October Timetable 2018!!

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OCTOBER timetable 2018 The gym way, marble arch | Mob45 Farringdon | Glasshill studios SOUTHWARK | Sadlers Wells Angel MONDAY TUESDAY WEDNESDAY THURSDAY FRIDAY SATURDAY SUNDAY 24 25 26 27 28 29 30 Pop SWEAT & STRETCH No class this week only diva No classes BOSS POWER All levels All levels All levels BEginner All levels 19.15-20.15 18:30 - 19:30 18:30-19.30 11.30-12.30 12.00-12.55 Sass Commercial Ciara Commercial All levels All Levels ALL LEVELS All levels 20.00-21.00 19:30-20:30 12.30-14.30: DOSE 13.00-14.00 Beyoncé HEels special int/adv 14.00-15.30: part ii (On the run) 1 2 3 4 5 6 7 Pop SWEAT & STRETCH Diva diva No classes BOSs POWER All levels All levels BEGINNER All levels BeGINNER All levels 19.15-20.15: Work it 18:30 - 19:30 18.30-19.30 18:30-19.30 11.30-12.30 12.00-12.55 Sass Hip Pop Commercial Britney spears // Mega Mix Masterclass Commercial All levels Intermediate All Levels ALL LEVELS ALL LEVELS 20.00-21.00 19:30 - 20:30 19:30 - 20:30 12.30-14.30: Baby one more time | Crazy | Oops… I did it again 13.00-14.00 Tinashe int/adv 14.00-15.30: Throw a fit 8 9 10 11 12 13 14 Pop SWEAT & STRETCH Diva DIVA BOSs POWER All levels All levels BEGINNER All levels BeGINNER All levels 19.15-20.15 18:30 - 19:30 18.30-19.30 18.30-19.30 11.30-12.30 12.00-12.55 HIP POP Commercial Britney spears // Mega Mix Masterclass Commercial INTERMEDIATE All Levels ALLAll LEVELSlevels All levels 19:30 - 20:30 19:30 - 20:30 12.30-14.30: Overprotected | I’m a Slave 4 U | Boys 13.00-14.00 Beyoncé // On The Run tour special Rihanna Heels special All levels Int/Adv 14.30-16.00: Naughty girl | Mi Gente | Apesh*T 14.30-16.00: Skin 15 16 17 18 19 20 21 Pop SWEAT & STRETCH Diva diva No classes BOSs POWER All levels All levels BEGINNER All levels BeGINNER All levels 19.15-20.15 18:30 - 19:30 18.30-19.30 18:30-19.30 11.30-12.30 12.00-12.55 HIP POP Commercial Britney spears // Mega Mix Masterclass Commercial INTERMEDIATE All Levels All levels All levels 19:30 - 20:30 19:30 - 20:30 12.30-14.30: outrageous | Toxic | Me Against the music 13.00-14.00: Song tBC Ariana Grande Int/adv 14.00-15.30: God Is A Woman (Extended version) 22 23 24 25 26 27 28 Pop SWEAT & STRETCH Diva diva No classes BOSs POWER All levels All levels BEGINNER All levels BeGINNER All levels 19.15-20.15 18:30 - 19:30 18.30-19.30 18:30-19.30 11.30-12.30 12.00-12.55 HIP POP Commercial Britney spears // Mega Mix Masterclass Commercial INTERMEDIATE All Levels ALLAll LEVELSlevels All levels 19:30 - 20:30 19:30 - 20:30 12.30-14.30: Gimme More | Womanizer | Work B**Ch 13.00-14.00 Halloween special coming soon! Raye Vs. Mabel Int/adv 14.30-16.00: Confidence vs. one shot.

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Scream & Shout Deconstructed
Hit Songs Deconstructed Deconstructing Today's Hits for Songwriting Success http://reports.hitsongsdeconstructed.com Scream & Shout Deconstructed Skip to: Audio/Video At a Glance Introduction Structural Analysis Momentum/Tension/Intensity (MTI) Lyrics & Harmonic Progression The Music The Vocal Melody Compositional Assessment Hit Factor Assessment Conclusion Why it’s a Hit Songwriter/Producer Take Aways Audio/Video Back to Top At a Glance Back to Top Artist: Wil.i.am featuring Britney Spears Song/Album: Scream & Shout / #willpower Songwriters: Will Adams, Jean Baptiste Kouame, Jef Martens Producers: Will Adams, Jef Martens Genre: Pop Sub Genre: Straight-Up Electro Pop, Dance Length: 4:44 Structure: A-B-IB/VB-A-A-B-IB/VB-C-B Tempo: 130 BPM First Chorus: 0:44 (15% into the song) Intro Length: 0:14 Outro Length: 0:18 Electric vs. Acoustic: Electric Primary Instrumentation: Synth Lyrical Theme: Partying/Clubbing (primary), Love/Relationships (secondary) Title Occurrences: Scream & Shout occurs 14 times within the song Lyrical P.O.V: 1st, 2nd & 3rd Introduction Back to Top Futuristic, egotistic, repetitive, dark, evocative, generic, clever, cliché, unique, familiar, ultra- 1 / 77 Hit Songs Deconstructed Deconstructing Today's Hits for Songwriting Success http://reports.hitsongsdeconstructed.com infectious, fun and of course, “Britney bitch!” These are just some of the terms that describe Will.i.am’s collaboration with Britney Spears on the third single from his forthcoming album, #willpower. To-date Scream & Shout has hit #1 in 21 countries on 23 charts throughout the world, so suffice it to say that the song contains a host of hit factors that enabled it to rise to the top, which we’ll be exploring in depth throughout the report.
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The Best Totally-Not-Planned 'Shockers'
Style Blog The best totally-not-planned ‘shockers’ in the history of the VMAs By Lavanya Ramanathan August 30 If you have watched a music video in the past decade, you probably did not watch it on MTV, a network now mostly stuck in a never-ending loop of episodes of “Teen Mom.” This fact does not stop MTV from continuing to hold the annual Video Music Awards, and it does not stop us from tuning in. Whereas this year’s Grammys were kind of depressing, we can count on the VMAs to be a slightly morally objectionable mess of good theater. (MTV has been boasting that it has pretty much handed over the keys to Miley Cyrus, this year’s host, after all.) [VMAs 2015 FAQ: Where to watch the show, who’s performing, red carpet details] Whether it’s “real” or not doesn’t matter. Each year, the VMAs deliver exactly one ugly, cringe-worthy and sometimes actually surprising event that imprints itself in our brains, never to be forgotten. Before Sunday’s show — and before Nicki Minaj probably delivers this year’s teachable moment — here are just a few of those memorable VMA shockers. 1984: Madonna sings about virginity in front of a blacktie audience It was the first VMAs, Bette Midler (who?) was co-hosting and the audience back then was a sea of tux-wearing stiffs. This is all-important scene-setting for a groundbreaking performance by young Madonna, who appeared on the top of an oversize wedding cake in what can only be described as head-to-toe Frederick’s of Hollywood.
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Gimme More Vineright.Com
Gimme More VineRight.com NOVICE 32 COUNT 2 WALL Choreographer Jérome Ciurana ( August 2019 ) Music Gimme More by Britney Spears DÉSCRIPTIF : SUR LE DÉBUT DU LYRIC OU 20 SEC FAIRE LA DANSE JUSQU'À LA FIN [1-8] (KNEES IN KNEES OUT) WITH ARM MOVEMENT, RIGHT KICK, BEHIND SIDE CROSS, STEP LEFT TO SIDE, BOUNCE X 2 AND SNAP 1-2 Push knees in and cross hands on knees, Push knees out and untie our hands 3 RIGHT kick to right side 4&5 Cross RIGHT behind left, Step LEFT to left side, Cross RIGHT over left 6-7 Step LEFT to left side and bounce left heel, Bounce left heel (snap left ﬁnger) 8 LEFT kick Coup de pied GAUCHE à gauche [9-16] BEHIND SIDE CROSS, STEP SIDE, ARM MOUVEMENT, RIGHT SHOULDER UP & DOWN, CROSS & HEEL 1&2 Cross LEFT behind right, Step RIGHT to right side, Cross LEFT over right {behind side cross} 3-4 Step RIGHT to right side and do a wave with right arms at left shoulder 5-6 Rise RIGHT shoulder, Down RIGHT shoulder 7&8 Cross RIGHT over left, Step LEFT to left side, RIGHT heel forward [17-24] CAMEL WALK RIGHT AND LEFT {WITH ARMS) MAMBO STEP FORWARD, MAMBO STEP BACK, STEP 1/2 TURN 1 Step RIGHT forward and push LEFT knee forward ( left arm on chest) 2 Step LEFT forward and push RIGHT knee forward (right arm on chest) 3&4 Step RIGHT forward, Recover weight on LEFT , Step RIGHT back {mambo step} 5&6 Step LEFT back, Recover weight on RIGHT, Step LEFT forward {mambo step} 7-8 Step RIGHT forward , Pivot 1/2 turn left [6H] [25-32] SHUFFLE FORWARD, ROCK STEP FORWARD, BIG STEP BACK , STEP SLIDE, STEP BACK AND APPART 1&2 Step RIGHT forward, Step LEFT next to right, Step RIGHT forward {shuﬄe} 3-4 Step LEFT forward, Recover weight on RIGHT {rock step} 5-6 Big step LEFT back ( push hands forward) , Slide RIGHT beside left 7-8 Step RIGHT back to right side, Step LEFT to left side GIMME MORE !!!!!!! LES RÉFÉRENCES DES HEURES NE VALENT QUE SUR LE PREMIER MUR ASSOCIATION SPIRIT OF COUNTRY : [email protected] HTTP://CLUB.QUOMODO.COM/SPIRITOFCOUNTRY/BIENVENUE.HTMLGimme More 24-Sep-2021 1/1 VineRight.com.
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English Song Booklet
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So You've Been Musically Shamed
WILLIAM CHENG Dartmouth College Email: [email protected] So You’ve Been Musically Shamed ABSTRACT In July 2014, an anonymous source leaked the raw audio of Britney Spears’s confessional ballad “Alien.” Haters pounced on this star’s denuded voice, gleefully seizing on the viral artifact as a smoking gun for Spears’s deficits and for the pop industry’s artistic fakeries more broadly. My paper situates this flashpoint of Spears-shaming within late-capitalist archives of public humiliation, cyberleaks, and the paternalistic scrutiny of women’s bodies and voices. KEYWORDS: critical theory, media studies, popular music A marketplace has emerged where public humiliation is a commodity and shame is an industry. How is the money made? Clicks. The more shame, the more clicks. – monica lewinsky1 “Poor Britney Spears” is not the beginning of a sentence you hear often uttered in my household. – tony hoagland, “poor britney spears,” beginning of the poem2 In the summer of 2014, the internet sprang a musical leak. Suddenly circulating on YouTube was a video featuring the allegedly raw, non-Auto-Tuned sounds of Brit- 3 ney Spears singing her new album track “Alien.” Spears’s voice in this recording was noticeably off-key and off-kilter, like some abject artifact meant to be overwritten, for- gotten, abandoned on the cutting room floor. In the video’s comment threads, view- ers’ strident pronouncements of aching ears and melting brains swirled in a chorus of mockery. Haters pounced on the star’s denuded voice and offered it as airtight 1. Monica Lewinsky, “The Price of Shame,” TED Talks (2015), transcript available at http://www.ted.com/ talks/monica_lewinsky_the_price_of_shame/transcript?language=en.
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Comrade Britney and the Critical Potential of Marxist Memeing
41 Comrade Britney and the Critical Potential of Marxist Memeing Contemporary Matters Journal – Issue #3 42 Comrade Britney and the Critical Potential of Marxist Memeing by Sophie Publig “It’s comrade Britney, bitch” is written in pink pseudo-cyrillic letters over a red background.¹ In the center of the image, we see the famous counterfeits that form the classic genealogy of Marxist thinkers: Karl Marx, Friedrich Engels, Lenin, Stalin, Mao and Britney Spears. Wait, Britney Spears, US-American pop hit machine since the late 1990s? If she never struck you as a thinker of the proletariat, perhaps it’s time to go through her lyrical œuvre that has not been short of making labor a subject of discussion. Take, for example, the 2013 electro pop classic “Work B*tch”: You want a hot body? You want a Bugatti? You want a Maserati? You better work bitch You want a Lamborghini? Sippin’ martinis? Look hot in a bikini? You better work bitch You wanna live fancy? Live in a big mansion? Party in France? 1 You better work bitch, you better work bitch It’s Comrade Britney, Bitch meme, from: KnowYourMeme, 2020, You better work bitch, you better work bitch URL: https://i.kym-cdn.com/photos/images/original/001/800/632/6fd.png (17.1.2021). Now get to work bitch!² 2 Performed over an up-tempo beat using an instructor-like tone, Britney is indoctrinating us Genius, URL: https://genius.com/Britney-spears-work-bitch-lyrics (17.1.2021). with the classic neoliberal myth: the more you work, the more you can consume.
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Song Title Version 1 More Time Daft Punk 5,6,7,8 Steps All 4 L0ve Color Me Badd All F0r Y0u Janet Jackson All That I Need Boyzon
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Parental Overprotection in Esmeralda Santiago's1 Almost a Woman
Journal of Studies in Social Sciences and Humanities http://www.jssshonline.com/ Volume 5, No. 4, 2019, 135-141 ISSN: 2413-9270 Parental overprotection in Esmeralda Santiago’s1 Almost a Woman: Sociocultural and psychosocial perspectives Claudia O. Young SEFLA Languages Email: [email protected] Abstract This article starts from the premise that parental overprotection is a prevalent sociocultural aspect in the Spanish-speaking countries, but less common in the United States. This work analyzes how parental overprotection appears in Esmeralda Santiago’s Almost a Woman (1998). There are some reasons why Negi—the protagonist of this novel—is overprotected: (a) she is a woman; (b) she lives in a city of a foreign country; and (c) she is the girl of an absent parent. Also, Ulvi—her lover—represents the “escape” from an oppressive existence and the continuation of being an overprotected woman. Therefore, this essay explains Negi’s life as an overprotected individual and demonstrates the unfavorable consequences brought upon her, particularly from the psycho-sociocultural viewpoint. Key words: Almost a Woman, Esmeralda Santiago, parental overprotection, psychosocial perspective, sociocultural perspective Introduction When I arrived for the first time in the United States, I thought that I could easily adjust myself to the American lifestyle and customs without any problems. However, in time, I realized that the process of acculturation had only just begun. I became conscious of the many differences between my country of origin and the United States (the adoptive one). One of those differences, for instance, is associated with the amount of time that children live in their parents’ home.
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The Essential Britney Spears Mp3, Flac, Wma
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***************************$T************************* Reproductions Supplied by EDRS Are the Best That Can Be Made from the Original Document
DOCUMENT RESUME ED 320 869 SP 032 385 AUTHOR Stinson, William J., Ed. TITLE Moving and Learning for the Young Child. Presentations from the Early Childhood Conference "Forging the Linkage between Moving and Learning for Preschool Children" (Washington, D.C., December 1-4, 1988). INSTITUTION American Alliance for Health, Physical Education, Recreation and Dance, Reston, VA. SPONS AGENCY American Alliance for Health, Physical Education, Recreation and Dance, Reston, VA. National Dance Association.; Council on Physical Education for Children. REPORT NO ISBN-0-88314-449-2 PUB DATE Dec 88 NOTE 270p. AVAIL,%BLE FROMCOPEC/NASPE, American Alliance for Health, Physical Education, Recreation and Dance, 1900 Association Drive, Reston, VA 22091. PUB TYPE Collected Works - Conference Proceedings (021) EDRS PRICE MFO1 Plus Postage. PC Not Available from EDRS. DESCRIPTORS *Child Development; Dance; Early Childhood Education; *Health Promotion; Integrated Curriculum; *Movement Education; *Physical Education; Physical Fitness; Play; Student Centered Curriculum ABSTRACT These papers focus on four themes: (1) young children: active learners; (2) physical education: the forgotten aspect of early childhood education; (3) dance: bringing movementas art into the early childhood curriculum; and (4) the child asan energetic, moviag learner. Common threads of emphasis were woven through the content of the presentations: movement is learning for all children; movement is both an ehd in itself and a means to an end; the child is central to the learning process; movement and learning are for all children; and education for young children isan integrated curriculum. (JD) ********************************************$t************************* Reproductions supplied by EDRS are the best that can be made from the original document. *******************x************************************************** Moving and Learning for the Young Child William J.
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