdued the old Syndicate.
Hei (pinyin: Hēi, lit. Black)
    Voiced by: Hidenobu Kiuchi (Japanese), Jason Liebrecht (English),
    The main protagonist. Codename "Hei", he is an elite contractor with the Messier Code BK-201. Hei has a double persona in the series: as a civilian, he is referred to as Li Shenshun (Ri Shenshun?, pinyin: Lǐ Shùnshēng), a good-natured Chinese exchange student living in an old apartment complex for foreigners and getting by through brief part-time jobs. These are typically related to the current mission he is on. When he is working with the Syndicate, he acts almost exactly as a typical contractor, appearing to be cold and rational. Nonetheless, Hei still demonstrates compassion and sorrow, and these mannerisms are noted as unusual by other contractors. Hei began working with the syndicate as a child assassin to protect his sister, Pai, in South America during the Heaven's Gate war. Hei's goal is to find her once again. Though he usually calls himself an exchange student, he has never once gone to any University throughout the course of the series, using his title as a student only to gain access to the gate on one occasion. At the end of the first series, his disappearance was reported as him getting deported.

    Hei possesses the ability to generate electricity in deadly concentrations. It is revealed that Hei's abilities are inherited from his sister, Pai (the first contractor linked to BK-201), whose true contractor ability was manipulating molecules on the quantum level. Due to this control over molecules, Pai actually resides in Hei's body. Thus, even though he has the abilities of one, Hei is not a true contractor, because he has no remuneration (His probable remuneration might be eating a lot of food) and can still express a range of emotion. Hei's trademark weapon is a double-bladed knife tied to a metal wire, which he uses as an offensive weapon, a grappling hook, and an electricity conductor. In season two of Darker than Black series, Hei loses his powers due to an anti-contractor device developed by Section 3, and relies only on his skills as a human to survive.

    He develops a deep attachment to Yin later in the series. Even after she is taken over by a being from the gate known as Izanami, he still refuses to kill her. At the end of the second season, Hei is seen walking from Hell's Gate with Yin's body in his arms. It is unknown whether he "killed" her or extracted Izanami with his control over molecules. His whereabouts are unknown.

    "Hei" is the Mandarin Chinese pronunciation for the kanji. The Japanese reading is "kuro", corresponding to Hei's nickname as "Kuro no Shinigami", or the "Black God of Death".

Yin (In?, pinyin: Yín, lit. Silver)
    Voiced by: Misato Fukuen (Japanese), Brina Palencia (English)
    The main heroine of the story, A member of Hei's team, an emotionless spirit medium known as a "Doll". Her power lies in tracking and observation through direct contact with water. Huang mentions that her "program" is a minimal one, incapable of showing emotion or even allowing her to make decisions for herself;[1] however, she later debunks this by making the decision to keep working with Hei and the others when given the choice of leaving, a possible sign of her recovering her humanity.[1][2] Yin is of Finnish origin and her real name is Kirsi, which is the Finnish diminutive form of either Kirsikka (meaning "cherry") or Christina.[3] She was once a student of a famed Finnish pianist named Eelis Kastinen (or Kostinen, depending on translation; both are Finnish surnames). Yin's father died in a plane crash; not long after, her mother was killed saving her from an incoming truck. Yin blames herself for her mother's death, saying if she hadn't seen her mother and her piano instructor about to kiss that day, her mother would not have died. Little, if anything, is known about Yin becoming a Doll, but it seems to be linked to her personal tragedy.

    It is implied that she has feelings for Hei, when Amber compared that they were both similar in that aspect and asked her to take care of him.[4] Throughout the course of the series, Yin begins to display emotions and her own will, deciding to follow Hei and remain to be his partner, and even observes and notices a change in his behavior, despite not being ordered to do so.[5] This has been made apparent when she called Hei from the void to come back to her and not leave her alone. In the process, her observation apparition evolved or upgraded, now having a human-like body shaped with her silhouette and is capable of physical touch.[6] Episode 2 of Gaiden reveals that "Izanami" possessed Yin during the events of episode 25, which explains her new abilities.

    "Yin" is the Mandarin Chinese pronunciation of  while the Japanese pronunciation is "gin". It is pronounced with a hard "g" [g] instead of a soft "g" /dʒ/. 

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Wallpaper Websites Definition

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Wallpaper (trademarked Wallpaper* with an asterisk) is an IPC Media magazine focusing on travel, design, entertainment, fashion, and media.

The magazine was launched in 1996 by Canadian journalist Tyler Brûlé and Austrian journalist Alexander Geringer, CEO of aheadmedia, in London, UK. Brûlé sold the magazine to Time Warner in 1997. He stayed on as editorial director until 2002. 2007 saw the appointment of a new editor-in-chief, Tony Chambers, a self-styled "visual journalist".

Apart from publishing the monthly magazine, Wallpaper also publishes travel guide books. There are more than 80 different cities currently available.[1]

Other notable names who have worked at Wallpaper include Jeremy Langmead,[2] Marcus Von Ackermann, Suzy Hoodless, and Alasdhair Willis.[citation needed]Wallpaper's website was launched in 2004 as an arm of the magazine. Since then the website has grown exponentially[citation needed] in line with the rise of online media. Rather than publishing reformatted material from the magazine, it covers breaking news across design, interior, art, architecture, fashion, travel, and technology. It also publishes exclusive online features, interviews, blogs from global events by Wallpaper editors, and a wide range of visual galleries. It claims on average over 635,000 unique users per month.[citation needed] Aside from producing the monthly magazine and website, Wallpaper also publishes global city guide books with Phaidon Press. There are 80 different cities currently available, and more are being published later in the year. The city guides are published in English and there are also editions available in French, Italian, Spanish, German, Portuguese, and Japanese.[citation needed]In September 2005, Wallpaper* launched the "Wallpaper* Thai Edition"

In 2007, to celebrate its 100th issue and reflect its multi-platform status, the logo's asterisk acquired a cursor (pictured at right) in place of one of its arms.

In August 2008, Wallpaper launched the Wallpaper Selects website in collaboration with contemporary online art retailer Eyestorm. Wallpaper Selects sells a selection of limited-edition photographs from the Wallpaper archive, signed by the photographer.

In July 2011 Wallpaper launched an iPad edition of the magazine which is available via the iTunes store.

In January 2012 Wallpaper launched a Chinese language edition.[3]
Controversy over Afrikaans

In the September 2005 edition, an article by Bronwyn Davies, an English-speaking South African, described Afrikaans as "one of the world's ugliest languages", South African businessman Johann Rupert (chairman of the Richemont group), responded by withdrawing advertising for brands such as Cartier, Van Cleef & Arpels, Montblanc and Alfred Dunhill from the magazine.[4]
Wallpaper Design Awards

Wallpaper has an annual awards programme. In 2010 it had 66 categories.[5]

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Black And White Wallpaper Hd Android Desktop Abstract Iphone 5 Design Backgournd Mobile

Black & White Wallpaper Definition

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Black and white, often abbreviated B/W or B&W, is a term referring to a number of monochrome forms in visual arts.
Black-and-white as a description may be considered a misnomer in that the images are not ordinarily starkly contrasted black and white but combine black and white in a continuum producing a range of shades of gray. Further, many prints, especially those produced earlier in the development of photography, were in sepia (mainly for archival stability), which yielded richer, more subtle shading than reproductions in plain black-and-white. Color photography provides a much greater range of shade, but part of the appeal of black and white photography is its more subdued monochromatic character.
    Movies and animated cartoons. While some color film processes (including hand coloring) were experimented with and in limited use from the earliest days of the motion picture, the switch from most films being in black-and-white to most being in color was gradual, taking place from the 1930s to the 1960s. Even when most studios had the capability to make color films they were not heavily utilized as tinting techniques and the Technicolor process were expensive and difficult. For years color films were not capable of rendering realistic hues, thus mostly historical films or musicals were made in color and many directors preferred to use black-and-white stock. For the years 1940–1966 a separate Academy Award for Best Art Direction was given for black-and-white movies along with one for color.
    Photography was black-and-white or shades of sepia. Color photography was originally rare and expensive and again often less than true to life. Color photography became more common in the middle of the 20th century and has become even more common since. Nowadays black-and-white has turned into a niche market for photographers who use the medium for artistic purposes. This can take the form of black-and-white film or digital conversion to grayscale, with optional digital image editing manipulation to enhance the results. For amateur use certain companies such as Kodak manufactured black-and-white disposable cameras until 2009. Also, certain films are produced today which give black-and-white images using the ubiquitous C41 color process.
    Television programming was first broadcast in black-and-white. Some color broadcasts in the USA began in the 1950s, with color becoming common in western industrialized nations during the late 1960s and then standard in the 1970s. In the United States, the Federal Communications Commission (FCC) settled on a color NTSC standard in 1953, and the NBC network began broadcasting a limited color television schedule in January 1954. Color television became more widespread in the U.S. between 1963 and 1967, when the CBS and ABC networks joined NBC in broadcasting full color schedules. Canada began airing color television in 1966 while the United Kingdom established an entirely different color system in November 1969 known as PAL. New Zealand began color broadcasting in 1973, and Australia kept airing black-and-white broadcasts until 1975. In 1969 Japanese electronics manufacturers standardized the first format for industrial/non-broadcast videotape recorders (VTRs) called EIAJ-1, which initially offered only black and white video recording and playback. While no longer used professionally, many consumer camcorders have the ability to record in black-and-white.
    Most newspapers were black-and-white until the late 1970s; The New York Times and The Washington Post remained in black-and-white until the 1990s. Some claim that USA Today was the major impetus for the change to color. In the UK, color was only slowly introduced from the mid-1980s. Even today, many newspapers restrict color photographs to the front and other prominent pages since mass-producing photographs in black-and-white is considerably less expensive than color. Similarly, daily comic strips in newspapers were traditionally black-and-white with color reserved for Sunday strips.
    Color printing has traditionally been more expensive. Sometimes color is reserved for the cover. Magazines such as Jet magazine were either all or mostly black-and-white until the end of the 20th century when it became all-color. Manga (Japanese or Japanese-influenced comics) are typically published in black-and-white although now it is part of its image. Many School yearbooks are still entirely or mostly in black-and-white.

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