Archive for October, 2019

Wednesday 30th October 2019

Posted in Life the Universe and Other Things on October 30, 2019 by bishshat

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Drive

The Cars

Who’s gonna tell you when
It’s too late
Who’s gonna tell you things
Aren’t so great

You can’t go on thinking
Nothing’s wrong, oh oh
Who’s gonna drive you home
Tonight

Who’s gonna pick you up
When you fall
Who’s gonna hang it up
When you call
Who’s gonna pay attention
To your dreams
Yeah, who’s gonna plug their ears
When you scream

You can’t go on thinking
Nothing’s wrong, oh oh
Who’s gonna drive you home
Tonight

Who’s gonna hold you down
When you shake
Who’s gonna come around
When you break

You can’t go on thinking
Nothing’s wrong, oh oh
Who’s gonna drive you home
Tonight

You know you can’t go on thinking
Nothing’s wrong
Who’s gonna drive you home
Tonight

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Do It Again

Steely Dan

In the mornin you go gunnin’
For the man who stole your water
And you fire till he is done in
But they catch you at the border
And the mourners are all sangin’
As they drag you by your feet
But the hangman isn’t hangin’
And they put you on the street

You go back, Jack, do it again
Wheel turnin’ ’round and ’round
You go back, Jack, do it again

When you know she’s no high climber
Then you find your only friend
In a room with your two timer
And you’re sure you’re near the end
Then you love a little wild one
And she brings you only sorrow
All the time you know she’s smilin’
You’ll be on your knees tomorrow

You go back, Jack, do it again
Wheel turnin’ ’round and ’round
You go back, Jack, do it again

Now you swear and kick and beg us
That you’re not a gamblin’ man
Then you find you’re back in Vegas
With a handle in your hand
Your black cards can make you money
So you hide them when you’re able
In the land of milk and honey
You must put them on the table

You go back, Jack, do it again
Wheel turnin’ ’round and ’round
You go back, Jack, do it again

 

 

Tuesday 29th October 2019

Posted in Life the Universe and Other Things on October 29, 2019 by bishshat

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Sunday 27th October 2019

Posted in Life the Universe and Other Things on October 27, 2019 by bishshat

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After the vibrancy of Tuesday’s win over Red Star Belgrade – admittedly, a pedestrian opposition – Mauricio Pochettino surprisingly opted to recall Toby Alderweireld, Danny Rose and Christian Eriksen at Anfield – three players with seemingly no long-term future at Spurs. Not unpredictably, Eriksen and Rose were two of Spurs’ biggest problems as they battled to a 2-1 defeat to the League leaders.

The left-back put in another erratic performance and was at fault for Liverpool’s equaliser, getting dragged out of position before Henderson’s strike, and his most memorable contributions with the ball were a bizarre clearance out for a Liverpool corner which nearly soared over the Anfield Road stand and a wild late shot.

It was not the first error leading to a goal Rose has made this season and clearly the England international, who was transfer-listed in the summer, is out of sorts. Fortunately perhaps, he will be suspended for next Sunday’s trip to Everton after picking up a fifth booking of the season for rash first-half challenge, so Ben Davies or even Ryan Sessegnon will play on Spurs’ return to Merseyside.

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Eriksen, meanwhile, was passive and a passenger. Barring one excellent counter-attack in the first half, the Dane contributed very little and was replaced by Giovani Lo Celso at 2-1. Surely Tanguy Ndombele, who was excellent after replacing Harry Winks, or Lucas Moura would have given Liverpool more to worry about.

Certainly, Spurs looked better when Ndombele – a £65million record-signing don’t forget came on. Serge Aurier, another player who has had too many chances under Pochettino, gave away a penalty, harshly but not at all surprisingly, which Mo Salah converted to give Liverpool another win over Spurs.

Pochettino is evidently not ready or willing to force through a new era at the club by sidelining his senior players, who have served him so well in the past, but his loyalty is now costing the team. Just ten matches into the season and a fifth consecutive season of Champions League football is already looking a tough ask for Spurs.

This defeat, their fourth in the League, left them eight points off fourth ahead of the return to Merseyside next weekend. With the Carabao Cup already gone and no guarantees of reaching the Champions League knockouts, the concern for Spurs is that the season is all but over by Christmas, which would leave Pochettino with a mammoth task to motivate his squad, many of whom are already struggling for focus given their uncertain futures.

Spurs, of course, usually pick up speed from November onwards and there remains plenty of time to stage a recovery. But they need to do so fast, to avoid the whole season slipping away. It might have been game over by half-time were it not for the brilliant Paulo Gazzaniga. The Argentinian made fine saves to deny Mo Salah, Roberto Firmino, Virgil Van Dijk and Trent Alexander-Arnold to keep Liverpool at bay – the best an acrobatic, one-handed effort to tip over Van Dijk’s point-blank header.

He also stood tall after the interval, denying Firmino after a Davinson Sanchez error. It was also Gazzaniga’s superb kick that nearly gave Spurs as second as he released Son, who skipped away from Alisson but struck the crossbar from an angle.

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Gazzaniga failed to take his chance in pre-season, when he was erratic in the absence of Hugo Lloirs through illness, but he showed enough at Anfield to suggest Spurs have little to worry about during the Frenchman’s absence with a dislocated elbow until at least January and they may even have the long-term successor to their club captain already in the squad. There are always moments in a season which feel like decisive, sliding-doors situations and Heung-min Son’s miss at the start of the second half may prove one. With Spurs fortuitously leading 1-0, Son was set free by Gazzaniga’s brilliant kick, before skipping away from first Dejan Lovren and then Alisson.

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But with the angle widening, the South Korean fired his effort off the crossbar. A goal would have given Spurs a 2-0 lead and perhaps led to Pochettino’s first win at Anfield in unlikely and memorable circumstances. It could have proved the boost that turned around their season and truly sparked the revival.

Instead, Jordan Henderson’s equaliser five minutes later set Liverpool on the way to another victory and ensured that most of the positivity from Tuesday night ebbed away, deepening the sense of unease at Spurs, whose confidence continues to take a pummelling.

Atlanta 20 Seahawks 27

Three impressions from the Seahawks’ 27-20 victory over the Atlanta Falcons on Sunday at Mercedes-Benz Stadium. The Seahawks are 6-2 overall and 4-0 on the road, matching their best road start in franchise history.

It’s never easy, is it?
Under Pete Carroll, the Seahawks have prided themselves on being a team that plays its best late in games, on getting better late in the season, on having a “constant improvement” mindset. The Seahawks, in summary, were awesome early and awful late.

Seattle did just about anything and everything it wanted in the first half, building a 24-0 lead at half-time. They did almost nothing for much of the second half, giving one of the NFL’s worst teams hope of a miracle rally late.

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The Seahawks held on in the end, but the final score doesn’t do justice just how disconcerting that second half was. The Seahawks had a chance to put a 1-6 team away and couldn’t do it.

That has to raise some (more) legitimate questions about just how viable this team is as a playoff contender. Yes, they’re 6-2, and that’s reason to celebrate.

Schaub’s 1-yard touchdown pass to high end Austin Hooper got the Falcons within 27-17. Bobby Wagner then broke up Schaub’s attempted 2-point conversion pass.

Jacob Hollister recovered the ensuing onside kick for Seattle, but the fact that it came down to that had to be a disheartening for the Seahawks.

Midway through the season, the question has to be asked: Just how good is this Seahawks team, really?
Marquise Blair made his second straight start at strong safety and came through with the play of the game in the fourth quarter, knocking the ball away from Atlanta’s Devonta Freeman near the goal line.

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Wagner recovered the fumble at the Seattle 1-yard line.
An Atlanta touchdown there would have cut the Seahawks’ lead to 24-18 with almost 13 minutes left.
Blair, a rookie out of Utah, drew praise from Pete Carroll after his first start last week against Baltimore. And Blair’s play Sunday should only further increase his role going forward, even when Bradley McDougald (back) and new acquisition Quandre Diggs (hamstring) are fully healthy.

Wagner’s breakup on the 2-point play was another highlight in his record-setting day.

In the first quarter, Wagner broke Eugene Robinson’s 24-year-old record to become the Seahawks’ all-time leading tackler, now with 989. Wagner also had one of the Seahawks’ two sacks of Schaub on Sunday. The Seahawks star running back was as good as ever in the first half, running for 86 yards on 14 carries, with a 1-yard TD run in the second quarter to give the Seahawks a 17-0 lead.

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Carson had one run in which he spun out of a would-be tackle, continued up the left sideline and then lowered his shoulder to punish an Atlanta defensive back. Dude looked unstoppable in the first half. The second half, again, was a different story. The Seahawks offense never got going, and Carson had just six carries for four yards (yikes) in the final 30 minutes. Rashaad Penny had five carries for 42 yards in the first half, after being limited the last month because of a hamstring injury.

The day began with speculation that the Seahawks were perhaps listening to trade offers for Penny. But do you really want to give up on this backfield combo right now?

 

Friday 25th October 2019

Posted in Life the Universe and Other Things on October 25, 2019 by bishshat

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Fluxus

Fluxus was an international, interdisciplinary community of artists, composers, designers and poets during the 1960s and 1970s who engaged in experimental art performances which emphasized the artistic process over the finished product.

Fluxus is known for experimental contributions to different artistic media and disciplines and for generating new art forms. These art forms include intermedia, a term coined by Fluxus artist Dick Higgins

The origins of Fluxus lie in many of the concepts explored by composer John Cage in his experimental music of the 1930s through the 1960s. After attending courses on Zen Buddhism taught by D. T. Suzuki, Cage taught a series of classes in experimental composition from 1957 to 1959 at the New School for Social Research in New York City. These classes explored the notions of chance and indeterminacy in art, using music scores as a basis for compositions that could be performed in potentially infinite ways. Some of the artists and musicians who became involved in Fluxus, including Jackson Mac Low, La Monte Young, George Brecht, Al Hansen, and Dick Higgins attended Cage’s classes. A major influence is found in the work of Marcel Duchamp.Also of importance was Dada Poets and Painters, edited by Robert Motherwell, a book of translations of Dada texts that was widely read by members of Fluxus.

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Dada

The term anti-art, a precursor to Dada, was coined by Duchamp around 1913, when he created his first readymades from found objects (ordinary objects found or purchased and declared art). Indifferently chosen, readymades and altered readymades challenged the notion of art as an inherently optical experience, dependent on academic art skills. The most famous example is Duchamp’s infamous altered readymade Fountain (1917), a work which he signed “R. Mutt.” While taking refuge from WWI in New York, in 1915 Duchamp formed a Dada group with Francis Picabia and American artist Man Ray. Other key members included Arthur Craven, Florine Stettheimer, and the Baroness Elsa von Freytag-Loringhoven, credited by some with proposing the idea for Fountain to Duchamp. By 1916 these artists, especially Duchamp, Man Ray, and Picabia, became the center for radical anti-art activities in New York City. Their artworks would inform Fluxus and conceptual art in general.[26] In the late 1950s and very early 1960s, Fluxus and contemporaneous groups or movements, including Happenings, Nouveau réalisme, mail art, and action art in Japan, Austria, and other international locations were, often placed under the rubric of Neo-Dada”.

The Art Critic 1919-20 by Raoul Hausmann 1886-1971

DaDa | DaDa artist Raoul Hausmann, “The Art Critic” Collage

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I liked the pieces of paper moving together very much but as for the tree and the smashing of stuff. This I am not so keen on. I prefer the work where it is found objects and a play on words such as Joan Brossa a Catalan poet, playwright, graphic designer and visual artist. For him, expression had priority over content, and he managed to give his poetry the appearance of plays on words. His lyrical work is connected with the theatre while the totality of his literature  is impregnated with the theatrical dimension as he always employed a broad and interdisciplinary vision of culture, the arts in general and the performance arts in particular.

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This vision was expressed in his literary and visual works which often appeared as satirical, cutting, ironic and critical or, on other occasions, irreverent yet playful. In the latter years of his creative life, he received a number of awards such as the National Prize for the Visual Arts (1992), the National Theatre Prize (1998) and the UNESCO Picasso Medal. He has been posthumously awarded doctorate honoris causa from the Universitat Autònoma de Barcelona (1999). He was a member and then Honorary Member of the Associació d’Escriptors en Llengua Catalana (Association of Catalan Language Writers). His visual poetry (poesia plàstica), obviously placed beyond all linguistic borders, is recognized as a reference the world over.

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He was one of the founders of both the group and the publication known as Dau-al-Set (1948) and one of the leading early proponents of visual poetry in Catalan literature. Although he was in the vanguard of the post-war poets. He also wrote hundreds of formally perfect sonnets, saphic odes and sestinas as well as thousands of free and direct poems. His creative work embraced every aspect of the arts: cinema, theatre (more of 360 pieces), music, cabaret, the para-theatrical arts, magic and the circus.

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Ariel Schlesinger appears to me to be in the realms of Joseph Beuys, Yoko Ono and Nam June Paik. Fluxus and Dada.

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Francis Picabia, (1879-1953); “Tableau Rastadada,” 1920; cut-and-pasted printed paper on paper with ink.

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Above is my creation, my  piece. Cut-and-pasted plus scissors, printed paper on paper with ink “Vodka Can make you Can-Can”.

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Ariel Schlesinger  is an Israeli artist who lives and works in Berlin and Mexico City. His diverse body of work navigates sculpture, conceptual art, and installation art. Schlesinger’s installations often dislocate everyday objects, rearranging them in ways that leave viewers simultaneously amused and apprehensive. In 2017, Schlesinger won an international competition to design a public work for the entrance of the newly renovated Jewish Museum in Frankfurt.

With an inventor’s imagination and a razor-sharp wit, Ariel Schlesinger creates new uses for mundane, utilitarian objects—like paper, cigarette lighters, and socks—animating things that are normally considered lifeless, if considered at all. Through his clever alterations, he personifies objects, drawing attention to their strangely moving fragility and beauty. In the Anguish of the White Page 2007.

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He places two sheets of white copy paper, whose corners are pressed against each other, on a low wooden table with a motor hidden underneath. Rotated by the motor, the papers spin in a slow, continuous circle, as if locked in a sad dance without beginning or end. In other whimsically inventive works, a single ash burns in seeming perpetuity in a cracked ashtray and an unsealed and soggy cardboard box somehow contains a puddle of water.

Between 1999 and 2003, Schlesinger studied at the Bezalel Academy of Art and Design in Jerusalem and the School of Visual Arts in New York City. Since moving to Berlin shortly after his graduation, he’s been awarded residencies in Germany, France, Italy and Japan. In 2012, Schlesinger was named “VHV-Artist of the Year,” earning a €25,000 prize from the German insurance and reinsurance company VHV Group. The work for which he won the prize, A Car Full of Gas, has been exhibited in Berlin and across Europe.

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His installations, sometimes deemed “space-interventions”, consist of ordinary objects, including cars, gas tanks, bikes, lighters, pencils, paper and socks, which are arranged in ways that both de-familiarize their everyday meaning and generate unexpected, humorous, and sinister associations. In his work A Car Full of Gas, for example, it is not human passengers that sit in the front seats of a vintage mini car, but rather two, 60-litre gas canisters, inevitably anthropomorphized given their context. From one of the car windows, a small flame burns. The clean, everyday elegance of the work has been read as an omen of catastrophe.[2] Perhaps nobody has been as precise as Gal Katz in capturing a key motive of Schlesinger’s work: the tension between the order of perfectly immaculate objects and arrangements, on the one hand, and a poignant sense of looming calamity, on the other.

In 2017, Schlesinger won an international competition to design a large-scale public work for the newly renovated Jewish Museum of Frankfurt. The proposal consists of an 11-meter tall sculpture composed of two trees whose branches are connected such that the roots of one tree point to the sky, while the other is firmly rooted in the ground. The estimated cost of producing and installing the work, largely financed by the Rothschild family, is €350,000.

Thursday 24th October 2019

Posted in Life the Universe and Other Things on October 25, 2019 by bishshat

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Tuesday 22nd October 2019

Posted in Life the Universe and Other Things on October 22, 2019 by bishshat

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Nietzsche

The idea of eternal return, or eternal recurrence, has existed in various forms since antiquity. Put simply, it’s the theory that existence recurs in an infinite cycle as energy and matter transform over time. In ancient Greece, the Stoics believed that the universe went through repeating stages of transformation similar to those found in the “wheel of time” of Hinduism and Buddhism.

Such ideas of cyclical time later fell out of fashion, especially in the West, with the rise of Christianity. One notable exception is found in the work of Friedrich Nietzsche (1844–1900), a 19th-century German thinker who was known for his unconventional approach to philosophy. One of Nietzsche’s most famous ideas is that of eternal recurrence, which appears in the penultimate section of his book “The Gay Science.”

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Eternal Recurrence

“The Gay Science” is one of Nietzsche’s most personal works, collecting not only his philosophical reflections but also a number of poems, aphorisms, and songs. The idea of eternal recurrence—which Nietzsche presents as a sort of thought experiment—appears in Aphorism 341, “The Greatest Weight”:

“What, if some day or night a demon were to steal after you into your loneliest loneliness and say to you: ‘This life as you now live it and have lived it, you will have to live once more and innumerable times more; and there will be nothing new in it, but every pain and every joy and every thought and sigh and everything unutterably small or great in your life will have to return to you, all in the same succession and sequence—even this spider and this moonlight between the trees, and even this moment and I myself. The eternal hourglass of existence is turned upside down again and again, and you with it, speck of dust!’
“Would you not throw yourself down and gnash your teeth and curse the demon who spoke thus? Or have you once experienced a tremendous moment when you would have answered him: ‘You are a god and never have I heard anything more divine.’ If this thought gained possession of you, it would change you as you are or perhaps crush you. The question in each and every thing, ‘Do you desire this once more and innumerable times more?’ would lie upon your actions as the greatest weight. Or how well disposed would you have to become to yourself and to life?”
Nietzsche reported that this thought came to him suddenly one day in August 1881 while he was taking a walk along a lake in Switzerland. After introducing the idea at the end of “The Gay Science,” he made it one of the fundamental concepts of his next work, “Thus Spoke Zarathustra.” Zarathustra, the prophet-like figure who proclaims Nietzsche’s teachings in this volume, is at first reluctant to articulate the idea, even to himself. Eventually, though, he proclaims that eternal recurrence is a joyful truth, one that should be embraced by anyone who lives life to the fullest.

Oddly enough, eternal recurrence doesn’t figure too prominently in any of the works Nietzsche published after “Thus Spoke Zarathustra.” However, there is a section dedicated to the idea in “The Will to Power,” a collection of notes published by Nietzsche’s sister Elizabeth in 1901. In the passage, Nietzsche seems to seriously entertain the possibility that the doctrine is literally true. It is significant, however, that the philosopher never insists on the idea’s literal truth in any of his other published writings. Rather, he presents eternal recurrence as a sort of thought experiment, a test of one’s attitude toward life.

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Nietzsche’s Philosophy

Nietzsche’s philosophy is concerned with questions about freedom, action, and will. In presenting the idea of eternal recurrence, he asks us not to take the idea as truth but to ask ourselves what we would do if the idea were true. He assumes that our first reaction would be utter despair: the human condition is tragic; life contains much suffering; the thought that one must relive it all an infinite number of times seems terrible.

But then he imagines a different reaction. Suppose we could welcome the news, embrace it as something that we desire? That, says Nietzsche, would be the ultimate expression of a life-affirming attitude: to want this life, with all its pain and boredom and frustration, again and again. This thought connects with the dominant theme of Book IV of “The Gay Science,” which is the importance of being a “yea-sayer,” a life-affirmer, and of embracing amor fati (love of one’s fate).

This is also how the idea is presented in “Thus Spoke Zarathustra.” Zarathustra’s being able to embrace eternal recurrence is the ultimate expression of his love for life and his desire to remain “faithful to the earth.” Perhaps this would be the response of the “Übermnesch” or “Overman” who Zarathustra anticipates as a higher kind of human being. The contrast here is with religions like Christianity, which see this world as inferior, this life as a mere preparation for a better life in paradise. Eternal recurrence thus offers a notion of immortality counter to the one proposed by Christianity.

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Spurs 5 Red Star 0

Spurs thrashed Red Star Belgrade 5-0 to lift some of the gloom around the club and kick-start their Champions League campaign.

Harry Kane and Heung-min Son both scored twice and Erik Lamela was also on the scoresheet as Spurs eased the pressure on Mauricio Pochettino with an impressive display. Spurs were left facing an early exit from the Champions League after their humiliating 7-2 home defeat by Bayern Munich but this result moves them up to second in Group B.

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It would be too early to suggest a win against a poor Red Star side could be a turning point for Spurs but this should at least build confidence ahead of Sunday’s daunting trip to Liverpool. Captain Kane led by example from the front and Spurs kept their first clean sheet in five matches on a night of positives after a difficult few weeks.

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Kane opened the scoring early on before Son scored a brace to put the game to bed before half-time. Lamela added a fourth early in the second half on his 200th Spurs appearance and Kane made it five late on.

It was a good night for Spurs on the pitch but they are likely to face an investigation from Uefa after around 200-300 Red Star fans got into the stadium.

Uefa had banned Red Star from selling tickets to their fans as a punishment for racist chanting but a pocket of Serbian supporters purchased tickets in the top tier.

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Those Red Star fans saw Spurs make a perfect start, playing with an intensity that has been missing from their game in recent weeks and they looked back to their old selves.

They looked comfortable back in a 4-2-3-1 formation and they were two up on 16 minutes. Red Star did grow as the half wore on but Spurs put the game to bed two minutes before half-time.
Former Chelsea winger Marko Marin lost the ball on the halfway line, Tanguy Ndombele drove forward and played in Son who made no mistake from inside the area.
It was 4-0 early in the second half when good play from Kane led to Serge Aurier crossing for Lamela to swivel and shoot into the bottom corner.
Kane made it five and Spurs brought on summer signing Giovani Lo Celso for his first appearance since September to cap a good night.

Sunday 20th October 2019

Posted in Life the Universe and Other Things on October 20, 2019 by bishshat

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Seahawks 16 Ravens 30

For the first time all year, Russell Wilson showed that he is mortal. That was most evident on his first interception of the year in the second quarter, when he floated a pass in the direction of Jaron Brown in the flats. Marcus Peters, newly acquired by the Ravens just this week in a trade with the Rams and playing his second game this season as an opponent at CenturyLink, jumped the pass, picked it off and raced 67 yards for a touchdown. That pick-six, which came when the Seahawks were driving toward at least a field goal that would have stretched their 10-6 lead near halftime, completely changed the complexion of the game.

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Lamar Jackson, who passed for 143 yards and rushed for 117 yards, showed why he is a nightmare for opposing defenses, a lethal threat with both his legs and arms. In fact, he outplayed Wilson for the most part in a performance that was reminiscent of the Seahawks quarterback at his most dynamic – with even more game-breaking speed.

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That was most notable in the fourth quarter when the Seahawks had the Ravens pinned deep in their own territory, third down and 8 from the Baltimore 12. With the Seahawks still within a touchdown, trailing 20-13, a stop would have given them the ball in good field position. But Jackson scampered 30 yards for a back-breaking first down. The Ravens went on to nail a field goal with 3:47 left in the fourth quarter that put them ahead by 10, 23-13. A scoop-and-score touchdown off a DK Metcalf fumble on Seattle’s next possession ended any chance of a Seahawk comeback.

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This was a sobering loss for the Seahawks, who yielded two defensive touchdowns off turnovers, never got their offense untracked, and fell to 5-2. They dropped 1½ games behind the unbeaten 49ers in the NFC West, and just one game ahead of the victorious Rams – with rapidly improving Arizona at .500 after three consecutive wins. Considering that four of Seattle’s five wins have come by a total of eight points – three of those against teams that are a combined 4-15 – the Seahawks still have some proving to do to show they are a legitimate title-contending team.