A Thing of Beauty Is a Joy Forever
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ウィークエンド サンシャイン Playlist Archive Dj:ピーター・バラカン 2016 年 6 月 4 日放送 01
ウィークエンド サンシャイン PLAYLIST ARCHIVE DJ:ピーター・バラカン 2016 年 6 月 4 日放送 01. James Bond / Roland Alphonso // Intensified 02. Whose Muddy Shoes / Elmore James // Whose Muddy Shoes 03. Be Careful / John Brim // Whose Muddy Shoes 04. Call It Stormy Monday / Elmore James // Whose Muddy Shoes 05. This Strange Effect / Dave Berry // Kinked! Kinks Songs & Sessions 1964-1971 06. I Go To Sleep / Peggy Lee // Kinked! Kinks Songs & Sessions 1964-1971 07. Who'll Be The Next In Line / The Knack // Kinked! Kinks Songs & Sessions 1964-1971 08. All Night Stand / The Thoughts // Kinked! Kinks Songs & Sessions 1964-1971 09. A House In The Country / The Pretty Things // Kinked! Kinks Songs & Sessions 1964-1971 10. Rosy, Won't You Please Come Home / Marianne Faithfull // Kinked! Kinks Songs & Sessions 1964-1971 11. Big Black Smoke / Mick & Malcolm // Kinked! Kinks Songs & Sessions 1964-1971 12. Mister Pleasant / Nicky Hopkins & The Whistling Piano // Kinked! Kinks Songs & Sessions 1964-1971 13. I'm Not Like Everybody Else / The Chocolate Watchband // Kinked! Kinks Songs & Sessions 1964-1971 14. Act Nice And Gentle / Duster Bennett // Kinked! Kinks Songs & Sessions 1964-1971 15. Nobody's Fool / Cold Turkey // Kinked! Kinks Songs & Sessions 1964-1971 16. Compared To What / Les McCann & Eddie Harris // Swiss Movement 17. A Change Is Gonna Come / Sam Cooke // Portrait Of A Legend 1951-1964 18. Shine / Joni Mitchell // Shine 19. Sam Stone / Swamp Dogg // A Soldier's Sad Story: Vietnam Through The Eyes Of Black America 1966-73 20. War / The Temptations // Does Anybody Know I'm Here? 21. Open Letter To The President / Roy C / Does Anybody Know I'm Here? 2016 年 6 月 11 日放送 01. -
The History of the Kinks Singalongs and the Kinksfan Kollektiv by Geoff
The History of the Kinks Singalongs and The Kinksfan Kollektiv by Geoff Lewis Photos courtesy of WhyKinks, Retroman Blog, Brigitte Jeffs, Ben Elsendoorn, Ruud Kerstiens, Alison Neale, Olga Ruocco, Dave Quayle, Simon van den Bergh, Jeanine Hoedemakers, Jurrien Schadron, Rob Williams, Steph Williams, Julia Reinhart, Rebecca G Wilson There is a tradition of fans getting together for a few drinks before Kinks-related events, Ray Davies gigs, Dave Davies gigs etc., and in 1998, a few Dutch fans suggested meeting up the evening before the annual Official Kinks Fan Club Meeting (known colloquially to the fans as “The Konvention” and held on a Sunday afternoon late in November). The Clissold Arms has always been well known to the fans as the home of the Kinks, as it was the site of the first ever live performance by Ray and Dave Davies, so that was the obvious place to meet up. About a dozen of us had a very pleasant evening in the saloon (now the main restaurant - the layout of the pub in those days was somewhat different) discussing all matters Kinks and examining the small area of wall that contained a few pieces of Kinks memorabilia and photos, and it became a regular feature of the Konvention weekend for those who had travelled to London on the Saturday to gather at the Clissold. The Clissold Arms Kinks wall 1998 The numbers meeting gradually increased over the years and in 2002, Henny Stahli and the late Herman Gombert (“The Kinky Two”) were among our number. Herman got his guitar out and started strumming and the rest of us happily sang along to a few Kinks classics. -
Out of Chaos
University of New Orleans ScholarWorks@UNO University of New Orleans Theses and Dissertations Dissertations and Theses 5-22-2006 Out of Chaos Jennifer Stewart University of New Orleans Follow this and additional works at: https://scholarworks.uno.edu/td Recommended Citation Stewart, Jennifer, "Out of Chaos" (2006). University of New Orleans Theses and Dissertations. 361. https://scholarworks.uno.edu/td/361 This Thesis is protected by copyright and/or related rights. It has been brought to you by ScholarWorks@UNO 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 University of New Orleans Theses and Dissertations by an authorized administrator of ScholarWorks@UNO. For more information, please contact [email protected]. OUT OF CHAOS A Thesis Submitted to the Graduate Faculty of the University of New Orleans in partial fulfillment of the requirements for the degree in Master of Fine Arts in Drama and Communications--Creative Writing by Jennifer Nichol Stewart B.A. Emory & Henry College, 2001 May 2006 Acknowledgements I wish to thank my thesis committee, Bill Lavender, Hank Lazer, Susan Schultz, and Kay Murphy, for their incredible patience, understanding, and advice throughout this process. I also want to acknowledge the help and inspiration of my fellow students. -
A Description of Figurative Meaning Found in Michelle Branch’S the Spirit Room Album
A DESCRIPTION OF FIGURATIVE MEANING FOUND IN MICHELLE BRANCH’S THE SPIRIT ROOM ALBUM A PAPER WRITTEN BY NOVA SITUMEANG REG.NO. 172202009 ENGLISH DIPLOMA 3 STUDY PROGRAM FACULTY OF CULTURAL STUDIES UNIVERSITY OF SUMATERA UTARA MEDAN 2020 Universitas Sumatera Utara . Universitas Sumatera Utara Universitas Sumatera Utara AUTHOR’S DECLARATION I the undersigned NOVA SITUMEANG, hereby declare that I am the sole author of this paper. To the best of my knowledge this paper contains no material previously published by any other person except where due acknowledgement has been made. This paper contains no material which has been accepted as part of the requirements of any other academic degree or non-degree program, in English or in any other language. Signed : Date : August, 2020 i Universitas Sumatera Utara COPYRIGHT DECLARATION Name : NOVA SITUMEANG Title of Paper : A DESCRIPTION OF FIGURATIVE MEANING FOUND IN MICHELLE BRANCH’S THE SPIRIT ROOM ALBUM Qualification : D-III / Ahli Madya Study Program : English language I hope that this paper should be available for reproduction at the direction the Librarian of English Diploma 3 Study Program, Faculty of Cultural Studies, University of Sumatera Utara on the understanding that users made aware to their obligation under law of the Republic of Indonesia. Signed : Date : August, 2020 ii Universitas Sumatera Utara ABSTRAK Judul dari kertas karya ini adalah “A Description of Figurative Meaning Found in Michelle Branch’s The Spirit Room Album”. Kertas Karya ini bertujuan untuk mendeskripsikan majas yang ditemukan di dalam lagu-lagu milik Michelle Branch pada Album The Spirit Room. Teknik yang digunakan untuk mendeskripsikan data ini yaitu dengan membaca lirik lagu Michelle Branch yang diambil dari Albumnya yang berjudul The Spirit Room. -
The NME Singles Charts
The Chart Book – The Specials The New Musical Express Charts 1960- 1969 Compiled by Lonnie Readioff Chart History For The NME Singles Charts Between 1 January 1960 and 27 December 1969 Entry Peak Weeks on chart, Title (Number 1 Number) (Awards symbols, if any for this record in this period) (Composer) Full artist credit (if different) B-Side (Or EP/Album track listing if any charted on this chart) Label (Catalogue Number) Duration. Notes are presented below the title for some entries. Entries are sorted by artist, then by entry date and finally, in the event of ties, by peak position and finally weeks on chart. All re-entries are shown as separate entries, but track listings of any albums or EP's which re-entered the chart are not shown for their re-entries. Kenny Ball (Continued) 16.02.1962 1 11 March Of The Siamese Children (N1 #131) (Oscar Hammerstein II / Richard Rodgers) Kenny Ball and His Jazzmen If I Could Be With You Pye Jazz 7": 7NJ 2051 02:44 18.05.1962 8 11 The Green Leaves Of Summer (Dimitri Tiomkin / Paul Francis Webster) Kenny Ball and His Jazzmen I'm Crazy 'bout My Baby Pye Jazz 7": 7NJ 2054 02:48 24.08.1962 11 5 So Do I (Ian Grant / Theo Mackeben) Kenny Ball and His Jazzmen Cornet Chop Suey Pye Jazz 7": 7NJ 2056 02:38 19.10.1962 23 3 The Pay-Off (A Moi De Payer) (Sidney Bechet) Kenny Ball and His Jazzmen I Got Plenty O' Nuttin' Pye Jazz 7": 7NJ 2061 03:00 25.01.1963 10 8 Sukiyaki (Ei Rohusuke / Nakamura Hachidai) Kenny Ball and His Jazzmen Swanee River Pye Jazz 7": 7NJ 2062 03:00 19.04.1963 17 6 Casablanca (Nicolas Sakelario -
Leaves of Grass
Leaves of Grass by Walt Whitman AN ELECTRONIC CLASSICS SERIES PUBLICATION Leaves of Grass by Walt Whitman is a publication of The Electronic Classics Series. This Portable Document file is furnished free and without any charge of any kind. Any person using this document file, for any pur- pose, and in any way does so at his or her own risk. Neither the Pennsylvania State University nor Jim Manis, Editor, nor anyone associated with the Pennsylvania State University assumes any responsibility for the material contained within the document or for the file as an electronic transmission, in any way. Leaves of Grass by Walt Whitman, The Electronic Clas- sics Series, Jim Manis, Editor, PSU-Hazleton, Hazleton, PA 18202 is a Portable Document File produced as part of an ongoing publication project to bring classical works of literature, in English, to free and easy access of those wishing to make use of them. Jim Manis is a faculty member of the English Depart- ment of The Pennsylvania State University. This page and any preceding page(s) are restricted by copyright. The text of the following pages are not copyrighted within the United States; however, the fonts used may be. Cover Design: Jim Manis; image: Walt Whitman, age 37, frontispiece to Leaves of Grass, Fulton St., Brooklyn, N.Y., steel engraving by Samuel Hollyer from a lost da- guerreotype by Gabriel Harrison. Copyright © 2007 - 2013 The Pennsylvania State University is an equal opportunity university. Walt Whitman Contents LEAVES OF GRASS ............................................................... 13 BOOK I. INSCRIPTIONS..................................................... 14 One’s-Self I Sing .......................................................................................... 14 As I Ponder’d in Silence............................................................................... -
Blur Keith Allen, University of York [email protected]
Blur Keith Allen, University of York [email protected] Forthcoming in Philosophical Studies. Please refer to the published version. Abstract: Consistent with the claim that visual experience is transparent, this paper proposes an ‘over-representational’ account of blurred visual experiences. The basic idea is that blurred experiences provide too much, inconsistent, information about objects’ spatial boundaries, by representing them as simultaneously located at multiple locations. This account aims to avoid problems with a variety of alternative accounts of blurred vision, which explain blur as property of the visual field, as a way of perceiving, as a form of mis-representation, and as a form of under-representation. 1. Blur and the Transparency of Experience When a short-sighted person removes their glasses things appear blurry. The experience is similar to looking with normal vision at an object close to your face whilst focussing on a point in the distance. What do these kinds of experience tell us about the nature of perception? Recently, a number of writers have argued that blurred visual experiences present a serious problem for the claim that visual experience is transparent, and hence for theories of perception that entail the transparency thesis.1 To say that experience is transparent is to make two claims, one positive and one negative. The positive claim is that we when reflect on our experiences we are aware of public mind- independent objects, their properties, and relations. The negative claim is that when we reflect on our experiences we are not aware of anything other than public mind- independent objects, their properties, and relations; in particular, we are not aware of properties of the experience itself.2 Blurred experiences do not present an immediate problem for the positive transparency thesis. -
Onmercer12pt Copy
1 “ON MERCER” Rediscovering The Genius of the American Songwriter, Johnny Mercer, Giant Of The Great American Songbook: [Up Close, Moving and Personal] by Frank Gagliano [email protected] ONE: MERCER RESTART My Johnny Mercer journey started — well, restarted — sometime in the 1990s, when I first read “Roses In The Morning,” browsing in a bookstore in Pittsburgh. This was the title of an essay in Gene Lees’s book, “Singers and The Song.” (Oxford Press, 1987). The title of the essay referred to songwriter Johnny Mercer’s ritual of sending a dozen roses in the morning to people Mercer had insulted the night before, when he was very drunk. What first attracted me to “Singers and The Song,” however, was the cover: The iconic Frank Driggs photo of a young, skinny Frank Sinatra, standing on a stage, in front of a 1940s vintage microphone, in the midst (probably) of singing one of his signature ballads, arms down and out from his sides, palms up, head tilted to his left shoulder, eyes shut tight, wearing a tailored double breasted grey pinstripe suit with floppy grey bow tie, in full spotlight, against a black background, with only a portion of the accompanying white piano catching part of Sinatra’s spotlight. Whatever that venue, one could almost hear the bobbysoxers in the audience, squealing and swooning. 2 In the bookstore, I thumbed through the Sinatra essay and saw, immediately, that the chapter dealt with the artistry of the singer, and how Sinatra had revived the public’s interest in America’s greatest popular songs, and how Sinatra had also revolutionized the art of singing those songs. -
The BG News November 13, 2001
Bowling Green State University ScholarWorks@BGSU BG News (Student Newspaper) University Publications 11-13-2001 The BG News November 13, 2001 Bowling Green State University Follow this and additional works at: https://scholarworks.bgsu.edu/bg-news Recommended Citation Bowling Green State University, "The BG News November 13, 2001" (2001). BG News (Student Newspaper). 6874. https://scholarworks.bgsu.edu/bg-news/6874 This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. This Article is brought to you for free and open access by the University Publications at ScholarWorks@BGSU. It has been accepted for inclusion in BG News (Student Newspaper) by an authorized administrator of ScholarWorks@BGSU. Green State University TUESDAY November 13, 2001 SPLIT: SUNNY The Falcon hockey team HIGH 63 I LOW 32 split with Miami over www.bgnews com the weekend; PAGE 6 independent student press VOLUME XX ISSUE XX Inf 1 students offer view of world by Marie Chiche cooking, pulling on a per- "It's just phenomenal to see how everyone helped each Rowling Green com- program. Gilbert Kporku, the IHE 8G NEKS formance lo serving the munity to a new publications chair for the event The Rowling Green communi- food, about 100 interna- other out and worked together toward tonights event." understanding of dif- stressed the purpose of the event ty was once again able to gel a tional students volunteered for NAME, CLASS ferent cultures. "This Festival is being held at a small taste c>r the world al the the International Festival. "We're here to share our cul- time when our motto of'diffusing 2001 Tall International festival "It's just phenomenal to see Associate Director of tries, from an Okufuro no aji from ture," said Margarida Rrandao. -
Why Latino History Matters to U.S. History
The Japanese Journal of American Studies, No. 20 (2009) Why Latino History Matters to U.S. History Vicki L. RUIZ* Who are Latinos and why do their stories matter? Latinos represent the largest minority population in the United States, a diverse mosaic in terms of cultural background, generation (e.g. immigrant, U.S. born children of im- migrants, grandchildren of immigrants), and historical experience. The term Latino refers to all people of Latin American birth or heritage who live in the United States—from Hispanos in New Mexico, who can trace their roots in the Southwest back to the seventeenth century, to recent arrivals from Guate- mala. However, there has never existed a single mutually agreed on ethnic label. Latino and Hispanic are the most encompassing terms, but many prefer specifi c nationality-based identities, such as Mexicano or Mexican American (Mexican), Puertorriqueño (Puerto Rican), or Cubano (Cuban). Others prefer a distinctly regional identifi cation—Tejano is popular in Texas, while in New Mexico and Colorado, Hispano or Hispanic remains the preferred nomencla- ture.1 Of the 41.3 million Latinos in the United States, 64 percent are Mexican, 10 percent Puerto Rican, and 3 percent Cuban, representing over three-quar- ters of this growing population. Moreover, these three ethnicities have long histories in the United States, for Mexicans in the Southwest and Pacifi c Coast and for other Latinos in Florida and the Atlantic seaboard. It is crucial to understand these histories within and beyond the borders of the United States and to contextualize present and projected demographic realities with the pasts that preceded them. -
Rst Single "Up Against All Odds"
NEWSSTAND PRICE $6.50 OCTOBER 24, 2003 Kracker Won't Krumble At AC Uncle Kracker is all alone as the record -holder for most consecutive weeks atop R &R's AC chart. "Drift Away," Punks Profiled featuring Dobie R &R Alternative Editor Max Tolkoff spotlights "Punks Gray (Lava), on the Rise" in this week's R &R Focus. They're young tops the chart and totally new -school. See who from radio and who for the 21st from records shows up in this exclusive guide to consecutive tomorrow's top Alternative executives. The story begins week. on the next page. Presents 11 Born To Diva Winner! "Tarralyn's `Up Against All Odds' is already getting top 10 phones!" -Jeff Z., WKTU/Neto York "'Up Against All Odds' has the making of a hit. We're excited about Tarralyn at Y100!" -Rob Roberts and Michael Yo, Y100/Miami rst single "Up Against All Odds" on your desk N OW ! Take A Listen! www.americanradiohistory.com I'm in love with I'm in love with you. you you, you SI#4I' thing Anyone can thing see What is it let o n a ADONNA t i take it you tticfnenS S y It was no a "NOTHING FAIL" ithfpoery eetin Just take The new single from Amy/one cbarnig"hee You're the one I can return to this place Cause, you're the one You could tA birbelg ilUis o fears his take i , d VI §a a f3bilidawa,cbtarnce meeting of a ails u l' F c t e WS a r t beating yAodatitgI ' eligious nitBu I I'm not religious But I feel such love want to pray I When get ßó35tnitl .2003 Warner Bros. -
Beatles Tagebuch PT.1 (1964-1) HHB1 BEATLES-1964-01 Beatles Tagebuch PT.1 (1964-1) HHB1 BEATLES-1964-01
Beatles Tagebuch PT.1 (1964-1) HHB1_BEATLES-1964-01 Beatles Tagebuch PT.1 (1964-1) HHB1_BEATLES-1964-01 Nr Titel Label MasterNr. Jahr Nr Titel Jahr CW RB USA GB BRD 03 I WANT TO HOLD YOUR HAND (BEATLES) CAPITOL 5112 1964 03 I WANT TO HOLD YOUR HAND (BEATLES) 1964- - 1 1 1 05 I'LL LET YOU HOLD MY HAND (BOOTLES) GNP 311 1964 05 I'LL LET YOU HOLD MY HAND (BOOTLES) 1964- - - - - C 07 YES YOU CAN HOLD MY HAND (TEEN BUGS) BLUE RIVER 208 1964 07 YES YOU CAN HOLD MY HAND (TEEN BUGS) 1964- - - - - D 09 I WANT TO HOLD YOUR HAIR (N) (BAGELS) WB 5489 1964 09 I WANT TO HOLD YOUR HAIR (N) (BAGELS) 1964- - - - - 11 I WANT TO BITE YOUR HAND (N) (GENE MOSS) RCA 47-8438 1964 11 I WANT TO BITE YOUR HAND (N) (GENE MOSS) 1964- - - - - - 13 I WANT TO HOLD YOUR HAND (HOMER & JETHRO) RCA 47-8345 1964 13 I WANT TO HOLD YOUR HAND (HOMER & JETHRO) 1964- - - - - L 15 KOMM GIB MIR DEINE HAND (I WANT TO HOLD YOUR HAND) ODEON 22671 1964 15 KOMM GIB MIR DEINE HAND (I WANT TO HOLD YOUR HAND)* (F) (B 1964- - - - 5 a 17 SEI MIR TREU WIE GOLD (TELL ME WHY)* (F) (DIDI & DIE AB TELEFUNKEN LP 14340 1964 17 SEI MIR TREU WIE GOLD (TELL ME WHY)* (F) (DIDI & DIE ABC BOY 1964- - - - - y 19 TOI L'AMI (ALL MY LOVING)* (F) (RICHARD ANTHONY) COLUMBIA (FRA) EP 2168 1964 19 TOI L'AMI (ALL MY LOVING)* (F) (RICHARD ANTHONY) 1964- - - - - o 21 LITTLE CHILDREN (BILLY J.