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Driver 2 Soundtrack List
Driver 2 soundtrack list click here to download Allister Brimble, Richard Narco, Full Original Soundtrack, Composed soundtrack. Allister Brimble, Richard Narco, Havana at Day, Composed soundtrack. Allister Brimble, Richard Narco, Havana at Night, Composed soundtrack. Allister Brimble, Richard Narco, Havana Escape at Day, Composed soundtrack. Allister Brimble. Driver 2: Back on the Streets (named Driver 2: The Wheelman is Back in North America) is the to the limitations compared to the PlayStation. List of GameBoy Advance Missions end credits of the game. A member of the Driver Madness community has created a lossless unofficial soundtrack, available for download. Driver 2: Back on the Streets is the second installment of the Driver video game series. It was developed by Reflections Interactive and published by Infogrames. A port to the Game Boy Advance was released in , being developed by Sennari Interactive and was released under Infogrames' Atari range of products.Gameplay · Plot · Cities. Driver 2 Soundtrack - Chicago At Day. Here is the score and soundtrack to Driver 2, by Allister Brimble and Richard Narco. Licensed music is credited appropriately. I have created an LP-type piece of work with cutscene audio interwoven with the tracks to bring all of the music together as an album. Audio format is 16 bit FLAC. Licensed music is. Driver 2 (Video Game ) SoundTracks on IMDb: Memorable quotes and exchanges from movies, TV series and more. Favorites List; List of favorite songs posts. Related Subreddits · Useful Links; Contains VGM sites, events, news and subreddit related stuff. Remixer List; List of remixers, message psycosulu to add your favorite remixer. -
Spring 2017 Hip Hop Helps: Systemic Discrimination In
HIP HOP HELPS: SYSTEMIC DISCRIMINATION IN SOCIAL WORK ANDRAGOGY A Project Presented to the faculty of the Division of Social Work California State University, Sacramento Submitted in partial satisfaction of the requirements for the degree of MASTER OF SOCIAL WORK by Yarin Gomez SPRING 2017 © 2017 Yarin Gomez ALL RIGHTS RESERVED ii HIP HOP HELPS: SYSTEMIC DISCRIMINATION IN SOCIAL WORK ANDRAGOGY A Project by Yarin Gomez Approved by: __________________________________, Committee Chair Maria Dinis, Ph.D., MSW ____________________________ Date iii Student: Yarin Gomez I certify that this student has met the requirements for format contained in the University format manual, and that this project is suitable for shelving in the Library and credit is to be awarded for the project. __________________________, Department Chair ___________________ Dale Russell Date Division of Social Work iv Abstract of HIP HOP HELPS: SYSTEMIC DISCRIMINATION IN SOCIAL WORK ANDRAGOGY by Yarin Gomez Hip Hop is a transnational culture ignored in social work academia. A qualitative exploratory study with a social constructionist lens used a non-probability sampling method to recruit six Masters-level social work students in a stakeholder-engaged focus group. Subjects took the Rap Music Attitude and Perception (RAP) Scale, to gage perceptions about the music genre. As part of the focus group, open-ended questions were presented about Hip Hop music video content with themes of institutional racism. Data analysis verified individual and collective processes of social identity construction, delineating social agency versus oppression, and exploring the educational merits of Hip Hop. A remarkable result was how students reacted to satirical manifestations of discrimination in the videos with both laughter and indignation towards misogynistic motifs. -
Hip Hop Helps: Systemic Discrimination in Social Work Andragogy
This thesis/project/dissertation has been reviewed for 508 compliance. To request enhancements, please email [email protected]. HIP HOP HELPS: SYSTEMIC DISCRIMINATION IN SOCIAL WORK ANDRAGOGY A Project Presented to the faculty of the Division of Social Work California State University, Sacramento Submitted in partial satisfaction of the requirements for the degree of MASTER OF SOCIAL WORK by Yarin Gomez SPRING 2017 © 2017 Yarin Gomez ALL RIGHTS RESERVED ii HIP HOP HELPS: SYSTEMIC DISCRIMINATION IN SOCIAL WORK ANDRAGOGY A Project by Yarin Gomez Approved by: __________________________________, Committee Chair Maria Dinis, Ph.D., MSW ____________________________ Date iii Student: Yarin Gomez I certify that this student has met the requirements for format contained in the University format manual, and that this project is suitable for shelving in the Library and credit is to be awarded for the project. __________________________, Department Chair ___________________ Dale Russell Date Division of Social Work iv Abstract of HIP HOP HELPS: SYSTEMIC DISCRIMINATION IN SOCIAL WORK ANDRAGOGY by Yarin Gomez Hip Hop is a transnational culture ignored in social work academia. A qualitative exploratory study with a social constructionist lens used a non-probability sampling method to recruit six Masters-level social work students in a stakeholder-engaged focus group. Subjects took the Rap Music Attitude and Perception (RAP) Scale, to gage perceptions about the music genre. As part of the focus group, open-ended questions were presented about Hip Hop music video content with themes of institutional racism. Data analysis verified individual and collective processes of social identity construction, delineating social agency versus oppression, and exploring the educational merits of Hip Hop. -
Maritime Bluegrass: the Local Meaning of a Global Music
MARITIME BLUEGRASS: THE LOCAL MEANING OF A GLOBAL MUSIC by Daniel J. Andrews BA, St. Thomas University, 2007 A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Master's of Interdisciplinary Studies in the Graduate Academic Unit of School of Graduate Studies Supervisors: Peter G. Toner (St. Thomas University), PhD, Anthropology Daniel Downes, PhD, Information and Communication Studies Examining Board: Linda Eyre, PhD, Assistant Dean of Graduate Studies, Chair Peter Toner (St. Thomas University), PhD, Anthropology Daniel Downes, PhD, Information and Communication Studies Neil Rosenberg (Memorial University of Newfoundland), PhD, Folklore This thesis is accepted by the Dean of Graduate Studies THE UNIVERSITY OF NEW BRUNSWICK September, 2010 © Daniel J. Andrews, 2010 Library and Archives Bibliotheque et Canada Archives Canada Published Heritage Direction du 1+1 Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington Ottawa ON K1A0N4 Ottawa ON K1A 0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-87639-, Our file Notre reference ISBN: 978-0-494-87639-> NOTICE: AVIS: The author has granted a non L'auteur a accorde une licence non exclusive exclusive license allowing Library and permettant a la Bibliotheque et Archives Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par I'lnternet, preter, telecommunication or on the Internet, distribuer et vendre des theses partout dans le loan, distrbute and sell theses monde, a des fins commerciales ou autres, sur worldwide, for commercial or non support microforme, papier, electronique et/ou commercial purposes, in microform, autres formats. -
Moved to Learn: Dalcroze Applications to Choral Pedagogy and Practice
Moved to Learn: Dalcroze Applications to Choral Pedagogy and Practice by Caron Daley A thesis submitted in conformity with the requirements for the degree of Doctor of Musical Arts Faculty of Music University of Toronto © Copyright by Caron Daley 2013 Moved to Learn: Dalcroze Applications to Choral Pedagogy and Practice Caron Daley Doctor of Musical Arts Faculty of Music University of Toronto 2013 Abstract Over a century ago, Émile Jaques-Dalcroze (1865-1950) began experimenting with a pedagogical approach that would give students access to their personal musical voice and a system of technique to express that voice with ease and sensitivity. Music education had lost sight of certain key qualities of exceptional musicianship; qualities such as flow, nuance, imagination, and individuality, so valued in expressive performance, were absent in music pedagogy. According to Jaques-Dalcroze, the antidote to musical arrhythmy (a lack of musical ease and expressivity) lay in the integrated use of the whole body in both musical perception and performance, a coordination he termed eurhythmy. The purpose of this study is to investigate the applications of Dalcroze Eurhythmics to the choral context, including the ways in which the Dalcroze approach shapes the philosophical, pedagogical and musical outcomes of choral pedagogy and practice. More specifically, how do these two areas interact in relationship to the following topics: (1) conductor, chorister and choir as instrument, (2) conductor and chorister score study, (3) conductor and chorister gesture, and (4) choral pedagogy and rehearsal techniques? The original writings of Émile Jaques-Dalcroze provide a framework for the discussion, while interviews with two groups, Dalcroze master-teachers with choral conducting training and/or experience, and Dalcroze-trained choral conductors illustrate the specific ii applications of the choral context. -
Colección Torre Rosa De Vinilos Y
ARTISTA TITULO AÑO GENERO FORMATO SELLO ESTADO CARATULA ESTADO VINILO RADIO FUTURA 37 GRADOS 1987 POP ESPAÑOL SINGLE ARIOLA BUENO BUENO CARAMBA HUBBA HUBBA ZOOT ZOOT 1981 SINGLE VICTORIA BUENO BUENO LYDIA MURDOCK SUPERSTAR 1983 SINGLE WEA BUENO BUENO THE POLICE DON'T STAND SO CLOSE TO ME 1980 POP INGLES SINGLE A&M BUENO BUENO THE BLOW MONKEYS IT DOESN'T HAVE TO BE THAT WAY 1986 POP INGLES SINGLE RCA BUENO BUENO P. LION DREAM 1984 SPAGUETTI DISCO SINGLE CBS BUENO BUENO ROBBIE NEVIL C'EST LA VIE 1986 SINGLE EMI BUENO BUENO NIK KERSHAW WOULDN'T IT BE GOOD 1984 POP INGLES SINGLE WEA BUENO BUENO EUROPE THE FINAL COUNTDOWN 1986 POP ROCK SINGLE EPIC BUENO BUENO CULTURE CLUB MOVE AWAY 1986 POP INGLES SINGLE VIRGIN BUENO BUENO ERASURE SOMETIMES 1986 TECNO POP SINGLE MUTE BUENO BUENO PAUL YOUNG SOME PEOPLE 1986 POP INGLES SINGLE CBS BUENO BUENO NIK KERSHAW NOBODY KNOWS 1986 POP INGLES SINGLE MCA BUENO BUENO STEPHANIE ONE LOVE TO GIVE 1986 POP FRANCES SINGLE CARRERE BUENO BUENO MODERN TALKING ATLANTIS IS CALLING 1986 POP ALEMAN SINGLE ARIOLA BUENO BUENO DAVID BOWIE DAY IN DAY OUT 1987 SINGLE EMI BUENO BUENO DURAN DURAN NOTORIUS 1986 POP INGLES SINGLE EMI BUENO BUENO LOU GRAMM MIDNIGHT BLUE 1987 SINGLE ATLANTIC BUENO BUENO THE PSYCHEDELIC FURS HEARTBREAK BEAT 1986 SINGLE CBS BUENO BUENO ROD STEWART DA YA THNIK I'M SEXY? 1978 POP INGLES SINGLE HISPAVOX BUENO BUENO RED BOX LEAN ON ME 1985 POP INGLES SINGLE SIRE BUENO BUENO MATCHBOX MIDNITE DYNAMOS SINGLE BUENO BUENO QUINCY JONES AI NO CORRIDA 1981 SINGLE A&M REGULAR BUENO GREGORY ABBOTT SHAKE YOU DOWN -
The History of Rock Music - the Nineties
The History of Rock Music - The Nineties The History of Rock Music: 1989-1994 Raves, grunge, post-rock History of Rock Music | 1955-66 | 1967-69 | 1970-75 | 1976-89 | The early 1990s | The late 1990s | The 2000s | Alpha index Musicians of 1955-66 | 1967-69 | 1970-76 | 1977-89 | 1990s in the US | 1990s outside the US | 2000s Back to the main Music page (Copyright © 2009 Piero Scaruffi) The Golden Age of Hip-hop Music (These are excerpts from my book "A History of Rock and Dance Music") Generally speaking, the rule for hip-hop music of the 1990s was that behind every successful rap act there was a producer. Rap music was born as a "do it yourself" art in which the "message" was more important than the music. During the 1990s, interest in the lyrics declined rapidly, while interest in the soundscape that those lyrics roamed increased exponentially. The rapping itself became less clownish, less stereotyped, less macho, and much more psychological and subtle. In fact, rappers often crossed over into singing. Hip-hop music became sophisticated, and wed jazz, soul and pop. Instrumental hip-hop became a genre of its own, and one of the most experimental outside of classical music. East-Coast rap TM, ®, Copyright © 2005 Piero Scaruffi All rights reserved. The most significant event of the early 1990s was probably the advent of Wu-Tang Clan (1), a loose affiliation of rappers, including Gary "Genius/GZA" Grice, Russell "Ol' Dirty Bastard" Jones, Clifford "Method Man" Smith and Dennis "Ghostface Killah" Coles, "conducted" (if the rap equivalent of a classical conductor exists) by Robert "RZA" Diggs, the musical genius behind Enter the Wu-Tang (1993), a diligent tribute to old-school rap. -
Rhythm & Blues...60 Deutsche
1 COUNTRY .......................2 BEAT, 60s/70s ..................69 OUTLAWS/SINGER-SONGWRITER .......23 SURF .............................81 WESTERN..........................27 REVIVAL/NEO ROCKABILLY ............84 WESTERN SWING....................29 BRITISH R&R ........................89 TRUCKS & TRAINS ...................31 INSTRUMENTAL R&R/BEAT .............91 C&W SOUNDTRACKS.................31 POP.............................93 COUNTRY AUSTRALIA/NEW ZEALAND....32 POP INSTRUMENTAL .................106 COUNTRY DEUTSCHLAND/EUROPE......33 LATIN ............................109 COUNTRY CHRISTMAS................34 JAZZ .............................110 BLUEGRASS ........................34 SOUNDTRACKS .....................111 NEWGRASS ........................36 INSTRUMENTAL .....................37 DEUTSCHE OLDIES112 OLDTIME ..........................38 KLEINKUNST / KABARETT ..............117 HAWAII ...........................39 CAJUN/ZYDECO ....................39 BOOKS/BÜCHER ................119 FOLK .............................39 KALENDER/CALENDAR................122 WORLD ...........................42 DISCOGRAPHIES/LABEL REFERENCES.....122 POSTER ...........................123 ROCK & ROLL ...................42 METAL SIGNS ......................123 LABEL R&R .........................54 MERCHANDISE .....................124 R&R SOUNDTRACKS .................56 ELVIS .............................57 DVD ARTISTS ...................125 DVD Western .......................139 RHYTHM & BLUES...............60 DVD Special Interest..................140 -
Zweisprachige Songs : Sprachmuster Transkultureller Inszenierungen
ZWEISPRACHIGE SONGS. SPRACHMUSTER TRANSKULTURELLER INSZENIERUNGEN Eckhard John Als Paul McCartney im Jahr 2010 den »Gershwin Prize for Popular Song« der Library of Congress in Washington verliehen bekam, reizte ihn die Auffüh- rung eines Songs bei den Feierlichkeiten im Weißen Haus am 2. Juni ganz besonders: »Michelle, ma belle, These are words that go together well, My Michelle. Michelle, ma belle, Sont les mots qui vont très bien ensemble, Très bien ensemble. I love you, I love you, I love you That's all I want to say« (The Beatles: »Michelle«, 1965). Als dieses Lied auf dem Beatles-Album Rubber Soul erschien, ahnte noch niemand die Weltkarriere eines Songs, der sicherlich nicht nur im Hause Obama innerlich unmittelbar mitklingt.1 »Michelle« kann als Beispiel dafür stehen, was im Folgenden unter zweisprachigen Songs verstanden wird: Lie- der, in denen zwei Sprachen gleichzeitig in einem Text verwendet werden. Demgegenüber spielen Songs, die in verschiedenen Sprachen existieren (als 1 »Michelle« gilt (nach »Yesterday«) als das am zweithäufigsten gespielte Lied der Beatles. Als Single war »Michelle« 1966 in der Aufnahme der Overlanders ein Nr. 1-Hit in Großbritannien, während in den US-Charts die Version des briti- schen Duos David & Jonathan erfolgreich war. 1967 mit dem Grammy Award für den »Song of the Year« ausgezeichnet, wurde »Michelle« 1999 von BMI (Broad- cast Music, Inc.) als Nr. 42 unter den 100 am häufigsten aufgeführten Songs des 20. Jahrhunderts gelistet; vgl. BMI Announces Top 100 Songs of the Century (13.12.1999), http://www.bmi.com/news/entry/232893 (letzter Zugriff 15.7. 2015). 157 Eckhard John Übersetzungen oder Umdichtungen) hier keine Rolle, auch nicht Lieder von Interpreten, die verschiedene Stücke in verschiedenen Sprachen singen. -
Rock Album Discography Last Up-Date: September 27Th, 2021
Rock Album Discography Last up-date: September 27th, 2021 Rock Album Discography “Music was my first love, and it will be my last” was the first line of the virteous song “Music” on the album “Rebel”, which was produced by Alan Parson, sung by John Miles, and released I n 1976. From my point of view, there is no other citation, which more properly expresses the emotional impact of music to human beings. People come and go, but music remains forever, since acoustic waves are not bound to matter like monuments, paintings, or sculptures. In contrast, music as sound in general is transmitted by matter vibrations and can be reproduced independent of space and time. In this way, music is able to connect humans from the earliest high cultures to people of our present societies all over the world. Music is indeed a universal language and likely not restricted to our planetary society. The importance of music to the human society is also underlined by the Voyager mission: Both Voyager spacecrafts, which were launched at August 20th and September 05th, 1977, are bound for the stars, now, after their visits to the outer planets of our solar system (mission status: https://voyager.jpl.nasa.gov/mission/status/). They carry a gold- plated copper phonograph record, which comprises 90 minutes of music selected from all cultures next to sounds, spoken messages, and images from our planet Earth. There is rather little hope that any extraterrestrial form of life will ever come along the Voyager spacecrafts. But if this is yet going to happen they are likely able to understand the sound of music from these records at least. -
El Cambio De Código Español/Inglés En La Letra Del Rap ”Mentirosa” De Mellow Man Ace
LINDA FLORES OHLSON El cambio de código español/inglés en la letra del rap ”Mentirosa” de Mellow Man Ace Introducción El en presente trabajo analizaremos los cambios de código español/inglés en una letra de música contemporánea partiendo del principio de que la alternancia de lenguas es un instrumento innovador y creativo del que se vale el emisor bilingüe para expresar valores artísticos que no se podrían dar con la misma eficacia en un discurso monolingüe. Estudiaremos la alternancia de lenguas en la letra desde la teoría del modelo de marcadez1 presentado por Myers-Scotton (1993). Argumentaremos que, a pesar de que existe una alternancia constante entre las dos lenguas en la letra objeto de estudio (únicamente tres de los 50 versos en la letra aparecen enteramente en una lengua, el resto presenta una mezcla de español e inglés), pueden adscribirse funciones distintas a las dos lenguas empleadas en la letra. Myers-Scotton (1993:80) subraya que la marcadez de la opción por un código específico puede determinarse únicamente en relación con un momento de habla determinado en una comunidad específica. De acuerdo con los planteamientos de la lingüista, la elección de un código conlleva una serie de derechos y obligaciones.2 Esto quiere decir que, un tipo de conversación determinado, en una comunidad específica, presenta una serie de características situacionales. Estas características situacionales varían entre las comunidades e, incluso, entre los diferentes tipos de conversación dentro de una misma comunidad y, por consiguiente, la autora advierte que el intento de establecer rasgos universales no es plausible (Myers-Scotton, 1993:84-90). -
New English File Upper-Intermediate Student's Book
New New Clive Oxenden Student’s Book FILE ENGLISH Christina Latham-Koenig It has all the elements that ENGLISH FILE ‘have made the series 100% such a successful one.’ The course that gets students talking ● Motivating, Fun, motivating lessons that work NEW real-world texts p.84 The perfect balance of grammar, vocabulary, pronunciation, and ● Grammar Bank with skills to help your students use English really effectively. rules and exercises p.132 Student’s Book ● Illustrated A complete package for teachers and students Vocabulary Bank p.146 The Teacher’s Book gives you the support you need, and all the New and Sound Bank p.158 components work together for more effective learning. ● Colloquial English focus Upper-intermediate on everyday language p.32 Common European Framework of Reference B2 ENGLISH FILE Student’s Book Upper-intermediate English Sounds Pronunciation Chart Teacher’s Book based on an original idea and design ● Full notes, with extras highlighted in colour. by Paul Seligson and Carmen Dolz ● Photocopiable Grammar, Communicative, and Vocabulary activities. ● A song in every File. ● A Test and Assessment CD-ROM. iPack ● New digital teaching material. ● For use with interactive whiteboards, projectors, and computers. DVD ● Brings the Colloquial English lessons to life. MultiROM ● Home-study CD-ROM and audio CD in one. ● Grammar, vocabulary, pronunciation, video, dictation, and exam practice. ● Extra listening. Workbook ● Lesson by lesson revision and practice. ● Available with or without Key Booklet. Oxenden Latham-Koenig Class audio ● Four CDs of class listening material. Website ● Interactive exercises, games, and downloadable material at: www.oup.com/elt/englishfi le/upper-intermediate Study Link Look out for the Study Link logo throughout the course.