DOCSLIB.ORG

Aerosmith I Don’T Want to Miss a Thing

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Aerosmith I Don’T Want to Miss a Thing AEROSMITH I DON’T WANT TO MISS A THING D D/F# Bm7 Bm7 / G D/F# Em7 A7 I could stay awake / Just to hear you breathing Watch you smile while you are sleeping / While you’re far away and dreaming D D/F# Bm7 Bm7 / G D/F# Em7 Em7 I could spend my life / In this sweet surrender I could stay lost in this moment / Forever F#m7 G A7sus4 A7sus4 Every moment spent with you is a moment I treasure D D/F# Em7 Em7 G A Don’t wanna close my eyes / I don’t wanna fall asleep Cause I’d miss you, baby / And I don’t wanna miss a thing Cause even when I dream of you / The sweetest dream would never do I’d still miss you, baby / And I don’t wanna miss a thing D D/F# Bm7 Bm7 / G D/F# Em7 A7 Lying close to you / Feeling your heart beating And I’m wondering what you’re dreaming / Wondering if it’s me you’re seeing D D/F# Bm7 Bm7 / F#m7 G A7sus4 A7 Then I kiss your eyes / And thank God we’re together And I just wanna stay with you / In this moment forever / Forever and ever D D/F# Em7 Em7 G A I don’t wanna close my eyes / I don’t wanna fall asleep Cause I’d miss you, baby / And I don’t wanna miss a thing Cause even when I dream of you / The sweetest dream would never do I’d still miss you, baby / And I don’t wanna miss a thing C G Bb F / C G Dm A7sus4 / A I don’t wanna miss one smile / I don’t wanna miss one kiss Well, I just wanna be with you / Right here with you, just like this I just wanna hold you close / I feel your heart so close to mine And just stay here in this moment / For the rest of time / Yeah, yeah, yeah! D D/F# Em7 Em7 G A I don’t wanna close my eyes / I don’t wanna fall asleep Cause I’d miss you, baby / And I don’t wanna miss a thing Cause even when I dream of you / The sweetest dream would never do I’d still miss you, baby / And I don’t wanna miss a thing I don’t wanna close my eyes / I don’t wanna fall asleep Cause I’d miss you, baby / And I don’t wanna miss a thing Cause even when I dream of you / The sweetest dream would never do I’d still miss you, baby / And I don’t wanna miss a thing Don’t wanna close my eyes / I don’t wanna fall asleep, yeah I don’t wanna miss a thing / I don’t wanna miss a thing A-HA CAPO 2 TAKE ON ME Am D G C C/B x2 / Am D Am D Am D G C C/B We’re talking away / I don’t know what I’m to say I’m to say I’ll say it anyway / Today’s another day to find you Am D Em C Shying away / I’ll be coming for your love, OK? G D/F# Em C Take on me / Take me on / I’ll be gone / In a day or two Am D G C C/B So needless to say / I’m odds and ends, but that’s me Stumbling away / Slowly learning that life is OK. Am D Em C Say after me / It’s no better to be safe than sorry G D/F# Em C Take on me / Take me on / I’ll be gone / In a day or two Bm F Bm F Am D Am D Am D / Am D G C C/B x2 / Am D Am D Am D G C C/B Oh the things that you say / Is it life or just a play My worries away / You’re all the things I’ve got to remember Am D Em C You’re shying away / I’ll be coming for you anyway G D/F# Em C Take on me / Take me on / I’ll be gone / In a day or two AMONBOFIS & TOURNEVIS LE POUDING A L’ARSENIC D A D D A / D D A A D D A Dm7 A7 / Dm7 A7 / C F C (A) Dans un grand bol de strychnine / Diluez de la morphine Faites tiédir à la casserole / 1 grand verre de pétrole (Je vais en mettre 2) Quelques goûtes de ciguë / De la bave de sangsue Un scorpion tranché très fin (Et un peu de poivre en grain) / NON... Émiettez votre arsenic / Dans un verre de narcotique 2 cuillères de purgatif / Et faites bouillir à feu vif (Je vais en mettre 3) Dans un petit plat à part / Tiédir du sang de lézard Bouillir dans un dé à coudre (Et un peu de sucre en poudre) / NON... D D/C# C C/B Bb A Ab A Le pouding à l’arsenic / Nous permet se pronostique Demain sur les bords du Nil / Que mangerons les crocodiles Le pouding à l’arsenic / Nous permet se pronostique Demain sur les bords du Nil / Que mangerons les crocodiles D A D D A / D D A A D D A Dm7 A7 / Dm7 A7 / C F C (A) Vous versez la mort aux rats / Dans du venin de cobra Pour adoucir le mélange / Pressez 3 quartiers d’orange (Je vais en mettre 1 seul) Décorez de fruits confis / Moisi dans du verre de gris Tant que votre pâte est molle (Et un peu de vitriole) / NON... OUI... D D/C# C C/B Bb A Ab A Le pouding à l’arsenic / Nous permet se pronostique Demain sur les bords du Nil / Que mangerons les crocodiles Le pouding à l’arsenic / Nous permet se pronostique Demain sur les bords du Nil / Que mangerons les crocodiles F A D DES... GAU... LOIS AMERICA A HORSE WITH NO NAME Em D6/9 (200200) On the first part of the journey / I was looking at all the life There were plants and birds and rocks and things / There was sand and hills and rings The first thing I met was a fly with a buzz / And the sky with no clouds The heat was hot and the ground was dry / But the air was full of sound Em9* (020002) Dmaj9 (000220) I’ve been through the desert on a horse with no name / It felt good to be out of the rain In the desert you can remember your name / ‘Cause there ain’t no one for to give you no pain La, la ... Em D6/9 After two days in the desert sun / My skin began to turn red After three days in the desert fun / I was looking at a river bed And the story it told of a river that flowed / Made me sad to think it was dead Em9* Dmaj9 You see I’ve been through the desert on a horse with no name / It felt good to be out of the rain In the desert you can remember your name / ‘Cause there ain’t no one for to give you no pain La, la ... Em D6/9 After nine days I let the horse run free / ‘Cause the desert had turned to sea There were plants and birds and rocks and things / There was sand and hills and rings The ocean is a desert with it’s life underground / And a perfect disguise above Under the cities lies a heart made of ground / But the humans will give no love Em9* Dmaj9 I’ve been through the desert on a horse with no name / It felt good to be out of the rain In the desert you can remember your name / ‘Cause there ain’t no one for to give you no pain La, la ... AMY WINEHOUSE REHAB C7 C7 / G7 F7 / C7 F7 C7 They tried to make me go to rehab but I said, ‘No, no, no.’ Yes, I’ve been black but when I come back you’ll know, know, know I ain’t got the time and if my daddy thinks I’m fine He’s tried to make me go to rehab but I won’t go, go, go Em Am F Ab I’d rather be at home with ray / I ain’t got seventy days / ‘Cause there’s- Nothing, there’s nothing you can teach me / That I can’t learn from Mr Hathaway G7 G7 / F7 F7 I didn’t get a lot in class / But I know it don’t come in a shot glass C7 C7 / G7 F7 / C7 F7 C7 They tried to make me go to rehab but I said, ‘No, no, no.’ Yes, I’ve been black but when I come back you’ll know, know, know I ain’t got the time and if my daddy thinks I’m fine He’s tried to make me go to rehab but I won’t go, go, go Em Am F Ab The man said, ‘Why do you think you’re here?’ / I said, ‘I got no idea I’m gonna, I’m gonna lose my baby / So I always keep a bottle near’ G7 G7 / F7 F7 He said, ‘I just think you’re depressed / Kiss me, yeah baby, and go rest’ C7 C7 They tried to make me go to rehab but I said, ‘No, no, no.’ Yes, I’ve been black but when I come back you’ll know, know, know Em Am F Ab I don’t ever wanna drink again / I just, ooh, I just need a friend I’m not gonna spend ten weeks / Have everyone think I’m on the mend G7 G7 / F7 F7 It’s not just my pride / It’s just ‘til these tears have dried C7 C7 / G7 F7 / C7 F7 C7 They tried to make me go to rehab but I said, ‘No, no, no.’ Yes, I’ve been black but when I come back you’ll know, know, know I ain’t got the time and if my daddy thinks I’m fine He’s tried to make me go to rehab but I won’t go, go, go THE ANIMALS HOUSE OF THE RISING SUN Am C D F / Am E Am E Am C D F / Am C E E / Am C D F / Am E Am There is a house in New Orleans / They call the Rising Sun And it’s been the ruin of many a poor boy / And God I know I’m one C D F / Am E Am E Am C D F / Am C E E / Am C D F / Am E Am My mother was a tailor / She sewed my new bluejeans My father was a gamblin’ man / Down in New Orleans C D F / Am E Am E Am C D F / Am C E E / Am C D F / Am E Am Now the only thing a gambler needs / Is a suitcase and trunk And the only time he’s satisfied / Is when he’s on a drunk C D F / Am E Am E Am C D F / Am C E E / Am C D F / Am E Am C D F / Am E Am E Am C D F / Am C E E / Am C D F / Am E Am Oh mother tell your children / Not to do what I have done Spend your lives in sin and misery / In the House of the Rising Sun C D F / Am E Am E Am C D F / Am C E E / Am C D F / Am E Am Well, I got one foot on the platform / The other foot on the train I’m goin’ back to New Orleans / To wear that ball and chain C D F / Am E Am E Am C D F / Am C E E / Am C D F / Am E Am Well, there is a house in New Orleans / They call the Rising Sun And it’s been the ruin of many a poor boy / And God I know I’m one ANIMAL COLLECTIVE MY GIRLS C There isn’t much / That I feel I need / A solid soul / And the blood I bleed But with a little girl / And by my spouse / I only want / A proper house There isn’t much / That I feel I need / A solid soul / And the blood I bleed But with a little girl / And by my spouse / I only want / A proper house There isn’t much / That I feel I need / A solid soul / And the blood I bleed But with a little girl / And by my spouse / I only want / A proper house There isn’t much / That I feel I need / A solid soul / And the blood I bleed But with a little girl / And by my spouse / I only want / A proper house F C F C I don’t care / For fancy things / Or to take part / In the freshest wave But to provide / For mine who ask / I will, with heart / On my father’s grave I don’t care / For fancy things / Or to take part / In the freshest wave But to provide / For mine who ask / I will, with heart / On my father’s grave C On my father’s grave (On your father’s grave) / On my father’s grave (On your father’s grave) On my father’s grave (On your father’s grave) / On my father’s grave (On your father’s grave) C Em Am Em I don’t mean / To seem like I care about / Material things / Like a social status I just want / Four walls and adobe slabs / For my girls / ..
Load more

Recommended publications
  • L'utilisation Des Chansons En Cours D'espagnol
    L’utilisation des chansons en cours d’espagnol Sabrina Stützle To cite this version: Sabrina Stützle. L’utilisation des chansons en cours d’espagnol. Education. 2017. dumas-01710230 HAL Id: dumas-01710230 https://dumas.ccsd.cnrs.fr/dumas-01710230 Submitted on 15 Feb 2018 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Distributed under a Creative Commons Attribution - NonCommercial - NoDerivatives| 4.0 International License MASTER METIERS DE L’ÉDUCATION, DE L’ENSEIGNEMENT ET DE LA FORMATION Mention Parcours Espagnol Master 2 MEEF MEMOIRE L’utilisation des chansons en cours d’espagnol Auteur : Sabrina Stützle Directrice de mémoire : Membres du jury de soutenance : - - - - Soutenu le ..../…./2017 Année universitaire 2016-2017 1 Remerciements En premier lieu, je tiens à remercier Marie-Pierre Diaz, ma tutrice de stage, qui m’a encouragée et donné des idées pour mes expériences tout au long de l’année. En deuxième lieu, je remercie mes élèves, qui ont été patients, réceptifs à mes demandes et volontaires pour coopérer quand il s’agissait d’essayer de nouvelles manières de procéder. Je souhaite également remercier Madame Cohen pour son précieux guidage. De plus, je remercie mes collègues, particulièrement l’équipe d’espagnol, pour leur accompagnement et leurs conseils avisés.
    [Show full text]
  • Rythme Et Poésie : Une Entrevue Avec Jocelyn Bruno, Alias Dramatik
    Rythme et poésie : une entrevue avec Jocelyn Bruno, alias Dramatik. Par Jean-Sébastien Ménard Dans le cadre des activités de l’initiative Le français s’affiche et grâce au programme de l’UNEQ intitulé Parlez-moi d’une langue, Jocelyn Bruno, alias Dramatik, l’un des pionniers de la scène hip-hop québécoise et cofondateur du groupe Muzion, est venu rencontrer les étudiants de l’École nationale d’aérotechnique le mercredi 15 novembre 2017 afin de leur parler, notamment, de son parcours et de son rapport à la langue française. Nous publions ici l’entrevue qu’il nous a accordée. Photo de Gunther Gamper Dramatik, est-ce que tu peux nous parler de ton parcours? Je suis né à Montréal, en 1975, à l’époque de Goldorak, les ancêtres de Transformers. Très tôt dans ma vie, j’ai eu des problèmes de bégaiements à cause de troubles affectifs émotifs. J’ai eu beaucoup de problèmes avec la violence conjugale. Mon nom, Dramatik, vient de là. Ça 1 représente tous les drames que j’ai connus et vécus. Très jeune, on m’a placé en Centre d’accueil… À 6 ans, j’étais dépressif. Je ne parlais pas beaucoup et je bégayais. Je parlais créole, français et anglais. Vers mes 7-8 ans, j’ai fait une fugue de mon Centre d’accueil et c’est à ce moment-là que j’ai décidé de prendre ma vie en main. Vers 14-15 ans, j’ai quitté l’école (j’ai décroché et raccroché souvent). J’avais tellement de problèmes avec l’adolescence, avec la rue, avec l’appartenance… C’est à cette époque que j’ai commencé à faire du rap.
    [Show full text]
  • One to One: Interpersonal Skills for Managers. INSTITUTION Staff Coll., Bristol (England)
    DOCUMENT RESUME ED 375 759 HE 027 858 AUTHOR Turner, Colin; Andrews, Philippa TITLE One to One: Interpersonal Skills for Managers. INSTITUTION Staff Coll., Bristol (England). REPORT NO ISBN-0-907659-82-9 PUB DATE 94 NOTE 124p. AVAILABLE FROMStaff College, Coombe Lodge, Blagdon, Bristol, BS18 6RG, England, United Kingdom (12.50 British pounds). PUB TYPE Books (010) Guides Non-Classroom Use (055) EDRS PRICE MF01/PC05 Plus Postage. DESCRIPTORS Administrator Effectiveness; Administrator Guides; Administrator Role; *Administrators; *College Administration; Colleges; Communication Skills; Foreign Countries; Higher Education; *Interpersonal Competence; Job Skills; Listening Skills; Transactional Analysis IDENTIFIERS Gestalt Psychology; Neurolinguistic Programming ABSTRACT This book explores interpersonal skills for college administrators through analysis of fictional, but typical, scenes and dialogues set at a fictional "Elmdale College". The analysis and discussion use transactional analysis, gestalt psychology, and neuro-linguistic programming theories to help the reader understand the underlying processes that take place in different types of encounters between people. Individual chapters discuss the following skills:(1) establishing good contact and creating rapport; (2) activE, listening; (3) locating ownership of problems;(4) assertive behavior and dealing with requests and refusals;(5) using language well;(6) coping with criticism;(7) exploring personal issues; (8) staying with reality;(9) giving and receiving feedback; (10) interviewing the marginal performer; and (11) examining the role of personal beliefs in a skills-based approach. Appendixes list characters that appear in the scenes, chart the organizational structure of Elmdale College, and offer brief notes on transactional analysis, neuro-linguistic programming, and gestalt psychology. Includes an index. An annotated bibliography contains 17 recommended readings.
    [Show full text]
  • New Yarns and Funny Jokes
    f IMfWtMTYLIBRARY^)Of AUKJUNIA h SAMMMO ^^F -J) NEW YARNS AND COMPRISING ORIGINAL AND SELECTED MERIGAN * HUMOR WITH MANY LAUGHABLE ILLUSTRATIONS. Copyright, 1890, by EXCELSIOR PUBLISHING HOUSE. NEW YORK* EXCELSIOR PUBLISHING HOUSB, 29 & 3 1 Beekman Street EXCELSIOR PUBLISHING HOUSE, 29 &. 31 Beekman Street, New York, N. Y. PAYNE'S BUSINESS EDUCATOR AN- ED cyclopedia of the Knowl* edge necessary to the Conduct of Business, AMONG THE CONTENTS ARE: An Epitome of the Laws of the various States of the Union, alphabet- ically arranged for ready reference ; Model Business Letters and Answers ; in Lessons Penmanship ; Interest Tables ; Rules of Order for Deliberative As- semblies and Debating Societies Tables of Weights and Measures, Stand- ard and the Metric System ; lessons in Typewriting; Legal Forms for all Instruments used in Ordinary Business, such as Leases, Assignments, Contracts, etc., etc.; Dictionary of Mercantile Terms; Interest Laws of the United States; Official, Military, Scholastic, Naval, and Professional Titles used in U. S.; How to Measure Land ; in Yalue of Foreign Gold and Silver Coins the United states ; Educational Statistics of the World ; List of Abbreviations ; and Italian and Phrases Latin, French, Spanish, Words -, Rules of Punctuation ; Marks of Accent; Dictionary of Synonyms; Copyright Law of the United States, etc., etc., MAKING IN ALL THE MOST COMPLETE SELF-EDUCATOR PUBLISHED, CONTAINING 600 PAGES, BOUND IN EXTRA CLOTH. PRICE $2.00. N.B.- LIBERAL TERMS TO AGENTS ON THIS WORK. The above Book sent postpaid on receipt of price. Yar]Qs Jokes. ' ' A Natural Mistake. Well, Jim was champion quoit-thrower in them days, He's dead now, poor fellow, but Jim was a boss on throwing quoits.
    [Show full text]
  • La Voix Humaine: a Technology Time Warp
    University of Kentucky UKnowledge Theses and Dissertations--Music Music 2016 La Voix humaine: A Technology Time Warp Whitney Myers University of Kentucky, [email protected] Digital Object Identifier: http://dx.doi.org/10.13023/ETD.2016.332 Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Myers, Whitney, "La Voix humaine: A Technology Time Warp" (2016). Theses and Dissertations--Music. 70. https://uknowledge.uky.edu/music_etds/70 This Doctoral Dissertation is brought to you for free and open access by the Music at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Music by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known. I agree that the document mentioned above may be made available immediately for worldwide access unless an embargo applies.
    [Show full text]
  • 2018 BAM Next Wave Festival #Bamnextwave
    2018 BAM Next Wave Festival #BAMNextWave Brooklyn Academy of Music Adam E. Max, Katy Clark, Chairman of the Board President William I. Campbell, Joseph V. Melillo, Vice Chairman of the Board Executive Producer Place BAM Harvey Theater Oct 11—13 at 7:30pm; Oct 13 at 2pm Running time: approx. one hour 15 minutes, no intermission Created by Ted Hearne, Patricia McGregor, and Saul Williams Music by Ted Hearne Libretto by Saul Williams and Ted Hearne Directed by Patricia McGregor Conducted by Ted Hearne Scenic design by Tim Brown and Sanford Biggers Video design by Tim Brown Lighting design by Pablo Santiago Costume design by Rachel Myers and E.B. Brooks Sound design by Jody Elff Assistant director Jennifer Newman Co-produced by Beth Morrison Projects and LA Phil Season Sponsor: Leadership support for music programs at BAM provided by the Baisley Powell Elebash Fund Major support for Place provided by Agnes Gund Place FEATURING Steven Bradshaw Sophia Byrd Josephine Lee Isaiah Robinson Sol Ruiz Ayanna Woods INSTRUMENTAL ENSEMBLE Rachel Drehmann French Horn Diana Wade Viola Jacob Garchik Trombone Nathan Schram Viola Matt Wright Trombone Erin Wight Viola Clara Warnaar Percussion Ashley Bathgate Cello Ron Wiltrout Drum Set Melody Giron Cello Taylor Levine Electric Guitar John Popham Cello Braylon Lacy Electric Bass Eileen Mack Bass Clarinet/Clarinet RC Williams Keyboard Christa Van Alstine Bass Clarinet/Contrabass Philip White Electronics Clarinet James Johnston Rehearsal pianist Gareth Flowers Trumpet ADDITIONAL PRODUCTION CREDITS Carolina Ortiz Herrera Lighting Associate Lindsey Turteltaub Stage Manager Shayna Penn Assistant Stage Manager Co-commissioned by the Los Angeles Phil, Beth Morrison Projects, Barbican Centre, Lynn Loacker and Elizabeth & Justus Schlichting with additional commissioning support from Sue Bienkowski, Nancy & Barry Sanders, and the Francis Goelet Charitable Lead Trusts.
    [Show full text]
  • Grand Junction Chrysler • Jeep • Dodge • Ram
    The FREE TAKE ONE Page 3 The Western Slope’s Guide to Entertainment, Arts & News for September 2013 Marble, CO Page 13 with Fall Fe s t Page 12 and NEW LEASE PROGRAMS NOW AVAILABLE! GRAND JUNCTION CHRYSLER • JEEP • DODGE • RAM 2578 HWY 6 & 50 Grand Junction (on the corner of motor & funny little street) 245-3100 • 1-800-645-5886 Test Drive the All New 2013 Chrysler 200 www.grandjunctionchrysler.com • Sales: Mon-Fri 8:30-6:00, Sat 8:30-5:00 • Parts and Service: Mon - Fri 7:30-5:30, Sat 9:00-1:00 / Closed on Sundays 3000 Square Foot Residential Lighting Showroom Largest in Western Colorado The SOURCE Lighting is the jewelry of your home. Imagine the possibilities! 2 Full Design Team On Site Commercial grade LED light bulbs • 5 year guarantee and 15 year life span. Don’t forget for all of your commercial lighting needs. Ask about our FREE Commercial Lighting Energy Audit. 243-2400 • 552 25 Rd • Grand Junction The SOURCE / September 2013 was dedicated in a special ceremony workforce campaign drives. Some hounded the workforce for dona- The SOURCE in August. The CLETC will provide of the larger organizations in the tions! A charitable spirit makes a County Corner ... regional law enforcement and first county, such as School District 51, St. stronger community for us all, so responders needed training oppor- Mary’s or Colorado Mesa University, if you have the opportunity to sup- tunities, including a high speed are considered Pacesetters. The port the work of benevolent orga- track to perfect tricky maneuvers, United Way anticipates expected nizations in Mesa County, please By Ryan T.
    [Show full text]
  • BABY BOY TEAM 04 - in Da Club
    04 Enquête: Nos icones Gays :: 2005 Jan Chingy , Salim Kéchiouche, V in Diesel, Missy Elliott... Sommaire BABY BOY TEAM 04 - In Da Club Rédacteur en chef : Fouad Zeraoui Cool Hot Boyz Directeur Artistique : Dimitri Carnus Photographe : Alain Charles Beau 06 - Tabloid Junky Correcteur : Corinne Megy Hot News Directeur de Publication : Fouad Zeraoui Assistant : Skander Dafdouf Tél.:01 53 23 11 05 08 - R’n Boy Editeur : Kelma Group Portrait : Cyril Publicité : Nicolas Dupuis Tél.:01 53 23 11 06 Fax: 01 53 23 11 22 10 - R’n Girl ou [email protected] Alicia Keys Abonnement : www.babyboy.fr 12 - R’n Boy Baby Boy est publié par Kelma Group Portrait : Jazz 118-130 avenue Jean JAURES 75169 paris cedex 19 sarl au capital de 10 000 euros 14 - BBB T Room R.C.S PARIS B 479121287 Reportage photo La reproduction totale ou partielle des arti- cles et illustrations sans autorisation est interdite. Baby Boy décline toute responsa- 24 - Dossier bilité pour les documents remis non solli- cités. Les articles sont libres de toute Nos icones gays publicité. Rédaction : ([email protected]) 26 - Baby Style Coordination de la rédaction : Basket top modèle Jan de Kerne collaborateur : Cyril denuet, William Carnimolla, Laurent Riès, Joseph 30 - Play List Marie, Hulewick, Caro et Nico, Simon Dj Rod Dorléac, Antoine Bienvenu, Rachid X, Antoine Legrand, Yasmine 33 - Play Baby Ne pas jeter sur la voie publique. Prince of persia Couverture : Chingy Album : Powerballin 33 - Sex and the cité Capital records Ma trique reloaded 36 - Let’s Talk About Sex Un gazou à Marrakech 38 - Viens Voir le docteur Par Rachid X 03 in Da Club Photos / Alain Charles Beau, Gérard Bezaud Cool Party Boyz Clichés pris à la soirée BBB Concours de strippers black blanc beur 05 Tabloid Junkie KK MarMaroo businessbusiness >A l'image de Puff Daddy ou Jay-Z, il veut osé l'affront de reprendre le tube mythique tout avoir : sa musique, son restaurant et de Stéphanie Mills (Never knew love like this bientôt sa propre marque de vêtement.
    [Show full text]
  • S a L L Y S E T L I
    S A L L Y S E T L I S T Popular ❖ Dancing Queen - ABBA ❖ Long Way To The Top - AC/DC ❖ Make you feel my love - Adele ❖ rolling in the deep - adele ❖ When We Were Young - Adele ❖ One and Only - Adele ❖ Let’s Stay Together - Al Green ❖ If Trouble Was Money - Albert Collins ❖ Empire State of mind - Alicia Keys ❖ If I Ain’t Got You - Alicia Keys ❖ I’ll Fly Away - Alison Krauss ❖ Oh Atlanta - Alison Krauss ❖ One Way Out - Allman Brothers Band ❖ Wake Me Up - Aloe Blacc ❖ I Need A Dollar - Aloe Blacc ❖ Rehab - Amy Winehouse ❖ Valerie - Amy Winehouse ❖ Bella - Angus and Julia Stone ❖ Big Jet Plane - Angus and Julia Stone ❖ The Girl From Ipanema - Antonio Carlos Jobim ❖ I Bet that You Look Good On the Dancefloor - Arctic Monkeys ❖ Chain of Fools - Aretha Franklin ❖ I Say A Little Prayer - Aretha Franklin ❖ R-E-S-P-E-C-T - Aretha Franklin ❖ One Crowded Hour - Augie March ❖ Wake Me Up - Avicii ❖ Let The Good Times Roll - B B King ❖ Three O’clock Blues - B B King ❖ Fight For Your Right - Beastie Boys ❖ How Deep Is Your Love - Bee Gees ❖ Stand by me - Ben E. King ❖ The Luckiest - Ben Folds ❖ Steal My Kisses - Ben Harper ❖ Wish You Well - Bernard Fanning ❖ XO - Beyonce ❖ Ain’t No Sunshine - Bill Withers ❖ Use Me - Bill Withers ❖ Everything I Wanted - Billie Eilish ❖ Just The Way You Are - Billy Joel ❖ Achy Breaky Heart - Billy Ray Cyrus ❖ I Gotta Feeling - Black Eyed Peas ❖ No Diggity - Blackstreet ❖ All The Small Things - Blink 182 ❖ Dammit - Blink 182 ❖ Make You Feel My Love - Bob Dylan ❖ Mr Tambourine Man - Bob Dylan ❖ I Shot The Sherrif - Bob Marley
    [Show full text]
  • Urban Sectoral Training for Usaid Staff (Global)
    K:\IAC\AGreer\SHARE \6967-SUM Task Orders\06967-009 (Urban Training)\Products\06967-009 Q3-2002.doc FINAL REPORT AND RECOMMENDATIONS FOR FUTURE TRAINING URBAN SECTORAL TRAINING FOR USAID STAFF (GLOBAL) Prepared for Prepared by Clare Romanik The Urban Institute Kathy Alison Training Resources Group Urban Sectoral Training for USAID Staff (Global) United States Agency for International Development Contract No. LAG-I-00-99-00036-00, TO No. 06 THE URBAN INSTITUTE 2100 M Street, NW Washington, DC 20037 (202) 833-7200 October 2003 www.urban.org UI Project 06967-009 TABLE OF ANNEXES COURSE AGENDA Agenda for Development and Cities: Urban 101—December 2002 Offering ...........................................10 Agenda for Development and Cities: Urban 101—March 2003 Offering .................................................12 Agenda for Cities and Economic Growth—September 2003 Offering .....................................................14 CASE STUDY EXERCISES Local Economic Development Case Study No. 1—Villanueva, Honduras...............................................17 Local Economic Development Case Study No. 2—Smolyan Region, Bulgaria ........................................20 Local Economic Development Case Study No. 3—Central Region, Ghana.............................................24 Local Economic Development Case Study No. 4—Dumyat, Egypt.........................................................28 EVALUATION RESULTS Evaluation Results for Development and Cities: Urban 101—December 2002 Offering............................31 Evaluation
    [Show full text]
  • Fullerton Observer Local News January 2014
    COMMUNITY ullerton n bsCAeLENrDAvR Paege 12r-15 FFULLERTON’S INDEPENDENT NEWS • Est.1978 (priOnted on 20% recycled paper) • YEAR 36 #1 • JANUARY 2014 LITTLE BAKERS Oil Spill at Fullerton Creek INFRASTRUCTURE Above: Young students sing and dance to ARE THERE MORE IN OUR FUTURE? THE GOOD & BAD “Bake the Cake” during Authorities have been close-lipped ization Next Generation, acidizing uses the An overview of city infrastructure accom- a holiday dance recital about the causes of the recent oil spill into powerful solvent hydrofluoric acid (HF). plishments, deficits and longterm funding at the Plummer Auditorium. Fullerton Creek. There is also no informa- The substance is mixed with water and needs was presented by Public Works PHOTO PATTY SEGOVIA-KRAUSE tion available to the public about the vol- other chemicals and pressure-injected into Director Don Hoppe at the last council ume spilled and recovered, or test results wells. If used at too high a concentrate it meeting of the year. of the spill substances. can breach the steel walls of well casings The end of city Redevelopment Agencies The spill was called into the city early and enter the surrounding water table. HF which provided funding for many projects, a 7 . A Thursday morning, Jan. 2nd, by a citizen is on the Superfund list of Extremely 7 reduction in Gas Tax funds, and the effects of S D . 5 C I D 1 U who noticed oil flowing from the corner Hazardous Substances; rated by the US the recession have created significant funding A E . N P T D O of Bastanchury and State College into the Centers for Disease Control as one of the challenges, said Dir.
    [Show full text]
  • Moustaches of Glory by Jamiebeckett Getting Feist-Y by Sarahmoylan
    volume 10 - issue 7 - tuesday, october 18, 2011 - uvm, burlington, vt uvm.edu/~watertwr - thewatertower.tumblr.com by sarahperda As I arrived in McAuley Circle on fresh- man year move in day I knew I was going to love this school—though my overpro- tective father was slightly less beguiled than I was, watching the football team use their chiseled, muscly arms to tote all of my belongings up to my room was the greatest way to kick off my college career. My heart fluttered as three athletic gods swaggered over to my overstuffed vehicle, however my excitement quickly morphed into humili- ation. The first thing these beautiful men said to me was, “You’re from Connecticut, aren’t you?” As I stood there silent and pal- lid, begging my subpar social skills to pull through just this once, they simply laughed by gregfrancese and took my taciturnity as conformation and said, “We can always spot Connecti- I love reading the newspaper. Picking office. Now that I mention it, the post office and an interesting story here and there are cut girls, they always pack the most stuff.” up a copy of the New York Times before my was a miserable place. I remember it smell- not enough. Newspapers like the Chicago Needless to say, I was more than a little tak- 9:35 ENG 13 class was more than a ritual, it ing like a combination of spit and paper. Tribune and the Philadelphia Inquirer have en aback by their effrontery. I am not usu- was a means of survival.
    [Show full text]