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  • Have we had the Coptic Pope ?

    Shenouda shuffles off this mortal coil...


    Pope Shenouda III of Alexandria, who has died aged 88 after suffering from prostate cancer, was for four decades the spiritual leader of the Coptic Orthodox Church, the largest Christian community in the Middle East. In his native Egypt he was patriarch to 7 to 11 million Copts – the government of the predominantly Muslim country giving a lower estimate than the church's – and another 4 million worldwide.

    Coptic congregants, worshipping in a tradition that goes back to the earliest days of Christianity, held "Baba Shenouda" in high regard. Yet his pontifical reign was marked by controversy. While inter-communal strife saw thousands of Copts leave Egypt, critics blamed him for politicising his office and exacerbating matters, either through over-assertiveness or timidity. Egypt's 2011 uprising threw such tensions into starker relief.

    Ten years into his papacy, Shenouda had famously fallen out with President Anwar Sadat; in September 1981 he was summarily dethroned and banished to an ancient desert monastery. Reinstated by Sadat's successor, Hosni Mubarak, in January 1985, the Coptic pope, 117th in a line of leaders that began with St Mark, achieved considerable successes. The ordination of deaconesses was resumed after an interval of several centuries, and he brought women into theological colleges and communal councils, though he was against them becoming priests.

    Beyond his devotional authority, Shenouda also represented Coptic lay and political interests in Egypt and fostered ties with wealthier Coptic diasporas in the US, Canada, Europe, South Africa and Australia. From 1965 and throughout his papacy he edited the Coptic journal El Keraza.

    However, he was beset by problems in his final years. Once he had proclaimed: "A church without youth is a church without a future"; now young Copts resented the way he spoke on their behalf. Shenouda began sacking dissenters with alarming frequency and secularists said he encouraged a dangerous culture of church-centred isolationism.

    Past troubles came back to haunt him, too. In 1976 he dismissed a rebellious deacon, Max Michel, who in 2005 was declared a bishop by an Orthodox organisation in Nebraska, and the following year crowned himself Archbishop Maximus I, head of a rival St Athanasius church. Michel claimed that God had deserted Shenouda's congregation and that more than a million Copts had become Muslims or evangelical Christians. While Michel attracted little support, he caused much rancour.

    Also in 1976, Shenouda severed relations with a sister church in Ethiopia after the Marxist regime arrested and then executed the Orthodox patriarch.

    Shenouda developed a personal respect for and close working relationship with Mubarak, to whose government he and his bishops had privileged access. Initially he discouraged Copts from taking part in the demonstrations that led to Mubarak's overthrow in February 2011. The year of revolution posed new questions of identity, security and political involvement for a section of society that had always felt discriminated against. Faced with January 2012's elections to a parliament dominated by the Muslim Brotherhood and conservative Islamists, many Copts suppmore effective orted the liberal, secular Muslim-Christian Egyptian Bloc, which achieved fourth place. Others formed specifically Coptic parties, a development that Shenouda had resisted.

    He was born Nazir Gayed, the youngest of eight children in Asyut, southern Egypt, moved to Cairo at 16 and served as a novice at St Anthony's church school. In 1947, he gained a BA in history from Cairo University, fought as an officer in the Arab-Israeli war the following year and then taught English in a high school. In 1949, he graduated from the Coptic Orthodox Theological Seminary. Four years later, he began teaching at the Monastic School in Helwan and became professor of Old Testament studies. All the while he dabbled in classics and archaeology; he wrote poetry and penned newspaper opinion pieces, many on Coptic history.

    The name Copt, from the Greek for "Egyptian", now denotes indigenous Orthodox believers who make up 95% of Egyptian Christians. They maintain that the apostle Mark founded the Church of Alexandria around AD55. After an ecumenical ruling in 451, other Christians ostracised them for believing in the single nature of Christ – divine and human seen as one – a charge that Copts rejected. Arabs conquered Egypt two centuries later, although Copts remained a majority until the 12th century, when many converted to Islam. Shielded from Europe, Copts developed distinctive customs such as fasting, monasticism and the usage of liturgical Coptic, derived from the Pharaonic language of ancient Egypt.

    Gayed entered the El Suryan (St Mary) monastery in Egypt's remote western desert in July 1954. From 1956 to 1962, he lived in a cave and experienced "complete freedom and clarification". His teacher was the charismatic Father Matta el-Meskin (Matthew the Poor), later to become an opponent. Sadat offered Matta the papacy in place of Shenouda in 1981.

    Recalled from the hermit's life, Gayed became dean of the Coptic Seminary and bishop for religious education with the saintly name of Shenouda. Within seven years, enrolment of part-time students had grown tenfold.

    Shenouda was appointed personal secretary to the newly elected Pope Kyrillos VI in 1959, though briefly suspended in 1966 for radically demanding the popular election of bishops. When Kyrillos died in March 1971 he was named as a possible successor. Ritually chosen by a blindfolded boy drawing lots from among three candidates elected by church bodies, in November 1971 Gayed was enthroned as His Holiness Shenouda III, Pope of Alexandria and Patriarch of All Africa.

    More ebullient than his predecessor, Shenouda inspired the growth of churches outside Egypt – from seven in 1971 to more than 150 three decades later. The number of bishops in the Holy Synod increased from 20 to 83; four bishops were ordained in Britain, where 30,000 Egyptian Copts live.

    But life beyond the cloisters proved more perilous. Having long opposed demands to impose Islamic sharia law on Egypt, he befriended Sadat, who had been Egypt's president from 1970, and endorsed his peace initiative with Israel. But Sadat later damned Shenouda as a secessionist after Christians fought Muslims in Cairo and expatriate Copts barracked Sadat during an American visit. In September 1981, Sadat arrested Shenouda along with 1,500 other "opposition figures" including journalists and unionists, Muslim Brothers and Coptic clerics. He replaced the pope with a panel of five bishops and banished him to Wadi Natrun. A month later, Sadat was assassinated.

    Eventually Mubarak recalled Shenouda to the papal seat after intercession by visiting clerics, including Graham Leonard, then Anglican bishop of London. Vowing to be a turbulent priest no more, Shenouda told a welcoming party of 10,000 at St Mark's Cathedral: "We Christians and Muslims are like organs in one body, which is Egypt."

    He often met Egypt's supreme Muslim cleric, Sheikh Mohammed Tantawi, and championed Arab causes in international forums. He backed the Madrid conference of 1991 intended to further the Israeli-Palestinian peace process and in 2000 became the first person to win Unesco's Mandanjeet Singh prize for tolerance. For 20 years, Shenouda's Ramadan breakfasts helped repair Muslim-Coptic rifts. In 2001 he proclaimed: "Love generates love and separation generates separation."

    Shenouda visited Pope Paul VI in Rome in 1973 and signed a declaration of common faith. This marked the first meeting between Alexandrine and Roman pontiffs since 451. In 1989 he signed a similar concordat with his Orthodox brothers, and in 2000 he welcomed Pope John Paul II to Egypt. Shenouda also defended smaller, beleaguered Christian communities throughout the Middle East.

    Yet his liberalism had its limits. He said Anglican priests who converted to Catholicism had "left one error to embrace another that is worse". Cairo's Al-Ahram newspaper chided his "politically motivated" 1979 edict forbidding Egyptian Christians from visiting co-religionists in Jerusalem. His comments on Jews often sailed close to crass antisemitism and he rebuffed calls to soften Coptic strictures on divorce.

    With his voluminous beard, grand turban and ornate oriental crucifix, Shenouda's public persona could appear solemn. Then he would suddenly break into laughter, living up to his reputation as a great teller of jokes.

    Like John Paul II, the Egyptian pope seemed too innovative to some, too conservative to others. Many disliked his mild response to allegations of forced conversions of Christian girls, and to recurrent sectarian violence. Extremists killed 10 in a church in 1997; 20 more were murdered after new year 2000.

    He did criticise lenient sentences and often asked why so few Copts sat in parliament. Yet he seldom challenged the government, preferring to work behind the scenes, and upset Muslims and Copts by endorsing Mubarak's candidacy for re-election as president in 2005. The liberal Muslim analyst Ahmad al-Aswani blamed the pope for "beard-kissing and forgetting" instead of confronting an "open season on Copts".

    Shenouda's hundred books and countless sermons untangled abstruse dogma in a straightforward way. His more than 30 foreign visits included the first by a Coptic pope to the US, in 1977.

    In April 2008, overzealous Heathrow security officials frisked Shenouda while on his way to consecrating St George's Coptic Cathedral, Shephalbury Manor, Stevenage. Angry protests back in Egypt showed the respect he still commanded.

    However, his health was failing, and in June 2008 he underwent surgery in Ohio. Internal Coptic disputes went public and Shenouda seemed to lose his celebrated grip over his community.

    On 1 January last year, 23 people were killed outside a Coptic church in Alexandria. When Egypt's revolution began later that month, the sight of Christians chanting alongside Muslims in Tahrir Square, Qur'ans and crosses held aloft, momentarily dispelled fears of sectarian carnage. But order broke down after Mubarak's forced departure and 12 died as extremists attacked churches in Cairo's poor Imbaba district in May. When thousands of Copts took to the streets in October to protest against the state's recent demolition of an "unlicensed" church in Aswan, the resulting military crackdown left 27 people dead.

    Shenouda hailed the victims as martyrs, "beloved children whose blood does not come cheap". Yet he faced defiance from the Maspero Youth Union, Copts who condemned the governing SCAF, the Supreme Council of the Allied Forces. There was therefore urgency in Shenouda's call for national unity at a Christmas service in St Mark's at the beginning of January this year: "For the first time the cathedral … is packed with all types of Islamist leaders in Egypt. They all agree ... on the stability of this country, and to work with the Copts as one hand for the sake of Egypt."

    This month's visit by Muslim Brotherhood leaders to Shenouda echoed that sentiment, as did the Maspero Youth's slogan at cathedral prayers for the ailing pope: "Your people love you."

    • Pope Shenouda III (Nazir Gayed), prelate, born 3 August 1923; died 17 March 2012
    Egyptian spiritual leader of the Coptic Orthodox Church for more than 40 years
    Vive la liberte. Noor Inayat Khan, Dachau.

    ...patriotism is not enough. I must have no hatred or bitterness towards anyone. Edith Cavell, 1915

    Comment


    • Originally posted by molly bloom View Post
      Have we had the Coptic Pope ?


      He died the same day as John Demjanjuk.
      "I have never killed a man, but I have read many obituaries with great pleasure." - Clarence Darrow
      "I didn't attend the funeral, but I sent a nice letter saying I approved of it." - Mark Twain

      Comment


      • Malawi’s President Bingu wa Mutharika died yesterday.
        http://www.telegraph.co.uk/news/worl...-suspense.html
        There's nothing wrong with the dream, my friend, the problem lies with the dreamer.

        Comment


        • Hugo Chavez is invoking a heavy-hitter in his attempt to stay out of our pool.

          (CNN) -- An emotional Hugo Chavez discussed his struggle with cancer Thursday night, tearing up at times as he spoke at a Mass in western Venezuela.

          "Christ ... give me life, because I still have things to do for the people and this country. Do not take me yet," the Venezuelan president said.

          At a service in his home state of Barinas billed by state television as giving thanks for his health, Chavez described cancer as "a true threat that marks the end of the path for many people. The end of the physical path, that's the truth."

          But Chavez stressed that he was recovering, saying he had "much faith, much hope, much willpower to defeat this threat, as many people have, with the help of God and medical science."

          He ended his sometimes somber, sometimes jocular remarks at the Holy Thursday Mass with what he said was his message for God.

          "Give me your crown, Christ, give it to me. Let me bleed. Give me your cross, 100 crosses, so I can carry them. But give me life, because I still have things to do for the people and this country," Chavez said. "Do not take me yet. Give me your cross, give me your thorns, give me your blood. I am prepared to carry it. But with life, Christ. Amen."

          The 57-year-old president has not specified the type of cancer he is battling, and the government has released few specifics, fueling widespread speculation about his health and political future.


          Get your things done Hugo. We're waiting...
          "I have never killed a man, but I have read many obituaries with great pleasure." - Clarence Darrow
          "I didn't attend the funeral, but I sent a nice letter saying I approved of it." - Mark Twain

          Comment


          • What a shame. My heart pumps purple panther piss for him.
            Life is not measured by the number of breaths you take, but by the moments that take your breath away.
            "Hating America is something best left to Mobius. He is an expert Yank hater.
            He also hates Texans and Australians, he does diversify." ~ Braindead

            Comment


            • The Dubliners bow out, with the last of the originals... farewell Barney.

              Barney McKenna, who has died aged 72, was the last surviving founding member of the Irish folk group the Dubliners. While Ronnie Drew's gravelly voice gave the band its memorable vocal sound, it was McKenna's playing of the tenor banjo, coupled with John Sheahan's fiddle, that gave the Dubliners their original instrumental quality. In the process, McKenna redefined the role of the banjo in Irish traditional music. His distinctive playing can be heard on the Dubliners' two UK hit singles in 1967, Seven Drunken Nights and Black Velvet Band, as well as on group favourites such as The Wild Rover and McAlpine's Fusiliers. When the Pogues brought the Dubliners back to the vanguard of Irish music in 1987, their joint recording of The Irish Rover has his banjo well to the fore.

              McKenna was born in Donnycarney, Co Dublin, and started to play the banjo because he could not afford a mandolin. He was rejected from the Irish army band because of his poor eyesight. In Dublin in the late 1950s and early 60s, there was just a handful of folk musicians, often playing informally in a variety of combinations. McKenna was initially a member of a short-lived group fronted by the uilleann piper Paddy Moloney, who cited that lineup as the first incarnation of the Chieftains.

              Meanwhile, Drew was asked by the actor John Molloy to perform at the Gate theatre in Dublin, and he invited McKenna to join him on stage. On Fridays, Drew and McKenna would meet Molloy at O'Donoghue's pub to get paid. One night, with the landlord's permission, they played some tunes in the bar. The music sessions became a regular event – a rarity in pubs at the time – and the two musicians were joined by Luke Kelly, newly returned from England, and Ciarán Bourke. Known as the Ronnie Drew Folk Group, they soon changed their name to the Dubliners.

              When RTÉ banned the band's bawdy single Seven Drunken Nights, the pirate station Radio Caroline helped propel it into the British charts. The group's hard-living, hard-drinking image was seemingly confirmed by album titles such as A Drop of the Hard Stuff (1967). Concert tours in the US led to further international touring for a band whose matching bushy beards made them immediately recognisable.

              McKenna was enormously influential and his GDAE tuning was copied by countless banjo players in Ireland and beyond, making it the standard for Irish music. The tuning was an octave below the fiddle, opening up the banjo to a wide range of traditional music. The broadcaster and banjo player Mick Moloney told me: "His very gentle, subtle picking style, along with the beautiful swing in his playing, were an absolute revelation to the Irish music scene." The Dubliners' concerts invariably included banjo solos from McKenna, such as, in recent years, The Maid Behind the Bar and The High Reel. In addition, McKenna played the mandolin and the melodeon.

              Throughout his 50 years with the Dubliners, McKenna made a vocal contribution to their concerts and albums on love and sea songs, often with minimal instrumental accompaniment. A favourite was John Conolly's Fiddler's Green. He was well known as a raconteur, both on and off stage, and his funny sayings became known as Barneyisms.

              Both Kelly and Bourke died in the 1980s. Drew, who died in 2008, had periods away from the band. New members joined, such as Seán Cannon and Eamonn Campbell. But it was McKenna – alongside Sheahan, who joined in 1964 – who provided the continuity in a band that defied the changing tastes of Irish traditional music to build a worldwide fanbase for the good-time, occasionally raucous, street songs of Dublin.

              McKenna had recently completed the Dubliners' 50th anniversary tour of England, as well as concerts in Germany and Dublin. In February, the band was presented with a lifetime achievement award at the BBC Radio 2 Folk awards. McKenna, with failing eyesight, looked frail but still performed with style.

              McKenna's wife, Joka, died in the 1980s. He is survived by his partner, Tina, his sister, Marie, and brother, Sean.

              • Bernard Noel McKenna, folk musician, born 16 December 1939; died 5 April 2012
              Banjo player and an original member of the Irish folk group the Dubliners


              Not a Dubliners' song, but one I'm sure he would have enjoyed- the Parting Glass.

              Vive la liberte. Noor Inayat Khan, Dachau.

              ...patriotism is not enough. I must have no hatred or bitterness towards anyone. Edith Cavell, 1915

              Comment


              • Mike Wallace Dies: '60 Minutes' Correspondent Was 93
                ABC News‎ - 26 minutes ago
                Veteran broadcast journalist Mike Wallace has died, according to CBS News. He was 93 years old and had been in declining health in recent years.
                Andy and now him.
                Life is not measured by the number of breaths you take, but by the moments that take your breath away.
                "Hating America is something best left to Mobius. He is an expert Yank hater.
                He also hates Texans and Australians, he does diversify." ~ Braindead

                Comment


                • TRIPOLI - The former Libyan intelligence officer convicted of the 1988 Lockerbie bombing that killed 270 people was transferred to hospital on Friday after his health deteriorated quickly, his brother said.

                  Abdulbasit al-Megrahi was taken from his Tripoli home to a private hospital, his brother Abdulhakim told Reuters. “His health began to deteriorate quickly and we were worried about him, so took him immediately to the hospital where he is receiving a blood transfusion,” he said.
                  "I have never killed a man, but I have read many obituaries with great pleasure." - Clarence Darrow
                  "I didn't attend the funeral, but I sent a nice letter saying I approved of it." - Mark Twain

                  Comment


                  • Another painter hits the canvas:

                    John Golding, who has died aged 82, packed into his life separate but intertwined careers as artist and historian of modern art. Soon after he had completed his doctoral dissertation on cubism at the Courtauld Institute of Art, London, it was published as Cubism, A History and an Analysis, 1907-1914 (1959), and has stood ever since as the clearest exposition of that extraordinary era in the history of the art of the 20th century.

                    In a field in which so many literate and knowledgable writers had known Pablo Picasso well – from the compiler of the Dictionnaire Picasso, Pierre Daix, to his first English biographer, the painter Roland Penrose, his most discriminating collector, Douglas Cooper, and the writer of what is likely to be the definitive biography, John Richardson, – this was a remarkable achievement. Golding added to it in 1988, when an exhibition in Paris and Barcelona, organised around Picasso's Les Demoiselles d'Avignon (1907), overlapped with another show, Late Picasso, in Paris and London, of Picasso's late period (1953-73), and Golding wrote what remains one of the finest accounts of Picasso's achievement in an essay of nearly 11,000 words in the New York Review of Books.

                    Yet more than with any of his writings, he made his public mark with another Picasso scholar, Elizabeth Cowling, by curating two groundbreaking Tate exhibitions: Picasso: Sculptor/Painter, in 1994, and Matisse/Picasso, in 2002-03, which also travelled to the Grand Palais in Paris and the Museum of Modern Art in New York.

                    The first of these shows demonstrated what many people already suspected, that as a sculptor/painter, Picasso had more sculptural ideas than most specialists in that field. After its success, the Tate's director, Nicholas Serota, challenged his dream team to come up with something as good. Cowling suggested Matisse/Picasso to Golding, who concurred enthusiastically. Everybody knew about the creation of cubism by Picasso and Georges Braque, "like two mountaineers roped together", as Braque described it. The idea that the wary and slow-burning relationship between Picasso and Matisse should have been just as productive, though lasting more than half a century rather than the six or seven hectic Picasso-Braque years, had never been so boldly proposed as in this exhibition.

                    Golding attacked the project with determination, talking not just great galleries but reluctant private collectors into parting with masterpieces chosen not simply for their quality but to be placed in conjunction, Picasso with Matisse, Matisse with Picasso, to show how they fed off each other. Together with a catalogue essay by Golding, argued with characteristic calmness and lucidity, the exhibition was a triumph of enlightened scholarship and sheer pleasure.

                    Neither Picasso nor Matisse of course was ever an abstractionist. Golding was, and the clue to his practice as a painter lies in his Paths to the Absolute (2000). This effectively stood as his credo, that abstract art was not simply decorative but, as he put it in the preface, was "heavily imbued with meaning [and] with content", a case he argued with studies of seven abstract artists, beginning with the early 20th-century Europeans Piet Mondrian, Kazimir Malevich and Wassily Kandinsky and ending with the post-second-world-war Americans Jackson Pollock, Barnett Newman, Mark Rothko and Clyfford Still. The book was essentially a transcript of his AW Mellon lectures of 1997, the famous series of talks that also produced such celebrated studies of art history as EH Gombrich's Art and Illusion and Kenneth Clark's The Nude: A Study in Ideal Form. Golding's rigorous but approachable work comfortably takes its place among them, and in the year of its publication it won the Mitchell prize, the principal annual US award for art history.

                    Although he was born in Hastings, East Sussex, Golding's parents brought him up from early childhood in Mexico. During the second world war, he came to know the maverick English surrealist Leonora Carrington, who had made her home in Mexico, and in her eclectic circle Golding met the film-maker Luis Buñuel and the poet Octavio Paz, as well as emigre surrealists such as the French poet Benjamin Péret and the Austrian artist Wolfgang Paalen. But it was the Mexican muralists Diego Rivera, Juan O'Gorman and especially José Orozco who really interested him. He was especially impressed by the boldly schematic figures of Orozco that aimed at the grand simplicity of early Italian masters in the circle of Giotto, and it was these that he remembered after the war when he himself began to paint.

                    First though, Golding took a degree at Toronto University. He made frequent visits during this time to the Museum of Modern Art and worked for a period as a stage designer. He returned to London to take an MA at the Courtauld. In 1953 he saw the major show of cubism in Paris at the Musée d'Art Moderne and decided to write his doctoral thesis at the Courtauld on the formative years of the movement, from 1907, when Picasso painted Les Demoiselles d'Avignon, until the outbreak of war in 1914. The resulting book won the approval of both Braque and Picasso and became a keystone in Golding's life. Although he had decided while he was studying that he would work as an artist as well as a historian, inevitably the acclaim for his book drew Golding deeper into academic life.

                    He started to teach at the Courtauld in 1959. He was a reader in art history by 1981, at which point the Royal College of Art made him the siren offer of senior tutor in the painting school. Golding took it, in the knowledge that at the RCA he could immerse himself full time in the practice of painting, his own as well as his students'. "I am not interested in art as self-discovery or therapy," he said. He wanted to be a full-time professional, committed to pushing painting forward in the exploration of colour and light.

                    His painting was already gaining recognition, notably when he was included in the 1974 Hayward Annual, British Painting, selected by Andrew Forge. In the 1980s he had a run of one-man shows in top galleries, including Juda Rowan in London and the Oxford Museum of Modern Art, as well as in Tokyo, Sydney and at the Yale Centre for British Art in Connecticut, where the catalogue for his show was written by Forge, who, like Golding, was a painter and deeply sensitive critic.

                    Golding's knowledge of Renaissance painting, especially the great Venetians and particularly their rendering of the fall of light on to bodies, the way it breaks up outlines and dissolves form and mass, informed his own work as he moved out of figuration and into abstract canvases in which light was the subject. He painted vertical streaks of colour down his canvases like pleated light (as he put it) and occasionally on, say, a misty blue, he would scatter clusters of gold pigment to reflect the actual light. After the end of the 20th century, he started to structure his paintings so that they appeared to be based on photographs from thousands of feet above the Earth, with "roads" and "bridges" and "canals". He even called one of these canvases Mappa Mundi.

                    In retrospect, though, it seems to have been inevitable that Golding's own painting should be overshadowed by his reputation as a historian. As a teacher, he was popular with his students. In person he looked a little like Picasso, but his voice was soft and his delivery almost contemplative, as though he was thinking his way forward, trying his ideas out on his audience as he formulated them, even on subjects he knew well.

                    The historian James Joll, with whom he shared his life for many years, died in 1994. He is survived by two nephews, Michael and Richard.

                    • Harold John Golding, artist, art historian and curator, born 10 September 1929; died 9 April 2012
                    Artist, teacher and historian of modern art, he wrote a seminal work on cubism



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                    Vive la liberte. Noor Inayat Khan, Dachau.

                    ...patriotism is not enough. I must have no hatred or bitterness towards anyone. Edith Cavell, 1915

                    Comment


                    • Robin Gibb Gravely Ill In Hospital: Reports »

                      AP | April 14, 2012 at 09:56 AM
                      LONDON  Former Bee Gee Robin Gibb is in a coma after contracting pneumonia, a statement on his official website said Saturday. The statement, which confirmed media reports that the singer was gravely ill, said "we are all hoping and praying that he will pull through."
                      Ruh-roh!
                      Apolyton's Grim Reaper 2008, 2010 & 2011
                      RIP lest we forget... SG (2) and LaFayette -- Civ2 Succession Games Brothers-in-Arms

                      Comment


                      • After a two month lull it looks like I might need to sharpen the points pencil soon.

                        I'll be glad to see the Libyan terrorist go. He's lived too long as is.

                        Not so glad about Robin Gibb but I guess he can serve as a cautionary tale of the dangers of disco.
                        "I have never killed a man, but I have read many obituaries with great pleasure." - Clarence Darrow
                        "I didn't attend the funeral, but I sent a nice letter saying I approved of it." - Mark Twain

                        Comment


                        • Originally posted by -Jrabbit View Post
                          Ruh-roh!
                          Is it true you once owned a pair of sequined pants?
                          "I have never killed a man, but I have read many obituaries with great pleasure." - Clarence Darrow
                          "I didn't attend the funeral, but I sent a nice letter saying I approved of it." - Mark Twain

                          Comment


                          • Actually, I've been a vociferous antidiscoist dating back to the 70s.

                            And those were not sequins!
                            Apolyton's Grim Reaper 2008, 2010 & 2011
                            RIP lest we forget... SG (2) and LaFayette -- Civ2 Succession Games Brothers-in-Arms

                            Comment


                            • Originally posted by -Jrabbit View Post
                              And those were not sequins!
                              Do you have Ick?
                              There's nothing wrong with the dream, my friend, the problem lies with the dreamer.

                              Comment


                              • "I have never killed a man, but I have read many obituaries with great pleasure." - Clarence Darrow
                                "I didn't attend the funeral, but I sent a nice letter saying I approved of it." - Mark Twain

                                Comment

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