The Feast of Palms Lazarus Saturday and Palm Sunday
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Autobituary: the Life And/As Death of David Bowie & the Specters From
Miranda Revue pluridisciplinaire du monde anglophone / Multidisciplinary peer-reviewed journal on the English- speaking world 17 | 2018 Paysages et héritages de David Bowie Autobituary: the Life and/as Death of David Bowie & the Specters from Mourning Jake Cowan Electronic version URL: http://journals.openedition.org/miranda/13374 DOI: 10.4000/miranda.13374 ISSN: 2108-6559 Publisher Université Toulouse - Jean Jaurès Electronic reference Jake Cowan, “Autobituary: the Life and/as Death of David Bowie & the Specters from Mourning”, Miranda [Online], 17 | 2018, Online since 20 September 2018, connection on 16 February 2021. URL: http://journals.openedition.org/miranda/13374 ; DOI: https://doi.org/10.4000/miranda.13374 This text was automatically generated on 16 February 2021. Miranda is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License. Autobituary: the Life and/as Death of David Bowie & the Specters from Mournin... 1 Autobituary: the Life and/as Death of David Bowie & the Specters from Mourning Jake Cowan La mort m’attend dans un grand lit Tendu aux toiles de l’oubli Pour mieux fermer le temps qui passé — Jacques Brel, « La Mort » 1 For all his otherworldly strangeness and space-aged shimmer, the co(s)mic grandeur and alien figure(s) with which he was identified, there was nothing more constant in David Bowie’s half-century of song than death, that most and least familiar of subjects. From “Please Mr. Gravedigger,” the theatrical closing number on his 1967 self-titled debut album, to virtually every track on his final record nearly 50 years later, the protean musician mused perpetually on all matters of mortality: the loss of loved ones (“Jump They Say,” about his brother’s suicide), the apocalyptic end of the world (“Five Years”), his own impending passing. -
LAZARUS UNDER the HOOD Executive Summary
LAZARUS UNDER THE HOOD Executive Summary The Lazarus Group’s activity spans multiple years, going back as far as 2009. Its malware has been found in many serious cyberattacks, such as the massive data leak and file wiper attack on Sony Pictures Entertainment in 2014; the cyberespionage campaign in South Korea, dubbed Operation Troy, in 2013; and Operation DarkSeoul, which attacked South Korean media and financial companies in 2013. There have been several attempts to attribute one of the biggest cyberheists, in Bangladesh in 2016, to Lazarus Group. Researchers discovered a similarity between the backdoor used in Bangladesh and code in one of the Lazarus wiper tools. This was the first attempt to link the attack back to Lazarus. However, as new facts emerged in the media, claiming that there were at least three independent attackers in Bangladesh, any certainty about who exactly attacked the banks systems, and was behind one of the biggest ever bank heists in history, vanished. The only thing that was certain was that Lazarus malware was used in Bangladesh. However, considering that we had previously found Lazarus in dozens of different countries, including multiple infections in Bangladesh, this was not very convincing evidence and many security researchers expressed skepticism abound this attribution link. This paper is the result of forensic investigations by Kaspersky Lab at banks in two countries far apart. It reveals new modules used by Lazarus group and strongly links the tools used to attack systems supporting SWIFT to the Lazarus Group’s arsenal of lateral movement tools. Considering that Lazarus Group is still active in various cyberespionage and cybersabotage activities, we have segregated its subdivision focusing on attacks on banks and financial manipulations into a separate group which we call Bluenoroff (after one of the tools they used). -
Lazarus Saturday
Lazarus Saturday The miraculous raising of Lazarus from the dead by our Lord and Savior Jesus Christ is commemorated on the Saturday before Palm Sunday. The forty days of the Great Lent come to an end. On Palm Sunday, the Church celebrates the power of Christ over death and exalts Him as King in His triumphal entry into Jerusalem. These events take place just before the beginning of Holy Week and prepare us for the Resurrection of our Lord. 1. 5. Lazarus and his sisters Mary After he was unbound and free, and Martha were good friends of our he went home walking. Many people Lord Jesus Christ. One time when Jesus who saw the miracle were amazed and was far away, Lazarus became very sick believed that Jesus was truly sent by God. and died. When he knew that Lazarus John 11: 1-44 had died, He told his disciples, “Our friend Laz′arus has fallen asleep, but I go to awake him out of sleep.” The disciples thought that he was going simply to wake him up, until he explained that Lazarus 4. had really died and he was going to bring him back to life. When the stone was removed, he raised his eyes and hands and prayed to the Father, “Father, I thank thee that thou hast heard me. I knew that 2. thou hearest me always, but I Four days later Jesus have said this on account of the arrived in Bethany where he 3. people standing by, that they may was met by crying Martha who Soon her sister Mary came to them believe that thou didst send me.” said, “Lord, if you had been here, crying. -
Persona, Narrative, and Late Style in the Mourning of David Bowie on Reddit
Persona Studies 2020, vol. 6, no. 1 THE BLACKSTAR: PERSONA, NARRATIVE, AND LATE STYLE IN THE MOURNING OF DAVID BOWIE ON REDDIT SAMIRAN CULBERT NEWCASTLE UNIVERSITY ABSTRACT This article considers how David Bowie’s last persona, The Blackstar, framed his death through the narratives of mourning it provoked on the social media site Reddit. The official media narratives of death and the unofficial fan narratives of death can contradict each other, with fans usually bringing their own lived experiences to the mourning process. David Bowie is a performer of personas. While Bowie died in 2016, his personas have continued to live on, informing his legacy, his work, and his death reception. Through the concepts of persona, narrative, authenticity, late style, and mourning, this article finds that Bowie’s Blackstar persona actively constructs fan’s interaction with Bowie’s death. Instead of separate and contradicting narratives, this article finds that users on Reddit underpin and extend the media narrative of his death, using Bowie’s persona as a way to construct and establish their own mourning. As such, Bowie’s last persona is further entrenched as one of authentic mourning, of a genius constructing his own passing. With these narratives, fans construct their own personas, informing how they too would like to die: artistically and with grace. KEY WORDS Persona; Mourning; David Bowie; Late Style; Narrative; Reddit INTRODUCTION The Blackstar persona presented by Bowie in his last album and singles helped structure his fans’ mourning process. These last acts of artistry offered fans something to attach their mourning onto, allowing for them to work through their own mourning via Bowie’s presentation of his own death. -
Of ABBA 1 ABBA 1
Music the best of ABBA 1 ABBA 1. Waterloo (2:45) 7. Knowing Me, Knowing You (4:04) 2. S.O.S. (3:24) 8. The Name Of The Game (4:01) 3. I Do, I Do, I Do, I Do, I Do (3:17) 9. Take A Chance On Me (4:06) 4. Mamma Mia (3:34) 10. Chiquitita (5:29) 5. Fernando (4:15) 11. The Winner Takes It All (4:54) 6. Dancing Queen (3:53) Ad Vielle Que Pourra 2 Ad Vielle Que Pourra 1. Schottische du Stoc… (4:22) 7. Suite de Gavottes E… (4:38) 13. La Malfaissante (4:29) 2. Malloz ar Barz Koz … (3:12) 8. Bourrée Dans le Jar… (5:38) 3. Chupad Melen / Ha… (3:16) 9. Polkas Ratées (3:14) 4. L'Agacante / Valse … (5:03) 10. Valse des Coquelic… (1:44) 5. La Pucelle d'Ussel (2:42) 11. Fillettes des Campa… (2:37) 6. Les Filles de France (5:58) 12. An Dro Pitaouer / A… (5:22) Saint Hubert 3 The Agnostic Mountain Gospel Choir 1. Saint Hubert (2:39) 7. They Can Make It Rain Bombs (4:36) 2. Cool Drink Of Water (4:59) 8. Heart’s Not In It (4:09) 3. Motherless Child (2:56) 9. One Sin (2:25) 4. Don’t We All (3:54) 10. Fourteen Faces (2:45) 5. Stop And Listen (3:28) 11. Rolling Home (3:13) 6. Neighbourhood Butcher (3:22) Onze Danses Pour Combattre La Migraine. 4 Aksak Maboul 1. Mecredi Matin (0:22) 7. -
Using Pop Soundtrack As Narrative Counterpoint Or Complement Margaret Dudasik Honors College, Pace University
Pace University DigitalCommons@Pace Honors College Theses Pforzheimer Honors College 5-1-2013 Genre as Bait: Using Pop Soundtrack as Narrative Counterpoint or Complement Margaret Dudasik Honors College, Pace University Follow this and additional works at: http://digitalcommons.pace.edu/honorscollege_theses Part of the Film and Media Studies Commons Recommended Citation Dudasik, Margaret, "Genre as Bait: Using Pop Soundtrack as Narrative Counterpoint or Complement" (2013). Honors College Theses. Paper 127. http://digitalcommons.pace.edu/honorscollege_theses/127 This Thesis is brought to you for free and open access by the Pforzheimer Honors College at DigitalCommons@Pace. It has been accepted for inclusion in Honors College Theses by an authorized administrator of DigitalCommons@Pace. For more information, please contact [email protected]. Genre as Bait: Using Pop Soundtrack as Narrative Counterpoint or Complement By: Margaret Dudasik May 15, 2013 BA Film & Screen Studies/ BFA Musical Theatre Dr. Ruth Johnston Film & Screen Studies, Dyson College of Arts and Sciences 1 Abstract There is much argument against using pre-existing music in film, Ian Garwood noting three potential problems with the pop song: obtrusiveness, cultural relevance, and distance from the narrative (103-106). It is believed that lyrics and cultural connotations can distract from the action, but it is my belief that these elements only aid narrative. By examining the cinematic functions of the soundtracks of O Brother Where Are Thou? (2000) and Marie Antoinette (2006), I will argue that using pre-existing music in film is actually more effective than a score composed specifically for a film. Film theorist Claudia Gorbman notes that film scores have “temporal, spatial, dramatic, structural, denotative, [and] connotative” abilities” (22), and it is my belief that pop music is just as economical in forming character, conveying setting, and furthering plot. -
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Session 1 MISSIO DEI
Session 1 MISSIO DEI By Rev. Scott Parrish, [email protected] Associate Director of Connectional Ministries North Georgia Conference of The United Methodist Church These are definitive days for your congregation which will determine whether your church will be alive in a few years. Yet many churches are continuing what they’ve done for years as if nothing has changed. There are significant differences between a congregation that has lost momentum and a church that has a vitality which seems to be like the playground of God. Every church offers worship and music and prayers and some level of mission and ministry. Sometimes we mistake activity for vitality. Perhaps we think maintaining what we have done in the past is the standard of knowing how we’re doing. Too often we seem tied more to the past than the present. Most congregations never seriously undertake an assessment or evaluation of how things are going. Yet across the land we have an epidemic, a plague, of churches either stalled, dying, or dead. Can we accept the reality of our congregation, the honest assessment of what is happening, or do we continue “business as usual” no matter what anyone tells us? If we dare hear the truth of our condition will we, as individuals and collectively as a group, follow the necessary changes that may offer life and a new day? Can this be the time of our greatest opportunity to serve God faithfully? To consider the health of our congregation we could choose scripture from any number of locations in the Gospels, the epistles, Revelation, and more. -
Lazarus (World Premiere – 2018)
Lazarus (World Premiere – 2018) Choreography by Rennie Harris Rehearsal Director: Nina Flagg Rehearsal Associate: Millie Heckler Music & Sound: Darrin Ross Costumes: Mark Eric Rodriguez Lighting: James Clotfelter “Hip-hop is about the celebration of life.” — Rennie Harris Inspired by the life and legacy of Mr. Ailey, hip hop choreographer Rennie Harris – the organization’s inaugural Artist-in-Residence in 2018 – connects past and present in a powerful ensemble work that addresses the racial inequities America faced when Mr. Ailey founded this company in 1958 and still faces today. The Company’s first two-act ballet, Lazarus is set to a soundtrack produced by Darrin Ross, with his original music, and featuring Nina Simone, Terrence Trent D’Arby, Michael Kiwanuka, Odetta, spoken text written and adapted by Rennie Harris that is performed by Wadud Ahmad, Rennie Harris, as well as the voice of Alvin Ailey. Harris’ previous contributions to the Ailey repertory include Exodus (2015), Home (2011), and Love Alvin Ailey American Dance Theater in Rennie Harris’ Lazarus. Photo by Paul Kolnik Stories (2004), an acclaimed collaboration with Judith Jamison and Robert Battle. As Ailey’s inaugural Artist-in-Residence, Harris led a large range of activities including serving as an artistic advisor to the New Directions Choreography Lab, conducting master classes and delivering lectures about choreography and the history of hip-hop to Ailey II and students and instructors at The Ailey School and Ailey Arts-In-Education, and teaching workshops open to the public through the Ailey Extension. “an exhilarating celebration of life, dance, and the body in motion.” The New Yorker “America’s hottest ballet” The Philadelphia Inquirer “… brings Ailey back to life by showing why he still matters to a living artist of Mr. -
Got Enterprise Challenges?
Got enterprise challenges? http://app.mktg.opentext.com/e/es?s=459&e=482355&elq=66e7fef... If your email program has trouble displaying this email, view it as a web page. ISSUE 31/ January 2016 What’s in It for You? Binary Solo Enterprises have their challenges. Under pressure, I could think of “0000001, 00000011, about 99 of them. Challenges such as knowing what information you 000000111, 00001111!” have, making compliance work for you, getting the full picture of your ― Flight of the Conchords enterprise…so let’s examine a few below and get you back to work with a peaceful, easy feeling. We’ll also look at Innovation Tour, which will begin next month. By Grabthar’s hammer, check out our schedule below and plan to meet us in one of the cities we’re visiting near you. We lost some icons earlier this month, so I've scattered 14 classic song and movie titles and lines from David Bowie, Alan Rickman, and Glenn Frey throughout this issue. Can you spot them all? OK, now, let’s dance! Links to Keep at Your Fingertips Keeping You in the Know 99 Enterprise Challenges 99 Enterprise Challenges Which enterprise information challenges are preventing you from Digital Readiness achieving your objectives? Explore our list of challenges—and Assessment Tool solutions: Gartner Magic Quadrant for ECM 2015 #17. I can’t gain insight when my Forrester Truly, Madly, information is hidden in different Deeply Names OpenText applications. a Leader in DAM Solution: Discover value in information OpenText Analytics within existing infrastructure. ranked #1 for embedded BI (Yippee-ki-yay!) #26. -
Formative Assessment for Students with Disabilities the COUNCIL of CHIEF STATE SCHOOL OFFICERS
Formative Assessment for Students with Disabilities THE COUNCIL OF CHIEF STATE SCHOOL OFFICERS The Council of Chief State School Officers (CCSSO) is a nonpartisan, nationwide, nonprofit organization of public officials who head departments of elementary and secondary education in the states, the District of Columbia, the Department of Defense Education Activity, and five U.S. extra-state jurisdictions. CCSSO provides leadership, advocacy, and technical assistance on major educational issues. The Council seeks member consensus on major educational issues and expresses their views to civic and professional organizations, federal agencies, Congress, and the public. COUNCIL OF CHIEF STATE SCHOOL OFFICERS Melody Schopp (South Dakota), President Chris Minnich, Executive Directorr Brookhart, S. & Lazarus, S. (2017) Formative Assessment for Students with Disabilities. Commissioned by the Council of Chief State School Officers State Collaboratives on Assessing Special Education Students and Formative Assessment, Washington, DC. One Massachusetts Avenue, NW, Suite 700 • Washington, DC 20001-1431 Phone (202) 336-7000 • Fax (202) 408-8072 • www.ccsso.org Copyright © 2017 by the Council of Chief State School Officers, Washington, DC All rights reserved. Formative Assessment for Students with Disabilities Few would question the importance of formative assessment in helping students become more effective and engaged learners. Few would question the importance of accommodating students with disabilities to maximize their learning. Practical and research literature exists separately in each of these fields. Two of the Council of Chief State School Officers’ (CCSSO) State Collaboratives on Assessment and Student Standards (SCASS) — the Assessing Special Education Students (ASES) and Formative Assessment for Students and Teachers (FAST) — are collaborating to consider the two fields together: formative assessment for students with disabilities. -
Suspicious Perinatal Death and the Law: Criminalising Mothers Who Do Not Conform
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Middlesex University Research Repository Suspicious perinatal death and the law: criminalising mothers who do not conform Emma Milne A thesis submitted for the degree of Doctor of Philosophy Department of Sociology University of Essex 2017 Acknowledgements ii Acknowledgements There are a number of people who have made this PhD possible due to their impact on my life over the course of the period of doctoral study. I would like to take this opportunity to offer my thanks. First and foremost, my parents, Lesley and Nick Milne, for their constant love, friendship, care, commitment to my happiness, and determination that I will achieve my goals and fulfil my dreams. Secondly, Professor Jackie Turton for the decade of encouragement, support (emotional and academic) and friendship, and for persuading me to start the PhD process in the first place. To Professor Pete Fussey and Dr Karen Brennan, for their intellectual and academic support. A number of people have facilitated this PhD through their professional activity. I would like to offer my thanks to all the court clerks in England and Wales who assisted me with access to case files and transcripts – especially the two clerks who trawled through court listings and schedules in order to identify two confidentialised cases for me. Professor Sally Sheldon, and Dr Imogen Jones who provided advice in relation to theory. Ben Rosenbaum and Jason Attermann who helped me decipher the politics of abortion in the US. Michele Hall who has been a constant source of support, information and assistance.