Say It to Me Now Glen Hansard Lyrics
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
A Disciple's Prayer Book
A DISCIPLE’S PRAYER BOOK GREEN A DISCIPLE’S PRAYER BOOK Office of Indigenous Ministries 815 Second Avenue, New York, NY 10017 (800) 334-7626 www.episcopalchurch.org/page/indigenous-ministries 2 A DISCIPLE’S PRAYER BOOK GREEN PREFACE Jesus continually says that the disciples are to go preach, teach, and heal. This tool is a guide for disciples, catalysts, catechists, or anyone that is out there, going somewhere, preaching, teaching and healing all those that seek to engage God’s word, the Gospel of Jesus Christ. This resource with a bible is all that is necessary to preach, teach, and heal all who gather to engage the Gospel as disciples of Jesus. It is offered with the intention that local music, customs, language, and other idioms be added and implemented within the simple “liturgies” or services of this book. This Disciple’s Prayer Book is a gift to the Church from Native Episcopalians to be used on our journey together toward becoming a church of disciples in mission to all of God’s creation. Use it in peace with all that God presents you. May the peace of God that passes all understanding be with you all, now and forever. The Rev. John E. Robertson, Missioner Native Ministries-Gospel Based Discipleship 2000 – 2002 3 GREEN A DISCIPLE’S PRAYER BOOK 4 A DISCIPLE’S PRAYER BOOK GREEN CHRIST IS BORN! In the Morning THE GATHERING (The People say the words in bold type.) The People Gather The Gathering Prayer Said in unison Creator, we give you thanks for all you are and all you bring to us for our visit within your creation. -
Aretha Franklin's Gendered Re-Authoring of Otis Redding's
Popular Music (2014) Volume 33/2. © Cambridge University Press 2014, pp. 185–207 doi:10.1017/S0261143014000270 ‘Find out what it means to me’: Aretha Franklin’s gendered re-authoring of Otis Redding’s ‘Respect’ VICTORIA MALAWEY Music Department, Macalester College, 1600 Grand Avenue, Saint Paul, MN 55105, USA E-mail: [email protected] Abstract In her re-authoring of Otis Redding’s ‘Respect’, Aretha Franklin’s seminal 1967 recording features striking changes to melodic content, vocal delivery, lyrics and form. Musical analysis and transcription reveal Franklin’s re-authoring techniques, which relate to rhetorical strategies of motivated rewriting, talking texts and call-and-response introduced by Henry Louis Gates, Jr. The extent of her re-authoring grants her status as owner of the song and results in a new sonic experience that can be clearly related to the cultural work the song has performed over the past 45 years. Multiple social movements claimed Franklin’s ‘Respect’ as their anthem, and her version more generally functioned as a song of empower- ment for those who have been marginalised, resulting in the song’s complex relationship with feminism. Franklin’s ‘Respect’ speaks dialogically with Redding’s version as an answer song that gives agency to a female perspective speaking within the language of soul music, which appealed to many audiences. Introduction Although Otis Redding wrote and recorded ‘Respect’ in 1965, Aretha Franklin stakes a claim of ownership by re-authoring the song in her famous 1967 recording. Her version features striking changes to the melodic content, vocal delivery, lyrics and form. -
Jazz Quartess Songlist Pop, Motown & Blues
JAZZ QUARTESS SONGLIST POP, MOTOWN & BLUES One Hundred Years A Thousand Years Overjoyed Ain't No Mountain High Enough Runaround Ain’t That Peculiar Same Old Song Ain’t Too Proud To Beg Sexual Healing B.B. King Medley Signed, Sealed, Delivered Boogie On Reggae Woman Soul Man Build Me Up Buttercup Stop In The Name Of Love Chasing Cars Stormy Monday Clocks Summer In The City Could It Be I’m Fallin’ In Love? Superstition Cruisin’ Sweet Home Chicago Dancing In The Streets Tears Of A Clown Everlasting Love (This Will Be) Time After Time Get Ready Saturday in the Park Gimme One Reason Signed, Sealed, Delivered Green Onions The Scientist Groovin' Up On The Roof Heard It Through The Grapevine Under The Boardwalk Hey, Bartender The Way You Do The Things You Do Hold On, I'm Coming Viva La Vida How Sweet It Is Waste Hungry Like the Wolf What's Going On? Count on Me When Love Comes To Town Dancing in the Moonlight Workin’ My Way Back To You Every Breath You Take You’re All I Need . Every Little Thing She Does Is Magic You’ve Got a Friend Everything Fire and Rain CONTEMPORARY BALLADS Get Lucky A Simple Song Hey, Soul Sister After All How Sweet It Is All I Do Human Nature All My Life I Believe All In Love Is Fair I Can’t Help It All The Man I Need I Can't Help Myself Always & Forever I Feel Good Amazed I Was Made To Love Her And I Love Her I Saw Her Standing There Baby, Come To Me I Wish Back To One If I Ain’t Got You Beautiful In My Eyes If You Really Love Me Beauty And The Beast I’ll Be Around Because You Love Me I’ll Take You There Betcha By Golly -
SMYC 2013 CD Booklet
SPECIAL MULTISTAKE YOUTH CONFERENCE 2013 MUSIC SOUNDTRACK Audio CD_Booklet.indd 1 10/18/2013 9:04:08 AM Stand Chorus Chorus: Joy of Life Singer: Megan Sackett No, I can’t say that I know for certain, but, Singers: Savanna Liechty & Hayden Gillies Every choice, every step, I’m feelin’ somethin’ deep inside my heart Morning sun fill the earth, every moment, I wanna say that I know for certain, Sunlight breaking through the shadows fill the shadows, point my course, set my path but for now it’s a good start. stand lighting all we see fill my soul with light. make me ready. taking in each single moment Sacred light, holy house, I’ve been trying things out a bit, with the air we breath Steady flame, steady guide, loving Father, wanting to know what’s real still so much that lies before us steady voice of peace bind my heart, fill my life I don’t know what will come of it but still so much within our reach lead me through the night. with this promise to stand… if I keep it up I will. of life joy Chorus: Won’t give in, won’t give up And be not moved, together I know there’s someone who after all I can do Every day won’t give out at all Stand makes it all alright brings another moment ‘til my heart is right. In a holy place Then I hear a voice that whispers to me every time Stand… Oh Stand that I’ve known it all my life. -
Beth Hart Press Release
Beth Hart “Better Than Home” PRD 7451 BETH HART’S NEW ALBUM, BETTER THAN HOME, IS BETH-ER THAN EVER Grammy-nominated singer/songwriter, Beth Hart, has never sounded better (musically and spiritually) than she does on her new album, Better Than Home. When she sings clocks stop, hearts dance and neck-hair tingles…it’s that compelling! A Planetmosh critic said, “I was just blown away by Beth’s voice!” and American Songwriter proclaimed, “Beth’s tough, throaty voice…she uses that powerful instrument to best effect on dramatic, arena filling ballads.” Beth’s incredible voice is what moved guitar legends Jeff Beck, Slash, Joe Bonamassa and Buddy Guy to perform with her on records and in concert. She reached national attention with the hit single, L.A. Song (Out Of This Town), the single reached #6 in the Billboard Modern AC chart and #7 in the Adult Top 40 chart; subsequent album, Bang Bang Boom Boom, made it to #3 in the Billboard Top Blues Album chart and shortly thereafter, Beth was nominated for a Blues Music Award. Album collaborations with Joe Bonamassa, Seesaw and Don’t Explain, made it to the top (#1 and #3) of the Billboard Blues Albums Chart, to #8 and #22 on the Billboard Top Independent Albums Chart and into the Billboard 200. International audiences fell in love with her and rewarded her with two #1 singles in Denmark from albums Leave The Light On and 37 Days (recorded live). Her greatest validation as one of the defining voices of our time, came when her tribute (alongside Jeff Beck) to Buddy Guy on The Kennedy Center Honors special, received one of the only 2 standing ovations of the evening, led by President Barack Obama and his wife, Michelle. -
Song & Music in the Movement
Transcript: Song & Music in the Movement A Conversation with Candie Carawan, Charles Cobb, Bettie Mae Fikes, Worth Long, Charles Neblett, and Hollis Watkins, September 19 – 20, 2017. Tuesday, September 19, 2017 Song_2017.09.19_01TASCAM Charlie Cobb: [00:41] So the recorders are on and the levels are okay. Okay. This is a fairly simple process here and informal. What I want to get, as you all know, is conversation about music and the Movement. And what I'm going to do—I'm not giving elaborate introductions. I'm going to go around the table and name who's here for the record, for the recorded record. Beyond that, I will depend on each one of you in your first, in this first round of comments to introduce yourselves however you wish. To the extent that I feel it necessary, I will prod you if I feel you've left something out that I think is important, which is one of the prerogatives of the moderator. [Laughs] Other than that, it's pretty loose going around the table—and this will be the order in which we'll also speak—Chuck Neblett, Hollis Watkins, Worth Long, Candie Carawan, Bettie Mae Fikes. I could say things like, from Carbondale, Illinois and Mississippi and Worth Long: Atlanta. Cobb: Durham, North Carolina. Tennessee and Alabama, I'm not gonna do all of that. You all can give whatever geographical description of yourself within the context of discussing the music. What I do want in this first round is, since all of you are important voices in terms of music and culture in the Movement—to talk about how you made your way to the Freedom Singers and freedom singing. -
Karaoke Book
10 YEARS 3 DOORS DOWN 3OH!3 Beautiful Be Like That Follow Me Down (Duet w. Neon Hitch) Wasteland Behind Those Eyes My First Kiss (Solo w. Ke$ha) 10,000 MANIACS Better Life StarStrukk (Solo & Duet w. Katy Perry) Because The Night Citizen Soldier 3RD STRIKE Candy Everybody Wants Dangerous Game No Light These Are Days Duck & Run Redemption Trouble Me Every Time You Go 3RD TYME OUT 100 PROOF AGED IN SOUL Going Down In Flames Raining In LA Somebody's Been Sleeping Here By Me 3T 10CC Here Without You Anything Donna It's Not My Time Tease Me Dreadlock Holiday Kryptonite Why (w. Michael Jackson) I'm Mandy Fly Me Landing In London (w. Bob Seger) 4 NON BLONDES I'm Not In Love Let Me Be Myself What's Up Rubber Bullets Let Me Go What's Up (Acoustative) Things We Do For Love Life Of My Own 4 PM Wall Street Shuffle Live For Today Sukiyaki 110 DEGREES IN THE SHADE Loser 4 RUNNER Is It Really Me Road I'm On Cain's Blood 112 Smack Ripples Come See Me So I Need You That Was Him Cupid Ticket To Heaven 42ND STREET Dance With Me Train 42nd Street 4HIM It's Over Now When I'm Gone Basics Of Life Only You (w. Puff Daddy, Ma$e, Notorious When You're Young B.I.G.) 3 OF HEARTS For Future Generations Peaches & Cream Arizona Rain Measure Of A Man U Already Know Love Is Enough Sacred Hideaway 12 GAUGE 30 SECONDS TO MARS Where There Is Faith Dunkie Butt Closer To The Edge Who You Are 12 STONES Kill 5 SECONDS OF SUMMER Crash Rescue Me Amnesia Far Away 311 Don't Stop Way I Feel All Mixed Up Easier 1910 FRUITGUM CO. -
A Lexico-Semantic Analysis of Philippine Indie Song Lyrics Written in English
Available online at www.jlls.org JOURNAL OF LANGUAGE AND LINGUISTIC STUDIES ISSN: 1305-578X Journal of Language and Linguistic Studies, 14(4), 12-31; 2018 A lexico-semantic analysis of Philippine indie song lyrics written in English Johann Christian V. Rivera a , Alejandro S. Bernardo b * a University of Santo Tomas, España, Manila, 1015, Philippines b University of Santo Tomas, España, Manila, 1015, Philippines APA Citation: Rivera, J.C.V., & Bernardo, A.S. (2018). A lexico-semantic analysis of Philippine indie song lyrics written in English. Journal of Language and Linguistic Studies, 14(4), 12-31. Submission Date: 10/09/2017 Acceptance Date: 02/07/2018 Abstract The power of music to entertain and to affect people psychologically makes it a significant part of human society and a ripe field for empirical investigations. Researches about music’s psychological and physiological effects on people as well as music’s pedagogical value in language teaching and learning have shown interesting results. However, there still remains a dearth of empirical studies that look into the purported meanings of songs unearthed through linguistic lenses. This study, therefore, examines the intersection of music and linguistics by conducting a lexico-semantic analysis of 30 indie songs written in English by three Filipino indie musicians. One key finding is that indie songs are not usually unclear contrary to the popular belief that they generally tend to be nebulous and require deliberate disambiguation. © 2018 JLLS and the Authors - Published by JLLS. Keywords: Original Philippine Music; indie music; lexical semantics; semantic analysis 1. Introduction Music plays a significant part in man’s daily life undoubtedly because of its appeal to the ears. -
Idioms-And-Expressions.Pdf
Idioms and Expressions by David Holmes A method for learning and remembering idioms and expressions I wrote this model as a teaching device during the time I was working in Bangkok, Thai- land, as a legal editor and language consultant, with one of the Big Four Legal and Tax companies, KPMG (during my afternoon job) after teaching at the university. When I had no legal documents to edit and no individual advising to do (which was quite frequently) I would sit at my desk, (like some old character out of a Charles Dickens’ novel) and prepare language materials to be used for helping professionals who had learned English as a second language—for even up to fifteen years in school—but who were still unable to follow a movie in English, understand the World News on TV, or converse in a colloquial style, because they’d never had a chance to hear and learn com- mon, everyday expressions such as, “It’s a done deal!” or “Drop whatever you’re doing.” Because misunderstandings of such idioms and expressions frequently caused miscom- munication between our management teams and foreign clients, I was asked to try to as- sist. I am happy to be able to share the materials that follow, such as they are, in the hope that they may be of some use and benefit to others. The simple teaching device I used was three-fold: 1. Make a note of an idiom/expression 2. Define and explain it in understandable words (including synonyms.) 3. Give at least three sample sentences to illustrate how the expression is used in context. -
MVSC-F099.4-K16.Pdf
[PAGE 1] KANSAS CITY CALL TENTH ANNIVERSARY AND PROGRESS EDITION Vol. 10 No. 13 Kansas City, Mo., July 27, 1928. PROGRESS THE PROGRESS of Negroes in the United States is so great that history will point out what you have done as one of the achievements which mark this age. Your rise is one of the best proofs of the value of the American theory of government. Successes by individuals here and there have been multiplied until now yours is a mass movement. You are advancing all along the line, a sound basis for your having confidence in the future. The world’s work needs every man. I look to see the Negro, prepared by difficulty, and tested by adversity, be a valued factor in upbuilding the commonwealth. In the Middle West, where The Kansas City Call is published, lies opportunity. In addition to urban pursuits you have available for the man of small means, the farm which is one of the primary industries. The Negro in your section can develop in a well rounded way. Above all things, take counsel of what you are doing, rather than of the trials you are undergoing. Look up and go up! Julius Rosenwald [page 2] “PROGRESS EDITION” CELEBRATING THE KANSAS CITY CALL’S TENTH ANNIVERSARY Kansas City, Missouri, Friday, July YOU ARE WELCOME! The changes in The Kansas City Call’s printing plant are completed. We now occupy 1715 E. 18th street as an office; next door at 1717 is our press room and stereotyping room; upstairs is our composing room; in the basement we store paper direct from the mill. -
The Romance of the Rose
The Romance of the Rose 179 The Romance of the Rose The Romance of the Rose, an allegorical dream-vision poem stemming from the troubadour tradition of courtly love and written in medieval French, was perhaps the most widely read book in 14th- and 15th-century Europe. During the century of high scholasticism (the 13th), this most influential of all works of medieval romance emerged. It was composed in two stages. Around 1230, Guillaume de Lorris came out with the first 4,058 lines, without quite finishing it. Around 1275 (the year after the death of both Aquinas and Bonaventure), Jean de Meun, a very different personality who studied at the University of Paris and who warred against the mendicant orders, produced a massive amplification of Guillaume’s work, adding 17,724 lines, shifting towards the encyclopedic and dialectic, changing its character from earnest to satiric. C. S. Lewis’s scholarly work The Allegory of Love helped to revive modern interest in the work. Lewis argues for the realism of the allegorical method employed in The Romance: “[This method] was originally forced into existence by a profound moral revolution occurring in the latter days of paganism. For reasons of which we know nothing at all. , men’s gaze was turned inward. But a gaze so turned sees, not the compact ‘character’ of modern fiction, but the contending forces which cannot be described at all except by allegory.” 181 Guillaume de Lorris/Jean de Meun Prologue In the twentieth year of my life, at the time when Love exacts his tribute from young people, I lay down one night, as usual, and slept very soundly. -
Flashback, Flash Forward: Re-Covering the Body and Id-Endtity in the Hip-Hop Experience
FLASHBACK, FLASH FORWARD: RE-COVERING THE BODY AND ID-ENDTITY IN THE HIP-HOP EXPERIENCE Submitted By Danicia R. Williams As part of a Tutorial in Cultural Studies and Communications May 04,2004 Chatham College Pittsburgh, Pennsylvania Tutor: Dr. Prajna Parasher Reader: Ms. Sandy Sterner Reader: Dr. Robert Cooley ACKNOWLEDGEMENTS I would like to thank Dr. Prajna Paramita Parasher, my tutor for her faith, patience and encouragement. Thank you for your friendship. Ms. Sandy Sterner for keeping me on my toes with her wit and humor, and Dr. Cooley for agreeing to serve on my board. Kathy Perrone for encouraging me always, seeing things in me I can only hope to fulfill and helping me to develop my writing. Dr. Anissa Wardi, you and Prajna have changed my life every time I attend your classes. My parent s for giving me life and being so encouraging and trusting in me even though they weren't sure what I was up to. My Godparents, Jerry and Sharon for assisting in the opportunity for me to come to Chatham. All of the tutorial students that came before me and all that will follow. I would like to give thanks for Hip-Hop and Sean Carter/Jay-Z, especially for The Black Album. With each revolution of the CD my motivation to complete this project was renewed. Whitney Brady, for your excitement and brainstorming sessions with me. Peace to Divine Culture for his electricity and Nabri Savior. Thank you both for always being around to talk about and live in Hip-Hop. Thanks to my friends, roommates and coworkers that were generally supportive.