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Full Environmental Assessment Form (FEAF) Workbook
Full Environmental Assessment Form (FEAF) Workbook SEQR Environmental Assessment Form Guidance Documents The Full Environmental Assessment Form (FEAF) is designed specifically for Type I Actions. It has three parts. The first part (Part 1) is filled out by the applicant, or project sponsor. Part 2 and Part 3 are the responsibility of the lead agency. Throughout the workbook, the term 'lead agency' is also referred to as the 'reviewing agency'. Part 1 of the FEAF provides details that will help the reviewing agency understand the location, size, type, and characteristics of the proposed project. Part 1 can be completed by the applicant using information prepared as part of the approval submission along with maps, plats, or other studies that may have been conducted and by exploring the information and maps available through the links in this guide. The lead agency should also review the information provided by the applicant in Part 1 for basic accuracy and completeness. Sometimes, the lead agency is also the project sponsor and there are no other agencies involved. An example of this is when a municipality adopts a local law. In such circumstances, the lead agency would also be required to complete Part 1 as the project sponsor. Part 2 is used to help the reviewing agency identify potential impacts that may result from the project. In order to do this, the reviewing agency will evaluate information from Part 1, but may also ask the applicant for clarification of information provided in Part 1, or additional information. Part 3 is used by the reviewing agency to determine if the potential adverse impacts identified in Part 2 are significant or not, and whether a draft environmental impact statement (DEIS) will be prepared. -
Eating After the Triple Disaster: New Meanings of Food in Three Post-3.11 Texts
EATING AFTER THE TRIPLE DISASTER: NEW MEANINGS OF FOOD IN THREE POST-3.11 TEXTS by ROSALEY GAI B.A., The University of Chicago, June 2016 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in THE FACULTY OF GRADUATE AND POSTDOCTORAL STUDIES (Asian Studies) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) August 2020 © Rosaley Gai, 2020 The following individuals certify that they have read, and recommend to the Faculty of Graduate and Postdoctoral Studies for acceptance, the thesis entitled: Eating After the Triple Disaster: New Meanings of Food in Three Post-3.11 Texts submitted by Rosaley Gai in partial fulfillment of the requirements for the degree of Master of Arts in Asian Studies Examining Committee: Sharalyn Orbaugh, Professor, Asian Studies, UBC Supervisor Christina Yi, Associate Professor, Asian Studies, UBC Supervisory Committee Member Ayaka Yoshimizu, Assistant Professor of Teaching, Asian Studies, UBC Supervisory Committee Member ii ABstract Known colloquially as “3.11,” the triple disaster that struck Japan’s northeastern region of Tōhoku on March 11, 2011 comprised of both natural (the magnitude 9.0 earthquake and resultant tsunami) and humanmade (the nuclear meltdown at the Tokyo Electric Power Company’s Fukushima Daiichi nuclear power plant incurred due to post-earthquake damage) disasters. In the days, weeks, months, and years that followed, there was an outpouring of media reacting to and reflecting on the great loss of life and resulting nuclear contamination of the nearby land and sea of the region. Thematically, food plays a large role in many post-3.11 narratives, both through the damage and recovery of local food systems after the natural disasters and the radiation contamination that to this day stigmatizes regionally grown food. -
Williams, Hipness, Hybridity, and Neo-Bohemian Hip-Hop
HIPNESS, HYBRIDITY, AND “NEO-BOHEMIAN” HIP-HOP: RETHINKING EXISTENCE IN THE AFRICAN DIASPORA A Dissertation Presented to the Faculty of the Graduate School of Cornell University in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy by Maxwell Lewis Williams August 2020 © 2020 Maxwell Lewis Williams HIPNESS, HYBRIDITY, AND “NEO-BOHEMIAN” HIP-HOP: RETHINKING EXISTENCE IN THE AFRICAN DIASPORA Maxwell Lewis Williams Cornell University 2020 This dissertation theorizes a contemporary hip-hop genre that I call “neo-bohemian,” typified by rapper Kendrick Lamar and his collective, Black Hippy. I argue that, by reclaiming the origins of hipness as a set of hybridizing Black cultural responses to the experience of modernity, neo- bohemian rappers imagine and live out liberating ways of being beyond the West’s objectification and dehumanization of Blackness. In turn, I situate neo-bohemian hip-hop within a history of Black musical expression in the United States, Senegal, Mali, and South Africa to locate an “aesthetics of existence” in the African diaspora. By centering this aesthetics as a unifying component of these musical practices, I challenge top-down models of essential diasporic interconnection. Instead, I present diaspora as emerging primarily through comparable responses to experiences of paradigmatic racial violence, through which to imagine radical alternatives to our anti-Black global society. Overall, by rethinking the heuristic value of hipness as a musical and lived Black aesthetic, the project develops an innovative method for connecting the aesthetic and the social in music studies and Black studies, while offering original historical and musicological insights into Black metaphysics and studies of the African diaspora. -
ALBUM TOP 50 - Manuscript
Nacht v/d CD-Vreters 2013 - ALBUM TOP 50 - Manuscript 1 ARCTIC MONKEYS 'AM' 2 QUEENS OF THE STONE AGE '... Like Clockwork' 3 THE DELTA SAINTS 'Death Letter Jubilee' 4 NICK CAVE & THE BAD SEEDS 'Push The Sky Away' 5 THE NATIONAL 'Trouble Will Find Me' 6 DAFT PUNK 'Random Access Memories' 7 ARCADE FIRE 'Reflektor' 8 DAVID BOWIE 'The Next Day' 9 TRIXIE WHITLEY 'Fourth Corner' 10 NORTH MISSISSIPPI ALLSTARS 'World Boogie Is Coming' 11 PEARL JAM 'Lightning Bolt' 12 KURT VILE 'Waking On A Pretty Daze' 13 FOALS 'Holy Fire' 14 DAAN 'Le Franc Belge' 15 GARETT LEBEAU 'Rise To The Grind' 16 THE CHILD OF LOV 'The Child Of Lov' 17 JAKE BUGG 'Shangri La' 18 THE KNIFE 'Shaking The Habitual' 19 FLYING HORSEMAN 'City Same City' 20 POORBOYS AND PILGRIMS 'Aj't Geweten' 21 UNCLE LUCIUS 'And You Are Me' 22 CRYSTAL FIGHTERS 'Cave Rave' 23 CHARLES BRADLEY 'Victim Of Love' 24 STROMAE 'Racine Carrée' 25 PHOSPHORESCENT 'Muchacho' 26 LEE HARVEY OSMOND 'The Folk Sinner' 27 BEN HARPER & CHARLIE MUSSELWHITE 'Get up' 28 FLIP KOWLIER 'Cirque' 29 MILES KANE 'Don't Forget Who You Are' 30 ATOMS FOR PEACE 'Amok' 31 FLAMING LIPS 'Terror' 32 BOMBINO 'Nomad' 33 EELS 'Wonderful, Glorious' 34 GIRLS IN HAWAII 'Everest' 35 FRANZ FERDINAND 'Right Thoughts, Right Words' 36 JAMES HUNTER 'Minute By Minute' 37 UNKNOWN MORTAL ORCHESTRA 'II' 38 VILLAGERS 'Awayland' 39 GOV'T MULE 'Shout' 40 KINGS OF LEON 'Mechanical Bull' 41 BONOBO 'The North Borders' 42 DEERHUNTER 'Monomania' 43 CHVRCHES 'The Bones Of What You Believe' 44 PHOENIX 'Bankrupt' 45 DEVENDRA BANHART 'Mala' 46 NIGHT BEATS 'Sonic Bloom' 47 TEDESCHI TRUCKS BAND 'Made Up Mind' 48 JAMES BLAKE 'Overgrown' 49 MADENSUYU 'Sabat Matter' 50 SAVAGES 'Silence Yourself'. -
Revising the World with Speech in Franz Kafka, Robert Walser and Thomas Bernhard
Monologue Overgrown: Revising the world with speech in Franz Kafka, Robert Walser and Thomas Bernhard by Paul Joseph Buchholz This thesis/dissertation document has been electronically approved by the following individuals: Schwarz,Anette (Chairperson) Gilgen,Peter (Minor Member) McBride,Patrizia C. (Minor Member) MONOLOGUE OVERGROWN: REVISING THE WORLD WITH SPEECH IN FRANZ KAFKA, ROBERT WALSER AND THOMAS BERNHARD A Dissertation Presented to the Faculty of the Graduate School of Cornell University In Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy by Paul Joseph Buchholz August 2010 © 2010 Paul Joseph Buchholz MONOLOGUE OVERGROWN: REVISING THE WORLD WITH SPEECH IN FRANZ KAFKA, ROBERT WALSER AND THOMAS BERNHARD Paul Joseph Buchholz, Ph. D. Cornell University 2010 My dissertation focuses on unstable, chronically unpublished prose texts by three key 20th century prose writers, quasi-novelistic texts whose material instability indicates a deep discomfort with the establishment of narrative authority qua narrative violence. I argue that Franz Kafka, Robert Walser and Thomas Bernhard, radically refunctionalized the device of interpolated “character monologue,” turning characters' speech from a narrative function, into a site where a text can be rewritten from within. In the Bildungsroman tradition, extended oral interpolations serve as an engine for the expansion and exposition of the plotted work, deepening the epic narrative world and exhaustively presenting a perspective that will be incorporated into biographical trajectory. I locate an estrangement of this practice: moments when oral monologues of fictional interlocutors “overgrow,” becoming an interventionary force that doubles, disrupts and re-frames the narrative discourse out of which it first sprouted. In showing how the labor of ‘world-making’ is split and spread across different competing layers of these texts, my dissertation contributes to the study of the narrative phenomenon of metalepsis. -
Visual Metaphors on Album Covers: an Analysis Into Graphic Design's
Visual Metaphors on Album Covers: An Analysis into Graphic Design’s Effectiveness at Conveying Music Genres by Vivian Le A THESIS submitted to Oregon State University Honors College in partial fulfillment of the requirements for the degree of Honors Baccalaureate of Science in Accounting and Business Information Systems (Honors Scholar) Presented May 29, 2020 Commencement June 2020 AN ABSTRACT OF THE THESIS OF Vivian Le for the degree of Honors Baccalaureate of Science in Accounting and Business Information Systems presented on May 29, 2020. Title: Visual Metaphors on Album Covers: An Analysis into Graphic Design’s Effectiveness at Conveying Music Genres. Abstract approved:_____________________________________________________ Ryann Reynolds-McIlnay The rise of digital streaming has largely impacted the way the average listener consumes music. Consequentially, while the role of album art has evolved to meet the changes in music technology, it is hard to measure the effect of digital streaming on modern album art. This research seeks to determine whether or not graphic design still plays a role in marketing information about the music, such as its genre, to the consumer. It does so through two studies: 1. A computer visual analysis that measures color dominance of an image, and 2. A mixed-design lab experiment with volunteer participants who attempt to assess the genre of a given album. Findings from the first study show that color scheme models created from album samples cannot be used to predict the genre of an album. Further findings from the second theory show that consumers pay a significant amount of attention to album covers, enough to be able to correctly assess the genre of an album most of the time. -
Hiv Alliance Event Featuring Piksix
K k NOVEMBER 2018 K g VOL. 30 #10 H WOWHALL.ORGk carols that still haunted us. We included a few original tunes and called our wintry mix The Darkest Night Of The Year. We played a special “darkest night” release concert on winter solstice in an old theater in Cincinnati. Folks began snatching up copies and seemed to agree that they hadn’t heard anything quite like it. “We began playing concerts around the Midwest every December and found that the rooms were usually packed full of people who had bundled in out of the cold with prized compatriots. Hats and scarves abounded. If you stepped outside during intermission, you could make ghosts with your breath in the crisp night air. And it was dark – oh so dark: a time of year with its own music. “A decade later, in 2006, we released our first full collection of original Christmas/holiday songs called Snow Angels. What is it OVER THE RHINE CHRISTMAS SHOW about Christmas music and the On Sunday, December 2, the originals, which invoke hard times public radio station in Cincinnati. the radio broadcast, because we undeniable gravitational pull it Community Center for the and celebrate the survival of the It was Christmastime and began receiving inquiries as to exerts on some songwriters? So Performing Arts proudly welcome’s least fit.” apparently they thought we were whether we had recorded any of many Christmas songs had already Over The Rhine’s Christmas Show Over the Rhine will return to up to the task. We worked up a our Christmas songs. -
Downbeat.Com February 2021 U.K. £6.99
FEBRUARY 2021 U.K. £6.99 DOWNBEAT.COM FEBRUARY 2021 DOWNBEAT 1 FEBRUARY 2021 VOLUME 88 / NUMBER 2 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Reviews Editor Dave Cantor Contributing Editor Ed Enright Creative Director ŽanetaÎuntová Design Assistant Will Dutton Assistant to the Publisher Sue Mahal Bookkeeper Evelyn Oakes ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile Vice President of Sales 630-359-9345 [email protected] Musical Instruments & East Coast Schools Ritche Deraney Vice President of Sales 201-445-6260 [email protected] Advertising Sales Associate Grace Blackford 630-359-9358 [email protected] OFFICES 102 N. Haven Road, Elmhurst, IL 60126–2970 630-941-2030 / Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 / [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, Aaron Cohen, Howard Mandel, John McDonough Atlanta: Jon Ross; Boston: Fred Bouchard, Frank-John Hadley; Chicago: Alain Drouot, Michael Jackson, Jeff Johnson, Peter Margasak, Bill Meyer, Paul Natkin, Howard Reich; Indiana: Mark Sheldon; Los Angeles: Earl Gibson, Sean J. O’Connell, Chris Walker, Josef Woodard, Scott Yanow; Michigan: John Ephland; Minneapolis: Andrea Canter; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, Jennifer Odell; New York: Herb Boyd, Bill Douthart, Philip Freeman, Stephanie Jones, Matthew Kassel, Jimmy Katz, Suzanne Lorge, Phillip Lutz, Jim Macnie, Ken Micallef, Bill Milkowski, Allen Morrison, Dan Ouellette, Ted Panken, Tom Staudter, Jack Vartoogian; Philadelphia: Shaun Brady; Portland: Robert Ham; San Francisco: Yoshi Kato, Denise Sullivan; Seattle: Paul de Barros; Washington, D.C.: Willard Jenkins, John Murph, Michael Wilderman; Canada: J.D. Considine, James Hale; France: Jean Szlamowicz; Germany: Hyou Vielz; Great Britain: Andrew Jones; Portugal: José Duarte; Romania: Virgil Mihaiu; Russia: Cyril Moshkow. -
Kendrick Lamar Album Downloads CLICK HERE to DOWNLOAD
kendrick lamar album downloads CLICK HERE TO DOWNLOAD. 1. Wesley’s Theory 2. For Free? (Interlude) 3. King Kunta 4. Institutionalized 5. These Walls 6. U 7. Alright 8. For Sale? (Interlude) 9. Momma 10. Hood Politics 11. How Much A Dollar Cost 12. Complexion 13. The Blacker The Berry 14. You Ain’t Gotta Lie (Momma Said) 15. I 16. Mortal Man. “Oh My God!” Is what would have screamed the legendary Joseph Joestar learning that Kendrick Lamar suddenly swung his album on the net! Writing MCM.fr should admit she is sort of shocked. The promotion was going thus slowly … yet instead of reveal everything directly, Kendrick Lamar had initial proclaimed the discharge date of his album referred to as Untitled at the time (which was scheduled for March twenty three at the base) before revealing the title, cowl and tracklist. whereas we have a tendency to sagely waited to own the names of these UN agency contributed to his CD, well no! The rapper skip this step so as to supply USA to concentrate to the album in its entireness per week before the discharge date! Indulge yourself by throwing a word of this project! Since the album is formally downloadable, we have a tendency to currently apprehend UN agency collaborated with the creative person Pimp To A Butterfly. we discover once more Thundercat, Bilal and Pakistani monetary unit Wise UN agency were within the single Untitled Kendrick Lamar, the legendary Snoop Dogg and President Clinton, and at last the gifted Californian rapper Rapsody! On the assembly facet we’ve got no data, however we have a tendency to bet the presence of Flying Lotus (K.Dot UN agency has already worked for the wonderful song ne'er Catch Me) Sounwave, Dr. -
Kendrick Lamar Lyrics
Kendrick Lamar Lyrics 『ケンドリック・ラマー・リリック帳 -合唱編- 』 YAPPARIHIPHOP.COM ! 目次 ! good kid, m.A.A.d city 3 02. “Bitch, Don’t Kill My Vibe 5 03. “Backseat Freestyle” 7 05. “Money Trees” (featuring Jay Rock) 9 06. “Poetic Justice” (featuring Drake) 10 08. “m.A.A.d city” (featuring MC Eiht 12 09. “Swimming Pools (Drank)” (Extended Version) 14 13. “The Recipe” (featuring Dr. Dre) Section 80 16 01. “Fuck Your Ethnicity” 18 02. “Hol’ Up” 20 03. “A.D.H.D” 23 05. “Tammy's Song (Her Evils)” 24 06. “Chapter Six” 25 14. “Blow My High (Members Only)” 27 16. “HiiiPoWeR” Overly Dedicated 28 04. “P&P 1.5 (feat. Ab-Soul)” 30 05. “Alien Girl (Today With Her)” 31 07. “Michael Jordan (feat. Schoolboy Q)” 33 12. “H.O.C” 34 13. “Cut You Off (To Grow Closer)” 36 15. “She Needs Me (Remix) [feat. Dom Kennedy and Murs]“ Other 37 ASAP Rocky “Fucking Problem” ft. Drake, 2 Chainz & Kendrick Lamar 38 “Look Out For Detox” 40 “Westside, Right On Time” ft. Young Jeezy 41 “Cartoon & Cereal” ft. Gunplay 2 Bitch, Don't Kill My Vibe [Hook] I am a sinner who's probably gonna sin again Lord forgive me, Lord forgive me Things I don't understand Sometimes I need to be alone Bitch don't kill my vibe, bitch don't kill my vibe I can feel your energy from two planets away I got my drink, I got my music I would share it but today I'm yelling Bitch don't kill my vibe, bitch don't kill my vibe Bitch don't kill my vibe, bitch don't kill my vibe [Verse 1] Look inside of my soul and you can find gold and maybe get rich Look inside of your soul and you can find out it never exist I can feel the -
Audio Plug-Ins Guide Version 9.0 Legal Notices This Guide Is Copyrighted ©2010 by Avid Technology, Inc., (Hereafter “Avid”), with All Rights Reserved
Audio Plug-Ins Guide Version 9.0 Legal Notices This guide is copyrighted ©2010 by Avid Technology, Inc., (hereafter “Avid”), with all rights reserved. Under copyright laws, this guide may not be duplicated in whole or in part without the written consent of Avid. 003, 96 I/O, 96i I/O, 192 Digital I/O, 192 I/O, 888|24 I/O, 882|20 I/O, 1622 I/O, 24-Bit ADAT Bridge I/O, AudioSuite, Avid, Avid DNA, Avid Mojo, Avid Unity, Avid Unity ISIS, Avid Xpress, AVoption, Axiom, Beat Detective, Bomb Factory, Bruno, C|24, Command|8, Control|24, D-Command, D-Control, D-Fi, D-fx, D-Show, D-Verb, DAE, Digi 002, DigiBase, DigiDelivery, Digidesign, Digidesign Audio Engine, Digidesign Intelligent Noise Reduction, Digidesign TDM Bus, DigiDrive, DigiRack, DigiTest, DigiTranslator, DINR, DV Toolkit, EditPack, Eleven, EUCON, HD Core, HD Process, Hybrid, Impact, Interplay, LoFi, M-Audio, MachineControl, Maxim, Mbox, MediaComposer, MIDI I/O, MIX, MultiShell, Nitris, OMF, OMF Interchange, PRE, ProControl, Pro Tools M-Powered, Pro Tools, Pro Tools|HD, Pro Tools LE, QuickPunch, Recti-Fi, Reel Tape, Reso, Reverb One, ReVibe, RTAS, Sibelius, Smack!, SoundReplacer, Sound Designer II, Strike, Structure, SYNC HD, SYNC I/O, Synchronic, TL Aggro, TL AutoPan, TL Drum Rehab, TL Everyphase, TL Fauxlder, TL In Tune, TL MasterMeter, TL Metro, TL Space, TL Utilities, Transfuser, Trillium Lane Labs, Vari-Fi, Velvet, X-Form, and XMON are trademarks or registered trademarks of Avid Technology, Inc. Xpand! is Registered in the U.S. Patent and Trademark Office. All other trademarks are the property of their respective owners. -
Music 10378 Songs, 32.6 Days, 109.89 GB
Page 1 of 297 Music 10378 songs, 32.6 days, 109.89 GB Name Time Album Artist 1 Ma voie lactée 3:12 À ta merci Fishbach 2 Y crois-tu 3:59 À ta merci Fishbach 3 Éternité 3:01 À ta merci Fishbach 4 Un beau langage 3:45 À ta merci Fishbach 5 Un autre que moi 3:04 À ta merci Fishbach 6 Feu 3:36 À ta merci Fishbach 7 On me dit tu 3:40 À ta merci Fishbach 8 Invisible désintégration de l'univers 3:50 À ta merci Fishbach 9 Le château 3:48 À ta merci Fishbach 10 Mortel 3:57 À ta merci Fishbach 11 Le meilleur de la fête 3:33 À ta merci Fishbach 12 À ta merci 2:48 À ta merci Fishbach 13 ’¡¡ÒàËÇèÒ 3:33 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 14 ’¡¢ÁÔé’ 2:29 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 15 ’¡à¢Ò 1:33 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 16 ¢’ÁàªÕ§ÁÒ 1:36 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 17 à¨éÒ’¡¢Ø’·Í§ 2:07 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 18 ’¡àÍÕé§ 2:23 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 19 ’¡¡ÒàËÇèÒ 4:00 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 20 áÁèËÁéÒ¡ÅèÍÁÅÙ¡ 6:49 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 21 áÁèËÁéÒ¡ÅèÍÁÅÙ¡ 6:23 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 22 ¡ÅèÍÁÅÙ¡â€ÃÒª 1:58 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 23 ¡ÅèÍÁÅÙ¡ÅéÒ’’Ò 2:55 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 24 Ë’èÍäÁé 3:21 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 25 ÅÙ¡’éÍÂã’ÍÙè 3:55 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 26 ’¡¡ÒàËÇèÒ 2:10 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 27 ÃÒËÙ≤˨ђ·Ãì 5:24 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’…