The 90'S Are All That Lyrics

Total Page:16

File Type:pdf, Size:1020Kb

The 90'S Are All That Lyrics THE 90’S ARE ALL THAT LYRICS I Want It That Way Now I can see that we've fallen apart Backstreet Boys From the way that it used to be Yeah No matter the distance You are my fire I want you to know The one desire That deep down inside of me Believe when I say You are my fire I want it that way The one desire But we are two worlds apart You are (you are you are you are) Can't reach to your heart Don't want to hear you say When you say Ain't nothin' but a heartache That I want it that way Ain't nothin' but a mistake Tell me why (Don't want to hear you say) Ain't nothin' but a heartache I never want to hear you say Tell me why I want it that way Ain't nothin' but a mistake Tell me why Tell me why Ain't nothin' but a heartache I never want to hear you say Tell me why I want it that way Ain't nothin' but a mistake Am I your fire? Tell me why Your one desire I never want to hear you say Yes I know it's too late I want it that way But I want it that way Tell me why Tell me why Ain't nothin' but a heartache Ain't nothin' but a heartache Ain't nothin' but a mistake Tell me why Tell me why Ain't nothin' but a mistake I never want to hear you say Tell me why (Never want to hear you say it) I never want to hear you say I want it that way I want it that way 'Cause I want it that way U Can't Touch This So much to do, so much to see MC Hammer So what's wrong with taking the back streets? You'll never know if you don't go You can't touch this You'll never shine if you don't glow You can't touch this You can't touch this Hey now, you're an all-star, get your game You can't touch this on, go play Hey now, you're a rock star, get the show My-my-my-my music makes me so hard on, get paid makes me say oh my Lord And all that glitters is gold Thank you for blessing me with a mind to Only shooting stars break the mold rhyme and two hype feet That's good when you know you're down A super dope homeboy from the Oaktown Somebody once asked could I spare some And I'm known as such change for gas? And this is a beat uh you can't touch I need to get myself away from this place I said yep what a concept You can't touch this I could use a little fuel myself You can't touch this And we could all use a little change You can't touch this Well, the years start coming and they don't stop coming Break it down Fed to the rules and I hit the ground running Didn't make sense not to live for fun Stop Hammer time Your brain gets smart but your head gets dumb So much to do, so much to see All Star So what's wrong with taking the back Smash Mouth streets? Somebody once told me the world is gonna You'll never know if you don't go (go!) roll me You'll never shine if you don't glow I ain't the sharpest tool in the shed Hey now, you're an all-star, get your game She was looking kind of dumb with her on, go play finger and her thumb Hey now, you're a rock star, get the show In the shape of an "L" on her forehead on, get paid Well the years start coming and they don't And all that glitters is gold stop coming Only shooting stars break the mold Fed to the rules and I hit the ground running And all that glitters is gold Didn't make sense not to live for fun Only shooting stars break the mold Your brain gets smart but your head gets dumb Say My Name Why can't you just tell the truth Destiny's Child If somebody's there then tell me who Say my name, say my name Say my name, say my name If no one is around you If no one is around you Say baby I love you Say baby I love you If you ain't runnin' game If you ain't runnin' game Say my name, say my name Say my name, say my name You actin' kinda shady You actin' kinda shady Ain't callin' me baby Ain't callin' me baby Why the sudden change Why the sudden change Say my name, say my name Say my name, say my name If no one is around you If no one is around you Say baby I love you Say baby I love you If you ain't runnin' game If you ain't runnin' game Say my name, say my name Say my name, say my name You actin' kinda shady You actin' kinda shady Ain't callin' me baby Ain't callin' me baby Why the sudden change Why the sudden change Any other day I would call and you would say Baby how's your day Killing Me Softly with His Song But today, it ain't the same Fugees Every other word Is "uh-huh" yeah "okay" Strumming my pain with his fingers Could it be that you Singing my life with his words Are at the crib with another lady Killing me softly with his song If you took it there Killing me softly with his song First of all, let me say Telling my whole life with his words I am not the one Killing me softly with his song To sit around, and be played I heard he sang a good song, I heard he So prove yourself to me had a style I am the girl that you claim And so I came to see him, to listen for a Why don't you say the thangs while That you said to me yesterday And there he was, this young boy, a I know you say that I am assuming things stranger to my eyes Something's going down that's the way it Strumming my pain with his fingers seems Singing my life with his words Shouldn't be the reason why you're acting Killing me softly with his song strange Killing me softly with his song If nobody's holding you back from me Telling my whole life with his words Cause I know how you usually do Killing me softly with his song (2x) When you say everything to me times two Believe So tell me what you want, what you really Cher really want I wanna, I wanna, I wanna, I wanna, I wanna really No matter how hard I try Really really wanna zigazig ha You keep pushing me aside And I can't break through If you want my future forget my past There's no talking to you If you wanna get with me better make it fast It's so sad that you're leaving Now don't go wasting my precious time It takes time to believe it Get your act together we could be just fine But after all is said and done I'll tell you what I want, what I really really You're gonna be the lonely one want So tell me what you want, what you really Do you believe in life after love really want I can feel something inside me say I wanna, I wanna, I wanna, I wanna, I I really don't think you're strong enough wanna really Do you believe in life after love Really really wanna zigazig ha I can feel something inside me say If you wanna be my lover, you gotta get with I really don't think you're strong enough my friends Make it last forever friendship never ends What am I supposed to do If you wanna be my lover, you have got to Sit around and wait for you give Well I can't do that Taking is too easy, but that's the way it is And there's no turning back What do you think about that now you know I need time to move on how I feel I need a love to feel strong Say you can handle my love are you for real Cause I've got time to think it through I won't be hasty, I'll give you a try And maybe I'm too good for you If you really bug me then I'll say goodbye Do you believe in life after love I'll tell you what I want, what I really really I can feel something inside me say want So tell me what you want, what you really I really don't think you're strong enough really want Do you believe in life after love I wanna, I wanna, I wanna, I wanna, I I can feel something inside me say wanna really I really don't think you're strong enough Really really wanna zigazig ha If you wanna be my lover, you gotta get with my friends Wannabe Make it last forever friendship never ends Spice Girls If you wanna be my lover, you have got to give Yo, I'll tell you what I want, what I really Taking is too easy, but that's the way it is really want So tell me what you want, what you really really want I'll tell you what I want, what I really really want I Will Always Love You I'll Be There for You Whitney Houston The Rembrandts If I should stay, I would only be in your way So no one told you life was gonna be this So I'll go, but I know way I'll think of you every step of the way Your job's a joke, you're broke Your love life's D.O.A And I will always love you It's like you're always stuck in second gear I will always love you When it hasn't been your day, your week, You, my darling you, hm your month Bittersweet memories Or even your year, but That is all I'm taking with me I'll be there for you So, goodbye (When the rain starts to pour) Please, don't cry I'll be there for you We both know I'm not what you, you need (Like I've been there before) And I will always love you I'll be there for you I will always love you ('Cause you're there for me too) I hope life treats you kind You're still in bed at ten And I hope you have all you've dreamed of And work began at eight And I wish to you joy and happiness You've burned your breakfast, so far But above all this, I wish you love… Things are going great Your mother warned you there'd be days like these But she didn't tell you when the world has brought You down to your knees and I'll be there for you (When the rain starts to pour) I'll be there for you (Like I've been there before) I'll be there for you ('Cause you're there for me too) .
Recommended publications
  • In Defense of Rap Music: Not Just Beats, Rhymes, Sex, and Violence
    In Defense of Rap Music: Not Just Beats, Rhymes, Sex, and Violence THESIS Presented in Partial Fulfillment of the Requirements for the Master of Arts Degree in the Graduate School of The Ohio State University By Crystal Joesell Radford, BA Graduate Program in Education The Ohio State University 2011 Thesis Committee: Professor Beverly Gordon, Advisor Professor Adrienne Dixson Copyrighted by Crystal Joesell Radford 2011 Abstract This study critically analyzes rap through an interdisciplinary framework. The study explains rap‟s socio-cultural history and it examines the multi-generational, classed, racialized, and gendered identities in rap. Rap music grew out of hip-hop culture, which has – in part – earned it a garnering of criticism of being too “violent,” “sexist,” and “noisy.” This criticism became especially pronounced with the emergence of the rap subgenre dubbed “gangsta rap” in the 1990s, which is particularly known for its sexist and violent content. Rap music, which captures the spirit of hip-hop culture, evolved in American inner cities in the early 1970s in the South Bronx at the wake of the Civil Rights, Black Nationalist, and Women‟s Liberation movements during a new technological revolution. During the 1970s and 80s, a series of sociopolitical conscious raps were launched, as young people of color found a cathartic means of expression by which to describe the conditions of the inner-city – a space largely constructed by those in power. Rap thrived under poverty, police repression, social policy, class, and gender relations (Baker, 1993; Boyd, 1997; Keyes, 2000, 2002; Perkins, 1996; Potter, 1995; Rose, 1994, 2008; Watkins, 1998).
    [Show full text]
  • BATJ Class and Recital Information with Waiver
    Ballet & All That Jazz Ranelle W. Flurie, Director 18703 Crestwood Drive Hagerstown, MD 21742 301-797-2100 Fall 2020 BTJ is pleased to announce that we are returning to in-person and/or virtual classes coupled with a 2020 Fall Recital. Although it will be a bit different this year, we want to ensure that we showcase the talents and hard work of our dancers. We are working very hard to ensure safety first while providing class and recital instruction. Please remember to social distance, wear masks, and wash hands to keep our children safe. With that said, class instruction will begin on Monday, August 31st, and the three recitals will be held on Sunday, October 18th, and October 25th (details below). Please ensure your returning dancer is registered for fall classes via the Ballet and All That Jazz website (https://balletandallthatjazz.com/registration/), in- person, or by phone. We encourage new students to register in person. Registration is Tuesday, August 25th and Wednesday, August 26th from 5pm- 8pm at the Ballet and All That Jazz studio, located at 18703 Crestwood Drive, Hagerstown, Maryland 21742. For additional questions, contact us at 301-797-2100. Class Information: To ensure successful class instructions, please review the information below and reach out with any questions. • Classes will occur virtual/or in person. • Please ensure you have signed the waiver prior to class attendance (see form below). • Virtual class links will be sent at the beginning of the year for those who sign up for virtual instruction, and the same link will be use weekly.
    [Show full text]
  • Fall 2009 – Spring 2010) • a Refereed Journal • ISSN 1545-2271 • ______
    South Central Music Bulletin VIII/1-2 (Fall 2009 – Spring 2010) • A Refereed Journal • ISSN 1545-2271 • http://www.scmb.us _________________________________________________________________________________________ South Central Music Bulletin A Refereed, Open-Access Journal ISSN 1545-2271 Volume VIII, Issues 1-2 (Fall 2009 – Spring 2010) __________________________________________________________________________________________ Editor: Dr. Nico Schüler, Texas State University Music Graphics Editor: Richard D. Hall, Texas State University Editorial Review Board: Dr. Paula Conlon, University of Oklahoma Dr. Stacey Davis, University of Texas – San Antonio Dr. Lynn Job, North Central Texas College Dr. Kevin Mooney, Texas State University Dr. Dimitar Ninov, Texas State University Ms. Sunnie Oh, Independent Scholar & Musician Dr. Robin Stein, Texas State University Dr. Leon Stefanija, University of Ljubljana (Slovenia) Dr. Paolo Susanni, Yaşar University (Turkey) Dr. Lori Wooden, University of Central Oklahoma Subscription: Free This Open Access Journal can be downloaded from http://www.scmb.us. Publisher: South Central Music Bulletin http://www.scmb.us © Copyright 2009 by the Authors. All Rights Reserved. 1 South Central Music Bulletin VIII/1-2 (Fall 2009 – Spring 2010) • A Refereed Journal • ISSN 1545-2271 • http://www.scmb.us _________________________________________________________________________________________ Table of Contents Message from the Editor by Nico Schüler … Page 3 Research Article: Composer Stephen Lias: Biographical Notes, Musical Style, and Analytical Discussion of Songs of a Sourdough by April Stephens … Page 4 Composer Portrait: A Portrait of, and Interview with, Composer Kenneth (Ken) Metz by Aaron Carter-Cohn … Page 21 Book Reviews: Portable Music & Its Functions by A. Williams by Johanna L. Friedrich … Page 45 James K. Wright: Schoenberg, Wittgenstein and the Vienna Circle by Rebekah K.
    [Show full text]
  • The Robust Beauty of Improper Linear Models in Decision Making
    The Robust Beauty of Improper Linear Models in Decision Making ROBYN M. DAWES University of Oregon ABSTRACT: Proper linear models are those in which A proper linear model is one in which the predictor variables are given weights in such a way weights given to the predictor variables are chosen that the resulting linear composite optimally predicts in such a way as to optimize the relationship be- some criterion of interest; examples of proper linear tween the prediction and the criterion. Simple models are standard regression analysis, discriminant regression analysis is the most common example function analysis, and ridge regression analysis. Re- of a proper linear model; the predictor variables search summarized in Paul Meehl's book on clinical are weighted in such a way as to maximize the versus statistical prediction—and a plethora of re- search stimulated in part by that book—all indicates correlation between the subsequent weighted com- that when a numerical criterion variable (e.g., graduate posite and the actual criterion. Discriminant grade point average) is to be predicted from numerical function analysis is another example of a proper predictor variables, proper linear models outperform linear model; weights are given to the predictor clinical intuition. Improper linear models are those in variables in such a way that the resulting linear which the weights of the predictor variables are ob- composites maximize the discrepancy between two tained by some nonoptimal method; for example, they or more groups. Ridge regression analysis, an- may be obtained on the basis of intuition, derived other example (Darlington, 1978; Marquardt & from simulating a clinical judge's predictions, or set to Snee, 1975), attempts to assign weights in such be equal.
    [Show full text]
  • The Trevor Project’S Coming Out: a Handbook Are At
    COMING OUT A Handbook for LGBTQ Young People CONTENTS IDENTITY 4 HEALTHY RELATIONSHIPS 17 THE BASICS 4 SELF-CARE 18 What Is Sex Assigned at Birth? 5 Checking in on Your Mental Health 19 What Is Gender? 5 Warning Signs 19 Gender Identity 6 RESOURCES 20 Gender Expression 7 Transitioning 8 TREVOR PROGRAMS 21 What Is Sexual Orientation? 9 Map Your Own Identity 21 Sexual Orientation 10 Sexual/Physical Attraction 11 Romantic Attraction 12 Emotional Attraction 13 COMING OUT 14 Planning Ahead 14 Testing The Waters 15 Environment 15 Timing 15 Location 15 School 16 Support 16 Safety Around Coming Out 16 2 Exploring your sexual orientation Some people may share their identity with a few trusted friends online, some may choose to share and/or gender identity can bring up a lot with a counselor or a trusted family member, and of feelings and questions. Inside this handbook, others may want everyone in their life to know we will work together to explore your identity, about their identity. An important thing to know what it might be like to share your identity with is that for a lot of people, coming out doesn’t just others, and provide you with tools and guiding happen once. A lot of folks find themselves com- questions to help you think about what coming ing out at different times to different people. out means to you. It is all about what works for you, wherever you The Trevor Project’s Coming Out: A Handbook are at. The things you hear about coming out for LGBTQ Young People is here to help you nav- may make you feel pressured to take steps that igate questions around your identity.
    [Show full text]
  • Such Stuff Podcast Season 8, Episode 2: Being Vulnerable [Music Plays
    Such Stuff podcast Season 8, Episode 2: Being vulnerable [Music plays] Imogen Greenberg: Hello, and welcome to another episode of Such Stuff, the podcast from Shakespeare's Globe. Today, we're continuing with our series on the relationship between the arts and wellbeing. Throughout the series, we'll be exploring the ways the arts can enrich our lives, help us tackle mental health issues and help us find expression and connection again, after a year of isolation. Last week, we chatted to psychotherapist, Rachel Williams, who spoke extraordinarily about the importance of the arts for expression and empathy to help us to look after our brains. In this episode, we wanted to dig a bit deeper into this idea of expression and vulnerability. Whilst the arts and creativity can help us to find release for our feelings, that can also be very exposing, especially after a year when we've been very used to staying in and not expressing ourselves. How can we take care of ourselves as we head out of lockdown and back into the world? What can lessons from the arts teach all of us and how might the arts help us make some of these transitions? This week, Artistic Director, Michelle Terry, is joined by Director, Sarah Bedi and Drama Therapist, Annemarie Gaillard. For a number of years, Sarah and Annemarie have been working together, including here at the Globe, to make sure that wellbeing and mental health practices are part of rehearsal rooms and theater making processes. For theater companies, they have a brief six week window when they must access a lot of feeling, emotion, psychological depth and then share that with the world in a moment of acute vulnerability.
    [Show full text]
  • Keane, for Allowing Us to Come and Visit with You Today
    BIL KEANE June 28, 1999 Joan Horne and myself, Ann Townsend, interviewers for the Town of Paradise Valley Historical Committee are privileged to interview Bil Keane. Mr. Keane has been a long time resident of the Town of Paradise Valley, but is best known and loved for his cartoon, The Family Circus. Thank you, Mr. Keane, for allowing us to come and visit with you today. May we have your permission to quote you in part or all of our conversation today? Bil Keane: Absolutely, anything you want to quote from it, if it's worthwhile quoting of course, I'm happy to do it. Ann Townsend: Thank you very much. Tell us a little bit about yourself and what brought you to hot Arizona? Bil Keane: Well, it was a TWA plane. I worked on the Philadelphia Bulletin for 15 years after I got out of the army in 1945. It was just before then end of 1958 that I had been bothered each year with allergies. I would sneeze in the summertime and mainly in the spring. Then it got in to be in the fall, then spring, summer and fall. The doctor would always prescribe at that time something that would alleviate it. At the Bulletin I was doing a regular comic and I was editor of their Fun Book. I had a nine to five job there and we lived in Roslyn which was outside Philadelphia and it was one hour and a half commute on the train and subway. I was selling a feature to the newspapers called Channel Chuckles, which was the little cartoon about television which I enjoyed doing.
    [Show full text]
  • Representations of Education in HBO's the Wire, Season 4
    Teacher EducationJames Quarterly, Trier Spring 2010 Representations of Education in HBO’s The Wire, Season 4 By James Trier The Wire is a crime drama that aired for five seasons on the Home Box Of- fice (HBO) cable channel from 2002-2008. The entire series is set in Baltimore, Maryland, and as Kinder (2008) points out, “Each season The Wire shifts focus to a different segment of society: the drug wars, the docks, city politics, education, and the media” (p. 52). The series explores, in Lanahan’s (2008) words, an increasingly brutal and coarse society through the prism of Baltimore, whose postindustrial capitalism has decimated the working-class wage and sharply divided the haves and have-nots. The city’s bloated bureaucracies sustain the inequality. The absence of a decent public-school education or meaningful political reform leaves an unskilled underclass trapped between a rampant illegal drug economy and a vicious “war on drugs.” (p. 24) My main purpose in this article is to introduce season four of The Wire—the “education” season—to readers who have either never seen any of the series, or who have seen some of it but James Trier is an not season four. Specifically, I will attempt to show associate professor in the that season four holds great pedagogical potential for School of Education at academics in education.1 First, though, I will present the University of North examples of the critical acclaim that The Wire received Carolina at Chapel throughout its run, and I will introduce the backgrounds Hill, Chapel Hill, North of the creators and main writers of the series, David Carolina.
    [Show full text]
  • All That We've Learned All That We've Learned
    All That We’ve Learned Five Years Working on Personalized Learning Authors: Caitrin Wright, Brian Greenberg and Rob Schwartz www.siliconschools.com AugustSilicon 2017 Schools Fund 1 Five years ago… …we started the Silicon Schools Fund to support the launch of new schools figuring out better ways to educate students. We hoped that educators could reimagine schools to ensure that students got more ownership of their education and more of exactly what they needed when they needed it—so called “personalized learning.” Five years ago was also when one of us, Caitrin, had her first child, who is now entering kindergarten. In that span of time he’s learned to walk, to talk, dress himself, and play a mean game of Uno. Seeing his growth and learning got us thinking about all that we’ve learned over the past five years about personalized learning. 2 What We've Learned: Five Years Working on Personalized Learning Silicon Schools Fund 3 Silicon School Personalized Learning Journey WE'VE ALWAYS HAD FOUR STRONG BELIEFS: Students’ ownership of their learning is critical to long-term success. When it comes to learning, students should get more of what they need exactly when they need it. Ensuring equity requires getting each student what he or she needs to succeed. It is possible to redesign schools to work much better for students and teachers. 4 What We've Learned: Five Years Working on Personalized Learning What We've Learned • Promise of personalized learning is real • Personalized learning should not mean isolated learning • Students benefit from
    [Show full text]
  • The Life & Rhymes of Jay-Z, an Historical Biography
    ABSTRACT Title of Dissertation: THE LIFE & RHYMES OF JAY-Z, AN HISTORICAL BIOGRAPHY: 1969-2004 Omékongo Dibinga, Doctor of Philosophy, 2015 Dissertation directed by: Dr. Barbara Finkelstein, Professor Emerita, University of Maryland College of Education. Department of Teaching and Learning, Policy and Leadership. The purpose of this dissertation is to explore the life and ideas of Jay-Z. It is an effort to illuminate the ways in which he managed the vicissitudes of life as they were inscribed in the political, economic cultural, social contexts and message systems of the worlds which he inhabited: the social ideas of class struggle, the fact of black youth disempowerment, educational disenfranchisement, entrepreneurial possibility, and the struggle of families to buffer their children from the horrors of life on the streets. Jay-Z was born into a society in flux in 1969. By the time Jay-Z reached his 20s, he saw the art form he came to love at the age of 9—hip hop— become a vehicle for upward mobility and the acquisition of great wealth through the sale of multiplatinum albums, massive record deal signings, and the omnipresence of hip-hop culture on radio and television. In short, Jay-Z lived at a time where, if he could survive his turbulent environment, he could take advantage of new terrains of possibility. This dissertation seeks to shed light on the life and development of Jay-Z during a time of great challenge and change in America and beyond. THE LIFE & RHYMES OF JAY-Z, AN HISTORICAL BIOGRAPHY: 1969-2004 An historical biography: 1969-2004 by Omékongo Dibinga Dissertation submitted to the Faculty of the Graduate School of the University of Maryland, College Park, in partial fulfillment of the requirements for the degree of Doctor of Philosophy 2015 Advisory Committee: Professor Barbara Finkelstein, Chair Professor Steve Klees Professor Robert Croninger Professor Derrick Alridge Professor Hoda Mahmoudi © Copyright by Omékongo Dibinga 2015 Acknowledgments I would first like to thank God for making life possible and bringing me to this point in my life.
    [Show full text]
  • March 2021 Hidden Shamrock?? We Will Be Hiding SEVENTEEN Green Shamrocks Throughout the Community the RESERVE STAFF Common Areas on St
    IW-743 - The Reserve At Stone Port - Issue: 03/01/21 Viewed: 03/03/21 09:04 AM 2015 Reserve Circle • Rockingham, VA 22801 • (540) 434-2000 www.liveatstoneport.com Feeling lucky?? Can you find a March 2021 hidden Shamrock?? We will be hiding SEVENTEEN green shamrocks throughout the community THE RESERVE STAFF common areas on St. Patrick’s Day Property Manager- (Wednesday, March 17th). Kehris Snead If you find one, please bring it to the Assistant Property Manager- Clubhouse front doors during office Amy McCracken hours and we will bring your prize out Leasing Consultants- to you! Erica Short Kristin Chapman Nominate Your Neighbor! Kevin Moore We will be gifting those who have Assistant Maintenance Supervisor- been neighborly during this ongoing Jason Kagey pandemic. If you would like to Maintenance Technicians- nominate a neighbor for doing a good Joel Short deed, please let us know. We would Nathan Conley like to thank them with a small gesture Isaiah Kagey of our appreciation! Brodi Hummel We may be experiencing trying times, but it’s touching to see how our community continues to look out for each other. *while supplies last* “Imagine what our real neighborhoods would be like if “May your troubles be less and each of us offered as a matter of your blessings be more & nothing course, just one kind word to but happiness come through another person.” - Mr. Rogers your door.” Office Hours Be Neighborly Monday 10:00 am–6:00 pm Make it a beautiful day in your Newsletter Ideas? Tuesday 10:00 am–6:00 pm neighborhood by celebrating “Won’t Have an idea or pictures to add to our Wednesday 10:00 am–6:00 pm You Be My Neighbor Day” on community newsletter? Thursday 10:00 am–6:00 pm Saturday, March 20, the birthday of Email us at: Friday 10:00 am–6:00 pm Fred Rogers.
    [Show full text]
  • Irish Pop Music in a Global Context by Oliver Patrick Cunningham
    Irish Pop Music in a Global Context By Oliver Patrick Cunningham Submitted in Partial Fulfillment of the Regulations for the Attainment of the Degree of Masters of Arts in Sociology. National University of Ireland, Maynooth, Co. Kildare. Department of Sociology. July, 2000. Head of Department: Professor Liam Ryan. Research Supervisor: Dr. Colin Coulter. Acknowledgements There are gHite a number of people / wish to thank for helping me to complete this thesis. First and most important of all my family for their love and support notJust in my academic endeavors but also in all my different efforts so far, Thanks for your fate! Second / wish to thank all my friends both at home and in college in Maynooth for listening to me for the last ten months as I put this work together also for the great help and advice they gave to me during this period. Thanks for listeningl Third I wish to thank the staff in the Department of Sociology Nidi Maynooth, especially Dr, Colin Coulter my thesis supervisor for all their help and encouragement during the last year. Thanks for the knowledge/ Fourth / wish to thank the M A sociology class of 1999-2000 for being such a great class to learn, work and be friends with. Thanks for a great year! Fifth but most certainly not last / want to thank one friend who unfortunately was with us at the beginning of this thesis and gave me great encouragement to pursue it but could not stay to see the end result, This work is dedicated to your eternal memory Aoife.
    [Show full text]