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Dominique’s anguish envelopes the reality of Basques becoming American and feeling that in truth they had found another new home, although they had been longing and mourning for the home they had left behind years back. Americans have developed a way to fight “geographies of exclusion” (Sibley 1999) and have been able, once again, to exercise practices of adaptation, creativity and resilience. Indeed, the Basque community in Boise is elaborating an identity that is guided by two core motives: the need to be unique and the need to belong (Brewer 1991). This new identity unfolds a new hybrid identity, which opposes and combats conceiving diaspora Basques and their music as a diluted version of the homeland Basque identity; or an attempt to simply produce a replica or copy of the practices in the homeland. Music is a way to hold onto Basque ethnicity and a means to celebrate one’s own individual and collective ethnic identity. Basque diaspora members are making identity and musical choices that suit them and their audiences; that is, they choose to act and react bearing in mind their individual and collective voluntary affiliation choices. That is the case of the music band in Boise, Amuma Says No. They also engage in a sense of collective and individual ethnic belonging. Besides, through music performers and the audience itself learn about their history and their roots. Boise Basques, as recreated by Amuma Says No, undoubtedly represent some of the identity choices and affiliation practices through the music they create. These creations envision the voluntary choice to be Basque and express the different ways and representations of being and feeling Basque. The identity construction of Boise Basques and their music illustrates the fact that Basqueness and its configuration is not just a task that “belongs” and is 334 ANGEL CHAPARRO, AMAIA IBARRARAN AND MONIKA MADINABEITIA exclusive to homeland Basques; the debate lies on whether the core for Basque identity is in the homeland, and whether diaspora Basques need to evolve around this core, in its periphery. Boise Basques are certainly an example of the contrary. References Barber, Phyllis. 2009. Raw Edges: A Memoir. Bhabha, Homi K. (1994) 2004.

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Best in Show. Waiting for Guffman. Borat. The feature-length documentary began with Nanook of the North in 1922 (Flaherty), the word being coined by John Grierson in his review of Flaherty’s film Moana (1926). It grew via newsreels in Soviet Russia, in the West as propaganda (Leni Riefenstahl’s 1935 Triumph of the Will? and later as Cinema Verite. As a televisual format it established itself with Civilisation, Whicker’s World and Mike Apted’s 7UP. Today the documentary is ubiquitous, particularly in the false narrative of reality TV. In comedy terms, television had reached the end of modernism by the end of the 1960s with the Monty Python troupe spoofing the documentary in a sketch called Whicker Island. The Beatles’ first feature film A Hard Day’s Night (Lester 1964) was also mock documentary. This and subsequent Beatles films were later spoofed in All You Need Is Cash (The Rutles) (Idle 1978). Rather than recreating reality, mockumentary is a parody of the televisual idea of real life. It uses commonly understood techniques and formats and is a unique and special world. It attempts to be the most real of all comedy genres, working on the level of comic irony where the audience knows it is not a real documentary, but its participants don’t. They in turn are convinced the documentary is real and behave accordingly. The comedy comes in the juxtaposition, the editing and the reveal. Often a character will give a version of events, usually to camera but sometimes in voiceover, which will be visually or aurally contradicted as the camera pulls away to show the lie, or a cut to illustrate the untruth. In This is Spinal Tap it was the outrageous demands and behaviour of self-aggrandising rock stars.

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Both are H-B creations. oved Johnny Quest as a kid. Maybe he was somehow legitimized (Stannis offered to legitimize Snow in return for fealty, so there is precedent). We can't even be sure that Dany is the true daughter of Aerys (she almost certainly is, but where's her proof? . At this point however, the cave drawings are about the most recent adaption we have of the WW. The cave drawings were pretty interesting too, especially the patterns we keep seeing the WW re-creating with dead bodies and such. Definitely the most enjoyable thus far this season. Arya's reunion at Winterfell with Sansa and Bran was great, though I could have done without the cheese of the sparring with Brienne. Jon and Dany in the cave, good character development as they seemed to have more chemistry than the previous episode. Again, very interesting in what the cave symbols mean to everyone. Plus I found it interesting the Children created the WW to oppose men, yet seemingly have changed positions on that to fight among men to defeat the very weapon they created. Drogon turning the army into ashes. Drogon vs. Bronn was so tense, I couldn't pick a side. I guess wounding Drogon and Bronn not dying is as good of an outcome as we can hope for. Clearly Tyrion still cares for Jamie, and he spent much of the earlier part of the episode getting lambasted by Dany for his failures thus far in war. He told him to run to Jon, then shot him while he was going.

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I walked out on Texas ChainSaw massacre just because it passes a personal moral compass. I don't get enjoyment out of the suffering of human beings begging for their life. Why any dumbass would want to act in such a movie is beyond me. It's sick. With that being said I've never been bothered by any video game violence. Maybe that CoD Russia airport level but not really. Don't blame the game for showing the consequences of YOUR actions in it's crazy ott world. The way Rockstar Games took responsiblity by showing those consequences in the first place. I, on the other hand, can't draw any similarities of video game worlds, no matter how realistic, to real life. There is no way I could carry out a beating similar to that which I hand out in a video game(beating, killing, etc) because I'm perfectly aware that I would be beating a real person, who has a family, or others that care about that person. For a while, we had a mouse running around, so somoene laid sticky traps to catch him. In a matter of moments after they were laid, he was caught. If you are familiar, when mice are caught in these sticky traps they are there for good. I prefer the sanitized worlds of Final Fantasy (mostly sanitized), Zelda, and Mario. I am looking forward to my copy of Ni No Kuni for the very reason I can play it with my kids and not have to worry about what they may see. Being willing to disclose personal feelings on the subject always opens doors for the immature to fling stones, but it also allows like minded gamers to know that not all of us enjoy uber violence. I remember a friend told me to rent CoD 4 when it came out, and after 5 minutes or so into the campaign, I had to turn my 360 off. It's the, as you stated in your article, realistic violence committed on realsitic-looking human characters and avatars, but for me, it also has to do with escapism.