Muse Royal Albert Hall 2008 Setlist
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The Law of Justice and Peace and the Disappeared: a Critical Evaluation of Forensic Intervention As a Tool of Transitional Justice in Colombia
University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Doctoral Dissertations Graduate School 12-2018 The Law of Justice and Peace and the Disappeared: a Critical Evaluation of Forensic Intervention as a Tool of Transitional Justice in Colombia María Alexandra López Cerquera University of Tennessee Follow this and additional works at: https://trace.tennessee.edu/utk_graddiss Recommended Citation López Cerquera, María Alexandra, "The Law of Justice and Peace and the Disappeared: a Critical Evaluation of Forensic Intervention as a Tool of Transitional Justice in Colombia. " PhD diss., University of Tennessee, 2018. https://trace.tennessee.edu/utk_graddiss/5322 This Dissertation is brought to you for free and open access by the Graduate School at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Doctoral Dissertations by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a dissertation written by María Alexandra López Cerquera entitled "The Law of Justice and Peace and the Disappeared: a Critical Evaluation of Forensic Intervention as a Tool of Transitional Justice in Colombia." I have examined the final electronic copy of this dissertation for form and content and recommend that it be accepted in partial fulfillment of the requirements for the degree of Doctor of Philosophy, with a major in Anthropology. Dawnie W. Steadman, Major Professor We have -
Négociations Fondation Maeght : Entre Célébrations Monaco - Union Européenne Et Polémique R 28240 - F : 2,50 € Michel Roger S’Explique
FOOT : SANS FALCAO ET JAMES, QUELLES AMBITIONS POUR L’ASM ? 2,50 € Numéro 135 - Septembre 2014 - www.lobservateurdemonaco.mc SOCIÉTÉ USINE D’INCINÉRATION : LES SCÉNARIOS POSSIBLES ECOLOGIE CHANGEMENT CLIMATIQUE : POURQUOI IL FAUT RÉAGIR CULTURE NÉGOCIATIONS FONDATION MAEGHT : ENTRE CÉLÉBRATIONS MONACO - UNION EUROPÉENNE ET POLÉMIQUE R 28240 - F : 2,50 € MICHEL ROGER S’EXPLIQUE 3 782824 002503 01350 pour lui Solavie pag Observateur 09/2014.indd 2 08/09/14 15:51 LA PHOTO DU MOIS CRAINTES epuis des mois, dans certains milieux, on ne parle que de ça. En principauté, le lancement des négociations avec l’Union européenne (UE) inquiète pas mal de monde. Notamment les professions libérales qui craignent Dde voir tomber le presque total monopole qu’ont les Monégasques sur ces professions très encadrées réglementairement. « Ceci entraînerait à très court terme la disparition de notre profession telle qu’elle existe depuis des siècles. Ce qui est très préoccupant. D’autant plus que ce sera la même chose pour les médecins, les architectes, les experts-comptables monégasques… », a expliqué à L’Obs’ le bâtonnier de l’ordre des avocats de Monaco, Me Richard Mullot. Une crainte qui a poussé les avocats, les dentistes, les médecins et les architectes à se réunir pour réfléchir à la création d’un collectif. Objectif : défendre auprès du gou- vernement leurs positions et leurs spécificités qui restent propres à chaque profession. En face, le gouvernement cherche à rassurer. Dans l’interview qu’il a accordée à L’Obs’, le ministre d’Etat, Michel Roger, le répète. Il est hors de ques - tion de brader ce qui a fait le succès de la princi- pauté : « Il n’y aura pas d’accord si Monaco devait perdre sa souveraineté ou si ses spécificités devaient être menacées. -
Marc Brennan Thesis
Writing to Reach You: The Consumer Music Press and Music Journalism in the UK and Australia Marc Brennan, BA (Hons) Creative Industries Research and Applications Centre (CIRAC) Thesis Submitted for the Completion of Doctor of Philosophy (Creative Industries), 2005 Writing to Reach You Keywords Journalism, Performance, Readerships, Music, Consumers, Frameworks, Publishing, Dialogue, Genre, Branding Consumption, Production, Internet, Customisation, Personalisation, Fragmentation Writing to Reach You: The Consumer Music Press and Music Journalism in the UK and Australia The music press and music journalism are rarely subjected to substantial academic investigation. Analysis of journalism often focuses on the production of news across various platforms to understand the nature of politics and public debate in the contemporary era. But it is not possible, nor is it necessary, to analyse all emerging forms of journalism in the same way for they usually serve quite different purposes. Music journalism, for example, offers consumer guidance based on the creation and maintenance of a relationship between reader and writer. By focusing on the changing aspects of this relationship, an analysis of music journalism gives us an understanding of the changing nature of media production, media texts and media readerships. Music journalism is dialogue. It is a dialogue produced within particular critical frameworks that speak to different readers of the music press in different ways. These frameworks are continually evolving and reflect the broader social trajectory in which music journalism operates. Importantly, the evolving nature of music journalism reveals much about the changing consumption of popular music. Different types of consumers respond to different types of guidance that employ a variety of critical approaches. -
Knights of Cydonia
KNIGHTS OF CYDONIA As recorded by Muse (From the 2006 Album BLACK HOLES AND REVELATIONS) Transcribed by sloppyjoe24 Words by Matthew Bellamy Music by Matthew Bellamy, Chris Wolstenholme, Dominic Howard G/B B 4 fr. E /B 3 fr. Cm G /C D 2 fr. G 4 fr. G m 4 fr. E/A 4 fr. G 7 fr. E 3 fr. x x xx ` x` x x x x b x x xx b xx b ` x x ` A Beginning Riff (Intro) = 138 EmP Fm Gm A A B 1 g 4 I 4 W V } } V } }gV } } W V } } V } } V } } W V } } GtrsV I, III } } V } } W V } } T [[[[[ [[[[[ [[[[[[[[[[[[ [[[[[ [[[[[ [[[[[[[[[[[[ A B 2 x x 4 x x 5 x x 7 x x 7 x x 9 x x 0 x x 2 x x 3 x x 5 x x 5 x x 7 x x g 4 W W U gW W I 4 W W U Gtr II U gW W U T A 9 9 7 6 6 4 B 7 7 5 4 4 2 Generated using the Power Tab Editor by Brad Larsen. http://powertab.guitarnetwork.org KNIGHTS OF CYDONIA - Muse Page 2 of 16 Em Fm Gm A A B 5 g c c I W V V V V GtrV I V V V V V V V V V V gU 1/2 Y T Y Y Y Y Y Y Y Y Y Y Y Y Y MY Y Y A B 7 5 7 9 7 9 10 10 9 10 12 10 9 9 9 7 6 W U gW W g W W U I U gW W U W W U gW W U 12 7 10 9 9 7 T [[[[[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[[[[[[[[[[ A 9 9 7 6 6 4 B 7 7 5 4 4 2 g I W V } } V } } gV } } W V } } V } } V } } W V } } GtrV III } } V } } W V } } T [[[ [[[ [[[[[[[[[[[[[ [[[[[ [[[ A B 2 x x 4 x x 5 x x 7 x x 7 x x 9 x x 0 x x 2 x x 3 x x 5 x x 5 x x 7 x x B Interlude Em Em Em Em Em Em Em Em 9 g I U U U U U Gtr I U U U U 1/4 T Y A B 14 2 (2) (2) (2) sl. -
Full Results of Survey of Songs
Existential Songs Full results Supplementary material for Mick Cooper’s Existential psychotherapy and counselling: Contributions to a pluralistic practice (Sage, 2015), Appendix. One of the great strengths of existential philosophy is that it stretches far beyond psychotherapy and counselling; into art, literature and many other forms of popular culture. This means that there are many – including films, novels and songs that convey the key messages of existentialism. These may be useful for trainees of existential therapy, and also as recommendations for clients to deepen an understanding of this way of seeing the world. In order to identify the most helpful resources, an online survey was conducted in the summer of 2014 to identify the key existential films, books and novels. Invites were sent out via email to existential training institutes and societies, and through social media. Participants were invited to nominate up to three of each art media that ‘most strongly communicate the core messages of existentialism’. In total, 119 people took part in the survey (i.e., gave one or more response). Approximately half were female (n = 57) and half were male (n = 56), with one of other gender. The average age was 47 years old (range 26–89). The participants were primarily distributed across the UK (n = 37), continental Europe (n = 34), North America (n = 24), Australia (n = 15) and Asia (n = 6). Around 90% of the respondents were either qualified therapists (n = 78) or in training (n = 26). Of these, around two-thirds (n = 69) considered themselves existential therapists, and one third (n = 32) did not. There were 235 nominations for the key existential song, with enormous variation across the different respondents. -
Philip Roth's Confessional Narrators: the Growth of Consciousness
Loyola University Chicago Loyola eCommons Dissertations Theses and Dissertations 1979 Philip Roth's Confessional Narrators: The Growth of Consciousness. Alexander George Loyola University Chicago Follow this and additional works at: https://ecommons.luc.edu/luc_diss Part of the English Language and Literature Commons Recommended Citation George, Alexander, "Philip Roth's Confessional Narrators: The Growth of Consciousness." (1979). Dissertations. 1823. https://ecommons.luc.edu/luc_diss/1823 This Dissertation is brought to you for free and open access by the Theses and Dissertations at Loyola eCommons. It has been accepted for inclusion in Dissertations by an authorized administrator of Loyola eCommons. For more information, please contact [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 License. Copyright © 1979 Alexander George PHILIP ROTH'S CONFESSIONAL NARRATORS: THE GROWTH OF' CONSCIOUSNESS by Alexander George A Dissertation Submitted to the Faculty of the Graduate School of Loyola University of Chicago in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy May 1979 ACKNOWLEDGE~£NTS It is a singular pleasure to acknowledge the many debts of gratitude incurred in the writing of this dissertation. My warmest thanks go to my Director, Dr. Thomas Gorman, not only for his wise counsel and practical guidance, but espec~ally for his steadfast encouragement. I am also deeply indebted to Dr. Paul Messbarger for his careful reading and helpful criticism of each chapter as it was written. Thanks also must go to Father Gene Phillips, S.J., for the benefit of his time and consideration. I am also deeply grateful for the all-important moral support given me by my family and friends, especially Dr. -
Masakazu Konishi
Masakazu Konishi BORN: Kyoto, Japan February 17, 1933 EDUCATION: Hokkaido University, Sapporo, Japan, B.S. (1956) Hokkaido University, Sapporo, Japan, M.S. (1958) University of California, Berkeley, Ph.D. (1963) APPOINTMENTS: Postdoctoral Fellow, University of Tübingen, Germany (1963–1964) Postdoctoral Fellow, Division of Experimental Neurophysiology, Max-Planck Institut, Munich, Germany (1964–1965) Assistant Professor of Biology, University of Wisconsin, Madison (1965–1966) Assistant Professor of Biology, Princeton University (1966–1970) Associate Professor of Biology, Princeton University (1970–1975) Professor of Biology, California Institute of Technology (1975– 1980) Bing Professor of Behavioral Biology, California Institute of Technology (1980– ) HONORS AND AWARDS (SELECTED): Member, American Academy of Arts and Sciences (1979) Member, National Academy of Sciences (1985) President, International Society for Neuroethology (1986—1989) F. O. Schmitt Prize (1987) International Prize for Biology (1990) The Lewis S. Rosenstiel Award, Brandeis University (2004) Edward M. Scolnick Prize in Neuroscience, MIT (2004) Gerard Prize, the Society for Neuroscience (2004) Karl Spencer Lashley Award, The American Philosophical Society (2004) The Peter and Patricia Gruber Prize in Neuroscience, The Society for Neuroscience (2005) Masakazu (Mark) Konishi has been one of the leaders in avian neuroethology since the early 1960’s. He is known for his idea that young birds initially remember a tutor song and use the memory as a template to guide the development of their own song. He was the fi rst to show that estrogen prevents programmed cell death in female zebra fi nches. He also pioneered work on the brain mechanisms of sound localization by barn owls. He has trained many students and postdoctoral fellows who became leading neuroethologists. -
Songs by Artist
Songs by Artist Artist Title DiscID 10,000 Maniacs Because The Night 00321,15543 10,000 Maniacs Candy Everybody Wants 10942 10,000 Maniacs Like The Weather 05969 10,000 Maniacs More Than This 06024 10cc Donna 03724 10cc Dreadlock Holiday 03126 10cc I'm Mandy Fly Me 03613 10cc I'm Not In Love 11450,14336 10cc Rubber Bullets 03529 10cc Things We Do For Love, The 14501 112 Dance With Me 09860 112 Peaches & Cream 09796 112 Right Here For You 05387 112 & Ludacris Hot & Wet 05373 112 & Super Cat Na Na Na 05357 12 Stones Far Away 12529 1999 Man United Squad Lift It High (All About Belief) 04207 2 Brothers On 4th Come Take My Hand 02283 2 Evisa Oh La La La 03958 2 Pac Dear Mama 11040 2 Pac & Eminem One Day At A Time 05393 2 Pac & Eric Will Do For Love 01942 2 Unlimited No Limits 02287,03057 21st Century Girls 21st Century Girls 04201 3 Colours Red Beautiful Day 04126 3 Doors Down Be Like That 06336,09674,14734 3 Doors Down Duck & Run 09625 3 Doors Down Kryptonite 02103,07341,08699,14118,17278 3 Doors Down Let Me Go 05609,05779 3 Doors Down Loser 07769,09572 3 Doors Down Road I'm On, The 10448 3 Doors Down When I'm Gone 06477,10130,15151 3 Of Hearts Arizona Rain 07992 311 All Mixed Up 14627 311 Amber 05175,09884 311 Beyond The Grey Sky 05267 311 Creatures (For A While) 05243 311 First Straw 05493 311 I'll Be Here A While 09712 311 Love Song 12824 311 You Wouldn't Believe 09684 38 Special If I'd Been The One 01399 38 Special Second Chance 16644 3LW I Do (Wanna Get Close To You) 05043 3LW No More (Baby I'm A Do Right) 09798 3LW Playas Gon' Play -
Waylon Jennings
TABLE OF CONTENTS 3 Introduction 4 About the Guide 5 Pre and Post-Lesson: Anticipation Guide 6 Lesson 1: Introduction to Outlaws 7 Lesson 1: Worksheet 8 Lyric Sheet: Me and Paul 9 Lesson 2: Who Were The Outlaws? 10 Lesson 3: Outlaw Influence 11 Lesson 3: Worksheet 12 Activities: Jigsaw Texts 14 Lyric Sheet: Are You Sure Hank Done It This Way 15 Lesson 4: T for Texas, T for Tennessee 16 Lesson 4: Worksheet 17 Lesson 5: Literary Lyrics 19 “London” by William Blake 20 Complete Tennessee Standards 22 Complete Texas Standards 23 Biographies 3-6 Table of Contents 2 Outlaws and Armadillos: Country’s Roaring ‘70s examines how the Outlaw movement greatly enlarged country music’s audience during the 1970s. Led by pacesetters such as Willie Nelson, Waylon Jennings, Kris Kristofferson, and Bobby Bare, artists in Nashville and Austin demanded the creative freedom to make their own country music, different from the pop-oriented sound that prevailed at the time. This exhibition also examines the cultures of Nashville and fiercely independent Austin, and the complicated, surprising relationships between the two. Artwork by Sam Yeates, Rising from the Ashes, Willie Takes Flight for Austin (2017) 3-6 Introduction 3 This interdisciplinary lesson guide allows classrooms to explore the exhibition Outlaws and Armadillos: Country’s Roaring ‘70s on view at the Country Music Hall of Fame and Museum® from May 25, 2018 – February 14, 2021. Students will examine the causes and effects of the Outlaw movement through analysis of art, music, video, and nonfiction texts. In doing so, students will gain an understanding of the culture of this movement; who and what influenced it; and how these changes diversified country music’s audience during this time. -
Viol D'une Fillette À Genlis
PAGE 7 PORTES OUVERTES ENQUÊTE Samedis 24 et 31 mars Viol d’une fillette à Genlis : € -500 € Tous les 5000 la gendarmerie dessaisie d’achat* MTM • Fenêtres PVC • Volets roulants • Vérandas CHENÔVE & 03.80.52.14.15 855224600 Édition Région dijonnaise 21C Vendredi 23 mars 2018 - 1,10 € CHARREY-SUR-SAÔNE SOCIAL Le centre d’action sociale a été dissous Une première PAGE 18 COLLONGES-LÈS-PREMIÈRES charge D’importants travaux bientôt terminés ■ Photo Philippe PINGET PAGE 15 SELONGEY Le Département partenaire de la commune ■ La manifestation a réuni, hier à Dijon, près de 3 000 personnes. Photo Stéphane RAK PAGES 2, 3, 26 ET 27 PAGE 20 3e EDITION Marché couvert rue Thurot Mah Jong. Design Hans Hopfer. 24 25 MARS Habillé de tissus dessinés par Kenzo Takada. 5, rue du Platane - DIJON/QUETIGNY 873220400 880652900 02 VENDREDI 23 MARS 2018 LE BIEN PUBLIC CÔTE-D’OR SOCIAL Près de 3 000 personnes pour défendre la fonction publique Hier après-midi, dans les rues de Dijon, entre 2 800 et 3 400 personnes ont manifesté pour défendre les services publics, l’emploi et le pouvoir d’achat. algré la pluie, ce sont entre M2 800 personnes (selon la poli- ce) et 3 400 (selon la CGT) qui ont manifesté, hier, à partir de 14 h 30, place de la Libération à Dijon, pour la défense de la fonction publique. Ceci à l’appel de l’intersyndicale CFTC-CGC-CGT-FAFP-FO-FSU- Solidaires. Ce mouvement faisait suite à la mobilisation du 10 octo- bre, qui avait réuni entre 2 000 et 2 100 personnes à Dijon. -
Strut, Sing, Slay: Diva Camp Praxis and Queer Audiences in the Arena Tour Spectacle
Strut, Sing, Slay: Diva Camp Praxis and Queer Audiences in the Arena Tour Spectacle by Konstantinos Chatzipapatheodoridis A dissertation submitted to the Department of American Literature and Culture, School of English in fulfillment of the requirement for the degree of Doctor of Philosophy Faculty of Philosophy Aristotle University of Thessaloniki Konstantinos Chatzipapatheodoridis Strut, Sing, Slay: Diva Camp Praxis and Queer Audiences in the Arena Tour Spectacle Supervising Committee Zoe Detsi, supervisor _____________ Christina Dokou, co-adviser _____________ Konstantinos Blatanis, co-adviser _____________ This doctoral dissertation has been conducted on a SSF (IKY) scholarship via the “Postgraduate Studies Funding Program” Act which draws from the EP “Human Resources Development, Education and Lifelong Learning” 2014-2020, co-financed by European Social Fund (ESF) and the Greek State. Aristotle University of Thessaloniki I dress to kill, but tastefully. —Freddie Mercury Table of Contents Acknowledgements...................................................................................i Introduction..............................................................................................1 The Camp of Diva: Theory and Praxis.............................................6 Queer Audiences: Global Gay Culture, the Arena Tour Spectacle, and Fandom....................................................................................24 Methodology and Chapters............................................................38 Chapter 1 Times -
In the Transition from Stage to Arena, Live Music Is Remade
Intimate live girls Halligan, B Title Intimate live girls Authors Halligan, B Type Book Section URL This version is available at: http://usir.salford.ac.uk/id/eprint/33518/ Published Date 2015 USIR is a digital collection of the research output of the University of Salford. Where copyright permits, full text material held in the repository is made freely available online and can be read, downloaded and copied for non-commercial private study or research purposes. Please check the manuscript for any further copyright restrictions. For more information, including our policy and submission procedure, please contact the Repository Team at: [email protected]. Intimate Live Girls Benjamin Halligan Keywords: aura, intimacy, kissing, authenticity, liveness, social media, spectacle, Miley Cyrus, Katy Perry, Terry Richardson, Peter Gabriel Abstract: The arena concert requires a particular type of liveness of performance in order to transcend impersonal mass entertainment. Liveness here looks to authenticity and happenstance, privileges personal communications and seeks to live in the moment, and in this way the live performance then meets and matches or even surpasses the virtual life of the artist or group. The concert must be both mass spectacle and an individual and singular experience for those witnessing and participating in it. Without these latter essential attributes, which can be read as the auratic and authentic replacing the virtual, the arena concert falls short of ontological expectations of live music. In recent years the mise-en-scène of the arena concert has become calibrated to female artists with, seemingly, a concomitant feminisation of the event. In this, the space is often given over to intimacy, empathy, and presented as an insight into the life, and even philosophy, of the performer.