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アーティスト 商品名 品番 ジャンル名 定価 URL 100% (Korea) RE
アーティスト 商品名 品番 ジャンル名 定価 URL 100% (Korea) RE:tro: 6th Mini Album (HIP Ver.)(KOR) 1072528598 K-POP 2,290 https://tower.jp/item/4875651 100% (Korea) RE:tro: 6th Mini Album (NEW Ver.)(KOR) 1072528759 K-POP 2,290 https://tower.jp/item/4875653 100% (Korea) 28℃ <通常盤C> OKCK05028 K-POP 1,296 https://tower.jp/item/4825257 100% (Korea) 28℃ <通常盤B> OKCK05027 K-POP 1,296 https://tower.jp/item/4825256 100% (Korea) 28℃ <ユニット別ジャケット盤B> OKCK05030 K-POP 648 https://tower.jp/item/4825260 100% (Korea) 28℃ <ユニット別ジャケット盤A> OKCK05029 K-POP 648 https://tower.jp/item/4825259 100% (Korea) How to cry (Type-A) <通常盤> TS1P5002 K-POP 1,204 https://tower.jp/item/4415939 100% (Korea) How to cry (Type-B) <通常盤> TS1P5003 K-POP 1,204 https://tower.jp/item/4415954 100% (Korea) How to cry (ミヌ盤) <初回限定盤>(LTD) TS1P5005 K-POP 602 https://tower.jp/item/4415958 100% (Korea) How to cry (ロクヒョン盤) <初回限定盤>(LTD) TS1P5006 K-POP 602 https://tower.jp/item/4415970 100% (Korea) How to cry (ジョンファン盤) <初回限定盤>(LTD) TS1P5007 K-POP 602 https://tower.jp/item/4415972 100% (Korea) How to cry (チャンヨン盤) <初回限定盤>(LTD) TS1P5008 K-POP 602 https://tower.jp/item/4415974 100% (Korea) How to cry (ヒョクジン盤) <初回限定盤>(LTD) TS1P5009 K-POP 602 https://tower.jp/item/4415976 100% (Korea) Song for you (A) OKCK5011 K-POP 1,204 https://tower.jp/item/4655024 100% (Korea) Song for you (B) OKCK5012 K-POP 1,204 https://tower.jp/item/4655026 100% (Korea) Song for you (C) OKCK5013 K-POP 1,204 https://tower.jp/item/4655027 100% (Korea) Song for you メンバー別ジャケット盤 (ロクヒョン)(LTD) OKCK5015 K-POP 602 https://tower.jp/item/4655029 100% (Korea) -
Issue 375 23 to 29 December / 2017
ISSUE 375 23 TO 29 DECEMBER / 2017 pvmcitypaper.com 2 You are here, finally! TELEPHONE CALLS: Always check on the We wish you a warm cost of long distance calls from your hotel room. Some establishments charge as much Publisher / Editor: as U.S. $7.00 per minute! Allyna Vineberg CELL PHONES: Most cellular phones from [email protected] the U.S. and Canada may be programmed for local use, through Telcel and IUSAcell, the local Office & Sales: 223-1128 carriers. To dial cell to cell, use the prefix 322, Contributors: then the seven digit number of the person you’re Anna Reisman calling. Omit the prefix if dialling a land line. Joe Harrington LOCAL CUSTOMS: Tipping is usually 10%-15% of the bill at restaurants and bars. Tip bellboys, Krystal Frost Giselle Belanger If you’ve been meaning to find a little information on the region, but never quite taxis, waiters, maids, etc. depending on the service. Some businesses and offices close from Ronnie Bravo got around to it, we hope that the following will help. If you look at the maps Tommy Clarkson on this page, you will note that PV (as the locals call it) is on the west coast of 2 p.m. to 4 p.m., reopening until 7 p.m. or later. In restaurants, it is considered poor manners Stan Gabruk Mexico, smack in the middle of the Bay of Banderas - one of the largest bays in to present the check before it is requested, so Harriet Murray this country - which includes southern part of the state of Nayarit to the north when you’re ready to leave, ask «La cuenta, por Catherine Caldera and the northern part of Jalisco to the south. -
URL 100% (Korea)
アーティスト 商品名 オーダー品番 フォーマッ ジャンル名 定価(税抜) URL 100% (Korea) RE:tro: 6th Mini Album (HIP Ver.)(KOR) 1072528598 CD K-POP 1,603 https://tower.jp/item/4875651 100% (Korea) RE:tro: 6th Mini Album (NEW Ver.)(KOR) 1072528759 CD K-POP 1,603 https://tower.jp/item/4875653 100% (Korea) 28℃ <通常盤C> OKCK05028 Single K-POP 907 https://tower.jp/item/4825257 100% (Korea) 28℃ <通常盤B> OKCK05027 Single K-POP 907 https://tower.jp/item/4825256 100% (Korea) Summer Night <通常盤C> OKCK5022 Single K-POP 602 https://tower.jp/item/4732096 100% (Korea) Summer Night <通常盤B> OKCK5021 Single K-POP 602 https://tower.jp/item/4732095 100% (Korea) Song for you メンバー別ジャケット盤 (チャンヨン)(LTD) OKCK5017 Single K-POP 301 https://tower.jp/item/4655033 100% (Korea) Summer Night <通常盤A> OKCK5020 Single K-POP 602 https://tower.jp/item/4732093 100% (Korea) 28℃ <ユニット別ジャケット盤A> OKCK05029 Single K-POP 454 https://tower.jp/item/4825259 100% (Korea) 28℃ <ユニット別ジャケット盤B> OKCK05030 Single K-POP 454 https://tower.jp/item/4825260 100% (Korea) Song for you メンバー別ジャケット盤 (ジョンファン)(LTD) OKCK5016 Single K-POP 301 https://tower.jp/item/4655032 100% (Korea) Song for you メンバー別ジャケット盤 (ヒョクジン)(LTD) OKCK5018 Single K-POP 301 https://tower.jp/item/4655034 100% (Korea) How to cry (Type-A) <通常盤> TS1P5002 Single K-POP 843 https://tower.jp/item/4415939 100% (Korea) How to cry (ヒョクジン盤) <初回限定盤>(LTD) TS1P5009 Single K-POP 421 https://tower.jp/item/4415976 100% (Korea) Song for you メンバー別ジャケット盤 (ロクヒョン)(LTD) OKCK5015 Single K-POP 301 https://tower.jp/item/4655029 100% (Korea) How to cry (Type-B) <通常盤> TS1P5003 Single K-POP 843 https://tower.jp/item/4415954 -
“Big Little Lies”
“BIG LITTLE LIES” Episode #1 “Somebody’s Dead” Written By David E. Kelley REVISED PAGE: 53 Based on the book: “Big Little Lies” by Liane Moriarty. © 2015 Home Box Office, Inc. ALL RIGHTS RESERVED. No portion of this script may be performed, published, reproduced, sold or distributed by any means, or quoted or published in any medium, including on any web site, without the prior written consent of Home Box Office. Distribution or disclosure of this material to unauthorized persons is prohibited. Disposal of this script copy does not alter any of the restrictions previously set forth. PRODUCTION DRAFT – 01/03/16 FULL BLUE Revision – 01/07/16 PINK REVISION – 01/09/16 YELLOW REVISION – 01/23/16 GREEN REVISION – 05/22/16 BLL – EP 1 - “Somebody’s Dead” – FULL BLUE – 01/07/16 CAST LIST MADELINE MARTHA MACKENZIE CELESTE WRIGHT JANE CHAPMAN PERRY WRIGHT ED MACKENZIE NATHAN CARLSON BONNIE CARLSON Renata Klein Gordon Klein Ziggy Chapman (minor) Chloe Mackenzie (minor) Amabella Klein (minor) Max Wright (minor) Josh Wright (minor) Abigail Carlson (minor) Skye Carlson (minor) Joseph Bachman Detective Adrienne Quinlan Detective Walt Gibson Principal Warren Nippal Ms. Emily Barnes Di Chapman Lori Tom Juliette Gabrielle Harper Stimson Jackie Bernard Oren Matt Samantha Stu Thea Cunningham Dr. Leo Chang BLL – EP 1 “Somebody’s Dead” – FULL BLUE – 01/07/16 SETS LIST INTERIORS: MADELINE’S HOUSE - DINING ROOM – SUNSET - HALLWAY OUTSIDE ABIGAIL’S ROOM - NIGHT - ABIGAIL’S ROOM – NIGHT - FAMILY ROOM – NIGHT CELESTE’S HOUSE – SUNSET - DEN - NIGHT - HALLWAY - NIGHT -
Free Magazines Download in PDF for Ipad/PC
Now1,Alitlstour Excuse for ThatHeap. NevernundtJustHurl Me Into TheRoadAndPut Me OutOfMe Miiers. FIRSTENTERTAINMENT CREDITUNION AnAlternative Wayto Book www.firstent.org/gnome 888.800.3328 ADVERTISEMENT storemags.com riiim4k401111W7f..0";-'- r-47:,JeWOREP.r-XYLLriMPH .1 "._ -=;=irlev SomeThings Get BetterWith Age. aril ourCar... NotSoMuch. Wheneventhe lawnornamentscringe at the sight of your carcomingupthe driveway,youknow it's time for a newride. The goodnewsis, foralimited time,your neighborsat First EntertainmentCredit Union haveauto loanratesaslowas1.49% APR: Rates this low don't comearoundeveryday. And they won't last forever either. So don't delay, do yourself andyourgarden friendsafavor and apply today. Visit www.firstent.org/gnome, call 888.800.3328 orstop byabranchtoapply. FIRSTENTERTAINMENT mimmCREDITUNION AnAlternative Wayto Bankk MPR=AnnualPercentope Rae 1.49% APR is rite preferred rate fornewvehicles up. dB months atomonthly payment of approximately 521.48per51000 borrowed. Add:banal roles, slattingaslowas1.95% APR, end Berms may apply, roll 8813 /500.3328 for details. Rate of 1.491 APR is olso tlx prelerredrote for used Irricnernumage6yearsold) vehiclesup to48 months atamonthly payment of approximately 521.481per51,000 borrowed. Amount financedmay notevrned the Ad5R8or110% al the lugh Kelley Blue Book NADA value farnew(100% IN used), trcluding lax, kens, GAP Insurance and Mechanical BreakdownProtection. Roles tab.ct . charge without now,. No additronol discounts may be applied la these roles. All loons sabred to creole approval Existing Fast Enlerroinmen1auto loom may norbe refinanced under the terms of this offer. Offer expires June 30, 2013. c 20124 Few, I0 Gale Una, irdixami 06.22.2013billboard.combillboard.biz FIRST DRAFT OF STARDOM At Work With Demo Singers DUMB IT DOWN How To Grow Digital PANDORA COMES TO EARTH Latest Royalty Tactic THE PRICE OF GOLD After 7 million albums, she's readyto start over."IfyouputDolly Parton, Adele and Juicy J together, you'd have it." LIFE FLIES BY IN AN INSTANT, LET'S PROTECT THE MEN WE LOVE. -
アーティスト 商品名 フォーマット 発売日 商品ページ 555 Solar Express CD 2013/11/13
【SOUL/CLUB/RAP】「怒涛のサプライズ ボヘミアの狂詩曲」対象リスト(アーティスト順) アーティスト 商品名 フォーマット 発売日 商品ページ 555 Solar Express CD 2013/11/13 https://tower.jp/item/3319657 1773 サウンド・ソウルステス(DIGI) CD 2010/6/2 https://tower.jp/item/2707224 1773 リターン・オブ・ザ・ニュー CD 2009/3/11 https://tower.jp/item/2525329 1773 Return Of The New (HITS PRICE) CD 2012/6/16 https://tower.jp/item/3102523 1773 RETURN OF THE NEW(LTD) CD 2013/12/25 https://tower.jp/item/3352923 2562 The New Today CD 2014/10/23 https://tower.jp/item/3729257 *Groovy workshop. Emotional Groovin' -Best Hits Mix- mixed by *Groovy workshop. CD 2017/12/13 https://tower.jp/item/4624195 100 Proof (Aged in Soul) エイジド・イン・ソウル CD 1970/11/30 https://tower.jp/item/244446 100X Posse Rare & Unreleased 1992 - 1995 Mixed by Nicky Butters CD 2009/7/18 https://tower.jp/item/2583028 13 & God Live In Japan [Limited] <初回生産限定盤>(LTD/ED) CD 2008/5/14 https://tower.jp/item/2404194 16FLIP P-VINE & Groove-Diggers Presents MIXCHAMBR : Selected & Mixed by 16FLIP <タワーレコード限定> CD 2015/7/4 https://tower.jp/item/3931525 2 Chainz Collegrove(INTL) CD 2016/4/1 https://tower.jp/item/4234390 2000 And One Voltt 02 CD 2010/2/27 https://tower.jp/item/2676223 2000 And One ヘリタージュ CD 2009/2/28 https://tower.jp/item/2535879 24-Carat Black Ghetto : Misfortune's Wealth(US/LP) Analog 2018/3/13 https://tower.jp/item/4579300 2Pac (Tupac Shakur) TUPAC VS DVD 2004/11/12 https://tower.jp/item/1602263 2Pac (Tupac Shakur) 2-PAC 4-EVER DVD 2006/9/2 https://tower.jp/item/2084155 2Pac (Tupac Shakur) Live at the house of blues(BRD) Blu-ray 2017/11/20 https://tower.jp/item/4644444 -
Dancing in the Ashes
UNLV Theses, Dissertations, Professional Papers, and Capstones 2009 Dancing in the ashes Vytautas Adolph Malesh University of Nevada Las Vegas Follow this and additional works at: https://digitalscholarship.unlv.edu/thesesdissertations Part of the American Literature Commons, and the Creative Writing Commons Repository Citation Malesh, Vytautas Adolph, "Dancing in the ashes" (2009). UNLV Theses, Dissertations, Professional Papers, and Capstones. 135. http://dx.doi.org/10.34917/1385334 This Thesis is protected by copyright and/or related rights. It has been brought to you by Digital Scholarship@UNLV with permission from the rights-holder(s). You are free to use this Thesis in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Thesis has been accepted for inclusion in UNLV Theses, Dissertations, Professional Papers, and Capstones by an authorized administrator of Digital Scholarship@UNLV. For more information, please contact [email protected]. DANCING IN THE ASHES by Vytautas Adolph Malesh Bachelor of Arts Wayne State University 2006 A thesis submitted in partial fulfillment of the requirements for the Master of Fine Arts in Creative Writing Department of English College of Liberal Arts Graduate College University of Nevada, Las Vegas August 2009 ABSTRACT An Abstract of the novel Dancing in the Ashes By Vytautas Adolph Malesh Douglas Unger, Examination Committee Chair Professor of English University of Nevada, Las Vegas The following novel is the third draft of my creative thesis entitled Dancing in the Ashes. -
TUNECODE WORK TITLE Value Range 261095CM
TUNECODE WORK_TITLE Value Range 261095CM Vlog ££££ 259008DN Don't Mind ££££ 298241FU Barking ££££ 300703LV Swag Se Swagat ££££ 309210CM Drake God's Plan (Freeze Remix) ££££ 289693DR It S Everyday Bro ££££ 234070GW Boomerang ££££ 302842GU Zack Knight - Galtiyan ££££ 189958KS Kill Em With Kindness ££££ 302714EW Dil Diyan Gallan ££££ 178176FM Watch Me (Whip Nae Nae) ££££ 309232BW Tiger Zinda Hai ££££ 253823AS Juju On The Beat ££££ 265091FQ Daddy Says No ££££ 232584AM Girls Like ££££ 329418BM Boys Are So Ugh ££££ 258890AP Robbery Remix ££££ 292938DU M Huncho Mad About Bars ££££ 261438HU Nashe Si Chadh Gayi ££££ 230215DR Work From Home (Feat. Ty Dolla $Ign) ££££ 188552FT This Is A Musical ££££ 135455BS Masha And The Bear ££££ 238329LN All In My Head (Flex) ££££ 155459AS Bassboy Vs Tlc - No Scrubs ££££ 041942AV Supernanny ££££ 133267DU Final Day ££££ 249325LQ Sweatshirt ££££ 290631EU Fall Of Jake Paul ££££ 153987KM Hot N*Gga ££££ 304111HP Johnny Johnny Yes Papa ££££ 2680048Z Willy Can You Hear Me? ££££ 081643EN Party Rock Anthem ££££ 239079GN Unstoppable ££££ 254096EW Do You Mind ££££ 128318GR The Way ££££ 216422EM Section Boyz - Lock Arf ££££ 325052KQ Nines - Fire In The Booth (Part 2) ££££ 0942107C Football Club - Sheffield Wednes ££££ 5211555C Elevator ££££ 311205DQ Change ££££ 254637EV Baar Baar Dekho ££££ 311408GP Just Listen ££££ 227485ET Needed Me ££££ 277854GN Mad Over You ££££ 125910EU The Illusionists ££££ 019619BR I Can't Believe This Happened To Me ££££ 152953AR Fallout ££££ 153881KV Take Back The Night ££££ 217278AV Better When -
Ars Poetica: Life Far from Here
ARS POETICA: LIFE FAR FROM HERE A written creative work submitted to the faculty of San Francisco State University In partial fulfillment of The Requirements for The Degree AS 30 ^oi> Master of Arts In - 1) 631' English: Creative Writing by Frederick Denman Dodsworth III San Francisco, California December, 2017 Copyright by Frederick Denman Dodsworth III 2017 ARS POETICA: L ife Far F rom H ere Frederick Denman Dodsworth III San Francisco, California December, 2017 Poetry reveals the concealed using playful and serious stratagems to offer another truth, often several. Utilizing meter, rhythm, rhyme, and line breaks, or working with unexpected images, potent symbols, or subtle metaphors, this poet hopes to evocatively encourage the reader to embrace a different experience, the author’s, and apply it to their own. While certainly each of us is unique, our lives mirror each other’s. Essential aspects of our experience are proximately universal, or through poetry can be made universal, despite age, gender, geo ethnic identities, or religious beliefs. This collection of works, often confessional in nature, attempts to entice the reader into accepting and enjoying poetic narratives that in some cases represent hard or painful experiences. If I am able to call forth memories that have been buried, or bring laughter or tears to the reader, I have done all that I can hope to do. If there is even one poem herein that any reader wants to share with someone they care about, I am satisfied. I certify that the Annotation is a correct representation of the content of this written creative work. -
Phat Beats, Dope Rhymes Hip Hop Down Under Comin' Upper
Phat Beats, Dope Rhymes Hip Hop Down Under Comin' Upper Ian Maxwell A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy Centre for Performance Studies University of Sydney July 1997 Abstract This thesis is my attempt to understand the processes by which social agents negotiate belongingness and being across vast geographical, temporal, ethnic, cultural and historical discontinuities. In Sydney, Australia, m mid 1994, two middle class, educated white boys argue about something that they are calling their culture; a culture they call Hip Hop, most often associated with the rap music of dominantly African-American post-industrial inner cities of the United States. A breach of Hip Hop etiquette has lead to a conflict, to be resolved in a radio studio, live to air, by a rap battle. At stake are a number of questions about appropriate practice: whether it is permissible, or even necessary, in Sydney, in 1994, to be disrespectful of other rappers, and thereby to reproduce what are understood to be the historical conditions of emergence of North American Hip Hop Culture, or whether the Hip Hop Community in this place needs to be nurtured, to be protected from such divisive, potentially harmful practices. Laying their improvised rhymes over a slamming instrumental beat, the boys swap verses until one, beset by technical problems and hamstrung by his own deficiencies as a freestyler (he prefers to carefully compose his raps in the comfort of his bedroom) cedes, defeated by the weight of words and the ferocity of their delivery. The victor is able to assert, through his victory, the correctness of his account of just what Hip Hop is. -
The Representation of the Feminine, Feminist and Musical Subject in Popular Music Culture
University of Wollongong Research Online University of Wollongong Thesis Collection University of Wollongong Thesis Collections 2001 The eprr esentation of the feminine, feminist and musical subject in popular music culture Emma Mayhew University of Wollongong Recommended Citation Mayhew, Emma, The er presentation of the feminine, feminist and musical subject in popular music culture, Doctor of Philosophy thesis, Faculty of Arts, University of Wollongong, 2001. http://ro.uow.edu.au/theses/1743 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] THE REPRESENTATION OF THE FEMININE, FEMINIST AND MUSICAL SUBJECT IN POPULAR MUSIC CULTURE A thesis submitted in fulfilment of the requirements for the award of the degree Doctor of Philosophy from UNIVERSITY OF WOLLONONG By EMMA MAYEW B.A. (Hons) ARTS FACULTY 2001 CERTIFICATION I, Emma Mayhew, declare that this thesis, submitted in partial fulfilment of the requirements for the award of Doctor of Philosophy, at the University of Wollongong, is wholly my own work unless otherwise referenced or acknowledged. The document has not been submitted for qualifications at any other academic institution. Emma Mayhew 18 August 2001 CHAPTER TWO FEMINIST POSTSTRUCTURALISM, THE POPULAR MUSICAL TEXT AND THE AUDIENCE - THEORETICAL DEBATES 58 Introduction 58 General Concepts and Debates 58 Discourse, Power and Agency 62 Patriarchy and Power 72 Theorising Music as Social Text 74 Musical Discourses -
The Impact of African-American Musicianship on South Korean Popular Music: Adoption, Appropriation, Hybridization, Integration, Or Other?
The Impact of African-American Musicianship on South Korean Popular Music: Adoption, Appropriation, Hybridization, Integration, or Other? The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Gardner, Hyniea. 2019. The Impact of African-American Musicianship on South Korean Popular Music: Adoption, Appropriation, Hybridization, Integration, or Other?. Master's thesis, Harvard Extension School. Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:42004187 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA The Impact of African-American Musicianship on South Korean Popular Music: Adoption, Appropriation, Hybridization, Integration, or Other? Hyniea (Niea) Gardner A Thesis in the Field of Anthropology and Archaeology for the Degree of Master of Liberal Arts in Extension Studies Harvard University May 2019 © May 2019 Hyniea (Niea) Gardner Abstract In 2016 the Korea Creative Content Agency (KOCCA) reported that the Korean music industry saw an overseas revenue of ₩5.3 trillion ($4.7 billion) in concert tickets, streaming music, compact discs (CDs), and related services and merchandise such as fan meetings and purchases of music artist apparel and accessories (Kim 2017 and Erudite Risk Business Intelligence 2017). Korean popular music (K-Pop) is a billion-dollar industry. Known for its energetic beats, synchronized choreography, and a sound that can be an amalgamation of electronica, blues, hip-hop, rock, and R&B all mixed together to create something that fans argue is “uniquely K-Pop.” However, further examination reveals that producers and songwriters – both Korean and the American and European specialists contracted by agencies – tend to base the foundation of the K-Pop sound in hip-hop and R&B, which has strong ties to African-American musical traditions.