Sunday, October 30, 2011

Complete list of Facebook Chat Emoticons


 smile
:-) :) :] =)
 frown
:-( :( :[ =(
 tongue
:-P :P :-p :p =P
 grin
:-D :D =D
 gasp
:-O :O :-o :o
 wink
;-) ;)
 glasses
8-) 8) B-) B)
 sunglasses
8-| 8| B-| B|
 grumpy
>:( >:-(
 unsure
:/ :-/ :\ :-\
 cry
:'(
 devil
3:) 3:-)
 angel
O:) O:-)
 kiss
:-* :*
 heart
<3
 kiki
^_^
 squint
-_-
 confused
o.O O.o
 upset
>:O >:-O >:o >:-o
 pacman
:v
 curly lips
:3
 robot
:|]
 Chris Putnam
:putnam:
 Shark
(^^^)
 Penguin
<(")
 42
:42:

Chelsea 3 - Arsenal 5



Chelsea 3
Arsenal 5
Scorer: Lampard (14)
Scorer: Terry (45)
Scorer: Mata (80)
Scorer: van Persie (36, 85, )
Scorer: Andre Santos (49)
Scorer: Walcott (55)
Attendance: 41,801FT (14:37)


Robin van Persie's hat-trick helped Arsenal to an amazing victory in a classic encounter against Chelsea at Stamford Bridge.
Blues captain John Terry had given the Blues a 2-1 half-time lead but the Gunners staged a sensational second-half comeback to turn the match on its head and, though Juan Mata equalised at 3-3, a Terry mistake allowed Van Persie to make it 4-3 before the Dutchman completed his treble in stoppage time.
It handed the visitors their first Barclays Premier League away win since April and left Chelsea six points behind leaders Manchester City having played a match more.
Both sets of supporters were soon transfixed by a feast of attacking football.
After Ashley Cole twice got in behind the visitors' defence, Chelsea really should have scored when three of their players beat the Gunners' offside trap but Daniel Sturridge somehow sent his cross straight at Wojciech Szczesny.
The home side also looked vulnerable and Gervinho somehow scuffed a tap-in wide after Theo Walcott surged past Cole. The Arsenal winger also picked out captain Van Persie, who volleyed over.
It was the Arsenal defence which buckled first after 14 minutes, the outstanding Mata teasing Van Persie and swinging in a right-wing cross which the unmarked Frank Lampard stooped to head home.
EMPTY NET
Van Persie was robbed after again getting in behind before the goalmouth action finally relented until the 29th minute, when Lampard's flighted ball put Sturridge clean through but the forward got his left-footed finish all wrong.
And Arsenal made him pay seven minutes later when they equalised with the kind of goal they are all too often accused of trying to score.
Ramsey picked out Gervinho's brilliant run and the Ivory Coast striker drew Petr Cech and squared for Van Persie to slot into an empty net.
Sturridge thought he had put Chelsea back in front four minutes before the break but he was rightly ruled offside poking home Ramires' cross.
But they were gifted the lead on the stroke of half-time through Terry, of all people, who got in front of Per Mertesacker to cushion Lampard's corner in off the post right in front of the Arsenal fans.
Every one of Terry's outfield team-mates joined in the celebrations with their skipper.
Incredibly, the tables turned within 10 minutes of the restart as Arsenal scored twice to take the lead and Szczesny avoided a red card.
Van Persie and Ramsey both missed chances to level inside a minute but Andre Santos did three minutes later when his superb first touch onto Gervinho's ball gave him time to send a strike through Cech's legs and into the net.
Chelsea immediately went on the attack and Szczesny appeared lucky not to be sent off when he came rushing out of goal and tripped Cole on the edge of the box.
Referee Andre Marriner showed only a yellow card and Szczesny rubbed salt into the wound by tipping Lampard's resulting free-kick wide before Arsenal scored again, Walcott bundling his way through the home defence and lashing the ball past Cech at the near post.
RACE CLEAR
Both sides made a raft of changes as the end-to-end action continued, with Ramsey missing another good chance for the visitors who were looking the more dangerous.
Terry was forced to act as peacemaker after a clash between Van Persie and Branislav Ivanovic, both of whom were booked.
And there was a grandstand finish thanks to a wonderful strike from Mata, who let fly from 25 yards to beat the despairing Szczesny.
But like the first half, the second ended up being decided by Terry, who slipped chasing substitute Florent Malouda's backpass, leaving Van Persie to race clear, round Cech and make it 4-3.
Mata twice saw efforts blocked as Chelsea tried to level before Van Persie hit them on the break again by blasting left-footed past Cech.

 Fantasy Player Pick
 Match Quotes
Andre Villas-Boas
"The decisive moment might have been when Mata was free on goal and misses the chance to go 4-3 ahead. We've seen some great open games recently between the top teams and this is one more. We will have to reflect on the mistakes we made and there are a couple of things we can improve, but the commitment and desire is there. We must evolve, it's a loss against a big team picking up form, it's two defeats in a row and we have to get things right."

- Andre Villas-Boas

Match Quotes

Arsenal manager Arsene Wenger
"It was fantastic to watch, both teams went for it. In the second half I felt we were completely dominating the game and created chance after chance. Overall we have shown quality and mental strength as well. To go 2-1 down and come out the way we did shows great resolve in the team. I thought we looked fragile in defence in the first half but we looked dangerous going forward. We achieved the target of winning a big game away from home and did it with style, but we have to keep our feet on the ground and focus on another big game on Tuesday. That's the football we want to play, you always think you can get rid of the defensive mistakes we had in the first half."

- Arsene Wenger



Friday, October 21, 2011

¿Ves?


Santyyyyy!!! quería saludarte.

Un abrazo gigante
 ·  · See Friendship · October 14 at 11:01am

Thursday, October 20, 2011

Chuck Palahniuk - Using the "on-the-body" physical sensations




This third essay is to demonstrate physical sensation in a story.This physical sensation is what the Minimalist writer Tom Spanbauerwould call "going on-the-body."In fiction writing, there's an old saying: When you don't know what hap-pens next, describe the inside of the narrator's mouth.Or the soles of their feet, or the palms of their hands. Any physical sensa-tion that can evoke a sympathetic physical sensation from the reader.It's one thing to engage the reader mentally, to enroll his or her mind andmake them think, imagine, consider something.It's another thing to en-gage a reader's heart, to make him or her feel some emotion. But if youcan engage the reader on a physical level as well, then you've created areality that can eclipse their actual reality.The reader might be in anoisy airport, standing in a long line, on tired feet nbut if you can engagetheir mind, heart and body in your story, you can replace that airportreality with something more entertaining or profound or whatever.That's why each of my books involves some intense physical sensation.Whether it's violence in Fight Club. Or plastic surgery in InvisibleMonsters.Or sex in Choke. Or illness and self-mutilation in Diary.With each of my books, the goal is to make the story occur in the reader's mind, heartand gut.In the recent short story, "Guts," this effect goes almost too far.Almost.
 20

Note, this doesn't happen with abstract words that describe pain orpleasure. You can't just order a reader to feel a sensation. It happenswhen you create a tangible situation, detail by detail, and let the eventshappen in the reader's mind.Words like "searing pain" or "sharp, stabbing pain" or "throbbing head-ache" or "ecstatic orgasm" don't evoke anything except some lame-asspaperback thnller book. Those are the cliches of a cheating writer. Littleabstract short-cuts that don't make anything happen in the reader's gut.No, you want the pain nor whatever physical sensation nto occur in thereader, not on the page. So un-pack the event, moment by moment, smell by smell. Make it happen, and let the sensation of pain occur only in thereader.The same goes for sex. But with sex, it helps if you re-invent the lan-guage of sex. Most people have their own pet vocabulary for sex organsand sex acts. To make an orgasm fresh and unique neven if it' s justwords happening on a page ninvent a way that only your narratorwould talk about sex. That special nickname for their genitals. Their eu-phemism for intercourse.I like to say: "When a regular person gets sick, they take an aspirin.When a writer gets sick, they take notes… "The next time you get a headache or diarrhea or poison ivy, sit and in-ventory the physical details you experience. Put them down on paper forsome future use. Because the toughest job you'll have as a writer is togive your character a headache. Still, you should do it so well you giveyour reader a headache.Another method is to inject medical language nthe almost-poetry of sur-gical jargon or diagnostic terms. Anatomical vocabulary. Chemicalnames.All of those build their authority in a "head" sense, proving you're smart.Plus, they evoke a physical discomfort or pleasure in the reader.Plus, odd language can slow the reader and focus their attention on themoment.Plus, medical language gives people a way to discuss topics theycouldn't because they never had the language. So you're engaging thereader on a mental and physical level.So, when you don't know what happens next: Have sex. Get sick. Gethurt. Or hit somebody.*To date, we've discussed "establishing authority" and "horses orthemes"and "physical sensation."
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To review the previous topics, look at this essay and find how itestab-lishes authority and what the "horses" or themes are.Then, create a character' s headache nwithout using any words suchas"headache, pain, migraine… "This might force you to do some re-search intothe cause of headaches. Or into how other cultures explainedheadaches. Orhow a headache changes your total perception. Or head-ache cures ntruestory: my old doctor used to swear by masturbation, tolower your bloodpressure and cure headaches. The goal is to re-inventthe tired, cliched ideaof a "headache" so well that you can create one inyour reader.For another exercise, write out an event from your past that involved as-trong physical sensation. Un-pack it, detail by detail, and create thesen-sation in the reader's gut. Again, without using abstract short-cuts that-describe the sensation. Always, create the sensation.The story, Guts, is now out in the March issue of Playboy magazine. Itwillsoon be published in The Guardian newspaper in England.Nextmonth'stopic will be "Dissecting Guts." A break-down of all the littletricks I used toput that story across.