80'S and 90'S CLASSICS
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AC/DC You Shook Me All Night Long Adele Rolling in the Deep Al Green
AC/DC You Shook Me All Night Long Adele Rolling in the Deep Al Green Let's Stay Together Alabama Dixieland Delight Alan Jackson It's Five O'Clock Somewhere Alex Claire Too Close Alice in Chains No Excuses America Lonely People Sister Golden Hair American Authors The Best Day of My Life Avicii Hey Brother Bad Company Feel Like Making Love Can't Get Enough of Your Love Bastille Pompeii Ben Harper Steal My Kisses Bill Withers Ain't No Sunshine Lean on Me Billy Joel You May Be Right Don't Ask Me Why Just the Way You Are Only the Good Die Young Still Rock and Roll to Me Captain Jack Blake Shelton Boys 'Round Here God Gave Me You Bob Dylan Tangled Up in Blue The Man in Me To Make You Feel My Love You Belong to Me Knocking on Heaven's Door Don't Think Twice Bob Marley and the Wailers One Love Three Little Birds Bob Seger Old Time Rock & Roll Night Moves Turn the Page Bobby Darin Beyond the Sea Bon Jovi Dead or Alive Living on a Prayer You Give Love a Bad Name Brad Paisley She's Everything Bruce Springsteen Glory Days Bruno Mars Locked Out of Heaven Marry You Treasure Bryan Adams Summer of '69 Cat Stevens Wild World If You Want to Sing Out CCR Bad Moon Rising Down on the Corner Have You Ever Seen the Rain Looking Out My Backdoor Midnight Special Cee Lo Green Forget You Charlie Pride Kiss an Angel Good Morning Cheap Trick I Want You to Want Me Christina Perri A Thousand Years Counting Crows Mr. -
Congressional Record—Senate S6907
June 16, 2004 CONGRESSIONAL RECORD — SENATE S6907 COMMITTEE ON FOREIGN RELATIONS BINGAMAN, that during the pendency of bility for U.S. fishers and processors Mr. WARNER. Mr. President, I ask the DOD authorization bill, S. 2400, and a structure for future scientific unanimous consent that the Com- Sherrick Roanhorse and Rebecca collaboration. mittee on Foreign Relations be author- Wilcox, interns on Senator BINGAMAN’s The recommended legislation nec- ized to meet during the session of the staff, be given the privilege of the essary to implement the Agreement Senate on Wednesday, June 16, 2004 at floor. will be submitted separately to the 2 p.m. to hold a Nominations Hearing. The PRESIDING OFFICER. Without Congress. The PRESIDING OFFICER. Without objection, it is so ordered. I recommend that the Senate give fa- objection, it is so ordered. vorable consideration to this Agree- f ment and give its advice and consent to COMMITTEE ON INDIAN AFFAIRS APPOINTMENTS ratification at an early date. Mr. WARNER. Mr. President, I ask unanimous consent that the Com- The PRESIDING OFFICER. The f mittee on Indian Affairs be authorized Chair, on behalf of the Majority Leader RECOGNIZING THE ACCOMPLISH- to meet on Wednesday, June 16, 2004, at pursuant to Public Law 107–252, Title MENTS AND CONTRIBUTIONS OF 10 a.m. in Room 485 of the Russell Sen- II, Section 214, appoints the following RAY CHARLES TO THE WORLD ate Office Building to conduct a Busi- individual to serve as a member of the OF MUSIC ness Meeting on pending committee Election Assistance Board of Advisors: Mr. -
Carly Simon Transcript Index
CARLY SIMON TRANSCRIPT INDEX If you are interested in viewing the full length video or transcription please email [email protected] BRONX ............................................. 3, 11, 52 A BURT BACHARACH .................................... 33 ALAN ARKIN ............................................... 27 BUZZY LINHART ................................... 11, 52 ALAN BENNETT .......................................... 30 C ALBERT EINSTEIN ...................................... 13 CARNEGIE HALL ........ 5, 50, 51, 53, 54, 55, 60 ANDY NEWMARK .......................... 52, 57, 62 CAROLE KING............................................. 34 ANNIE ROSS ................................................. 8 CAROLYN HESTER ...................................... 27 ANTICIPATION ......................... 53, 54, 56, 57 CASCADE AVENUE ..................................... 14 ARLENE ROTHBERG ................................... 55 CAT STEVENS ................42, 43, 50, 53, 55, 60 ARTHUR SCHWARZENHAUER .................... 13 CHAD MITCHELL ........................................ 11 B CHARLIE CLOSE .......................................... 27 BENNY GOODMAN .................................... 13 CHILMARK COMMUNITY CENTER ............. 19 BEST NEW ARTIST ..................................... 60 CLIVE DAVIS ............................................... 38 BEYOND THE FRINGE ................................ 30 COMING AROUND AGAIN ................... 44, 56 BIG SUR ..................................................... 61 D BILL LEE .................................................... -
“Clive Davis Said to Me, 'When Are You Going to Get Garth out of No. 1 So I
Turning Twenty he “good ol’ days” typically get a lot better press than they deserve. Unless, pretty easy to see where the potential on the roster was. of course, you’re talking about 1989, country music and Country radio. The Nobody knew big numbers here. I marketed the first album right along with the second one, which was what nobody got. NFL may have the quarterback class of ‘83 – Elway, Marino, Kelly, et al. – but When a new record comes out you force them to do catalog Nashville’s “Class of ‘89” tops even that illustrious group. and market them side-by-side. I was getting reorders of a T million units from one account. Amazing. You made them, “I remember this kind of stocky kid who kept coming into DuBois says. “I’d never run a record label so I can’t say it you shipped them and they disappeared.” the station because he had nothing else to do during the day,” changed all of a sudden, but radio was just so open to new The balloon was on the way up. “That Class of ‘89 says former KPLX/Dallas GM music. I used to call it the giant flush. All of a sudden there morphed into the ‘New Country’ explosion,” DuBois says. Dan Halyburton. “Garth Brooks in ‘89 and ‘90 there were a ton of artists, who had previously “I remember going from doing country fan rag interviews to would literally just hang out before been occupying chart positions, that just went away. When taking calls from Forbes and doing interviews with Business he played at a little honkytonk that that happened there was room for all this new stuff.” Week. -
To Download a PDF of a Letter from Clive Davis, Chief Creative Officer, Sony
Letters From Leaders Life doesn’t just go up, up and up. We all have to confront and deal with adversity at different times in our life. Determination to get through it is very important as is belief that you will get through it. I faced my toughest challenge in my life when both my parents passed away, within a year of each other, when I was 18. I had to leave my home in Brooklyn during my sophomore year at N.Y.U and go to live with my sister, her husband and their one-year-old daughter in Bayside, Queens. Because of them and an active support group of friends at N.Y.U – where I became President of the college’s Student Council – I didn’t face my loneliness and feelings of being an “orphan” until I was living alone at Harvard Law School a few years later. Given I had a lifetime aggregate sum of $4,000 to my name, I was dependent on a full tuition scholarship which I would lose if I didn’t maintain at least a “B” average. With no one from my support group present to help me get through this period of deep anxiety, I turned to the law school’s psychiatrist for a year to help get me through this dark transitional period. During this time, I learned a critical life lesson: it is certainly no sign of weakness to get professional help when needed. My next major life turning point occurred in the year 1960. I was an associate at the law fi rm of Rosenman, Colin, Petschek and Freund servicing clients such as CBS, CBS founder William Paley and other major corporations. -
“A Whole New World” by Zayn Malik and Zhavia Ward
PROJECT (Professional Journal of English Education) p–ISSN 2614-6320 Volume 3, No. 4, July 2020 e–ISSN 2614-6258 AN ANALYSIS OF FIGURATIVE LANGUAGE USED IN THE LYRIC OF “A WHOLE NEW WORLD” BY ZAYN MALIK AND ZHAVIA WARD Siti Nursolihat 1, Evie Kareviati2 1 IKIP Siliwangi 2 IKIP Siliwangi 1 [email protected], 2 [email protected] Abstract Language is a tool of communication used by people anywhere and every time. Now days people commonly find a figurative language in daily life, for example in a lyric of song. Figurative language is a way to express an idea in implicit way. This research is trying to analyze the figurative languages which exist in the lyric of song “A Whole New World” and trying to find out its meaning by analyzing its contextual meaning. This is a descriptive qualitative research. The data instrument is the song lyric which taken from Genius website. The result showed that this song consist of some figurative languages, such as alliteration, simile, personification, metaphor, and hyperbole. Furthermore, the most figurative language used in the lyric is metaphor. It is highly relatable with the imaginative theme of the song itself. The contextual meaning of each figurative language is also explained based on the situation of the lyric. Keywords: Figurative Language, Song Lyric, Contextual Meaning INTRODUCTION Language is a tool of communication used by the people, orally or writing. Basic aim of language learning nowdays is communication and vocabulary plays an important role in conversation (Komorowska, 2005) as cited in Nurdiansyah, Asyid, & Parmawati (2019). -
Bono, the Culture Wars, and a Profane Decision: the FCC's Reversal of Course on Indecency Determinations and Its New Path on Profanity
Bono, the Culture Wars, and a Profane Decision: The FCC's Reversal of Course on Indecency Determinations and Its New Path on Profanity Clay Calvert* INTRODUCTION The United States Supreme Court has rendered numerous high- profile opinions in the past thirty-five years regarding variations of the word "fuck." Paul Robert Cohen's anti-draft jacket,' Gregory Hess's threatening promise, 23George Carlin's satirical monologue,3 and Barbara Susan Papish's newspaper headline 4 quickly come to mind. 5 These now-aging opinions address important First Amendment issues of free speech, such as protection of political dissent,6 that continue to carry importance today. It is, however, a March 2004 ruling * Associate Professor of Communications & Law and Co-director of the Pennsylvania Center for the First Amendment at The Pennsylvania State University. B.A., 1987, Communication, Stanford University; J.D. with Great Distinction and Order of the Coif, 1991, McGeorge School of Law, University of the Pacific; Ph.D., 1996, Communication, Stanford University. Member, State Bar of California. 1. Cohen v. California, 403 U.S. 15 (1971) (protecting, as freedom of expression, the right to wear ajacket emblazoned with the words "Fuck the Draft" in a Los Angeles courthouse corridor). 2. Hess v. Indiana, 414 U.S. 105, 105 (1973) (protecting, as freedom of expression, defendant's statement, "We'll take the fucking street later (or again)," made during an anti-war demonstration on a university campus). 3. FCC v. Pacifica Found., 438 U.S. 726 (1978) (upholding the Federal Communications Commission's power to regulate indecent radio broadcasts and involving the radio play of several offensive words, including, but not limited to, "fuck" and "motherfucker"). -
Christopher Cross Biography Christopher Cross Is a Music Icon. in 2011, the Oscar and Five-Time Grammy Winning Artist Is Back W
Christopher Cross Biography Christopher Cross is a music icon. In 2011, the Oscar and five-time Grammy winning artist is back with an amazingly crafted new album, Doctor Faith. It’s his first album of new and original material in over 12 years. Cross' 1980 self-titled debut album rocketed to the #2 spot. Breaking out as the biggest new star of that year, he virtually defined adult contemporary radio with a series of smoothly sophisticated ballads including the #1 hit, "Sailing." If the charts weren’t evidence enough, at the 1981 Grammy Awards Christopher walked off with an unprecedented and record-setting five Grammys, including Best New Artist and Song of the Year for "Sailing." The self-titled debut album, featuring lead single "Ride Like the Wind," and the massively successful second single "Sailing" made Cross a superstar. In the wake of two more Top 20 hits, "Never Be the Same" and "Say You'll Be Mine,” he soon scored a second #1, as well as an Academy Award, with "Arthur's Theme (Best That You Can Do)," which he co-wrote with Burt Bacharach, Carole Bayer Sager, and Peter Allen for the smash Dudley Moore film Arthur. Christopher's much-anticipated second album Another Page was released in 1983 and produced the hits "All Right," "No Time for Talk," and a Top Ten entry for "Think of Laura. He charted 8 songs into the Billboard Top-40 charts between 1980 and 1983. Four years, two albums, eight hit singles, several world tours, five Grammy's, and one Oscar marked Christopher's meteoric rise to the top. -
The Boy from Oz Music and Lyrics by Peter Allen Book by Martin Sherman and Nick Enright with (In Alphabetical Order) Andrew Bongiorno, Michayla Brown, Marcus S
and Bruce W. Zisterer present in association with Nicholas Caprio, Michael C. Kricfalusi, Todd Milliner, and Jack Morrissey The Boy From Oz Music and Lyrics by Peter Allen Book by Martin Sherman and Nick Enright with (in alphabetical order) Andrew Bongiorno, Michayla Brown, Marcus S. Daniel, Michael Taylor Gray*, Erica Hanrahan-Ball*, Kelly Lester*, Chelsea Martin, Michael Mittman, Nathan Mohebbi, Bess Motta, Jessica Pennington*, Shanta’ Marie Robinson Scenic Designer Lighting Designer Costume Designer Yuri Okahana Derrick McDaniel Michael Mullen Properties Designer Sound Designer Hair and Wig Designer Michael O’Hara Eric Snodgrass Byron Batista Marketing/PR Casting David Elzer/DEMAND PR Jami Rudofsky Production Stage Manager Graphic Designer Photographers Jennifer Leigh Sears* Huntley Woods Casey Kringlen and Kevin McIntyre Assistant Director Associate Producer Assistant Choreographer Kyle Cooper Mark Giberson Michael Quiett Produced by Andrew Carlberg Musical Direction by Bryan Blaskie Choreographed by Janet Roston Directed by Michael A. Shepperd *Member of Actors’ Equity Association, The Union of Professional Actors and Stage Managers in the United States. Original Production by Ben Gannon and Robert Fox by arrangement with David Spicer Productions www.davidspicer.com.au CAST (Alphabetical) ANDREW BONGIORNO Peter Allen MICHAYLA BROWN Young Peter Allen MARCUS S. DANIEL Chris and Others MICHAEL TAYLOR GRAY* Dee and Others ERICA HANRAHAN-BALL* Karen and Others KELLY LESTER* Marion Woolnough CHELSEA MARTIN Linelle and Others MICHAEL MITTMAN Greg and Others NATHAN MOHEBBI Mark and Others BESS MOTTA Judy Garland JESSICA PENNINGTON* Liza Minnelli SHANTA’ MARIE ROBINSON Shena and Others SWINGS (See Insert) *Member of Actors’ Equity Association, The Union of Professional Actors and Stage Managers in the United States. -
The Aesthetics of Hate Music
The Aesthetics of �Hate Music� By Keith Kahn-Harris Introduction The expression of hatred in music is, for many people, something intrinsically worrisome. From Nazi skinhead music to homophobic reggae, hate music seems to demand close watching at least and direct censorship at most. This is perfectly understandable given contemporary concerns about �hate speech� and in many ways the desire not to let hate-filled music pass without comment is a laudable one. However, I want to argue that the terms of the debate about hate and music are all too frequently rooted in certain, very questionable, ideas about musical aesthetics and that as a consequence some of the complexities surrounding issues regarding hatred and music tend to be ignored. In particular I wish to question the tacit assumption behind much writing on music and hate that it is a prioria problem. That is, that hatred and music simply do not go together and when they do come together the consequences can only be worrying. In fact, this assumption is historically specific and open to question and contestation, with important consequences for our understanding of music and hate The legitimacy of hatred In western societies at least, the development in the nineteenth century of a particular musical aesthetic has had far-reaching consequences (Chanan 1994). That is, the resurrection of the Platonic idea that music should ideally represent a form of transcendental perfection. In an impure world of lust, conflict and hatred, music should ideally represent the world as it ought to be, a world that is whole, perfect, free of messy bodily imperfections and antagonism. -
We Are Santa's Elves (6Th Grade) Jolly Old St. Nicholas (Kindergarten) O
We Are Santa’s Elves (6th Grade) O Come All Ye Faithful (5th Grade) Ho Ho Ho! Ho Ho Ho! O come, all ye faithful We are Santa's elves. Joyful and triumphant We are Santa's elves, O come ye, o come ye to Bethlehem Filling Santa's shelves with a toy Come and behold Him For each girl and boy. Born the King of Angels! Oh, we are Santa's elves. O come, let us adore Him O come, let us adore Him We work hard all day, O come, let us adore Him But our work is play. Christ the Lord Dolls we try out, See if they cry out. Sing, choirs of angels We are Santa's elves. Sing in exultation Sing all ye citizens of heaven above We've a special job each year. Glory to God in the highest We don't like to brag. O come, let us adore Him Christmas Eve we always O come, let us adore Him Fill Santa's bag. O come, let us adore Him Santa knows who's good. Christ the Lord Do the things you should. And we bet you, Silent Night (3rd Grade) He won't forget you. Silent night, holy night We are Santa's elves. All is calm, all is bright 'Round yon virgin Mother and Child Ho Ho Ho! Ho Ho Ho! Holy infant so tender and mild We are Santa's elves. Sleep in heavenly peace Ho Ho! Sleep in heavenly peace Silent night, holy night! Jolly Old St. Nicholas (Kindergarten) Shepherds quake at the sight! Jolly old St.Nicholas Glories stream from heaven afar; Lean your ear this way Heavenly hosts sing Al-le-lu-ia! Don't you tell a single soul Christ the Savior is born! What I'm going to say Christ the Savior is born! Christmas Eve is coming soon The First Noel (4th Grade) Now, my dear old man The First Noel, the Angel did say Whisper what you'll bring to me Was to certain poor shepherds Tell me if you can In fields as they lay. -
Preach My Gospel (D&C 50:14)
A Guide to Missionary Service reach My Gospel P (D&C 50:14) “Repent, all ye ends of the earth, and come unto me and be baptized in my name, that ye may be sanctified by the reception of the Holy Ghost” (3 Nephi 27:20). Name: Mission and Dates of Service: List of Areas: Companions: Names and Addresses of People Baptized and Confirmed: Preach My Gospel (D&C 50:14) Published by The Church of Jesus Christ of Latter-day Saints Salt Lake City, Utah Cover: John the Baptist Baptizing Jesus © 1988 by Greg K. Olsen Courtesy Mill Pond Press and Dr. Gerry Hooper. Do not copy. © 2004 by Intellectual Reserve, Inc. All rights reserved Printed in the United States of America English approval: 01/05 Preach My Gospel (D&C 50:14) First Presidency Message . v Introduction: How Can I Best Use Preach My Gospel? . vii 1 What Is My Purpose as a Missionary? . 1 2 How Do I Study Effectively and Prepare to Teach? . 17 3 What Do I Study and Teach? . 29 • Lesson 1: The Message of the Restoration of the Gospel of Jesus Christ . 31 • Lesson 2: The Plan of Salvation . 47 • Lesson 3: The Gospel of Jesus Christ . 60 • Lesson 4: The Commandments . 71 • Lesson 5: Laws and Ordinances . 82 4 How Do I Recognize and Understand the Spirit? . 89 5 What Is the Role of the Book of Mormon? . 103 6 How Do I Develop Christlike Attributes? . 115 7 How Can I Better Learn My Mission Language? . 127 8 How Do I Use Time Wisely? .