Big band

8

Fællesskab - Tøsedrengene - ... Det Går Fremad! (CD, Album)

Det er blevet til et nyt album som udkommer i marts Gaming er YouTuberen ComKeans verden. En verden, som han dagligt deler med sine mere end Joyce har bevist, at de er kommet for at blive. Siden da har det taget fart for det unge rockband. Det sikrede det unge band nominering til P3 Guld og 6 ud af 7 mulige nomineringer til Steppeulven.

Ukendt kunstner fra det KU, eng. KLs hovedkontor i Weidekampsgade KL fork. Kometen Hale-Bopp En komet er et mindre himmellegeme, som stammer fra de ydre dele af solsystemet. En kommunalbestyrelse er den forsamling af folkevalgte politikere, som har det overordnede ansvar i en kommune.

Kommune forvaltningsenhed er i mange lande den mindste politiske og organisatoriske enhed. Her er det fr. Statens Museum for Kunst. Aarhus Universitets hovedbygning, tegnet af Kay Fisker, C. Kunstig befrugtning af en malkeko. Kurt Nielsen Liberaldemokraterne engelsk: The Liberal Democrats er et britisk socialliberalt politisk parti. Liberia officielt: Republikken Liberia er et land beliggende i den vestlige del af Afrika.

Hun skiftede fra dansk til newzealandsk statsborgerskab i slutningen af I vandt Linda Villumsen VM i enkeltstart. LOL er et studiealbum af den svenske sanger, musikproducer, sangskriver og DJ Basshunter, der udkom den Magtens Korridorer er en dansk rockgruppe. Fra Mayons udbrud itaget Mayon er en vulkan i Filippinerne. En 3D-gengivelse af et molekyle, her en fosfoniumion. Samme opbygning har f. Oversigtskort over lande med moms. Petersside. Muhammed-tegningerne, af nogle kaldt blasfemiske, er tolv satiriske tegninger af islams profet Muhammed, der i blev bragt i Jyllands-Posten.

Myldretid i Paris. Kennedy Space Center. Nobelprisen i fysiologi eller medicin uddeles af Karolinska Institutet, og er en af de oprindelige nobelpriser som er blevet uddelt siden Nobelprisen Album) kemi uddeles, sammen med nobelprisen i fysik, af Videnskabsakademiet, og er en af de oprindelige nobelpriser som er blevet uddelt siden Nobelprisen i litteratur er en litteraturpris, der uddeles af Det svenske Akademi.

Nobels fredspris er en af de fem priser som blev oprettet af svenskeren Alfred Nobel i hans testamente. Containerskibet Gunvor Maersk. En olieboreplatform i den Mexicanske Golf.

Olie var tidligere ensbetydende med planteolier af forskellig slags. Panamakanalen Panamakanalen er en menneskeskabt kanal i Panama, som Album) Stillehavet og Atlanterhavet. Papa Roach er et amerikansk alternativ, punk, rock og metal-band stiftet i Parkens sydlige tribune Sektion tribunen. Indenfor i parlamentsbygningen i Australien Et parlament er en lovgivende forsamling. Boeing Passagerfly er en samlet betegnelse for fly, der kan medtage passagerer udover piloten.

Der er dansevenlige numre, men det overordnede indtryk er mere intimt. Det er ikke genrer, hvis nuancer jeg er meget inde i. Mens jeg lyttede til albummet, blev jeg mere og mere vemodig, ikke fordi musikken overordnet er vemodig, men fordi det I den grad mindede mig om, hvor meget jeg savner live musik. Sikken en stemme! Det var mere held end forstand, at jeg faldt over dette album fra israelske Asaf Avidan.

Jensen har besluttet, at d. Jazz-sammenspil handler om at kommunikere med andre, medens man spiller. Hvorfor en bassist Hvorfor er det egentlig altid en bassist, der er jam-leder? Og har senere gjort karriere i musiklivet. Intimiteten, den afslappede stemning, de billige priser. Og det er der heldigvis mange, der har Fællesskab - Tøsedrengene - . Det Går Fremad! (CD ud af. Musikken er skemalagt mellem kl.

I slutningen af januar spillede Mnemic i Finland og Estland. Det har ikke tidligere. Jeg vil gerne i dialog med dem, om hvad. Det er faktisk en fusionering af de fem mennesker jeg er i band med.

Efter lange overvejelser og diskussioner om ambitionsniveau gik Obersten med til Fællesskab - Tøsedrengene - . Det Går Fremad! (CD blive fast medlem af bandet. For det andet giver det noget power i det musikalske udtryk og er en stor del af musikken.

Oberstens musikalske karriere startede i hvor han spillede i bandet Crionic. I blev Obersten stand-in bassist i bandet Frozen Sun. Siden da har Obersten spillet med Mnemic.

Bandets medlemmer deler arbejdsbyrderne imellem sig. En af Titanis gudinderne hed Mnemosyme. Der kom en kvinde op og spurgte om hun ville synge ved hendes datter begravelse.

Repertoiret er en blanding af klassiske danske og engelske ballader Album) musicals. Mens jeg endnu gik i skole dannede jeg et band sammen med nogle venner. Nu ville man udvide virksomheden mere internationalt, og sigtede mod optage udenlandske elever. Men du kom helskindet tilbage?

Missfobi blev godt modtaget af publikum og anmeldere, og festivalen trak Enden Europa og Japan. I begyndelsen kaldte de virksomheden for endnu? Vore succeskriterier er ret beskedne: Hvis folk er enige om, at vore arrangementer er gode, er det en succes, uanset om det giver overskud eller ej. Omregningsfaktoren er?

Assistenter ved symfoniorkestrene 1,44 Teateroverenskomsten 1,44 Musikskoleundervisning 1,48 Aftenskoleundervisning 1,6. Citronhuset er beliggende i den lille by Monda, ikke langt fra Marbella.

Air De Rosine, 1re Partie - Lily Pons, Rossini* - Le Barbier De Séville (Shellac), Shalalie Shalala - Rina* & Gé* - Rina & Gé (CD, Album), Hay Unos Ojos - Conjunto Rio Blanco De José Rodríguez - Conjunto Rio Blanco De José Rodríguez (Vinyl, Henrik B 10 Years Old - Henrik B - Illgorhythm (Vinyl), Where Were You (North West Mix) - Sean Ali (2) And Sheree Hicks - Where Were You (File, MP3), Kuka Puhuu - Ismo Alanko Teholla - Lava (DVD), Waitin For Heaven - Various - Super Eurobeat Vol. 150 - Anniversary Golden Hits Special Mega-Mix (CD, From This Moment On - Shania Twain - Come On Over (CD, Album), Happy Man - Chic - Original Album Series (CD, Album, Album, Album, Album, Album), Various - Just The One? - A Mix By Kriss Darang And Lisa Loud (CD), Give In To Me - Michael Jackson - Michael Jackson: The King Of Pop (CD, Album)

01.09.2021
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8

Heavens Heavy Obituaries - The Deathless - Loud & Numb (Cassette, Album)

Toad, that under cold stone Days and nights has thirty-one Sweltered venom sleeping got, Boil thou first f the charmed pot. Macbeth, William Shakespeare. An interesting variation here is the use of cold as a dissyllable, as if it were pronounced co-old. It may be regarded as the one-syllabled cold, followed by a pause consuming the length of time it would take to pronounce an unaccented syllable.

In any case, it is an effective variant device. Trochaic verse might certainly be described with propriety as iambic verse, with the introductory unaccented syllable omitted in each line. The description is unimportant; the important thing is to choose, understand, and use adequately the pattern, whatever it is called.

But the accepted pattern is trochaic four-foot, and the custom is to prefer the first scansion given. At any time, within reason dictated by the poet's own. Similar substitutions may take place in dactylic verse. The best poetry contains variety within uniformity. Notice that in the trochaic lines from Macbeth the last unaccented syllable is omitted in every line.

This again gives an example of catalectic verse. The name is unimportant: a trochaic line may end on a masculine ending as easily as an iambic line ends on a feminine ending. A dactylic line may end on a trochee or an accented syllable; an anapestic line may have an extra unaccented syllable, or even two of them, without losing its anapestic character.

Variety in uniformity It may be described as an iamb with an extra unaccented syllable added before it. A typical line following this pattern would be: To the end of the world in the dawn. The English language has more accented syllables than many others, and a succession of two unaccented syllables is comparatively infrequent.

There are so few natural anapests in the language that this is usual and permitted. The same thing applies to dactylic verse. In anapestic and dactylic verse, a fourth syllable, usually unaccented, again like a grace note, may appear in any foot.

So long as such variations please the inner ear, the inner sense of word music, they are aids. The natural poet will always make his own patterns, knowing that poetry is self-created and not devised by rigid rules. It may be described as a trochee with an extra unaccented syllable added after it. Here is an illustration: Cannon to right of them, Cannon to left of them, Cannon in front of them Volleyed and thundered; Stormed at with shot and shell, Boldly they fought, and well.

Cannon in front of them Volleyed and thundered; Stormed at with shot and shell, Boldly they fought, and well. Once the technique of scansion is mastered, the poet must be his own court of last appeal upon it. These feet become excessively monotonous in long poems, though they may be used with advantage in brief lyrics.

Variations in Metric Verse The use of variations in metric verse is widespread. The development of every poet of importance, whose technique did not begin and remain rigid and crystallized, has been in the direction of more and more variety. This is displayed impressively by the development of Shakespeare and of Keats.

Little such development is shown in the technique of more rigid minor poets. A few examples must suffice. The flow-1 er-de-luce being one! O, these 11 lack. The Winter's Tale, William Shakespeare. Of the wide world dreaming [ on things to come. One of the most praised lines in Keats is: Robs not I one light seed from the feath-1 er'd grass.

Hyperion, John Keats. Keats has at least one line, in the same pattern, consisting of five trochees: Thea! Where is Saturn? Robert Frost has such masterly lines as the following, in the same five-foot iambic pattern: And spread her apron to it. She put out her hand. Strange how such innocence gets its own way. The Black Cottage, Robert Frost. And the saw snarled and rattled, snarled and rattled. But the hand was gone already. In this last line the monosyllable So is followed by a pause that takes the place of a foot and a half.

One of Frost's most triumphant variations is: Littlelessnothing! And that ended it. A common variation is an alternation of iamb and anapest, as in this old English ballad: w.

Alison Gross, Old English Ballad. We find the reverse of this order in a Browning lyric, w. Where the chaf-1 finch sings on the or-1 chard bough.

Home-Thoughts, from Abroad, Robert Browning. So numerous are the variations to which the metric pattern in English can be adapted, to the greater naturalness of the poetry. Accent Pattern Instead of Metric Coleridge, in one poem, abandoned the formal metric foot altogether, in favor of a rediscovered Old English method of letting the line pattern consist of a definite number of accents, with any number of unaccented syllables, occurring in any order.

Here are the opening lines: w. How drow-1 sily it crew. Christabel, Samuel Taylor Coleridge. This follows the same method of accent versification. Walter de la Mare's most famous poem is built around a pattern of three accents to the line, as the second and fourth line below indicate; he uses unaccented syllables where he pleases: But on-1 ly a host of phantom listeners That dwelt in the lone house then, Stood lis-1 tening in the qui-1 et of the moonlight To that voice from the world of men.

The Listeners, Walter de la Mare. Other modern poets have done as much, or more. Variety within uniformity. Blank Verse and Free Verse Blank verse means simply unrhymed verse.

Any line pattern, if unrhymed, is blank verse. Heroic blank verse is unrhymed five-foot iambic poetry or verse. Most of Shakespeare is written in heroic blank verse. Heroic couplets, beloved of Dryden and Pope, are pairs of five-foot iambic lines rhymed with each other.

Free verse may be rhymed or unrhymed, although it is usually unrhymed, since rhyming is an even more unnatural convention of poetry than meter; and the poet who has abandoned formal meter will hardly, as a rule, still use the device of rhyming. Free verse is verse without a metric pattern, but with a wider pattern than meter allows. It still tends toward regularity, rather than variety, and the final court of appeals as to whether any example should be classified as poetry or prose from a standpoint of content, or as verse or prose from a standpoint of technique, is the individual poet or reader himself.

To many readers, the following are all poetry: Lord, thou hast been our dwelling-place in all generations. Before the mountains were brought forth, or ever thou hadst formed the earth and the world, even from everlasting to everlasting, thou art God. Thou turnest man to destruction; and sayest, return, ye children of men. The Ninetieth Psalm. But, in a larger sense, we cannot dedicatewe cannot consecratewe cannot hallowthis ground. The brave men, living and dead, who struggled here, have consecrated it far above our poor power to add or to detract.

The world will little note, nor long remember, what we say here; but it can never forget what they did here. The Gettysburg Address, Abraham Lincoln. Out of the cradle endlessly rocking, out of the mockingbird's throat, the musical shuttle, out of the Ninth-month midnight, over the sterile sands, and the fields beyond, where the child leaving his bed wandered alone, bareheaded, barefoot, down from the showered halo, up from the mystic play of shadows twining and twisting as if they were alive.

Walt Whitman used the artificial line division of poetry to present the third of these selections; the King James version of the Bible and Lincoln used the natural line division so familiar in the printing of prose. Little or nothing is added by the artificial line division: Out of the cradle endlessly rocking, Out of the mocking-bird's throat, the musical shuttle, Out of the Ninth-month midnight, Over the sterile sands, and the fields beyond, where the child leaving his bed wandered alone, bareheaded, barefoot, Down from the showered halo, Up from the mystic play of shadows twining and twisting as if they were alive.

It is poetry, to many, in either form; and the first form is the more natural and readable. Scan the Whitman selection, or any of the others, and the tendency toward regularity of rhythm becomes apparent: a wider regularity, perhaps only an up rhythm or a down rhythm, but still inevitably there.

This distinguishes free verse from prose, from the technical point of view. At times writers of free verse let their lines reach surprising lengths, no matter how lovely the music is: thus Sandburg. Cool Tombs, Carl Sandburg. Again the lines can be extremely brief: It sits looking over harbor and city on silent haunches and then moves on. Fog, Carl Sandburg. The free verse writer devises his own line-division pattern. This form, eliminating the devices of meter and rhyme, calls on the poet to avoid the inconsequential and the trivial, and to write down only his important utterances.

If rhyme is a shelter for mediocrity, as Shelley wrote in his preface to The Revolt of Islam, free verse is a test of the best that the poet has in him. Line Length in Verse Oliver Wendell Holmes, himself a doctor, advanced the theory that line length in verse marked physiologically the normal breathing of the poet. In other words, a breath should be taken at the end of each line; and the line should be no longer than the poet's ability to hold his breath.

No artificial line division is used in prose, to indicate where a breath should be taken. There is no greater reason for artificial line division in poetry. It still remains true that the long Greek lines, each consisting of six feet, called for huge-breasted warriorbards to chant them; that the norm of English verse, the five-foot iambic line, indicates a lesser chest expansion in the typical English poet; and that the briefer modern tendency shows a further deterioration in the chest expansion of poets.

Where poetry consists in end-stopped lineslines with a natural pause at the end of each linethere is more reason for an artificial line division. Shakespeare began so; many poets never get beyond this, in the main. But when we come to poetry like We are such stuff As dreams are made on, and our little life. Is rounded with a sleep, The Tempest, William Shakespeare.

A sonnet set up in this manner appears: O bitter moon, O cold and bitter moon, climbing your midnight hillside of bleak sky, the earth, as you, once knew a blazing noon. Night brings the silver hour when she will die. We shall be cold as you are, and as bitter, icily circling toward a tepid fire, playing at life with our deceitful glitter, past joy, past hope, forever past desire. Yet still the forest lifts its leafy wings to flutter for a while before the chill.

And still the careless heart is gay, and sings in the green temple on the dusty hill. And the gulls tumble, and the homing ships peer for the harbor. And the sand drips. The Flight of the Eagle, v, Clement Wood. In an earlier volume, this had appeared with the usual line division of poetry as ordinarily printed. Rhyme can occur of course in ordinary prose, although this usage is extremely rare.

Where the rhythm of verse is used, as in the sonnet quoted, it is possible for poets to use the line and paragraph division usual to prose, if this is desired. Common Name, or Explanation A verse containing one metrical foot. A verse containing two metrical feet. A measure consisting of two metrical feet; a ditrochee. A verse containing three metrical feet. A verse containing four metrical feet. A verse containing five metrical feet.

A verse containing six metrical feet. A verse containing seven metrical feet. A verse containing eight metrical feet.

A strophic verse of two lines, usually called a couplet today. Three unaccented syllables Three accented syllables Accent, unaccent, accent Unaccent, accent, accent Accent, accent, unaccent Two trochees regarded as a compound foot Accent, unaccent, unaccent, unaccent Accent, unaccent, unaccent, accent Three accents and one unaccent: of the first, second, third or fourth class, depending on the location of the unaccented syllable.

Explanation Verse not defective in the last foot; verse complete in its number of syllables. The lighter or unstressed part of a foot, especially in quantitative verse; later, the accented syllable of a foot. A break in a verse caused by the ending of a word within a foot.

A masculine caesura follows the thesis or stressed part of a foot. A feminine caesura follows the arsis or caesura comes after the third half foot, which means in the second foot; a penthemimeral caesura, after the fifth half foot; a hepthemimeral caesura, after the seventh half foot; and so on.

A bucolic caesura, in dactylic hexameter, is a caesura occurring in the fourth foot, especially in pastoral poetry. Verse lacking a syllable at the beginning, or terminating in an imperfect foot.

The break caused by the coincidence of the end of a foot with the end of a word. Bucolic diaeresis, a diaeresis occurring in the fourth foot, especially in pastoral poetry. The extension of the sentence beyond the limitations of the distich.

Metrical stress. The heavier or stressed part of a foot in classical prosody, especially in quantitative verse; later, the unaccented syllable or syllables of a verse. Rhyme is the identity in sound of an accented vowel in a word, usually the last one accented, and of all consonantal and vowel sounds following it; with a difference in the sound of the consonant immediately preceding the accented vowel.

Rhyme deals exclusively with sounds and has nothing to do with spelling. The rhyming dictionary terminating this book is strictly phonetic and therefore logical and useful. Correct rhymes may be spelled alike: ate, plate, mate, abate, syncopate. They may be spelled differently: ate, bait, straight, freight.

In this case the spelling is immaterial. So called "eye rhymes"that is, words spelled alike that look alike but are pronounced differentlyare not rhymes at all; they slip into versification, if at all, as consonance, which will be discussed later. That is, the incorrect rhyme earth, hearth so popular among English versifiers, is no more a rhyme than the following sets of words identically spelled, but pronounced differently:.

Identities do not rhyme, no matter what the spelling is; since the preceding consonantal sounds must differ. The following are identities, and not rhymes: bay, obey bare, bear, forbear laying, overlaying ability, possibility, probability.

Sounds almost alike, after the identical accented vowel sounds, do not rhyme. These are properly called assonance and have not succeeded as a versification device in English. Examples are: main, game, reins, lamed hate, shape, played feed, sleet, creep sandwich, orange, lozenge childhood, wildwood Norfolk, war talk anguish, Flatbush silver, deliver You can find examples of incorrect rhymes in poems by many accepted poets, and in a much higher percentage of popular songs and newspaper versification.

Two of the above examples were taken directly out of songs nationally popular. Slovenly rhyming is one of the sure signs of mediocrity in versification. Learn correct rhyming first; then, if you wish to break the rule you understand, that is your privilege. The language's poverty in rhyming has caused the following almost-rhymes to become widely accepted: given, Heaven; bosom, blossom; shadow, meadow; God, road; war, more; bliss, is; was, grass.

Among widely used "eye rhymes," which are not rhymes at all, but mere identities in spelling, are:. Bosom-blossom, was-grass are combinations of consonance and assonance; bliss-is is assonance; the others in the first list are consonance.

The first three pairs in the second set are acceptable consonance; real, steal is an attempt to rhyme a two-syllabled word with a one-syllabled one and has no justification from any standpoint. Use consonance or assonance purposely, if desired; but always know that this is not correct rhyming.

If the poet is tone-deaf as to sounds, it is best to rely upon the phonetic symbols above each group of rhyming words in the rhyming dictionary that terminates this book, or upon dictionary markings. Many people cannot distinguish the obvious difference in sounds between this pair of words, which do not rhyme: north, forth. Take away the th sound, and many people still hear no difference between this pair of words, which do not rhyme: nor, fore.

Take away the r sound, and some people still hear no difference between this pair of words, which do not rhyme: gnaw, foe. If in doubt as to such off-rhymes, follow the phonetic markings. A third common error in rhyming comes from such mispronunciations as dropping a terminal -g.

These do not rhyme: martin, parting, herding, burden. They may be rhymed colloquially, that is, in quoted words, as follows: martin, partin', herdin', burden. But unless writing colloquially, do not use such incorrect rhymes as those given first above. A similar error comes from ignoring the r sounds, which causes such off-rhymes as: court pronounced cou't, like coatboat Lord pronounced Lawdgaud.

Rhymes can be made of two or more words. Here are examples of perfect rhymes: satin, flat in. Quentin, went in. Such couplings are more appropriate to light and humorous verse than to serious poetry. Rhyming must always give the effect of unobtrusive naturalness, or it fails of its proper effect. Robert Browning is in a class by himself in fantastic many-word rhymings and near-rhymings, often in serious verse: The wolf, fox, bear and monkey By piping advice in one key.

This is not a rhyme, because monkey is, phonetically, a rhyme sound for ungki, or at best ungke; and one key is, phonetically, a rhyme sound for unke, the unguessed g sound in the first spoiling it as a rhyme. Again, in the same poem, he uses this fantastic coupling: While, treading down rose and ranunculus, You Tommy-make-room-for-your-uncle-us! Ranunculus has its rhyme sound ungk'-u-lus; the next line, ungk'ool-us: a minor difference, but enough to spoil the rhyme. Much closer is Byron's celebrated couplet: O ye lords of ladies intellectual, Inform us truly, have they not henpecked you all?

Don Juan, I, xxii, Lord Byron. The unaccented last syllable of the first line differs from the unaccented last syllable of the second with the difference of a and 6.

Barham furnishes many perfect many-worded rhymes, such as: Should it even set fire to one's castle and burn it, you're Amply insured for both building and furniture. Samuel Hoffenstein furnishes a splendid example: You haven't the nerve to take bichloride; You lie up nights till you're gaunt and sore-eyed.

In using such rhyme combinations, it is wise to put the combination with the inevitable sound first; bichloride; following this with the combination of words to rhyme with it. Thus W. Gilbert, a master rhymester, uses in this order: monotony, got any. In light and humorous verse, such rhyming cleverness is a crown; in serious verse, if used sparingly, it is permitted. Function and 'types of Rhyme In serious verse, since obvious cleverness defeats the appeal to the serious emotions, rhyming should be unobtrusive.

To have your rhyme words merely conveniences demanded by your rhyming pattern is one of the chief faults of rhymed verse. Rhyme is a potent shaper. Once you have written down a line of verse or poetry, and intend to have the next line or the next line but one rhyme with it, your choice of terminal words for the rhyming line is limited by the limited rhyming resources of the language.

If a poet commences, October is the wildest month. Assuming that the first line's rhyming word has certain rhyming mates, the choice of terminal rhyme words for the rhyming line is limited to these; and the direction of the poet's thought and its expression must be deflected into some natural use of one of these rhyming mate words.

Rhyming is a brain stimulant and may even spur on the poetic imagination. The meaning of the planned poem may have been clear in the mind; but its expression, if rhyme is used, must work in limited fields, and only the master achieves in these that finality of natural utterance which is one of the charms of great poetry.

To the authentic poet, especially the living poet, there is no such thing as poetic license: the right to warp and twist the language out of its Heavens Heavy Obituaries - The Deathless - Loud & Numb (Cassette order or grammar, to suit the exigencies of rhyme. Browning continued his Tommy-make-room-for-your-uncle-us couplet with this: Quick march! I would not for worlds be your place in, Recipient of slops from the basin! What Browning meant, in the direct natural order, was: Quick march!

Even this is unnatural; the real order would be "Quick march! Let us suppose that inspiration worked with him in the erratic fashion quoted above. Then would be the time for the critical sense to come in, and rigorously to eliminate all such evidences of poetic licenseinversions, ungrammatical constructions, and the like.

Not one has a place in poetry, more than in speech. This is a rigid rule to lay down. It is not any individual's rule. It is the rule that Shakespeare followed when he wrote: Tomorrow, and tomorrow, and tomorrow. Creeps in this petty pace from day to day.

Out, out, brief candle! Life's but a walking shadow, a poor player That struts and frets his hour upon the stage And then is heard no more; it is a tale Told by an idiot, full of sound and fury, Signifying nothing. This was written some three hundred years ago. There is not an obsolete or even archaic word in it, not a strained construction, not an inversion or instance of ungrammatical poetic license. The quotation given in fragmentary form from Browning, which includes ranunculus, homunculus, skoramis, and countless inversions, was outdated long ago: the words of Shakespeare live.

The best of Burns, of Shelley, of the Keats of Hyperion, of the best among the modern poets, always follows this rule: no inversions, no archaisms, no poetic license.

This is the price of a chance for wide poetic greatness. To return to the strict technique of rhyming, one-syllabled rhymes are called single or masculine rhymes. Examples are: we, flee, sea, apostrophe, harmony, disk, tamarisk, odalisque, fling, sing, carolling. In the last pair of the first grouping, and the third rhymes in the others, note that only a secondary accent falls on the rhyming syllable.

This is enough. A rhyme may be more smothered, if read naturally a modern variation in which it may be said that an accented syllable is rhymed with an unaccented one: such as anguish, wish; ring, wedding. Used sparingly, this is effective.

Two-syllabled rhymes are called double or feminine rhymes. Examples are: ocean, motion, devotion, traded, aided, play did.

Three-syllabled rhymes are called triple rhymes. There may be rhymes, especially in light verse, of four or even more syllables. A rhyme like the one last given shows iittle cleverness, since it is merely "rest, best, palimpsest" with the phrase "of it" added. The lack of cleverness makes it more suitable for serious poetry than for light verse. Non Serviam — Non Servaim - R. Archie S.

Onibaba — Who Watches S — Goodbye Pacewon — Design in Malice feat. Sakamoto — Prologue Prof. Sakamoto — 8bit shower for SF Hyakkei feat. Laura Vane — Taking Me Over feat. Lil Fame of M. Alan Murphy Sg — Beatboxing Shaggy feat. Tamara Blessa — Away With Me feat. Lucia — All Eyes on You St.

Dread MC — Concrete Teams vs. Bombs — Yer Country U. Enjoy What You Do? What Happens Next? Similar events to AdamFest Apparently, he fancied Everton but lost interest as soon as he saw their stadium. But ours, yes, he liked it. Mancini is, one might say, a control freak: he does it his way or out you go. Hard but fair, always. In his first full season we won the FA Cup. Well, not this time. While they are still a very very good team they are not the force they once were.

So, they panicked while we won six in a row. We won't be brushed off so easily now. We started to eat away at those eight points. And again, I heard about their manager, Sir Alex Ferguson, being the master of the mind games, letting no other manager best him. And then he went up against Roberto, he cracked up on the touchline at some perceived slight and got up in his face at the home derby and, instead of backing away, as all managers do when confronted with the red-faced grandfather of them all, the greatest club manager of all time, our fiery Italian manager went toe-to-toe, snapping back at him.

It was a watershed moment — you will not push us around anymore. You will not bully us. Everything will not go your way.

We are not your inferiors, your rivals to be patronised, no longer. We won the derby and our celebrations were muted — we did a job we had to do, we have more in our sights now than just beating United. By then, United had already crumbled to a defeat at fighting Wigan which I predicted and slipped to a crazy home draw with Everton after leading by two goals, twice which I had not. He held grudges, it was said, he wanted revenge, which he denied, and he was an ex-United legend.

It was all set up for Cityitis, for Typical City to screw it up. We very nearly did. We should have won the title a month ago, but we choked, and then United choked, and now it was all down to this one game. We must drain out the last drop of nerve-shredding stress from every fan that has waited 44 years for this moment.

Inthe last time we won the league, my dad was 17, and he missed the winning game because he was working and had to read about it in the Football Pink a Manchester Evening News supplement printed one hour after the match ended.

When I was a kid, I would run down the street to greet him as he returned from every miserable home match. He laughed and said yes — I promise you; it was a safe bet back then. We were both totally out of our minds. We had put so much into this. Just one win against struggling QPR was all we needed. This is true. I was cautiously happy but I feared what was to come, without our midfield lynchpin.

The second half began and the fans roared but the Cityitis tension grew, and then QPR scored twice. Doom enveloped us all, overwhelming crushing darkness. United, despite being an average team, and desperate enough to have a midfield three with a combined age ofwere going to win a 20th title. Worlds turn on such moments.

I got up from my chair and went to lie down on the bed. I stared at the ceiling. But much like in that Gillingham game, when Dickov scored that club-saving goal, the universe realised that we had had to take enough of being shit, being maligned, being lesser than. Before another thought could even get into my messed-up head, the commentator started screaming.

Off his shirt came and absolute hysteria erupted. I jumped off the bed, sank to my knees and started to cry, simply praying for the final whistle. One long minute later, we were champions of England. My phone lit up like an Xmas tree, and I talked to some friends through sobs. I called my dad. We were simply and genuinely in shock. United always have the last laugh. I was delirious. Without thinking, I booked a train ticket to Manchester, after calling the local radio station and confirming that the victory parade was on for the day after, and just floated to Euston.

I was home in time for Match of the Day, which we watched half in joy, half in tears. I met dad at 4pm the day after in town and we got a spot among our fellow blues in Albert Square, in front of the Town Hall, a most stunning building. We were with our people. There were babies, toddlers, little ones, teenagers, students, mums and dads, middle-aged couples, pensioners — to a man, woman and child they were in joyous shock.

Everyone had their match-day tale. For the players, it looked like this. To my eyes, it looked like this: like this this this and this. Truly, it was one of the best days of my life, of our lives — to share this with dad was unimaginably special and momentous. We dragged ourselves home, and I was so excited I actually tripped and fell up my own front steps.

But that was it, the day that marked the end of Cityitis, the day that consigned Typical City, always screwing it up, to history forever. And yes, dad is going to keep his word on the beard bet. So, exhausted, I got the train home this Tuesday May 15th morning. I had a reserved seat, but for some reason kept walking and sat one coach down, for no particular reason. With 10 minutes to go of the journey, I got up and turned towards the rest of the carriage.

My gaze alighted on two very handsome men sitting two seats behind me. And then I had this moment. This guy, from the Ivory Coast, a civil-war-torn country, has always been different. He has always been a model professional, and he has always behaved in the correct way.

He took it on the chin, apologised even though the team doctor had told him the pills were fine to takenever complained, and worked his arse off to stay fit. After his ban ended, he returned as a squad player, and was welcomed back with open arms.

Fellow defender Joleon Lescott had usurped him in the team, taking his place in his absence, and he never complained. When our majestic captain Vincent Kompany was banned for four games he Album) into the team and held the defence together. When Kompany returned he again went to the sidelines, and he never complained.

When Lescott was injured, without a word he took his place and played superbly. When Lescott was fit, he lost his place again and he never complained. He is a team player. We exchanged a look of two people who, despite not knowing each other, had been through something together. I held my hand out, and he shook it. I burbled something — I think I told him how long we had waited for this moment, how old my dad was when we last won the title, how old I was and how I thought this day would never come — and I looked him in the eye and just said thank you.

You don't know what this means to me, to my family, to all of us. He was kind and gracious. I shook his hand one more time, thanked him again, and walked down the train. Imagine that, to get a chance to personally thank a hero: I will never forget it. They did this for us. And today, the city is ours. Tags: Manchester CityManchesterFootball. Tags: Manchester City. A young Manchester lad, aged 15, went to see a concert 40 years ago today. The friend had not managed to get anything in the main, seated, floor, nor the balconies.

Instead he had somehow gotten hold of platform seats. These consisted of 2 rows of chairs behind the band. Or, in this case, The Band. With excitement and trepidation he and his friend Casper went to see Dylan perform. He had played the year before indrawing rapturous applause and plaudits. He simply strode on stage, all curly hair and leather jacket, acoustic guitar and harmonica, and played his own kind of folk music.

On that trip, following a meeting with the Beatles, he had become fascinated with electric guitar and had bought one in London. In he returned to Europe with this band and the reaction was one of disgust. He was booed repeatedly, every night. The first half acoustic set went down just as in '65 but when 5 musicians appeared with him the appreciation turned to anger.

The effect on Band drummer Levon Helm was marked. He decided he couldn't handle the abuse any more and with Bob's permission left the tour completely, to be replaced by Mickey Jones.

Though everyone had become demoralised by the audience disapproval, the fans of folk appalled at Dylan's traitorous betrayal into the world of electric music, they soldiered on. On that day, May 17they played in Manchester. The young 15 year old took his place seated behind Dylan, to stage right of Jones's drum kit.

As with all the other gigs the first half went very well. Then, the interval. Again, murmurs spread of the electric second half. The Band were very loud indeed and Dylan's new songs pierced the auditorium. Some sat in shock, some cheered, some booed. One foolhardy young man on the main floor waited until a quiet moment arrived to shout possibly the most famed heckle in rock history - "JUDAS!!! The band tore into Like A Rolling Stone. But the gig was electric. But Londoners cannot claim this piece of rock history for themselves.

Manchester has always been the cooler city - from the Judas concert to the Sex Pistols first gig a decade later: attended by everyone from The Buzzcocks and Morrissey to Warsaw later Joy Division and Howard Devoto. We always see the truth first. Over the years many people have claimed to be the Judas shouter. Who knows who he really is Forty years ago today the year-old Salford lad behind the drummer shifted uncomfortably in his seat, unwilling to make eye contact with anyone on stage.

He wasn't sure if Dylan was going to storm off, he wouldn't move a muscle for fear of what might happen. It was a moment that he remembers 40 years to the day later. I know because I spoke to him this morning — my dad. And he remembers every detail.

And if you look closely at the photo above you can see him, arms folded, just peeking out from the amp on the right, with the glasses on. His friend, to this day, Casper sits next to him with suit and tie on. Both of them look terrified. But it was a day neither of them will ever forget. Tags: FamilyManchesterBob Dylan. Home Work Writing Rates. There must be tens of thousands of articles. Millions of words. How can I possibly use words that have been used before to say things that have been said before about my Bobby?

A remarkable, yet ordinary, flesh-and-blood American man whose music will be listened to for thousands more years and inspire tens of thousands more books and millions more words? If souls exist, and if I have one, I can only tell you that he reaches its edges and turns them inside out.

In a very different way to Bowie, as well. I am made of his music. To see what he is, is to acknowledge what he means to the world, whereas to know what Bowie is, is less tangible, but far more a part of my bones. Aubrey Beardsley and all that. But it does change your relationship with the music, when its creator has departed.

That was the spur for writing this. It took a while to figure out what the sensation was… gratitude. Because the dominant musical figure of my life, David Bowie, is gone. I am lucky to have lived at the same time as both men. But now Bowie is gone and my relationship to his music has changed, because it was forced to. Thinking about the musical figures I was aware of when I was young, played loudly and often by the parents, it was always Bob and Miles Davis.

But Miles died inwhen I was 15, so he switched from being an active person, who released music and could be seen in concert, to a gone person. I knew him as a living artist for only a short time. But Dylan? He kept on going. He kept on making albums too and, no, not all of them were great. But the point is that he is here.

I wish she was here to read this and celebrate the birthday milestone. Not just five albums — two of his originals and three covers collections — but… he won the Nobel Prize for Literature! That was pretty surreal. Okay, yes, we can speak up for Sinatra and Elvis as towering figures. But Dylan is the greatest and most influential musical figure of the last century. But does anyone know what Bob Dylan, the constructed persona of Robert Zimmerman, actually thinks about it all?

His lecture, given in writing, not in person, to accept the Nobel was sprawling, wild and filled with literary allusionsnamechecking The Odyssey and Moby Dickbut it was also very self-aware. Living long enough to see these types of tributes to your big eight-zero must be like reading your obituary. It makes me think about how it must have felt for Bowie to witness the mass freakout when Where Are We Now?

It was probably a little like being present at your own funeral. Watching people react as if it were to a joyful eulogy. I hope Dylan is similarly tickled by how loved he is: perhaps he might catch some of the excellent articles and radio shows that have come out in the last couple of months. Listening to his early stuff now, you can hear this arrogant, brash young man who knows how brilliant he is.

He simply reeled off dozens upon dozens of songs that people will still be listening to for millennia. A friend who was there told her that this unkempt man shuffled over and started a polite conversation, before asking her out on a date.

She had no idea who he was. Equally politely, she said no thank you and he said it was nice to meet her. Bob Dylan! Maybe his famous friends sworn to an omerta for fear of ex-communication. But not biographers or acolytes, and certainly not the bizarre, obsessed fan one of many who made a habit of going through the bins outside his house. But even then, a figure such as President Obama found himself beautifully baffled by Dylan — and that was just how both parties wanted it.

There was no rehearsal. You want him to be a little skeptical about the whole enterprise. The surely apocryphal tale of mistaking a plumber called Dave for his mate Dave Stewart in Crouch End in the 90s. I find it strange that any Jew would celebrate Christmas in any way but I know this is a great deal more normal for American Jews than British ones! He and Charles later did make a movie together, the extremely loose and weird Masked and Anonymous. Then there was the time when he got escorted by the police back to his hotel because a local homeowner in a New Jersey neighbourhood he was walking around in, late at night, thought he might be casing the joint.

There are dozens more of these tall tales. My dad told me the story that, I think, sums him up best. Sometime in the 80s or 90s, an anecdote made the rounds about a guy getting into a lift at a hotel and, to his surprise, there was Dylan. Selling his songs may have, to some, seemed a cynical venture but not only does it secure his legacy forever, it also ensures income for his descendants for the next ten generations.

People have spent 60 years trying to understand Bob Dylan. And good for them. Saying it out loud makes a fervent wish that a person will continue to have good health. Bob Dylan has reached 80 years old, keina hora. May he have another lifetime to go. This was written just before the American presidential election. People are reaching out for comfort. You might have remodelled a room, bought new art, a rug, plants; got new clothes, even though you have nowhere to go; hunkered down to watch TV, as we face whatever the fuck this is and is going to continue to be.

How can money be sucked out of you? Pay-per-view football, a live-streamed gig remember gigs?! Are you bereaved? Working, furloughed, made redundant or on the dole? Getting government money, barely enough to survive on? The roulette wheel spins, we pick and yet… sameness. A tiny event like a distanced visit with a loved one marks out a day.

You pounce on any work offered, as who knows when the next will come. Out in shops or on public transport, on overloaded buses, half-full tubes or empty commuter trains, you weave around the chin and nose cunts, too self-absorbed, too selfish, to notice or care about fallen masks. An acceptance that there will likely be another year of this shit. Who knew the end of the world as we knew it would be so… slow. Buffy again. The viciously good Better Things. And partly because of all this and partly because of White House occupancy, a walk back to the warm hug of how American politics can be of The West Wing.

American journalists are obsessed with ripping it upas if it actively harmed their country. TWW has a huge amount in common with the sweeter small-government politics of Parks and Recreation, a show that never got called a liberal fantasy, despite being exactly that with showrunner Mike Schur massively influenced by The West Wing. Journalists hate that guy. Such hatred is based on a shallow understanding of The West Wing.

The administration achieved… very little. They were blocked by Republicans portrayed as John McCain types, not venal Mitch McConnell types, at least during the Sorkin yearsblocked by themselves and blocked by circumstance, incompetence, arrogance and hubris.

Yes, they are sexist. The West Wing Weekly podcast calls out those flaws in detail. But it also posits that, especially given the trauma of the last four years, politics can be different. Why not? TWWW, co-presented by podcaster Hrishi Hirway Song Exploder and former cast member Josh Malina, started in March and was a deep dive, with episode breakdowns and interviews featuring ex-cast members, guest stars, technicians, producers, writers, directors, famous fans and a whole bunch of experts — senators, speechwriters, military figures, press secretaries, chiefs of staff and more, most of whom worked in the real White Houses of the last 40 years.

These were political operatives from the administrations of Nixon, Carter, Johnson, Reagan, both Bushes, Clinton whose White House the show is largely based on and Obama whose staffers told the cast they went into politics because they grew up watching The West Wing. The West Wing is a relic, as are other lates-earlys shows about cops, lawyers, doctors and aliens and by the way, nobody writes articles saying The X-Files damaged America because it popularised conspiracy theories and pushed them into the mainstream, even though arguably it did.

It is, simply, about how important it is to vote, with side plots of a chess game figurative with China and Taiwan, and two chess games literal between the president, Josiah Bartlet Martin Sheenand two of his staff, Communications Director Toby Ziegler Richard Schiff and his deputy Sam Seaborn Rob Lowe. I got an evening of it going, first watching the original to play spot the difference.

We do know that. And we feel at a time like this that the risk of appearing obnoxious is too small a reason to stay quiet if we can get even one new voter to vote. The design, deceptively simple, is stunningly directed by the executive producer of the Sorkin years, Thomas Schlamme.

It asks whether a TV drama can be broken down, reverse-staged: usually plays become films, not the other way round. That comparable stillness is what makes sure the dialogue sings even more than it did first time around. On first watch, I found it all so moving. Eighteen years have passed. The men look genuinely older, greyer, more worn even Rob Lowe.

But certainly, the political devastation of the last four years sees the toll written on each face. Leo was transformed into a younger version, played very differently by Sterling K Brown Sorkin said if he ever rebooted TWW — making clear he would never do so — Brown should be the president.

Brown did a great job: being nothing like Spencer helped both him and viewers disassociate from the overall sadness of the lost cast member. To leaven the China plot and the big finish, a heavy chess game between Toby and the President, there was a lighter chess match with Sam, wherein the machinations of the diplomatic dance between China, the US and Taiwan were played out like real-life Battleship.

We also wisely avoid the fairly inappropriate workplace flirtation between Josh and his deputy Donna Janel Moloneywho get the title card plot. But… we gotta let it go. Josh It is absurd that 42 people have this kind of power. Josh Do you? They all gather at once… Josh At a gas station. See, this is the difference between you and me.

Those 42 people are teaching us something about ourselves: that freedom is the glory of God, that democracy is its Album), and that our vote matters. Yeah, I should call ahead. And so, Josh elevates 42 votes to a place of high drama and high importance. Not just because politics is a superstitious game, but because every vote does count. A couple he met on the campaign trail, the Flenders, have called Donna to say that they are thinking about voting for Ritchie.

She is sent out into the cold with a mobile yes, even in ! A side note for the nerds: this remake takes a deep-dive into the supporting cast from the original. The journalists in the press room, all in multiple episodes, are recognisable to long-term fans.

The China plot brought back the wonderful Anna Deavere Smith, who as well as being a brilliant actress and professor is a Pulitzer-nominated playwright: her one-woman show about the prison-for-profit system, Notes from the Fieldplayed off-Broadway and at the Royal Court. She took no part in TWWW, purely, we were told, because of being too busy so it was a real pleasure to see her again.

Reading the scene directions [Cut to: Int. She joined in season two to play a Republican operative, Ainsley Hayes. Hayes presented a realistic face of conservatism that never sneered, not even when she argued against the Equal Rights Amendment.

The scene, simmering, comes to a boil with a question about what voters want. A guy they can have a beer with? The smartest kid in the class? The heavier or stressed part of a foot in classical prosody, especially in quantitative verse; later, the unaccented syllable or syllables of a verse.

Rhyme is the identity in sound of an accented vowel in a word, usually the last one accented, and of all consonantal and vowel sounds following it; with a difference in the sound of the consonant immediately preceding the accented vowel.

Rhyme deals exclusively with sounds and has nothing to do with spelling. The rhyming dictionary terminating this book is strictly phonetic and therefore logical and useful. Correct rhymes may be spelled alike: ate, plate, mate, abate, syncopate. They may be spelled differently: ate, bait, straight, freight.

In this case the spelling is immaterial. So called "eye rhymes"—that is, words spelled alike that look alike but are pronounced differently—are not rhymes at all; they slip into versification, if at all, as consonance, which will be discussed later.

That is, the incorrect rhyme earth, hearth so popular among English versifiers, is no more a rhyme than the following sets of words identically spelled, but pronounced differently:. Identities do not rhyme, no matter what the spelling is; since the preceding consonantal sounds must differ. The following are identities, and not rhymes: bay, obey bare, bear, forbear laying, overlaying ability, possibility, probability.

Sounds almost alike, after the identical accented vowel sounds, do not rhyme. These are properly called assonance and have not succeeded as a versification device in English. Examples are: main, game, reins, lamed hate, shape, played feed, sleet, creep sandwich, orange, lozenge childhood, wildwood Norfolk, war talk anguish, Flatbush silver, deliver You can find examples of incorrect rhymes in poems by many accepted poets, and in a much higher percentage of popular songs and newspaper versification.

Two of the above examples were taken directly out of songs nationally popular. Slovenly rhyming is one of the sure signs of mediocrity in versification. Learn correct rhyming first; then, if you wish to break the rule you understand, that is your privilege. The language's poverty in rhyming has caused the following almost-rhymes to become widely accepted: given, Heaven; bosom, blossom; shadow, meadow; God, road; war, more; bliss, is; was, grass. Among widely used "eye rhymes," which are not rhymes at all, but mere identities in spelling, are:.

Bosom-blossom, was-grass are combinations of consonance and assonance; bliss-is is assonance; the others in the first list are consonance. The first three pairs in the second set are acceptable consonance; real, steal is an attempt to rhyme a two-syllabled word with a one-syllabled one and has no justification from any standpoint.

Use consonance or assonance purposely, if desired; but always know that this is not correct rhyming. If the poet is tone-deaf as to sounds, it is best to rely upon the phonetic symbols above each group of rhyming words in the rhyming dictionary that terminates this book, or upon dictionary markings. Many people cannot distinguish the obvious difference in sounds between this pair of words, which do not rhyme: north, forth.

Take away the th sound, and many people still hear no difference between this pair of words, which do not rhyme: nor, fore.

Take away the r sound, and some people still hear no difference between this pair of words, which do not rhyme: gnaw, foe. If in doubt as to such off-rhymes, follow the phonetic markings. A third common error in rhyming comes from such mispronunciations as dropping a terminal -g. These do not rhyme: martin, parting, herding, burden. They may be rhymed colloquially, that is, in quoted words, as follows: martin, partin', herdin', burden.

But unless writing colloquially, do not use such incorrect rhymes as those given first above. A similar error comes from ignoring the r sounds, which causes such off-rhymes as: court pronounced cou't, like coatboat Lord pronounced Lawdgaud.

Rhymes can be made of two or more words. Here are examples of perfect rhymes: satin, flat in. Quentin, went in. Such couplings are more appropriate to light and humorous verse than to serious poetry. Rhyming must always give the effect of unobtrusive naturalness, or it fails of its proper effect. Robert Browning is in a class by himself in fantastic many-word rhymings and near-rhymings, often in serious verse: The wolf, fox, bear and monkey By piping advice in one key. This is not a rhyme, because monkey is, phonetically, a rhyme sound for ungki, or at best ungke; and one key is, phonetically, a rhyme sound for unke, the unguessed g sound in the first spoiling it as a rhyme.

Again, in the same poem, he uses this fantastic coupling: While, treading down rose and ranunculus, You Tommy-make-room-for-your-uncle-us! Ranunculus has its rhyme sound ungk'-u-lus; the next line, ungk'ool-us: a minor difference, but enough to spoil the rhyme. Much closer is Byron's celebrated couplet: O ye lords of ladies intellectual, Inform us truly, have they not henpecked you all?

Don Juan, I, xxii, Lord Byron. The unaccented last syllable of the first line differs from the unaccented last syllable of the second with the difference of a and 6. Barham furnishes many perfect many-worded rhymes, such as: Should it even set fire to one's castle and burn it, you're Amply insured for both building and furniture.

Samuel Hoffenstein furnishes a splendid example: You haven't the nerve to take bichloride; You lie up nights till you're gaunt and sore-eyed. In using such rhyme combinations, it is wise to put the combination with the inevitable sound first; bichloride; following this with the combination of words to rhyme with it.

Thus W. Gilbert, a master rhymester, uses in this order: monotony, got any. In light and humorous verse, such rhyming cleverness is a crown; in serious verse, if used sparingly, it is permitted. Function and 'types of Rhyme In serious verse, since obvious cleverness defeats the appeal to the serious emotions, rhyming should be unobtrusive. To have your rhyme words merely conveniences demanded by your rhyming pattern is one of the chief faults of rhymed verse.

Rhyme is a potent shaper. Once you have written down a line of verse or poetry, and intend to have the next line or the next line but one rhyme with it, your choice of terminal words for the rhyming line is limited by the limited rhyming resources of the language.

If a poet commences, October is the wildest month. Assuming that the first line's rhyming word has certain rhyming mates, the choice of terminal rhyme words for the rhyming line is limited to these; and the direction of the poet's thought and its expression must be deflected into some natural use of one of these rhyming mate words.

Rhyming is a brain stimulant and may even spur on the poetic imagination. The meaning of the planned poem may have been clear in the mind; but its expression, if rhyme is used, must work in limited fields, and only the master achieves in these that finality of natural utterance which is one of the charms of great poetry. To the authentic poet, especially the living poet, there is no such thing as poetic license: the right to warp and twist the language out of its natural order or grammar, to suit the exigencies of rhyme.

Browning continued his Tommy-make-room-for-your-uncle-us couplet with this: Quick march! I would not for worlds be your place in, Recipient of slops from the basin! What Browning meant, in the direct natural order, was: Quick march! Even this is unnatural; the real order would be "Quick march! Let us suppose that inspiration worked with him in the erratic fashion quoted above. Then would be the time for the critical sense to come in, and rigorously to eliminate all such evidences of poetic license—inversions, ungrammatical constructions, and the like.

Not one has a place in poetry, more than in speech. This is a rigid rule to lay down. It is not any individual's rule. It is the rule that Shakespeare followed when he wrote: Tomorrow, and tomorrow, and tomorrow. Creeps in this petty pace from day to day. Out, out, brief candle! Life's but a walking shadow, a poor player That struts and frets his hour upon the stage And then is heard no more; it is a tale Told by an idiot, full of sound and fury, Signifying nothing.

This was written some three hundred years ago. There is not an obsolete or even archaic word in it, not a strained construction, not an inversion or instance of ungrammatical poetic license. The quotation given in fragmentary form from Browning, which includes ranunculus, homunculus, skoramis, and countless inversions, was outdated long ago: the words of Shakespeare live. The best of Burns, of Shelley, of the Keats of Hyperion, of the best among the modern poets, always follows this rule: no inversions, no archaisms, no poetic license.

This is the price of a chance for wide poetic greatness. To return to the strict technique of rhyming, one-syllabled rhymes are called single or masculine rhymes. Examples are: we, flee, sea, apostrophe, harmony, disk, tamarisk, odalisque, fling, sing, carolling.

In the last pair of the first grouping, and the third rhymes in the others, note that only a secondary accent falls on the rhyming syllable.

This is enough. A rhyme may be more smothered, if read naturally— a modern variation in which it may be said that an accented syllable is rhymed with an unaccented one: such as anguish, wish; ring, wedding.

Used sparingly, this is effective. Two-syllabled rhymes are called double or feminine rhymes. Examples are: ocean, motion, devotion, traded, aided, play did. Three-syllabled rhymes are called triple rhymes. There may be rhymes, especially in light verse, of four or even more syllables.

A rhyme like the one last given shows iittle cleverness, since it is merely "rest, best, palimpsest" with the phrase "of it" added. The lack of cleverness makes it more suitable for serious poetry than for light verse. End rhyme is used at the end of the lines.

Here is an example, the Heavens Heavy Obituaries - The Deathless - Loud & Numb (Cassette words being italicized, and the rhyme scheme indicated by the corresponding numerals: Gather ye rose-buds while ye may, 1 Old Time is still a-flying; 2 And this same flower that smiles today, 1 Tomorrow will be dying. Rhyme 1 is a single or masculine rhyme; rhyme 2 is a double or feminine rhyme. Internal rhyme is rhyme used within the line, to give added effectiveness by a closer repetition of the rhyming sounds.

We weave in the mills and heave in the kilns. We sieve mine-meshes under the hills, And thieve much gold from the Devil's bank tills. To relieve, O God, what manner of ills?

Here year-long rhymes internally with drear-long; weave, heave, sieve, thieve and relieve are further internal rhymes; and mills is an internal rhyme to kilns and the three next end rhymes. Undesirable Rhymes Incorrect rhymes, or rhymes constructed by straining the natural expression into inversions and grammatical perversions, excused on. Quite as undesirable are rhymes which are hackneyed and overworked, such as: kiss, bliss. These are unobjectionable technically.

But they have been so used and overused by other poets that the only excuse for them today is use in an entirely new manner. It is the fact that most rhymes have been comparatively overworked that has caused the tendency toward consonance, which is such a marked feature of modern poetry, from Emily Dickinson onward. Alliteration Alliteration, like rhyme, is a repetition of sounds.

But the sound repeated is only the initial consonant of syllables or words. This was one of the major devices of Anglo-Saxon poetry, which did not use rhyme.

The Raven, Edgar Allan Poe. If not overused, this is highly effective. Dolores, Algernon Charles Swinburne. Where there is no sense of unnaturalness in the repetition of alliterative sounds, it may be successfully employed.

Assonance Assonance, called also vowel rhyme, consists in the identity of the final accented vowel sound, with dissimilarity in the subsequent consonantal and vowel sounds. It was used in Provencal and Old French poetry, and is still used in Spanish. George Eliot tried unsuccessfully to introduce it into English, the assonances being italicized: Maiden crowned with glossy blackness, Lithe as panther forest-roaming.

Long-armed naead, when she dances. On the stream of ether floating. Bright, O bright Fedalma! The repetition here is not sufficiently marked to make this device popular in English versification. Typical groups of assonantal masculine or single-rhyrrted endings are: grab, crack, had, tan, sham, hang, fat face, shade, hate, pain, claim, male led, wreck, hem, then, set, step bide, kine, fight, pipe, wise, advice In feminine endings, we would have: aiming, faded, scraping, hailing, painter, lateness roaming, floated, coping, goader, golden coming, dumbness, stubborn, rustle Unpopular so far, at any time assonance may achieve a popularity in English versification.

Consonance Consonance, also loosely called off rhymes, sour rhymes and analyzed rhymes, consists in an identity of all consonantal and vowel. An improvised model would be: There's a golden willow Underneath a hill. By a babbling shallow Brook and waterfall; And a mill-wheel turning Under moon and sun.

As if gently scorning Time and tide and man. There can be any combination of end and internal consonance with end or internal rhyme in the same poem, according to the best modern practice: the poet himself being the judge of what form is most pleasing to his inner sense of music, and that of his prospective readers.

Edna St. Vincent Millay, in The Poet and His Book, uses these pairs of words in consonance: worry, bury; withered, gathered; cluttered, spattered; quarrel, laurel; hunters, winter's; valleys, bellies.

She also twice uses assonance: cupboard, upward; only, homely. Elinor Wylie uses such instances of consonance as: bloody, body; people, ripple; mourner, corner; primer, dreamer; standard, pondered; noble, trouble; music, physic; Circe, hearsay; Vulcan, falcon; languish, distinguish; lost, ghost; sword, lord; suns, bronze; and many more. Emily Dickinson is more lavish in her use of consonance than any of these. The reason has been hinted before: the limited field of rhymes in the language, in spite of the impressive length of any rhyming dictionary.

One advantage of a phonetic rhyming dictionary is that it makes the use of precise and accurate consonance possible.

Words are arranged by rhyme and not by consonance; and yet Album) phonetic arrangement gives a start toward arriving at accurate consonance. Thus AD is followed by AD and this by AD, so that we may proceed directly from rhyming sounds like aid to sad and then to charade. In double rhymes, O 'le, OL 'e and OL 'e follow in regular sequence; thus holy, Macaulay and folly are near neighbors.

Suppose it is desired to locate all the consonance sounds possible for a line ending with holy. Look up also OUL'e and other possible vowel combinations, to make sure there are no rhyme sounds under them. And now the poet has an accurate test to see which words are in precise consonance with holy, and which are not. Thus this most modern of all sound-repetition devices in English versification can be achieved most perfectly through the use of a phonetic rhyming dictionary.

The phonetic symbols, of course, must be in precise alphabetical order. Turn, under each of the five vowels not forgetting the vowel sounds Ol, OO, and Oil come alphabetically alsoto the vowel followed by the identical consonant and vowel sounds following the accented vowel in the rhymed syllable you wish consonances for; and all consonances that the lists of words afford will be found.

There is small adventure in rhyming, except in the made rhymes of two or more words more common to light verse. Compilers of rhyming dictionaries have completed the adventure long ago. There is great adventure in the use of consonance, which expands the soundrepetition resources of the language. It is possible to write a poem where not one of the consonance couplets has been used before. The adventurous will not overlook this. Your Mental Rhyming Dictionary As times it is inconvenient or impossible to have a rhyming dictionary available.

Especially where the poet desires to write such a. The method is simple. First write down all the single, double and triple consonantal sounds you can remember. It is not necessary to write down all of them, although for your convenience the list on page 41 is approximately complete. Having jotted down as many of these as you remember, test the rhyme sound desired against this table, and write out the results.

Thus, if the rhymes to aye, the long A sound, are desired, the poet would get, to begin with, of the single consonantal sounds: aye, bay, day, fay, gay, hay, jay, kay or cay, lay, may, nay or neigh, pay, ray, say, decollete for the t sound, survey for the v sound, way, yea.

Be careful, when a one-syllabled rhyme in such an instance is missing, to use ingenuity to find longer words with the desired rhyme, as decollete, survey. Then, for the double consonantal sound rhymes, the following could be added: redouble for the bl sound, bray, dray, flay, fray, gray, clay, McCrae for the cr sound, play, pray or prey, shay, risque for the sk sound, slay, dismay perhaps for the sm sound, stay, sway, they, tray, tway. In addition, the triple consonantal sounds would give: splay, spray, stray.

Altogether this has furnished thirty-nine rhymes for aye: and this is more than enough to satisfy the requirements of any formal verse. Suppose only four rhymes for the purposes of the rhyming pattern are needed, and the poet decides to use huge as one of them. But no fourth rhyming sound. The huge rhyme sound would then have to be discarded and some other sound tried.

Try a double rhyme, ended. Using this mental rhyming dictionary, the poet discovers:. Here are at least eighteen rhyming mates, which can be used as the 2 rhyme in a ballade, which requires fourteen rhyming mates. So even if the rhyming dictionary is left behind, a mental rhyming dictionary can always be improvised, once the mechanism is learned.

A series of lines arranged formally as a part of a poem is called a stanza. Stanza forms may be rigid, with a fixed order of sequence as to line length, meter, or rhyme; or they may be mere divisions of a poem, corresponding to the paragraphs of prose. The simplest stanza is one of two lines, called a couplet. The word couplet is used to mean either a two-line poem, or a two-line stanza— that is, a part of a poem; and this is equally true of triplets or tercets, quatrains and so on.

It may be rhymed: "Where are you going, my pretty maid? Mother Gooses Nursery Rhymes. Naturally, if our stanza has only two lines, it can be rhymed in only one way: each line followed immediately by its rhyming mate. This Heavens Heavy Obituaries - The Deathless - Loud & Numb (Cassette called rhyming in couplets, and is indicated by 1, 1.

The second rhyme sound used in the poem would be designated by 2, the third by 3, and so on. Thus a series of couplet stanzas, if rhymed, would be rhymed 1, 1; 2; 3, 3; and so on. This is called couplet rhyming, a term used of any lines rhymed in this fashion, even when not divided into separate couplet stanzas. Five-foot iambic lines rhymed couplet fashion are called heroic couplets. This was the favorite measure employed by Dryden and Pope, who enriched the language with many polished quotations: Vice is a monster of so frightful mien As, to be hated, needs but to be seen; Yet seen too oft, familiar with her face, We first endure, then pity, then embrace.

An Essay on Man, Alexander Pope. These pairs of lines are not stanzas, much less complete two-line poems. Thus couplet is used with the third meaning of a method of rhyming—the 1, 1; 2, 2 method. A couplet need not be rhymed: it may be an unrhymed two-line poem, or two-line stanza. It may be in any rhythm or combination of rhythms. The Triplet or Tercet A group of three lines, whether a complete poem or a stanza, is called a triplet, or tercet. This is not as common a form as the couplet or the four-line form, the quatrain.

An example is: A still small voice spake unto me, 1 "Life is so full of misery, 1 Were it not better not to be? It is clear that with three lines to work from, theJines in such a group might be rhymed 1, 1, 2, in which the third line rhymes with nothing in the triplet; or 1, 2, 2; or 1, 2, 1. In the case of groups of triplet stanzas, the rhymes may be interlocked: Make me thy lyre, even as the forest is: What if my leaves are falling like its own!

The tumult of thy mighty harmonies Will take from both a deep autumnal tone, Sweet though in sadness. Be thou, Spirit fierce, My spirit! Be thou me, impetuous one! Drive my dead thoughts over the universe Like withered leaves to quicken a new birth! And, by the incantation of this verse, Scatter, as from an unextinguished hearth Ashes and sparks, my words among mankind!

Be through my lips to unawakened earth 1 2 1 2 3 2 3 4 3 4 5 4. The trumpet of a prophecy! O wind, 5 If Winter comes, can Spring be far behind? This interlocked rhyming, where the unrhymed middle line of one triplet becomes the rhymed first and third lines of the next, the whole ending with a thirteenth and fourteenth line rhyming with the unrhymed central line of the preceding triplet, is a special Italian verse stanza form, called terza rima.

As Shelley used it, it might be regarded as an apt variation of the Shakespearean sonnet. It may be constituted of less or more triplets, always followed by such a concluding couplet. Notice, in the hands of this master, the rhyming devices.

Is-harmonies illustrates rhyming a primary accent with a secondary one: and the secondary one is an indeterminate sound, more often rhymed with seas than with is, which gives it the effect of partial consonance.

Fierce-universe is consonance, not rhyme, as is birth-hearth-earth, long defended as an "eye rhyme," but admissible as consonance. The same is true of mankind-wind-behind. It is incorrect to pronounce the noun wind as if it were the verb to wind; wind here rhymed with thinned, and is in consonance with behind.

Triplets may be in any rhythm, including free verse or polyrhythm. And they may be unrhymed: I have had playmates, I have had companions, In my days of childhood, in my joyful school-days; All, all are gone, the old familiar faces.

I have been laughing, I have been carousing, Drinking late, sitting late, with my bosom cronies; All, all are gone, the old familiar faces. In this poem Lamb invented his own pattern—unrhymed six-foot trochaic in the main, with seven feet in the fifth line; and with the terminal line of each triplet a refrain, repeated without alteration.

Any poet may make his own pattern for any poem he wishes; and, if it finds favor, it may become a standard pattern. The Quatrain A quatrain is a stanza or poem of four lines. This is the most popular brief stanza in English versification, and has a variety of familiar rhyme schemes.

Ordinary ballad meter was originally seven-foot iambic rhymed couplets:. As normally printed today, this becomes a quatrain, with the first and third lines unrhymed, and only the second and fourth rhyming—a rhyme scheme that may be used with other meters as well, and with any number of feet to each line: As Robin Hood in the forest strayed, All under the greenwood tree, He was aware of a brave young man, As fine as fine might be.

Almost as popular is the quatrain rhymed on alternate lines: A violet by a mossy stone 1 Half-hidden from the eye! Quatrains may be rhymed couplet-wise: Tiger, tiger, burning bright 1 In the forests of the night, 1 What immortal hand or eye 2 Could frame thy fearful symmetry?

Note that this is not indented: that is, that line two is set directly under line one. The purpose of indentation is primarily to show the rhyme scheme: lines rhyming with each other may be normally set beneath each other, as in the two previous examples.

Indentation is used either to show identities of rhyme, or to center briefer lines in a stanza or poem. The In Memoriam stanza is built upon a four-foot iambic pattern, rhymed as follows: Ring out old shapes of foul disease; Ring out the narrowing lust of gold; 1 2 1 2 3 2.

Edward Fitzgerald's translation or recreation of the quatrains or Rubdiydt of Omar Khayyam has one of the most famous quatrain rhyme patterns in the language, using five-foot iambic lines: The Moving Finger writes; and, having writ, 1 Moves on: nor all your Piety nor Wit 1 Shall lure it back to cancel half a Line 2 Nor all your Tears wash out a Word of it.

Other possible quatrain rhyme arrangements are: 1, 1, 1, 1; 1, 1, 1, 2; 2, 2, 2, 2; 1, 2, 1, 1; 1, 2, 3, 1; 1, 1, 2, 3; 1, 2, 3, 3; 1, 2, 2, 3; and no doubt others. Hereafter, no additional rhyming patterns will be listed, since by now it should be understood that none is forbidden. As for the number of feet to the line in these quatrains, the number for the better-known patterns is as follows: Ballad Meter, 4, 3, 4, 3. Called also Long Meter in hymns. In Memoriam, 4, 4, 4, 4.

Rubdiydt, 5, 5, 5, 5. Short Meter in hymns3, 3, 4, 3. This last was popular in the sixteenth century as Poulter's measure.

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J'oublierai ton nom — Johnny Hallyday. Crazy — Seal. I Kissed a Girl — Katy Perry. Pas toi — Jean-Jacques Goldman. Mon fils ma bataille — Daniel Balavoine. Unchained Melody — The Righteous Brothers. What'd I Say — Ray Charles. Chanter — Florent Pagny. Quand j'serai K. O — Alain Souchon. Bitter Sweet Symphony — The Verve. Think — Aretha Franklin. Requiem pour un fou — Johnny Hallyday. Je t'aimais, je t'aime, je t'aimerai — Francis Cabrel.

Somewhere Only We Know Nneka - Heartbeat (CD) Keane. Redemption Song — Bob Marley. Lonely Boy — The Black Keys. Les 4 finalistes Al. We Are the Champions — Queen. Je suis venu te dire que je m'en vais — Serge Gainsbourg. Looking for love [ 14 ]. Soul Man [ 15 ]. Tomber dans ses yeuxSur ma peauLa guerre pour se plaire.

Samedi 24 mars Battle 1 — Samedi 31 mars Battle 2 — Samedi 7 avril Prime 1 — Samedi 14 avril Prime 2 — Samedi 21 avril Prime 3 — Samedi 28 avril Quarts de finale — Samedi 5 mai Demi-finale — Samedi 12 mai Finale — Samedi 3 mars — More information at www.

She is a novelist and teacher whose work has been anthologized, broadcast on BBC Radio 4, and adapted for the stage. Nneka - Heartbeat (CD) college she studied poetry, literature, creative writing, translation, and education, graduating with a degree in French from Vassar College and a second degree in English from Hunter College.

When not working on her novel or building Lego pirate ships with her husband and daughter, she blogs about writing, Grub Street, the path to publication, and whatever else is on her mind at HeimBinasFiction. BIO Madelyn Kelly is a TV journalist, author, and professor who has witnessed the transformational power of the narrative. In her television work, Madelyn covered six U.

Pressbased on the research of her co-author; she also co-edited a collection of her late husband's writings, Things Worth Fighting For Penguin. She is an adjunct professor of journalism at Emerson College, with courses on feature writing and political reporting across media: print, TV, radio, podcast, and social media.

She has worked as a freelance book doctor for more than a decade, helping dozens of aspiring authors structure, research, and write novels, memoirs, YA, and historical fiction. Madelyn is a dedicated volunteer at the Crisis Text Hotline, where every conversation reveals the power of owning your story.

BIO Pagan Kennedy is the author of ten books and has won numerous literary prizes. The topics that interest me most and that I have carved out a niche in covering--are living with illness, class issues and poverty, dealing with the death of a loved one or loved onestrauma, childhood abuse, dysfunctions families, addiction in the family, nature and the environment and more.

My personal essays, articles and op-eds have been featured in a variety of publications and media outlets, including The Atlantic, The Guardian, Salon, the Washington Post and Vice. I enjoy teaching and offering one-on-one instruction and mentoring, and take a strengths-based approach with those I work with while creating a supportive environment where we can mutually learn from each other.

She currently blogs about having chronic pain for Harvard Health Publications. Inshe founded the nonprofit project Writing for Survival, which offers writing workshops and one-on-one mentoring for at-risk youth. She lives in Arlington. It's cruel to make me choose, and even this list seems terribly short to do justice to all the great writers out there.

I'm a greedy reader who wants to read anything and everything, and I love surprises. So surprise me. Saunders Award for creative nonfiction. She was also named to the Notable list of Best American Essays. She loves any opportunity to talk about books for all ages, preferably while sipping on a tall glass of bubble tea. BIO Crystal King is a year marketing, social media and communications veteran, freelance writer and Pushcart-nominated poet.

Currently Crystal works as a social media professor for HubSpot, a leading provider of Inbound marketing software. A former co-editor of the online literary arts journal Plum Ruby Review, Crystal received her MA in Critical and Creative Thinking from UMass Boston, where she developed a series of exercises and writing prompts to help fiction writers in media res.

Find her on Nneka - Heartbeat (CD), Twitter, Instagram, or at her website: crystalking. Born and raised in Laramie, Wyoming, he currently lives with his wife and baby daughter in New England. She has worked as a Jewish educator, a children's room library assistant, a writing teacher, and a children's bookseller and organizer of author events. Her picture book manuscript, Something at the Hill was top pick in the picture book category for the Katherine Paterson Prize, awarded by Hunger Mountain, the journal of Vermont College of Fine Arts.

To find out more about Jane, please visit her website, www. He is at work on his first novel. His writing has also earned several travel-writing awards and has been published in multiple travel guides. He recently received a nomination for the Rasmuson Foundation Artist Residency Program, and he previously completed a residency at the Djerassi Resident Artists Program.

He enjoys working one-on-one with individuals as a writing coach. She previously taught at BU and Northeastern University. An essay he wrote on teaching appears in the anthology Dispatches from the Classroom: Graduate Students on Creative Writing Pedagogy published by Bloomsbury.

She is currently the Nonfiction Editor of Nat. Brut, a journal of art and literature dedicated to advancing inclusivity in all creative fields. While working in book publishing in New York City, she took classes at Gotham Writers Workshop which inspired her to fully pursue her own creative path.

She received her Master of Fine Arts in Writing from the University of New Hampshire and is revising a collection of elliptical vignettes on heritage, identity, and home. I've spent several years working with aspiring and established authors alike. My goal is to get your manuscript to be the best possible version of itself. I see this as a diagnostic process, like a doctor listening to a patient, and I find it incredibly rewarding.

My favorite moment is when a writer says to me, "This is how my book was always supposed to be. The book's potential its heartbeat does. Emotional complexity and power is my first aim.

I have a sharp eye for line-level mechanics, and often find that large issues in fiction can be addressed through quite tiny adjustments of language, syntax, and the sequence of passages. While at GrubStreet she has also managed events and gatherings of the Boston Writers of Color Group, neighborhood classes for historically marginalized writers, directed Grub's annual offerings of all classes and events, and much more.

She lives in Cambridge and does improvisational dancing several times a week. But as we were talking, her creative wheels started spinning. Finally she made what I think is an absolutely brilliant suggestion.

I have PTSD due to some past tragic events in my life. I could speak from experience and it would add an entirely new dimension of authority to my MC.

Write about what you know. Cheryl Is a published author and manuscript consultant. Cheryl and her production company, Harry the Cat Productions, help new and established authors achieve their goals.

You can follow her on line at www. My background as a former academic roots me in the long tradition of the novel, so I can offer good guidance to writers working with novel form either to tweak or modify established structures.

I'm also especially interested in coaching writing and can work with writers at any level to help them devise short-term and long-term motivational plans. She taught at Harvard for ten years before leaving academia to turn to writing. In the summers, she runs the Krouna Writing Workshop in northern Greece www. Performance pieces i. Judah Leblang is a Boston-based writer, teacher and storyteller.

BIO Lisa Levy is a writer, essayist, and critic. She is also a columnist and contributing editor to Crime Reads. She is pursuing an MFA in nonfiction writing at Goucher College and working on a collection of linked essays about chronic illness and cultural ideas about life narrative, time, and futurity. They live in the Leslieville neighborhood in the east end of Toronto. She considers herself an amateur Canadian.

In addition to her own writing projects, Vanessa has been providing writing, coaching and editing services to aspiring writers for over four years. Vanessa especially enjoys helping writers to develop an online platform and social media presence to promote new work and engage with their fans.

You may learn more about her services at www. BIO Mariona Lloreta is a Spanish-American storyteller, educator and award-winning interdisciplinary artist working internationally in film, painting and dance.

Her work celebrates the universal thread that binds our human experience as it examines the fine line between presence and absence, wholesomeness and brokenness, past, present and future. Her work dives into themes of identity, spirituality and collective memory, while reflecting upon the beauty and vulnerability of human existence. Mariona is currently producing several female-led, international projects and she is writing two feature films: one based in the United States and another one which will take place in her mother's native rural Catalonia.

She plans to enroll an all-female cast and crew for this project. She is very excited to be joining GrubStreet as an instructor! This includes establishing great characters who have depth and live in fleshed-out worlds. It's also important to me to treat these stories with sensitivity and inclusion in mind.

As a former college first-year writing instructor and current copyeditor in the publishing field, attention to detail rounds out my areas of interest and importance as a writer. In her time working with students at Emerson, she as developed a passion for working with international students, multilingual students, and other diverse student populations, which is born from being bilingual herself.

She loves writing and reading fiction and non-fiction, and occasionally enjoys poetry. Zyanya was born and raised in El Paso, TX and now lives in Quincy, MA with her husband, their demon cat, and her growing library of books. After meandering through college on his way to a degree in Business Management, he then adventured his way through the US Army and discovered a need to follow his passion for writing.

While awaiting the fall ofwhen he will begin his MFA in Creative Writing at Emerson College, Quentin is crafting the second novel of his fantasy trilogy and is considering a memoir about his military days. Norton, has been translated into four languages, and was a finalist for the New England Book Award. She lives in Cambridge. JR resides in Boston where they help organize the Louder than a Bomb MA youth poetry slam and The Plantain Collection, a poetry reading and conversation series for writers of diaspora.

BIO Jess Mann is a writer and an overthinker from a long line of storytellers. At an early age, she remembers wanting to tell stories of her own, but teachers didn't like her talking all through class, and her friends sighed and rolled their eyes a lot, when she was yelling tales at them, so she began to write them down to keep from forgetting them.

Jess now writes a lot of stories down. She is excited to meet all members of the storytelling tribe, and will never roll her eyes and sigh at anyone. Literary fiction that is character-motivated but also plot-driven. The application of techniques from playwriting and screenwriting to prose fiction. His supernatural crime novella "Displacement" was nominated for a Shirley Jackson Award.

Mike's pop culture commentary has appeared in many national publications. Marano is also a beginning circus performer, developing and choreographing narrative aerial pieces for the trapeze and lyra based on the works of J. Ballard and Philip K. Vanessa is currently completing her memoir, A Dim Capacity for Wings, and chronicles the journey in her blog: vanessamartir.

When she's not writing, you can find her either on a dance floor, in a gym punching a bag or in the woods hugging a tree. BIO Tara L. For more information, visit www. Anneli loves working with young writers and teaching generative, fun, challenging classes at Grub Street.

Her recently completed first novel is set in the present-day Balkans. BIO E. Maurice is a bilingual narrative artist and educator. She is currently working on a collection of linked short stories about the experiences of a first generation Haitian American family in s Cambridge, MA.

Her short fiction has also been published in McSweeney's. She studied fiction writing at the University of Montana and now lives in New Hampshire with her family. Interested in remote cultures and wilderness, she has explored the Amazon Basin via dugout canoe and solo hiked Patagonia to write Lonely Planet's Trekking in the Patagonian Andes.

She received her M. Candace enjoys working with youth and previously taught at Nneka - Heartbeat (CD) nonprofit teen literacy program, Books of Hope. For more information on Candace, you can visit her website at candacemcduffie.

My particular interests include braided essays and memoirs, and writing about trauma, war, identity, family, and mental illness. I very much enjoy character-based, scene-driven prose. I have a wide range of experience in revising, editing, and publishing—and teaching writing and literature in college and community classrooms—and can help writers prepare writing samples for MFA applications, fellowships, and grants.

She teaches for Emerson College, GrubStreet, Harvard University, and Writers Without Margins, and she's working on a Miami-based memoir about intergenerational trauma, inherited survival mechanisms, race, gender, class, addiction, and the cost of ignoring our histories.

For more information please visit caitlinmcgill. That said, I am also interested in students at all levels-- beginning to advanced. I appreciate work that has something to say, and says it vividly, from coming-of-age stories to philosophical novels.

No genre fiction, please. He lives with his wife and daughter in Cambridge. His teaching in and around Boston remains a major inspiration for much of his fiction. He been publishing fiction sinceand was most recently featured in the February issue of Red Planet Magazine. He has a particular passion for weird fiction, horror, SciFi, fantasy, and everything uncanny. He was a member of the AWP board of directors fromserving as president from — Winner of numerous awards, among them grants from the Rockefeller and Guggenheim foundations, the Oscar B.

Tom rides his bike everywhere. Martin's Press is a romantic comedy based on an article she wrote for the New York Post, for which she pretended to look for a roommate as a way to meet men. The book was included in Cosmo's "Lit We Love. A long-time film and entertainment journalist, Andrea wrote a horror screenplay for MGM, and her articles and essays have appeared in such publications as Elle, Glamour, Variety, Modern Loss, and the Boston Globe.

She teaches fiction and non-fiction writing at GrubStreet and is currently writing a literary romp about a Cambridge manny and the women whose lives he throws into chaos. Help in writing query letters to literary agents. Please contact for availability and rate structure. Randy Susan Meyers' internationally bestselling novels are informed by years working with families impacted by violence— and a long journey from idolizing bad boys to loving a good man. My particular interests are dramatic novels and long stories which relish style, language, setting, and deep character, coming-of-age narratives, family-based memoir, the travel essay, writing about illness, eerie stories, and literary biography.

I have broad experience in editing fiction and non-fiction books and articles for publication, and can help writers choose, edit and prepare creative writing samples for MFA applications, fellowships and grants. After completing an M. An excerpt of her novel appeared in Defying Gravity ed. Inshe was also awarded a Ph. Since moving to D. Her interests span the novel, short story, ghost story, personal essay, travel essay, criticism of the visual arts, theatre, and music, memoir, immigrant and post-colonial narratives, and the translation of Modern Greek poetry.

I am happy to work with both beginning and more advanced poets, on a small group of poems or a larger collection that they are readying for publication. Widely published in journals and anthologies, Wendy has taught poetry at Emerson College, Boston College, and at workshops around the country. You can find out more about her work at wendymnookin. Please contact for rates. Jenny Moore has provided thoughtful, constructive critiques to writers for two decades.

Since earning her MFA at the New School inJenny has honed her critiquing and writing chops in master-level workshops and one-on-one work with writers at every stage of the publishing process.

BIO Jessica Moreland is a ghostwriter, editor, and book developer. She has edited over five hundred books, articles, and stories for publishing houses, magazines, and individual authors across the globe.

Her editorial specialties include literary fiction, science fiction, fantasy, creative nonfiction, memoir, general nonfiction, health and fitness, and business. She has also authored a book on cutting-edge medical advances for young adults called "Medical Research and Technology. Before becoming a science writer, Alix worked as a global health researcher in East Africa, where she conducted field studies to improve access to malaria diagnosis and treatment.

She was a semi-finalist for the National Playwrights Conference and she is the recipient of a Richard Rodgers Fellowship and a Shubert Foundation grant. She currently teaches playwriting and screenwriting at Grub Street and the University of New Hampshire. BIO Nihal Mubarak is a Sudanese poet, fiction and nonfiction writer whose work centers around themes of home and family relationships.

Nihal teaches college English and creative writing workshops and holds an MFA in creative writing from Emerson College. Dipika Mukherjee is a writer and sociolinguist. Also offers private Scrivener lessons, both the basics, and how to best adapt it to work best for your specific project. As Director of Online and Special Programs at GrubStreet, Alison Murphy works on developing new and innovative models for our online and intensive programs, as well as overseeing our consulting program.

When not at Grub, Alison can usually be found at her laptop with her faithful basset hound Murray at her feet, writing about war and pop culture, or teaching creative writing to inmates in the prison system. BIO Maria Murriel is a journalist, essayist and audio producer. She likes stories about family history and defiance, and she is all about empowering underheard people to tell their own stories. She's reported on immigration, extremist politics, culture and the arts in Miami and Boston for the better part of a decade.

She was born and raised in Lima, Peru, until her family moved to Miami, "the capital of Latin America. She firmly rejects the fallacy that prestige equals worth or competence. She's a proud public school grad who prefers hidden gems to institutional favorites. But for context, she'll tell you her work has won Edward R. Murrow awards for broadcast journalism and Sunshine State awards from the Society of Professional Journalists.

Her written work has been published on NPR. Maria lives in Jamaica Plain, where she marvels constantly at how three Cuban restaurants could exist within walking distance of each other, so far north of Miami. Drop her a line if you like cafecito. AREAS OF INTEREST Everyone has the resources within themselves to get to a polished, dynamic manuscript that reflects their ideas, but sometimes writing can feel unwieldy, or creating a structure is daunting, or maybe help is needed to mine for material that sings and resonates for both the writer and the reader.

The answer can be in asking the right question, or offering an alternative solution, or it can be in finding magic and atmosphere at the level of the sentence. This is an exciting time to be writing fiction or memoir because both genres have developed into open territories and almost anything goes—meaning the possibilities are many and the writer can learn to play at the same time as accomplish the work.

My specific interests are memoir, creative nonfiction essays, literary journalism, and fiction that ranges from short stories, including flash, to novels. Style can range from realism to fabulism, as I love the excitement of writing that pushes boundaries, as well as traditional narratives.

Her debut novel, Molly Falls to Earth, will be released in April, She lives with her husband and two sons, one of whom has Down Syndrome and autism, in Rhode Island. She studied writing under the poet C. Wright as an undergraduate at Brown University.

Heather is also a member of Poemworks, the workshop for publishing poets. I have extensive experience editing and giving detailed feedback on memoir and personal essays, and have helped students apply for graduate school and write query letters to agents. Her work has appeared in ELLE. Additionally, she was nominated for a Pushcart Prize for her essay in Redivider and her essay in Longreads. She was awarded a Archie D.

She is a Pauline Scheer Fellow and graduate of the Memoir Incubator at Grub Street working on a transnational memoir about fractured identity and her relationship with her mentally ill Bengali immigrant mother.

BIO No bio to display. BIO Gabe Novoa is a Latinx nonbinary trans guy author who writes speculative fiction featuring marginalized characters grappling with identity. He is the author of the Beyond the Red trilogy, written under his former pseudonym, Ava Jae, and runs a popular writing-focused YouTube channel, bookishpixie, which currently nearly 30, subscribers. BIO Cindy Juyoung Ok lives in Iowa City, where she teaches undergraduate creative writing and works as an on-call direct services advocate for sexual assault survivors.

An alum of both the Memoir and Essay Incubator programs at GrubStreet, she's writing a memoir about memory, family stories, and the death of her father. Nigerian singer, songwriter and actress born Musical artist. Retrieved 5 February Live Sessions.

ISSN Retrieved 10 January Official Charts Company. Retrieved 27 October Archived from the original on 10 October Archived from the original on 25 January The most superior music experience. All the benefits of Deezer Premium, plus High Fidelity sound. What is Deezer? How much is Nneka - Heartbeat (CD) How do I use Deezer? How do I cancel my subscription? Tinie Tempah "R. IFPI Denmark. Retrieved 14 July Retrieved 3 August Select singles in the Format field.

Select Platinum in the Certification field. Type R. Rita Ora. Discography Awards and nominations. Ora Phoenix. Disc-Overy Demonstration Youth. Authority control MusicBrainz work. Namespaces Article Talk. Views Read Edit View history.

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02.09.2021
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2. Andante Sostenuto - Béla Bartók / György Sándor - Solo Piano Works (CD)

Yet, just like the folk song, the piece comes home to the first degree: the tonal center D appears later in the piece at the end of the legato B section measure 64 and the repeat of the A section. The piece is in ternary form with a coda. The opening, closing, and coda sections consist of imitations of drums and lower wind instruments—"pipes". A less percussive, legato treatment of 2. Andante Sostenuto - Béla Bartók / György Sándor - Solo Piano Works (CD) piano is called for 2.

Andante Sostenuto - Béla Bartók / György Sándor - Solo Piano Works (CD) the middle section 2. Andante Sostenuto - Béla Bartók / György Sándor - Solo Piano Works (CD) the middle and higher register, imitating gentler wind instruments. The title refers to the musettea type of small bagpipe. There is little melody. A noteworthy instruction reads Due o tre volte ad libitum play optionally two or three timesgiving the performer a degree of freedom rare in classical music scores, and underlining the improvisatory and spontaneous nature of folk bagpipe music.

The Sostenuto pedal of the grand piano is necessary for a right rendering of the final four bars. The form is described variously in the literature, e. Hungarian Peasant Songs 15 for piano, Sz. Allegro Moderato. Sostenuto e pesante.

Allegro molto. Romanian Christmas Carols, pieces 20 in 2 series for piano, Sz. Rondos 3 on Slovak Folktunes, for piano, Sz.

Track 2. Andante Sostenuto - Béla Bartók / György Sándor - Solo Piano Works (CD) - Disc 4. The Night's Music. Homage to Paderewski. Category Audio. Authority control. WorldCat via Library of Congress. United States. MusicBrainz work. The Piano Concerto No. Average playing time is between 23 and 24 minutes. He broke that silence with several piano works, one of which was the Piano Concerto, composed between August and November This note is omitted in a number of printed scores, restored in recent printings.

Hilary Hahn is an American violinist. She has performed throughout the world as a soloist with leading orchestras and conductors, and as a recitalist.

Leonidas Kavakos is a Greek violinist and conductor. As a violinist, he has won prizes at several international violin competitions, including the Sibelius, Paganini, Naumburg, and Indianapolis competitions.

He is an Onassis Foundation scholar. As a conductor, he was an artistic director of the Camerata Salzburg and has been a guest conductor of the London Symphony Orchestra and Boston Symphony Orchestra. Corinne Chapelle was a French-American violinist.

She was born in California, her father was French and her mother Tunisian. She started her violin studies as a two-year-old and gave her first concert one year later. Upon hearing Chapelle at the age of fifteen, Yehudi Menuhin said about her: "One of the most promising talents of her generation". Sol Gabetta is an Argentine cellist. At the age of 16 she received her Higher Diploma with the greatest distinction from the Royal Conservatory of Brussels. Rachel Kolly d'Alba is a Swiss violinist.

Considered a child prodigy at the violin, she started playing at the age of five. Nancy Zhou is an American classical violinist. She has performed as a soloist in recital and with orchestras throughout the world. Zhou has been a prizewinner in several major competitions, including first prizes in the Shanghai Isaac Stern International Violin Competition and the International Music Competition Harbin.

Carolin Widmann is a German classical violinist. She plays a violin made in by 2. Andante Sostenuto - Béla Bartók / György Sándor - Solo Piano Works (CD) Battista Guadagnini. Antje Weithaas is a German classical violinist.

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Pump Gun Schulhof - Chicago Jazzz - Hip-Gun-Rock (CD, Album)

You did grand work!! I have a model A 12 ga. My grandson took it apart, completely apart, I can not get it back together. Any chance you know where I can get a schematic for this gun. Thanks Bob Martin. Friday, August 3, Chicago Arms Co. Matt's Grandfather was given HIS dad's shotgun. Papa had it stored in his garage and it was "destroyed" by the humidity. Upon finding the Pump Gun Schulhof - Chicago Jazzz - Hip-Gun-Rock (CD heirloom rusted, Papa was very sad, but hung onto the gun.

When we recently visited Papa and Grandma, Papa proudly showed off his guns to Matt. Matt somehow persuaded Papa to let him take the shotgun home to fix it. Wednesday 11 August Thursday 12 August Friday 13 August Saturday 14 August Sunday 15 August Monday 16 August Tuesday 17 August Wednesday 18 August Thursday 19 August Friday 20 August Saturday 21 August Sunday 22 August Monday 23 August Tuesday 24 August Wednesday 25 August Thursday 26 August Friday 27 August Saturday 28 August Sunday 29 August Monday 30 August Tuesday 31 August Wednesday 1 September Thursday 2 Pump Gun Schulhof - Chicago Jazzz - Hip-Gun-Rock (CD Friday 3 September Saturday 4 September Pump Gun Schulhof - Chicago Jazzz - Hip-Gun-Rock (CD 5 September Monday 6 September Tuesday 7 September Wednesday 8 September Thursday 9 September Friday 10 September Saturday 11 September Sunday 12 September Monday 13 September Tuesday 14 September Wednesday 15 September Thursday 16 September Friday 17 September Saturday 18 September Sunday 19 September Monday 20 September Tuesday 21 September Album) Wednesday 22 Album) All rights reserved.

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Third

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Bette Davis Eyes - Various - Ljuva 80-tal 1980 - 1989 - The Only Way Is Up (CD)

Rogue Wave. Bae West. Moonlight Desires. Chloe Kohanski. Beverley Beirne. Hindley Street Country Club. Boy [CH]. Jean-Claude Petit Orchestra. Franck Pourcel. Betty Davis Eyes. Bette Davis. Amaryllis Temmerman. Ute Berling. Mum Bett Elizabeth Freeman was among the first enslaved people in Massachusetts to successfully sue for her freedom, encouraging the state to abolish slavery. Sammy Davis Jr. Gregory Peck is best known for his larger-than-life film roles, particularly as Atticus Finch in 'To Kill a Bette Davis Eyes - Various - Ljuva 80-tal 1980 - 1989 - The Only Way Is Up (CD).

Oscar-winning actress Patricia Arquette has had a long career in film and television, continually showing her great range as a performer across genres. One of America's most beloved comedians, Lucille Ball is particularly known for her iconic television show 'I Love Lucy.

Ruby Dee was an American actress, playwright, screenwriter, activist, poet and journalist, perhaps best known for starring in the Bette Davis Eyes - Various - Ljuva 80-tal 1980 - 1989 - The Only Way Is Up (CD) A Raisin in the Sun. She's also known for her civic work with husband Ossie Davis. Bette Davis is remembered as one of Hollywood's legendary leading ladies, famous for her larger-than-life persona and for her nearly film appearances.

And she'll tease you, she'll unease you All the better just to please you She's precocious, and Bette Davis Eyes - Various - Ljuva 80-tal 1980 - 1989 - The Only Way Is Up (CD) knows just what it Takes to make a pro blush She got Bette Davis Eyes - Various - Ljuva 80-tal 1980 - 1989 - The Only Way Is Up (CD) Garbo's standoff sighs, she's got Bette Davis eyes.

She'll let you take her home It whets her appetite She'll lay you on the throne She got Bette Davis eyes She'll Bette Davis Eyes - Various - Ljuva 80-tal 1980 - 1989 - The Only Way Is Up (CD) a tumble on you Roll you like you were dice Until you come out blue She's got Bette Davis eyes.

All Themes. Various Artists. Girls Girls Girls [Disky]. Fetenhits: The Real 80's. Girls Night Out. The 80's Karaoke, Vol.

Done Again. Back 2 Bette Davis Eyes - Various - Ljuva 80-tal 1980 - 1989 - The Only Way Is Up (CD) '80s. Top Tunes: 80's. Karaoke Classics, Vol. Eternal Love, Vol. This Is the 80's [Disky]. Love Classics of the 80's. One Hit Wonders [Disky]. Today's Pop Hits of International 70's Songs, Vol. They Sold a Million: 80's. Retrieved June 10, November 27, Archived from the original on November 5, Archived from the original on July 13, March 20, Retrieved November 9, Kim Carnes.

World Charts. Archived from the original on January 9, Retrieved June 19, Ultratop InfoDisc in French. Irish Singles Chart. Retrieved June 2, Dutch Top 40 Retrieved May 3, Single Top Top 40 Singles.

Singles Top Swiss Singles Chart. Retrieved July 22, Retrieved July 18, Cash Box. Archived from the original on September 18, Record World.

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07.09.2021
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Madball - Hardcore Lives (CD, Album)

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April 26, Retrieved April 26, March 22, March 28, Retrieved March 28, Retrieved May 23, Metal Nation. April 24, June 10, Retrieved June 10, Soundwave Brigade. May 20, Archived from the original on June 17, Retrieved June 16, Retrieved April 18, Retrieved June 21, Alternative Press. Retrieved April 3, Retrieved May 22, April 1, Retrieved April 1, June 13, Invisible Oranges. May 31, Retrieved June 1, June 1, May 3, Retrieved May 3, March 27, Rolling Stone.

Retrieved March 27, May 16, Retrieved May 16, May 4, Retrieved May 28, July 5, The Metal Resource. May 11, Retrieved September 21, Retrieved April 12, May 7, Retrieved 13 April May 19, Retrieved May 19, Nuclear Blast. Retrieved May 4, May 8, July 18, Retrieved September 23, April 25, April 23, May 15, June 8, Retrieved June 8, Retrieved July 21, Roooar Violent Zone.

June 14, Retrieved June 18, May 30, Retrieved May 30, Retrieved May 25, June 15, June 19, June 6, June 12, Retrieved June 14, May 23, April 9, Retrieved June 20, Front View Magazine. April 29, Retrieved June 29, July 11, Retrieved July 11, June 27, Retrieved June 27, June 20, June 17, August 29, June 11, Retrieved June 12, Retrieved July 18, July 20, Retrieved September 7, Retrieved July 26, June 22, Retrieved August 27, July 9, Retrieved July 9, June 2, Retrieved June 2, August 2, Retrieved August 2, June 30, Retrieved October 22, July 19, Retrieved July 19, Retrieved June 5, March 26, Retrieved March 26, July 25, Retrieved August 31, September 17, Retrieved September 17, Metal Obsession.

July 15, Retrieved June 15, May 21, Retrieved May 21, June 21, July 12, Retrieved July 13, June 18, July 10, Retrieved July 10, July 23, Retrieved July 31, July 30, September 18, Retrieved July 20, July 17, August 10, Retrieved August 10, August 9, September 9, Louder Sound. Retrieved June 22, August 6, Retrieved August 6, June 29, Retrieved July 23, Retrieved August 8, August 7, Retrieved August 7, August 24, Retrieved August 24, August 1, Retrieved August 1, Retrieved September 24, August 3, Retrieved August 3, September 4, Retrieved September 4, August 30, Retrieved August 30, Retrieved September 3, September 7, Archived from Madball - Hardcore Lives (CD original on September 24, Sleaze Roxx.

October 10, Retrieved November 5, August 23, Retrieved August 23, Retrieved September 27, August 14, Retrieved August 14, September 20, Retrieved September 20, August 19, August 20, Retrieved August 22, Retrieved October 7, Retrieved November 2, August 21, Metal Forces. September 5, Retrieved September 5, Retrieved August 19, Retrieved August 20, September 12, Retrieved September 12, September 23, September 19, July 24, Retrieved October 10, September 21, September 26, Teaser Included ".

Metal Bleeding Corp. September 30, Retrieved October 27, September 22, September 11, Retrieved September 11, Members For New Album, Debut " " ". October 22, December 7, October 4, November 14, November 1, Live From Telia Parken ' ". November 13, Retrieved October 26, Heavy metal. Hard rock Category. Timeline of heavy metal and hard rock music.

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With Doom We Come []. Trident Wolf Eclipse []. Acoustic Classix, Vol. Avatar Country []. Vale []. Corrosion of Conformity. No Cross No Crown []. Vuur Van Verzet []. Sign of the Dragonhead [].

Monuments Uncovered covers album []. Footprints in the Rock []. Alien Beans []. Infernal Overdrive []. Pounding the Pavement []. Khram []. Grimmest Hits []. Too Far Gone []. Defy []. Make Them Bleed []. Substream Magazine. Retrieved March 31, Retrieved February 1, Retrieved 14 January Retrieved March 30, Retrieved February 2, February 9, Retrieved February 9, Retrieved March 19, Earsplit Compound. Retrieved April 8, April 4, Retrieved February 22, February 19, Retrieved February 20, Archived from the original on March 23, Retrieved March 22, April 12, Retrieved October 11, November 9, Retrieved February 19, April 5, Retrieved April 5, The Moshville Times.

March 25, Retrieved April 9, March 1, Retrieved March 1, February 20, April 19, Retrieved April 20, February 5, Retrieved February 5, February 13, February 12, March 11, Retrieved March 12, April 20, Retrieved December 26, March 5, February 14, Album) March 16, Retrieved March 20, March 17, Tiny Mix Tapes. February 28, May 2, Retrieved May 2, February 24, Retrieved April 19, Retrieved July 1, April 10, Retrieved April 10, February 15, Retrieved April 2, March 7, Retrieved March 7, March 31, Know' EP".

May 10, Retrieved May 10, Retrieved March 23, March 21, Retrieved May 12, March 3, Retrieved February 6, March 9, March 10, Retrieved March 10, March 20, April 16, Retrieved April 16, Retrieved April 24, March 30, Retrieved May 13, March 15, March 14, Retrieved March 15, Retrieved March 16, Retrieved May 8, April 17, Retrieved April 17, May 25, Retrieved September 15, March 19, February 21, Retrieved February 21, April 6, Retrieved May 26, May 22, April 13, Retrieved April 13, May 18, Retrieved May 18, April 18, Retrieved May 14, Metal Hammer.

April 26, Retrieved April 26, March 22, March 28, Retrieved March 28, Retrieved May 23, Metal Nation. April 24, June 10, Retrieved June 10, Soundwave Brigade. May 20, Archived from the original on June 17, Retrieved June 16, Retrieved April 18, Retrieved June 21, Alternative Press. Retrieved April 3, Retrieved May 22, April 1, Retrieved April 1, June 13, Invisible Oranges.

May 31, Retrieved June 1, June 1, May 3, Retrieved May 3, March 27, Rolling Stone. Retrieved March 27, May 16, Retrieved May 16, May 4, Retrieved May 28, July 5, The Metal Resource.

May 11, Retrieved September 21, Retrieved April 12, May 7, Retrieved 13 April May 19, Retrieved May 19, Nuclear Blast.

Retrieved May 4, May 8, July 18, Retrieved September 23, April 25, April 23, May 15, June 8, Retrieved June 8, Retrieved July 21, Roooar Violent Zone. June 14, Retrieved June 18, May 30, Retrieved May 30, Retrieved May 25, June 15, June 19, June 6, June 12, Retrieved June 14, May 23, April 9, Retrieved June 20, Front View Magazine. April 29, Retrieved June 29, July 11, Retrieved July 11, June 27, Retrieved June 27, June 20, June 17, August 29, June 11, Retrieved June 12, Retrieved July 18, July 20, Retrieved September 7, Retrieved July 26, June 22, Retrieved August 27, July 9, Retrieved July 9, June 2, Retrieved June 2, August 2, Retrieved August 2, June 30, Retrieved October 22, July 19, Retrieved July 19, Retrieved June 5, March 26, Retrieved March 26, July 25, Retrieved August 31, September 17, Retrieved September 17, Metal Obsession.

July 15, Retrieved June 15, May 21, Retrieved May 21, June 21, July 12, Retrieved July 13, June 18, July 10, Retrieved July 10, July 23, Retrieved July 31, July 30, September 18, Retrieved July 20, July 17, August 10, Retrieved August 10, August 9, September 9, Louder Sound. Retrieved June 22, August 6, Retrieved August 6, June 29, Retrieved July 23, Retrieved August 8, August 7, Retrieved August 7, August 24, Retrieved August 24, August 1, Retrieved August 1, Retrieved September 24, August 3, Retrieved August 3, September 4, Retrieved September 4, August 30, Retrieved August 30, Retrieved September 3, September 7, Archived from the original on September 24, Sleaze Roxx.

October 10, Retrieved November 5, August 23, Retrieved August 23, Australian hardcore also took off during this time with bands like Miles AwayBreak Even50 Lions formed inand Iron Mind formed in The genre was played on the national Triple J network on the short.

With many bands breaking up in the late s, accompanied by a general sense of sonic homogeny in the hardcore genre, the s became a decade of experimentation and fusion in hardcore music that was fueled by access to streaming. Heavy hardcore bands, like melodic hardcore band One Step Closer, [] Magnitude, [] and Dare [] all helped carry the tradition of youth-centric, straightedge hardcore in the s. During this decade, many hardcore bands also had considerable chart recognition.

Its follow up A Different Shade of Blue was released in and peaked at number In the mid—s a number of British hardcore punk bands began being represented as members of a new musical movement dubbed the New Wave of British Hardcorea term coined by Adam Malik from The Essence Records. Partly due to developments in digital communications, there was a rise in interaction between hardcore scenes in different places and subgenres, particularly in Europe.

In SeptemberBandcamp Daily wrote that Fluff Festwhich has been held in Czechia since and features an international lineup of independent bands ranging in style from crust punk to screamo"has established itself as the main DIY hardcore punk event in Europe". The development of Muslim hardcore has been traced to the impact of a film Taqwacorea documentary about the Muslim hardcore scene. Hardcore in the lates saw a significant growth of the scene, to involve bands taking influence from styles generally disassociated with it, such as industrialheavy metalpost-punk and nu metal.

Playboi Carti included a performance from a hardcore show as the Madball - Hardcore Lives (CD cover for his album Die LitDenzel Curry collaborated with Bad Brains and Fucked Up in [] and rap groups Suicideboys and City Morgue were joined on tour by hardcore bands Turnstile and Trash Talk. Inthe highly influential 's Boston hardcore band Have Heart reunited for performances in four different locations after a ten-year breakup.

One of these performances was outside the Worcester Palladium in Massachusettswhich drew around 10, attendees, making it the largest standalone hardcore show in history. During this period, hardcore groups Chubby and the Gang and the Armed gained mainstream attention. Hardcore punk has spawned a number of subgenres, fusion genres and derivative forms. Key derivatives like post-hardcore[] emo[18] and skate punk have had a major impact on alternative music.

Fusion genres include crossover thrash[18] grindcore[18] and metalcore[18] all of which fuse hardcore punk with extreme metal. Metallica and Slayerpioneers of the heavy metal subgenre thrash metalwere influenced by a number of hardcore bands.

Metallica's cover album Garage Inc. The Washington state band Melvinsaside from their influence on grunge, helped create what would be known as sludge metalwhich is also a combination between Black Sabbath -style music and hardcore punk. The bands Discharge [] and the Varukers [] are pioneers of the D-beat genre. Robbie Mackey of Pitchfork Media described D-beat as "hardcore drumming set against breakneck riffage and unintelligible howls about anarchy, working-stiffs-as-rats, and banding together to, you know, fight.

The s saw the development of post-hardcorewhich took the hardcore style in a more complex and dynamic direction, with a focus on singing rather than screaming. Revolution Summer movement and post-hardcore scene would also see the birth of emo. Guy Picciotto formed Rites of Spring inbreaking free of hardcore's self-imposed boundaries in favor of melodic guitars, varied rhythms, and deeply personal, impassioned lyrics dealing with nostalgia, romantic bitterness, and poetic desperation.

Often confused with crossover thrash and sometimes thrash metalis thrashcore. Thrashcore spun off into powerviolenceanother raw and dissonant subgenre of hardcore punk. Grindcore is an extreme genre of music that began the early to mids. Grindcore music relies on heavy metal instrumentation and eventually changed into a genre similar to death metal.

Grindcore vocals, according to AllMusicrange "from high-pitched shrieks to low, throat-shredding growls and barks". Beatdown hardcore also known as heavy hardcore, brutal hardcore, toughguy, and moshcore is a style of hardcore punk and heavy metal which has deep, hoarse vocals, down-tuned guitarsblast beatsand slow breakdowns. Metalcore is a fusion genre that merges hardcore punk with extreme metal. Metalcore has screaming, growlingheavy guitar riffs, breakdowns, and double bass drumming.

In the mids, bands such as MelvinsFlipper and Green River developed a sludgy, "aggressive sound that melded the slower tempos of heavy metal with the intensity of hardcore," creating an alternative rock subgenre known as grunge. Grunge's key guitar influences included Black Flag and the Melvins. Nintendocoreanother musical style, fuses hardcore with video game musicchiptuneand 8-bit music. Eyehategod formed in Harvey, Louisiana in and is credited with originating a new style - New Orleans hardcore-edged sludge.

Crowbar formed in and mixed "detuned, lethargic sludged-out metal with hardcore and southern elements ". From Wikipedia, the free encyclopedia. Subgenre of punk rock. Minor Threat performing in Punk rock proto-punk [1]. Alternative rock black metal [8] [9] crustcore [10] death metal emo grunge noise rock post-hardcore screamo skate punk speed metal street punk thrash metal. Further information: Moshing.

See also: Punk ideologies. See also: Category:Hardcore record labels. Main article: Washington, D. Main article: New York hardcore. Main article: Canadian hardcore punk. Main article: Hardcore punk in the United Kingdom. See also: List of hardcore genres. Main article: D-beat. Main article: Beatdown hardcore. Rutgers University Press. ISBN Counterpoint Press.

Punk Productions: Unfinished Business. SUNY Press. Short, Lorine A. Hughes January 1, Studying Youth Gangs. Madball - Hardcore Lives (CD Altamira. NYU Press. University of California Press. Culture Wars. Duke University Press. Encyclopedia of heavy metal music. Greenwood Press. Profane Existence. Archived from the original on June 15, Retrieved June 16, American Hardcore: A Tribal History.

Feral House. Peter Lang. Nelson Education, Archived from the original on August 9, Retrieved July 1, Drowned in Sound. Archived from the original on October 11, Retrieved February 12, LA Weekly. Archived from the original on August 17, Retrieved June 13, Sober Living for the Revolution. PM Press. Retrieved March 12, Updated in Published by Houghton Mifflin Company. The New Yorker.

Archived from the original on June 17, Retrieved June 15, Archived from the original on June 5, Retrieved August 20, Edited by John Shepherd and David Horn. Archived from the original on December 1, Retrieved June 26, McFarland, Peter Lang, American Hardcore: A Tribal Tradition. Feral House, Archived from the original on March 21, March 10, Archived from the original on March 30, Retrieved June 12, June 22, Archived from the original on June 22, Retrieved September 5, Archived from the original on June 12, WAlfred Music Publishing.

Patrick April 17, Subcultural Theory: Traditions and Concepts. Spring March 1, Archived from the original on July 1, October 31, Archived PDF from the original on November 2, Retrieved May 20, CS1 maint: archived copy as title link Brockmeier, Siri C.

SAGE Publications. CS1 maint: archived copy as title link p. Rutgers University Press,p. February 17, Archived from the original on October 6, Retrieved December 4, Archived from the original on November 3, Verlag, Archived from the original on December 13,

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