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AC;T I - SCENE 1 No.1 Overture Seep
7 AC;T I - SCENE 1 No.1 Overture Seep. 85 IOrchestra) Music seg11es as one. No. 2 Sweet And Lowdown 5-.:e p. 85 (Jimmy, Jeannie, Cirls & Cuys) Lights Up: A speakeasy in New York Cih;. JEANNIE leads a gaggle of CHORUS GIRLS. The surrounding tables are full of handsome YOUNG MEN. We are at a society bachelor party - rich boys having fun. JEANNIE & GIRLS. Grab a cab and go down To where the band is playing; Where milk and honey flow down Where ev'ry one is saying "Blow that sweet and low-down!" Busy as a beaver, You'll dance until you totter; You're sure to get the fever For nothing could be hotter Oh, that sweet and low-down! JEANNIE. (Over music) All right, peoples, peoples - listen up! Now this is a very sad occasion, 'cause tomorrow morning, our own Jimmy Winter is gettin' married for the third time! JIMMY. (Stands up) Fourth time! EVERYBODY cheers. JlMMY. (Continued) But this time, I'm not marrying some cheap chorus girl! JEANNIE & GIRLS. Awww. JIMMY. Sorry, cheap chorus girls. EVERYBODY cheers. JIMMY. (sung) There's a cabaret in this city I can recommend to you; Peps you up like electricity When the band is blowing blue. \:IC - l'rompt Book 8 .. I (JJ MY. They play nothing classic, Oh no• Down there, They crave nothing e se Bu he low-down there I you need a on·c nd he need is chron c If you're in a crisis. my advice is }EA lE & L Grab a cab and go down Grab a cab and go down To where the band 1s playin : Where he band i playing; Where milk and honey flow down Where ev'ry one is sayin' E IR Blow Blow that eet and low-d wnl" Low low down t Busy as a beaver, Busy as a beaver. -
So Go the Ghosts of México, Part One
so go the ghosts of méxico, part one by Matthew Paul Olmos Contact: Leah Hamos The Gersh Agency 41 Madison Avenue, 33 rd Floor, New York, NY 10010 212.917.1818 [email protected] i part I a brave woman in méxico the people a brave woman in méxico the police chief the husband el morete güero a place méxico, present day Spanish translation by Mariana Carreño King ii the beginning an emptying dirt and gravel parking lot: vacant spaces and cars-recently-left surrounded by cars-abandoned-who- the-fuck-knows. MARI and HUSBAND fuck in an emptied car. HUSBAND Lemme just— MARI Yea, I know, it’s— HUSBAND You’re on my— MARI I’m trying to— HUSBAND Will you get…over— MARI I don’t want be…over, I wanna be right…on…this… HUSBAND Fine then lift your— MARI I can’t, you go around— HUSBAND Mari, I can’t keep it in if I can’t— MARI You’re a man, if there’s a way to keep it in, you will. (HUSBAND tries a different approach; they find a rhythm) HUSBAND See that. Lookit us— MARI Will you/just— HUSBAND See how we can be— 1 MARI No words. (Just as HUSBAND feels in synch, MARI pulls off. On their separation, we hear a breaking of static; they both notice, but think nothing of it) HUSBAND Okay… MARI This isn’t— HUSBAND Wow. I know that look. MARI I’m not looking at you, I’m just— HUSBAND What? (pause) Say it. MARI Tomorrow. -
Five Star Transcript
Five Star Transcript Timecode Character Dialogue/Description Explanation INT: Car, Night 01:00:30:00 Primo March 24th, 2008, a little boy was born. 01:00:40:00 Sincere Israel Najir Grant, my son. 01:01:00:00 That's my son. 01:01:01:00 You know where I was? Nah, not the hospital bed. 01:01:10:00 Nah not in the waiting room. 01:01:13:00 I was locked the fuck up. 01:01:23:00 Remember gettin' that call, putting the call in I should say. Had a beautiful baby boy, and I wasn't there to greet him when he 01:01:33:00 came into the world. 01:01:36:00 And, um, it's funny. 01:01:40:00 I was released the week after. 01:01:43:00 April 1st, my Pop's birthday. Dialogue Transcript Five Star a film by Keith Miller 1 Five Star Transcript Timecode Character Dialogue/Description Explanation 01:01:48:00 Came home on April Fool's Day, dig that. I remember walking in, into the P's*. Everybody yo Primo, Primo oh, 01:01:56:00 * P’s = projects/housing project shit. 01:02:03:00 Fuck y'all. I want to see my son. 01:02:06:00 Walked up the stairs, I was nervous. 01:02:14:00 Haven't seen my daughter in so long. Open the door, everybody greeting me. Oh welcome home! Welcome 01:02:20:00 home! Yeah it's nice, that that that was sweet. Move! I want to see my son. -
Brown Water Flashbacks Dennis Allen Mckinney Iowa State University
Iowa State University Capstones, Theses and Retrospective Theses and Dissertations Dissertations 2007 Brown water flashbacks Dennis Allen McKinney Iowa State University Follow this and additional works at: https://lib.dr.iastate.edu/rtd Part of the Modern Literature Commons Recommended Citation McKinney, Dennis Allen, "Brown water flashbacks" (2007). Retrospective Theses and Dissertations. 14804. https://lib.dr.iastate.edu/rtd/14804 This Thesis is brought to you for free and open access by the Iowa State University Capstones, Theses and Dissertations at Iowa State University Digital Repository. It has been accepted for inclusion in Retrospective Theses and Dissertations by an authorized administrator of Iowa State University Digital Repository. For more information, please contact [email protected]. Brown water flashbacks by Dennis Allen McKinney A thesis submitted to the graduate faculty in partial fulfillment of the requirements for the degree of MASTER OF ARTS Major: English (Creative Writing) Program of Study Committee: Steve Pett, Major Professor Jean Goodwin Ray Dearin David Zimmerman Iowa State University Ames, Iowa 2007 Copyright © Dennis Allen McKinney, 2007. All rights reserved. UMI Number: 1443117 UMI Microform 1443117 Copyright 2007 by ProQuest Information and Learning Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. ProQuest Information and Learning Company 300 North Zeeb Road P.O. Box 1346 Ann Arbor, MI 48106-1346 ii Contents Preface iv 1. Barnyard life 1 2. The wild frontier 5 3. Play time 9 4. New adventures 16 5. War on the horizon 24 6. Behind the curtain 28 7. Culture shock 35 8. -
Stories: Maria and Rob
Stories: Maria and Rob English (American) Unit 1: The Cat in the Tree house A girl is reading. She has a dog. The dog is sleeping. The grass is green. The sky is blue. truck There is a red car. A man is driving the car. Who is he? There’s a woman in the car. There’s a boy in the car. Who are they? Now they are walking to the red house. The woman has keys. The house has no chairs, it has no tables, and it has no beds. A big yellow truck is driving to the house. There are three men in the truck. They are wearing yellow shirts and hats. They are walking to the house. ladder “Hello!” “Hello!” The big yellow truck has many chairs, tables, beds, plates, bicycles, and books. One man has a chair. One man has a table. One man has a red bicycle. Who are they? What are the men doing? The boy has a cat. The cat is sleeping. climbs Oh no! The dog is running! The cat is running! The cat is in the tree! The boy is running to a man in a yellow shirt. “The cat is in the tree! The cat is in the tree!” One of the men has a ladder. He climbs the tree. He has the cat! The girl has the dog. The boy is smiling, and the girl is smiling. smiling 2 Rosetta Stone® Storybook – English (American) Level 1 Unit 1: The Cat in the Tree Circle the correct answer. 1. -
8123 Songs, 21 Days, 63.83 GB
Page 1 of 247 Music 8123 songs, 21 days, 63.83 GB Name Artist The A Team Ed Sheeran A-List (Radio Edit) XMIXR Sisqo feat. Waka Flocka Flame A.D.I.D.A.S. (Clean Edit) Killer Mike ft Big Boi Aaroma (Bonus Version) Pru About A Girl The Academy Is... About The Money (Radio Edit) XMIXR T.I. feat. Young Thug About The Money (Remix) (Radio Edit) XMIXR T.I. feat. Young Thug, Lil Wayne & Jeezy About Us [Pop Edit] Brooke Hogan ft. Paul Wall Absolute Zero (Radio Edit) XMIXR Stone Sour Absolutely (Story Of A Girl) Ninedays Absolution Calling (Radio Edit) XMIXR Incubus Acapella Karmin Acapella Kelis Acapella (Radio Edit) XMIXR Karmin Accidentally in Love Counting Crows According To You (Top 40 Edit) Orianthi Act Right (Promo Only Clean Edit) Yo Gotti Feat. Young Jeezy & YG Act Right (Radio Edit) XMIXR Yo Gotti ft Jeezy & YG Actin Crazy (Radio Edit) XMIXR Action Bronson Actin' Up (Clean) Wale & Meek Mill f./French Montana Actin' Up (Radio Edit) XMIXR Wale & Meek Mill ft French Montana Action Man Hafdís Huld Addicted Ace Young Addicted Enrique Iglsias Addicted Saving abel Addicted Simple Plan Addicted To Bass Puretone Addicted To Pain (Radio Edit) XMIXR Alter Bridge Addicted To You (Radio Edit) XMIXR Avicii Addiction Ryan Leslie Feat. Cassie & Fabolous Music Page 2 of 247 Name Artist Addresses (Radio Edit) XMIXR T.I. Adore You (Radio Edit) XMIXR Miley Cyrus Adorn Miguel Adorn Miguel Adorn (Radio Edit) XMIXR Miguel Adorn (Remix) Miguel f./Wiz Khalifa Adorn (Remix) (Radio Edit) XMIXR Miguel ft Wiz Khalifa Adrenaline (Radio Edit) XMIXR Shinedown Adrienne Calling, The Adult Swim (Radio Edit) XMIXR DJ Spinking feat. -
Mother's Forgotten Garden
MOTHER'S FORGOTTEN GARDEN by Cory Daniel Zimmerman A Thesis Submitted to the Faculty of The Dorothy F. Schmidt College of Arts and Letters in Partial Fulfillment of the Requirements for the Degree of Master of Fine Arts Florida Atlantic University Boca Raton, Florida December 2008 Copyright by Cory Daniel Zimmerman 2008 ii Abstract Author: Cory Daniel Zimmerman Title: Mother’s Forgotten Garden Institution: Florida Atlantic University Thesis Advisor: Dr. Jason Schwartz Degree: Master of Fine Arts Year: 2008 The thesis proposed for my M.F.A. in creative writing is a collection of conceptual American short stories written in a variety of forms that properly suit their respective subjects. Like a handful of miscellaneous wild seeds scattered over a tilled garden, the goal of the project is to represent the wild asymmetry of Nature via a collection of unlikely companions. For this reason, the conceptual form of each story often takes root in scientific or symbolic representations of Nature (i.e. sine and cosine curves, the yin-yang, etc.). The plot of loose soil holding these collective experiments together is their earthy thematic focus—namely, the way in which Nature has been systematically backgrounded by western ideology. On occasion, a story’s conceptual focus may stray from these ecofeminist principles, but only for the purpose of leveling a more critical or satirical eye upon common American ideologies. iv Table of Contents The cosmis joke redux ...................................................................................................... -
The Dissertation Committee for Richard Neill Hadder Certifies That This Is The
The Dissertation Committee for Richard Neill Hadder certifies that this is the approved version of the following dissertation: Apparitions of Difference: Essays on the Vocation of Reflexive Anthropology Committee: ______________________________ Kathleen Stewart, Supervisor ______________________________ Richard Flores ______________________________ Ward Keeler ______________________________ Elizabeth Keating ______________________________ James Wilce Apparitions of Difference: Essays on the Vocation of Reflexive Anthropology by Richard Neill Hadder, B.A., M.A.I.S., M.A. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the requirements for the Degree of Doctor of Philosophy. The University of Texas at Austin May 2007 Preface Dear Reader(s), Hi, how are you? It has been suggested to me that a few pages of prefatory remarks of the form “dear reader” would help “prepare the reader to be disoriented” in the essays I’ve written. I’m very happy to do so, insofar as corresponding with you in this way somewhat lessens the natural readerly tendency to demand—intentionally or not—that I correspond “to” you. This distinction might be the most important cord running through the essays, which all in some way discuss coping strategies for how to deal with irrevocable, incommunicable difference. The maps by which we tend to conceptualize “diverse” people in familiar or categorical terms are inadequate. Disorienting? Yes, insofar as the reader holds to a protocol that does want some of its categories to remain unquestionable. Common sense tells us that one has to stand on solid ground to swing a hammer effectively; whereas my project has turned out to have more in common with Derrida’s, in that one can’t write about what underwrites meaning without either violating one’s own thesis or else finding some other technique for swinging the hammer—or wielding the scalpel, or unwinding the threads of a fabrication, or any metaphor you choose, so long as it means fundamental anti-foundationalist critique. -
De Turkey and De Law
Library of Congress De Turkey and de Law Title Page 7957 Oct. 29, 1930 I.C. DE TURKEY AND DE LAW A COMEDY IN THREE ACTS by ZORA HURSTON Cast CAST Jim Weston A young man and the town bully (A Methodist) Dave Carter The town's best hunter and fisherman (Baptist) Joe Clarke The Mayor, Postmaster, storekeeper Daisy Blunt The town vamp Lum Boger The Marshall Walter Thomas A villager (Methodist) Lige Moseley A villager (Methodist) De Turkey and de Law http://www.loc.gov/resource/mhurston.0102 Library of Congress Joe Lindsay A villager (Baptist) Della Lewis A villager (Baptist) Tod Hambo A villager (Baptist) Lucy Taylor A villager (Methodist) Rev. Singletary (Baptist) Rev. Simms (Methodist) Villagers, children, dogs. Act I ACT I SETTING: A Negro village in Florida in our own time. All action from viewpoint of an actor facing audience. PLACE: Joe Clarke's store porch in the village. A frame building with a false front. A low porch with two steps up. Door in center of porch. A window on each side of the door. A bench on each side of the porch. Axhandles, hoes and shovels, etc. are displayed leaning against the wall. Exits right and left. Street is unpaved. Grass and weeds growing all over. TIME: It is late afternoon on a Saturday in summer. Before the curtain rises the voices of children are heard, boisterous at play. Shouts and laughter. VOICE OF ONE BOY De Turkey and de Law http://www.loc.gov/resource/mhurston.0102 Library of Congress Naw, I don't want to play wringing no dish rag! We gointer play chick mah chick mah craney crow. -
Karaoke Song Book Karaoke Nights Frankfurt’S #1 Karaoke
KARAOKE SONG BOOK KARAOKE NIGHTS FRANKFURT’S #1 KARAOKE SONGS BY TITLE THERE’S NO PARTY LIKE AN WAXY’S PARTY! Want to sing? Simply find a song and give it to our DJ or host! If the song isn’t in the book, just ask we may have it! We do get busy, so we may only be able to take 1 song! Sing, dance and be merry, but please take care of your belongings! Are you celebrating something? Let us know! Enjoying the party? Fancy trying out hosting or KJ (karaoke jockey)? Then speak to a member of our karaoke team. Most importantly grab a drink, be yourself and have fun! Contact [email protected] for any other information... YYOUOU AARERE THETHE GINGIN TOTO MY MY TONICTONIC A I L C S E P - S F - I S S H B I & R C - H S I P D S A - L B IRISH PUB A U - S R G E R S o'reilly's Englische Titel / English Songs 10CC 30H!3 & Ke$ha A Perfect Circle Donna Blah Blah Blah A Stranger Dreadlock Holiday My First Kiss Pet I'm Mandy 311 The Noose I'm Not In Love Beyond The Gray Sky A Tribe Called Quest Rubber Bullets 3Oh!3 & Katy Perry Can I Kick It Things We Do For Love Starstrukk A1 Wall Street Shuffle 3OH!3 & Ke$ha Caught In Middle 1910 Fruitgum Factory My First Kiss Caught In The Middle Simon Says 3T Everytime 1975 Anything Like A Rose Girls 4 Non Blondes Make It Good Robbers What's Up No More Sex.... -
Download Free Scream Usher
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University of Huddersfield Repository
University of Huddersfield Repository Crump, Simon and Stewart, Michael I You He She It - Experiments in Viewpoint Original Citation Crump, Simon and Stewart, Michael (2017) I You He She It - Experiments in Viewpoint. Grist Anthology, 2017 . University of Huddersfield Press. ISBN 978-1-86218-142-7 This version is available at http://eprints.hud.ac.uk/31523/ The University Repository is a digital collection of the research output of the University, available on Open Access. Copyright and Moral Rights for the items on this site are retained by the individual author and/or other copyright owners. Users may access full items free of charge; copies of full text items generally can be reproduced, displayed or performed and given to third parties in any format or medium for personal research or study, educational or not-for-profit purposes without prior permission or charge, provided: • The authors, title and full bibliographic details is credited in any copy; • A hyperlink and/or URL is included for the original metadata page; and • The content is not changed in any way. For more information, including our policy and submission procedure, please contact the Repository Team at: [email protected]. http://eprints.hud.ac.uk/ I YOU HE SHE IT Published by University of Huddersfield Press University of Huddersfield Press The University of Huddersfield Queensgate Huddersfield HD1 3DH Email enquiries [email protected] First published 2017 Text © 2017 all named authors and Editor Simon Crump. This work is licensed under a Creative Commons Attribution 4.0 International License Images © as attributed Every effort has been made to locate copyright holders of materials included and to obtain permission for their publication.