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When the Night Comes Free
FREE WHEN THE NIGHT COMES PDF Favel Parrett | 272 pages | 07 May 2015 | Hodder & Stoughton General Division | 9781848548565 | English | London, United Kingdom When the Night Comes - Wikipedia Connect your Spotify account to your Last. Connect to Spotify. A new version of Last. Replace video. Do you know any background info about this track? When the Night Comes the wiki. Joe Cocker. Hold on i'll be back for you it won't be long but for now there's something else that's calling me so take me down a lonesome road point me east and…. Discuss these lyrics on MetroLyrics. Don't want to see ads? Upgrade Now. Scrobbling is when Last. Learn more. Javascript is required to view shouts on this page. Go directly to shout page. View full artist profile. View all similar artists. View all trending tracks. Loading player…. Scrobble from Spotify? Connect to Spotify Dismiss. Search Search. Play album. Length Related Tags rock classic rock soul 80s Add tags View all tags. From The Album Play album. Greatest Hits Joe Cockerlisteners. Hold on i'll be back for you it won't be long but for now there's When the Night Comes else that's calling me so take me down a lonesome road point me east and… Discuss these lyrics on MetroLyrics. Play track. Artist images more. He was When the Night Comes for his gritty voice, spasmodic body movement in performance, and distinctive versions of popular songs of varying genres. His When the Night Comes read more. He was known for his gritty voice, spasmodic body movement in performance, a… read more. -
Music, Corporate Power, and Unending War
03Scherzinger.qxd 5/20/2005 1:43 PM Page 23 MUSIC, CORPORATE POWER, AND UNENDING WAR Martin Scherzinger The triumph of advertising in the culture industry is that consumers feel compelled to buy and use its products even though they see through it. —Max Horkheimer and Theodor W. Adorno INTRODUCTION: IN QUEST OF A NEWER MUSICOLOGY Sixty years after its original publication, Max Horkheimer and Theo- dor W. Adorno’s Dialektic der Aufklärung resonates uncannily with our times. The central motifs of their bleak and horrifying diagnosis of the culture industry ring as true today as ever. While contemporary critics mostly regard Horkheimer and Adorno’s analysis of audience demand and reception dynamics as antiquated, this essay argues for the continued relevance of their indictment of culture under the (oppressive) authority of monopoly capital. In particular, the essay traces an emergent Schulterschluss between commercial and political power, with a special interest in the involvement of the music indus- try and the media conglomerates. This is not to say that contem- porary America operates under identical rules and constraints as the America of the 1940s. It does not. Nor is it to argue that capitalist America essentially approximates fascism, as Horkheimer and Adorno sometimes imply. The opening arguments of “The Culture Industry: Enlightenment as Mass Deception,” for example, are predicated on this fundamental similarity: “Even the aesthetic activities of political opposites are one in their enthusiastic obedience to the rhythm of the iron system. The decorative industrial management of buildings and exhibition centers in authoritarian countries are much the same as anywhere else” (1997, 120). -
Top 40 Singles Top 40 Albums
02 December 1990 CHART #741 Top 40 Singles Top 40 Albums Ice Ice Baby Lay Down Your Guns In Concert Remasters 1 Vanilla Ice 21 Jimmy Barnes 1 Carreras/Domingo/Pavarotti 21 Led Zeppelin Last week 3 / 4 weeks EMI Last week 20 / 15 weeks FESTIVAL Last week 1 / 7 weeks Platinum / POLYGRAM Last week 23 / 5 weeks WEA/WARNER Pray Justify My Love Serious Hits - Live Mariah Carey 2 MC Hammer 22 Madonna 2 Phil Collins 22 Mariah Carey Last week 4 / 3 weeks EMI Last week - / 1 weeks WARNER Last week 2 / 3 weeks Platinum / WEA Last week 21 / 14 weeks Gold / CBS Groove Is In The Heart Never Enough Vivaldi 4 Seasons The Cream Of Eric Clapton 3 Deee-Lite 23 The Cure 3 Nigel Kennedy 23 Eric Clapton Last week 2 / 11 weeks WEA Last week 16 / 6 weeks WEA Last week 5 / 5 weeks EMI Last week 24 / 21 weeks Platinum / POLYGRAM To Sir With Love Ooops Up Joe Cocker Live Volume III 4 Ngaire 24 Snap 4 Joe Cocker 24 Traveling Wilburys Last week 1 / 9 weeks Gold / FESTIVAL Last week 25 / 17 weeks BMG Last week 3 / 19 weeks Platinum / FESTIVAL Last week 20 / 4 weeks WEA Thunderstruck While My Guitar Gently Weeps The Immaculate Collection Young Guns II OST / Blaze Of Glory 5 AC/DC 25 Jeff Healey Band 5 Madonna 25 Jon Bon Jovi Last week 6 / 8 weeks CBS Last week 31 / 3 weeks BMG Last week 12 / 2 weeks Gold / WARNER Last week 22 / 9 weeks Gold / POLYGRAM Itsy Bitsy Teeny Weeny From A Distance The Razor's Edge Hell To Pay 6 Bombalurina 26 Bette Midler 6 AC/DC 26 Jeff Healey Band Last week 5 / 6 weeks POLYGRAM Last week - / 1 weeks WARNER Last week 7 / 9 weeks Gold / CBS Last week 19 / 14 weeks Gold / BMG Bird On A Wire I'm Your Baby Tonight 21st Anniversary: The Ultimate Colle.. -
The Ucsd Ari)
SPORTS HIATUS A.S. Council at a Glance 1 Opinion 4 Kills for kids letters to the Editor 5 Women's Wilde at heart Hiatus Calendar 10 volleyball donates a court at a Sex, intrigue and society highlight "Gross Indecency; The 3 Trials of Thursday Coupons 11 Mexico school. Oscar Wilde" at San Diego's Diversionary Theatre. page 9 C1assifieds 16 page 20 1iversity Archivist (2) Attn : Sandy 0175-S THE UCSD ARI) THURSDAY, JANUARY 30, 2003 A.S. considers Price UCSD facilities fail Kaplan survey Cener ice cream parlor MeAT conditions ranked fourth to la t l1ext to hear plan By MATT SCHRADER 1ll.lke ... urc our chance .. of g-eltlllg' trrhulcd to L'C~ f)'" poor I.lnklll:!, UCAB Sen ior Staff Wr iter IntO med ,chool ,Iren't hIgher" "\ \ 'c s[.lrted 1l1lILh lOll I.ltc, ,III ()ther~ have compl.lIn~d lhat the extr.1 lc,t \la, p,l.,.,ed OU[ Inti By CLAYTON WORFOLK \ til Isorr Board "'"ppons Ice Kaplan -Ih t Prcp Jnnounced on f.lcrlllles are lI1adequ,lle due to the hlamed on ,I student II ho h.lll 1\111 ,I> 2 1 wa~ If It wcre her fJult," ,.1Id ,I ,tudent Senior Staff Writer ere.11ll ule.l'" III lhe g.lIl1C roo III \, Jan. IhH UCSD amongst out"de dl<,trJCllOllS of t.lkll1g the lCM rello\'atlOIl .Il1d lh.1l the COlll l1l1tl ee lhe fll'c-worst location, In the 111 .1 \'cry puhlrt hUlldll1g on campu,. who filed ,I l'I)lllplJlI1t .Igalll'>[ the In .1 Spl,tI,11 pre,clll.HulIl to lhl' \\111 Sllhlllll .1 for II l.I I propo,.d to country for ,tudents 10 [Jkc the "l'eter. -
Chapter 4 Researching International Cultural Industries in the Netherlands
Where Corporate Culture and Local Markets Meet Music and Film Majors in the Netherlands, 1990-2005 Miriam van de Kamp The research for this book was conducted at the Faculty of History and Arts (FHKW) at the Erasmus University Rotterdam. It was co-financed by TNO Information and Communication Technology, Delft. Publisher: ERMeCC, Erasmus Research Centre for Media, Communication and Culture Printer: Ipskamp Drukkers, Enschede Cover design: Koen Verspaget ISBN: 978-90-76665-18-4 © 2009 Miriam van de Kamp Where Corporate Culture and Local Markets Meet Music and Film Majors in the Netherlands, 1990-2005 Waar bedrijfscultuur en lokale markten elkaar ontmoeten Muziek- en filmmajors in de Nederlandse markt, 1990-2005 Thesis to obtain the degree of Doctor from the Erasmus University Rotterdam by command of the rector magnificus Prof.dr. S.W.J. Lamberts and in accordance with the decision of the Doctorate Board The public defence shall be held on Thursday 25 June 2009 at 11.00 o’clock by Maria Cornelia van de Kamp born in Alphen aan den Rijn Doctoral Committee Supervisors: Prof.dr. A. M. Bevers Prof.dr. P.W.M. Rutten Other members: Prof.dr. V.A.J. Frissen Prof.dr. M.S.S.E. Janssen Prof.dr. W.C. Uricchio Co-supervisor: Dr. H.J.C.J. Hitters Contents ACKNOWLEDGEMENTS 11 INTRODUCTION 13 Three complex relationships 14 Theoretical embeddedness 15 Scope 16 Key terms 19 Outline 20 CHAPTER 1 CULTURAL GLOBALISATION 21 Globalisation 21 Approaches of cultural globalisation 22 Cultural imperialism 22 Interactive approaches on global-local relationships 24 -
Musikidentiteter Inom Retailbranding
Musikidentiteter inom retailbranding – Hur förståelse för musikgenrer skapar förståelse för varumärkesidentitet Författare: Grant Murdoch Purdy Handledare: Olle Duhlin Music & Event Management Johan Plambeck Music & Event Management Examinator: Leif Rytting Ämne: Marknadsföring Nivå och termin: Kandidatuppsats, HT-2013 FÖRORD Arbetet med vår uppsats har varit intressant och lärorikt men också i allra högsta grad krävande. Uppsatsen har tagit sin tid men vi är väldigt stolta över resultatet. Ett stort tack riktas till alla som gjort vår uppsats möjlig och hjälpt oss under processen. Våra klasskamrater, våra vänner och vår familj som bidragit med motivation och stöd fram till färdigställandet. Ett speciellt tack till Olle Duhlin som haft tålamod och gett feedback under uppsatsens gång. Tack! Malmö, augusti 2013 Grant & Johan i SAMMANFATTNING Titel: Musikidentiteter inom retailbranding: Hur förståelse för musikgenrer skapar förståelse för varumärkesidentitet Författare: Grant Murdoch Purdy och Johan Plambeck Handledare: Olle Duhlin Kurs: Kandidatuppsats inom företagsekonomi, inriktning marknadsföring, HT-2013 Music & Event Management, Linnéuniversitetet Nyckelord: varumärke, retailvarumärke, varumärkesidentitet, identitet, identitetsskapande, sinnesmarknadsföring, musik, kultur, subkultur Syfte och Forskningsfrågor: Syftet med uppsatsen är att fördjupa förståelsen för musikens kulturella betydelse när den används tillsammans med ett retailvarumärkes identitet. För att nå vårt syfte har vi arbetat med följande forskningsfrågor: • Hur är musik -
Dynamics of Musical Success: a Bayesian Nonparametric Approach
Dynamics of Musical Success: A Bayesian Nonparametric Approach Khaled Boughanmi1 Asim Ansari Rajeev Kohli (Preliminary Draft) October 01, 2018 1This paper is based on the first essay of Khaled Boughnami's dissertation. Khaled Boughanmi is a PhD candidate in Marketing, Columbia Business School. Asim Ansari is the William T. Dillard Professor of Marketing, Columbia Business School. Rajeev Kohli is the Ira Leon Rennert Professor of Business, Columbia Business School. We thank Prof. Michael Mauskapf for his insightful suggestions about the music industry. We also thank the Deming Center, Columbia University, for generous funding to support this research. Abstract We model the dynamics of musical success of albums over the last half century with a view towards constructing musically well-balanced playlists. We develop a novel nonparametric Bayesian modeling framework that combines data of different modalities (e.g. metadata, acoustic and textual data) to infer the correlates of album success. We then show how artists, music platforms, and label houses can use the model estimates to compile new albums and playlists. Our empirical investigation uses a unique dataset which we collected using different online sources. The modeling framework integrates different types of nonparametrics. One component uses a supervised hierarchical Dirichlet process to summarize the perceptual information in crowd-sourced textual tags and another time-varying component uses dynamic penalized splines to capture how different acoustical features of music have shaped album success over the years. Our results illuminate the broad patterns in the rise and decline of different musical genres, and in the emergence of new forms of music. They also characterize how various subjective and objective acoustic measures have waxed and waned in importance over the years. -
But Not the Cover), and It Had to Be an Official Release
FINALLY! HERE THEY ARE! Remember what the original rules were. The original had to be a hit (but not the cover), and it had to be an official release. ENJOY! 1. AMERICA... SIMON & GARFUNKEL & YES 2. AROUND & AROUND... CHUCK BERRY & THE ROLLING STONES (“ LOVE YOU LIVE” VERSION) 3. BABY IT’S YOU... THE SHIRELLES & SMITH 4. BLUE MOON... MEL TORME & THE MARTELS 5. BOYS OF SUMMER... DON HENLEY & THE ATARIS 6. CRY ME A RIVER... JULIE LONDON & JOE COCKER 7. ECSTASY OF GOLD... ENNIO MORRICONE & METALLICA 8. EVERLASTING LOVE... ROBERT KNIGHT & CARL CARLTON 9. EVERY LITTLE THING... BEATLES & YES 10. HARD TO HANDLE... OTIS REDDING & THE BLACK CROWES 11. HAZY SHADE OF WINTER... SIMON & GARFUNKEL & THE BANGLES 12. HURT... NIN & JOHNNY CASH... Although this one you could make a case for being the coolest (and at the same time, tragic) cover version EVER. 13. I CAN’T GET NEXT TO YOU... THE TEMPTATIONS & AL GREEN 14. I FOUGHT THE LAW... BOBBY FULLER FOUR & THE CLASH 15. I GOT YOU BABE... SONNY & CHER, UB40 & CHRISSIE HYNDE 16. I HEARD IT THROUGH THE GRAPEVINE... GLADYS KNIGHT & THE PIPS & MARVIN GAYE 17. I JUST WANNA MAKE LOVE TO YOU.... MUDDY WATERS & FOGHAT 18. (I KNOW) I’M LOSING YOU.... TEMPTATIONS & ROD STEWART 19. IF I WAS YOUR WOMAN... GLADYS KNIGHT & THE PIPS & ALICIA KEYS 20. I’M A MAN... SPENCER DAVID GROUP & CHICAGO TRANSIT AUTHORITY 21. LET’S STAY TOGETHER... Al GREEN & TINA TURNER 22. THE LETTER... BOXTOPS & JOE COCKER 23. LIGHT MY FIRE... THE DOORS & JOSE FELICIANO 24. MACARTHUR PARK... RICHARD HARRIS & DONNA SUMMER 25. -
Old & Modern Hymns
Old & Modern Hymns {ALONG WITH CONTEMPORARY WORSHIP SONGS} Songs for personal or corporate worship which glorify our great God & Savior Jesus Christ TABLE OF CONTENTS #78 - The Gospel Song #1 - O Sacred Head Now Wounded #79 - Who made me to know You #2 - Alas, and Did My Savior Bleed #80 - The Precious Blood #3 - And, Can it Be #81 - O Great God #4 - Nothing but the Blood #82 - In the Valley #5 - When I Survey the Wondrous Cross #83 - He is Exalted #6 - There is a Fountain #84 - I Lay it Down #7 - The Old Rugged Cross #85 - The Glory of the Cross #8 - Come Thou Fount of Every Blessing #86 - This Fathomless Love #9 - Praise to the Lord, the Almighty #87 - Wedding Dress #10 – Doxology #88 - Uncreated One #11 - O Worship the King #89 - Our God #12 - God Moves #90 - I Repent #13 - Crown Him with Many Crowns #91 - Surrender #14 - Oh the Deep, Deep Love of Jesus #92 - Glory to God Forever #15 - Jesus Paid it All #94 - To the Cross I Cling #16 - Take My Life #95 - The Greatness of Our God #17 - A Mighty Fortress is Our God #96 - In My Place #18 - All Creatures of Our God and King #97 - Stronger #19 - It is Well #98 - Your Grace is Sufficient #20 - Here is Love #99 - Lead me to the Cross #21 - I Stand Amazed in the Presence #100 - Before the Cross #22 - Great is Thy Faithfulness #101 - Mighty to Save #23 – Fairest Lord Jesus #102 - Marvelous Light #24 – Man of Sorrows #103 - How He Loves Us #25 - Immortal, Invisible, God Only Wise #104 - So I Will Trust You #26 - Majestic Sweetness Sits Enthroned #105 - Amazing Love #27 - All Hail the Power of -
978-1-4143-6456-8.Pdf
Sinner’S CREED LEAD SINGER OF CREED SCOTT STAPP WITH DAVID RITZ A MEMOIR Visit Tyndale online at www.tyndale.com. Visit Scott Stapp online at www.scottstappofficial.com. TYNDALE and Tyndale’s quill logo are registered trademarks of Tyndale House Publishers, Inc. Sinner’s Creed Copyright © 2012 by Scott Stapp Cover and Mr. Stapp’s author photographs taken by Stephen Vosloo. Copyright © by Tyndale House Publishers, Inc. All rights reserved. Mr. Ritz’s author photo taken by Nicola Goode, copyright © 2008. All rights reserved. Photograph insert: all photographs are the property of their respective copyright holders and all rights are reserved. 2001 photograph of Creed used courtesy of Wind-up Entertainment; 2002 Winter Olympic concert © Robert Laberge/Getty Images; Nascar event © Jason Smith/Getty Images; aboard the USS Ronald Reagan taken by Senior Chief Spike Call, US Navy; Creed 2009 live concert © 2009 Todd Kaplan; wedding photo by Fadil Berisha, used with permission; Scott and Jagger by Danny Steyn Photography/ Adept Studios, Inc., used with permission; Jaclyn’s family and family on beach by Amanda Tang, used with permission; concert reunion tour photographs taken by Stephen Vosloo © by Tyndale House Publishers, Inc. All other photographs are from the author’s personal collection and used with permission. “Torn,” “Ode,” “My Own Prison,” “Pity for a Dime,” “In America,” “Illusion,” “Unforgiven,” “Sister,” “What’s This Life For,” and “One”: Words and music by Mark Tremonti and Scott Stapp, copyright © 1997 BMG Rights Management (Ireland) Ltd. (IMRO) and Tremonti/Stapp Music (BMI). All rights administered by Chrysalis One Songs (BMI). All rights reserved. -
Chapter 4.1 the HUMAN CLAY FIGURINES and ANCIENT NEAR EASTERN MAGIC Denise Schmandt-Besserat
Chapter 4.1 THE HUMAN CLAY FIGURINES AND ANCIENT NEAR EASTERN MAGIC Denise Schmandt-Besserat Abstract: The chapter analyses the forty-nine Pre-Pottery Neolithic B and Yarmoukian anthropomorphic clay figurines. The first part of the study documents the collection: the number of artifacts, their types, style, material, manufacture, surface treatment, and firing. The figurines are then related to their context: their spatial distribution and place in the stratigraphy, their relation to the remainder of the assemblage, and their parallels elsewhere in the Near East. The second part addresses the possible function of the figurines. The objects are shown to match the criteria denoting the perennial ancient Near Eastern magical practices, as described in the cuneiform literature. Key words: clay, figural, female, apotropaic, magic THE HUMAN CLAY FIGURINES COLLECTION Forty-nine whole or fragmentary human figurines were recovered in the course of seven out of the eleven campaigns of excavations conducted at ‘Ain Ghazal (Rollefson 2008b: 387-416; McAdam 1997: 115-145). The number of human figurines collected at each campaign is as follows: • 4 in the 1982 season (salvage excavation) (Rollefson 1983: 11; Simmons and Rollefson 1984: 391- 392, Fig. 8) • 24 in the 1983 season (Rollefson and Simmons 1984: 18-20, Figs. 3-4; 1985b: 40-42, Figs. 3-5; Rollefson, Simmons and Donaldson, et al. 1985: 82-87, Figs. 5-8) • 8 in the 1984 season (Rollefson and Simmons 1985a: 16, 25, Table 7; 1986: 150, 152) • 6 in the 1985 season (Rollefson and Simmons 1986: 50-51; 1987: 103-104, Figs. 8-10) • 1986 (no excavation) • 0 in the 1987 season (survey) (Simmons and Kafafi 1988: 27-39) • 2 in the 1988 season (Simmons, Kohler-Rollefson and Rollefson 1988: 36; Rollefson, Kafafi and Simmons 1989: 15-16, Table 8; 1991: 103) • 3 in the 1989 season (Kafafi, Rollefson and Simmons 1990: 21, 25, Pl. -
SCOTT STAPP: the Space Between the Shadows
SCOTT STAPP: The Space Between the Shadows Non credo si possa coscientemente dire che oggi il Rock sia ancora del tutto vivo e vegeto, soprattutto quello degli anni ’90 legato a sonorità in netto contrasto con quelle del decennio precedente ma con una potenza di suono ed una lucidità di idee che ha portato band come BLACK STONE CHERRY (vedasi Betapress Music novembre 2018), NICKELBACK, ALTER BRIDGE e CREED a rivoluzionare la scena musicale alternative. E non credo sia nemmeno possibile, facendo un breve tour tra le emittenti radiofoniche nazionali e locali, comprendere a fondo il motivo che spinge gli ascoltatori ad impantanarsi con (sedicenti) artisti che sono tra le cose più lontane dall’arte musicale. L’Auto-Tune (Software per manipolazione audio che permette di correggere l’intonazione o mascherare errori ed imperfezioni della voce; n.d.a.) imperversa sovrano e la discografia non è in grado di proporre artisti giovani e creativi che possano “tenere viva la fiammella” del Blues, del Rock e del Pop, ma non voglio dilungarmi troppo in questioni oramai note. Scott Stapp, ex leader dei CREED, è un esempio luminoso di come un artista possa continuare a ribadire come il Rock sia vivo, rifiutando di chinarsi ai dettami degli standard del mercato discografico. The Space Between the Shadows è il terzo album solista di Stapp che si è rilanciato dopo due lavori opachi: The Great Divide e Proof of Life (quest’ultimo, a dire il vero, contiene un ottimo pezzo autobiografico: Slow Suicide; n.d.a.). Ad aprire le danze World I Used To Know, che fa ben sperare i fans di Stapp (tra cui il sottoscrittto; n.d.a.), la successiva traccia Name e la traccia conclusiva Last Hallelujah sono due ballate potenti, due canzoni che si cantano a squarciagola con una buona dose di brividi.