MTV News. Viacom Media Networks. Archived from the original on April 2, USA Today. Gannett Company. Archived from the original on March 1, Retrieved February 4, Prometheus Global Media. Retrieved July 2, Christina Aguilera.
RCA Records. VNU Media. July 8, Archived from the original on October 21, Archived from the original on June 10, Retrieved May 31, Retrieved April 25, Archived from the original on March 6, Retrieved February 6, Retrieved February 16, The A.
The Onion. Archived from the original on April 3, Universal Music Publishing Group. Archived from the original on October 20, Retrieved October 16, Archived from the original on February 16, Stylus Magazine. I mean, how else would you expect here to start? Anyway, the opening lyrics to the track are:. Aguilera bites back against an archaic double standard of women being expected to stay mum while men can be allowed to say basically anything without fear of reproach.
Most of us have — unfortunately — had at least of few run-ins with people who have behaved disrespectfully toward us, or attempted to Aguilera's line about how "suddenly big talker don't know how to act" encourages self-confidence and the power of standing up for yourself.
Moose wasted on overripe crab apples get tangled in swing sets, hammocks and even Christmas lights. One scientific paper describes elephant trainers rewarding animals with beer and other alcoholic beverages, with one elephant in the 18th century said to have drunk 30 bottles of port a day. In , a herd of elephants in West Bengal, India, became intoxicated after breaking into a brewery, then went on a rampage that destroyed buildings and killed five people.
Despite these widespread reports, scientists have questioned whether animals — especially large ones such as elephants and elk — actually become inebriated. In , researchers calculated that based on the amount of alcohol it takes to get a human drunk, a 6,pound elephant on a bender would have to quickly consume up to 27 liters of seven percent ethanol, the key ingredient in alcohol.
Such a quantity of booze is unlikely to be obtained in the wild. MTV, which had been on the air only three years, gave the video plenty of spins. From Wikipedia, the free encyclopedia.
This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. If the stock market dips below this point, the selling may accelerate as stops get taken out. Ask Arora: Nigam Arora answers your questions about investing in stocks, ETFs, bonds, gold and silver, oil and currencies. Have a question? Send it to Nigam Arora. When Donald Trump was elected, I predicted Dow 30, points.
Just because the stock market has dipped does not mean it is an automatic buy. Markets are complex. Due to the long bull market — plus years — a simple approach of buying every dip has worked in the past.Just can't hold on, oh no. Feel out in the cold No one to turn to There's no way out Just can't hold on. It's my sunset My sun will set. I've been gone, gone, gone Can't hold on. You gotta check out. 23 One Hit Wonders You Still Can't Get Out Of Your Head. Submit a Song; About Us; Advertise; Contact Us;.
Metacritic Reviews. Photo Gallery. Trailers and Videos. Crazy Credits. Alternate Versions. Rate This. Episode Guide. Shot on location at a ranch setting in Southern California, Descontrol mixes traditional Mexican music with today's urban sounds, Added to Watchlist.
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Retrieved 6 December Retrieved 27 January Retrieved 26 February Univision telenovelas. Morelia La mujer de mi vida Enamorada Categories : Television series produced by Lemon Films Television series produced by W Studios American television series debuts Mexican television series debuts Univision original programming American television series endings Mexican television series endings.
Hidden categories: CS1 Spanish-language sources es. Namespaces Article Talk. Views Read Edit View history. These examples may contain colloquial words based on your search. See examples translated by lack of control Noun 31 examples with alignment. See examples translated by chaos Noun 12 examples with alignment.
See examples translated by disarray Noun 8 examples with alignment. See examples translated by decontrol Noun 4 examples with alignment. See examples translated by recklessness Noun 3 examples with alignment. See examples translated by uncontrolled 17 examples with alignment. See examples translated by out of control 8 examples with alignment.
See examples translated by descontrol 4 examples with alignment. See examples containing mayhem 6 examples with alignment.
See examples containing havoc 4 examples with alignment. I don't know if it's the widespread lack of control or the repression that exists in this country, but these situations are repeated every day. Eating stands out and reveals the polarity: control versus lack of control. The migratory chaos and the taking over of private property for settlements have brought new problems. Estamos de luto y todo ha sido un descontrol There's been a bereavement and everything's been in chaos.Descontrol, Guadalajara (México) (Guadalajara, Mexico). likes. #Descontrol Es el primer proyecto digital que trabajamos en conjunto IBGJ! y GZ. Divertirnos y Disfrutar de la vida a través de Dios.
Hey New Yorkers, you guys where you at? I had to indicate here far away from your history but essential to be announced: An evening at the Sanctury the legendary babtist church club until would always finish with the Doors epic "the end". The DJs name there was Francis Grasso and he almost single handedly created what would become disco's sonic hallmarks.
DJs before Grasso played whatever was popular at the time. Grasso, on the other hand was playing African music or obscure British imports. Change password. You did it!
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So sorry to see you go! Unsubscribe failed. Views Read Edit View history. Help Community portal Recent changes Upload file. Download as PDF Printable version. Svenska Edit links. Little Sister in Funk , psychedelic soul. Refinements in Love Behind the Green Door Adult Drama. Stars: Marilyn Chambers, George S. McDonald, Johnnie Keyes. Femmes de Sade Lustful Feelings Powder Burns Adult Western. Summer Heat Adult Romance Thriller. Bella Adult Drama Romance.
Blue Ice Adult War. Casanova II Adult Biography Drama. Stars: John Holmes, Jesie St. James, Rhonda Jo Petty. Confessions Housewife has a double life: while her husband is at work, she has sex with many men. Wild Things Adult Comedy. Babyface Edit Storyline A mother lives in a trailer in the woods with her daughters Emily and Kandi.Jul 10, · LITTLE SISTER consists of sisters Jenni (vocals) and Debbi Lonmon (bass, vocals), a duo wich started as band in the ’80s inspired by the Wilson sisters Heart. They put some singles in the local chart, and for this third album the girls and the recording label decided to aim higher.
She Won't Show Up Tonight. Light Of The Charge Brigade. Am I Losing You. Let's Go To San Francisco. A Walk In The Sky. Sunshine Girl. Birmingham Brass Band. You Can Never Be Wrong. Mythological Sunday. John Carter was one of the very few free jazz players to concentrate exclusively on clarinet, and one of not very many to place an emphasis on the music's composed elements.
Carter studied alto saxophone and clarinet early in his career. He played with fellow Fort Worth native Ornette Coleman in the late '40s. Their main difference, he has claimed, lies in the centrality of Africa as the key to the authentic identity of the Caribbean region. Should the Francophony be a private club? Similar controversies have been raging over the boundaries of the Francophone community. Do such distinctions mean that there are different orders of francophonie?
Furthermore, critics have expressed the view that there might be an insurmountable gap between, on the one hand, the ideological rationale of solidarity among equals which informs the notion of a pluralistic community and, on the other hand, the sheer reality of francophonie as the terrain par excellence where economic and political inequalities between North and South are reproduced.
In an interview published in Antilla magazine, African writer Bernard Doza vehemently attacks the idea of francophonie for its severe implications on the economies of most Francophone African countries. Whether it means district, region or country, locality is not conceived in oppositional but rather in relational terms.
It represents a territorialized way of existing within a broader space as much as a distinct way of experiencing a deterritorialized community—be it Francophone or Creole. The two movements are defined at the intersection of a plurality of networks which are maintained through varying combinations of strong and weak ties.
Given these various networks, to be both Creole and Francophone is neither impossible nor contradictory. While the necessity of these networks and their potential advantages for individual participants and for each of the movements as a whole is not put into question, the role and status of France within these various networks is open to passionate debates. The motivations and rationale underlying this view vary greatly, and appear to be relative to the political positions occupied by the actors within the networks.
In the former case, controversial issues are raised as France is often accused of adopting a typically colonial attitude towards its overseas departments in the West Indies. While some consider the political sovereignty of the French Caribbean nations as the only solution to such problematic and often downgrading relations, others are prompt to argue that the reason these populations benefit from a fairly high standard of living is precisely because they are French departments.
On the other hand, on the positive side of the relationship, they see France as a crucial ally in the common fight against both the anglophonization of the world and uniformizing threats also posed by the increasingly powerful Islamic and Japanese blocks. By and large, it can be said that France is considered to be the least committed Francophone member of the Francophony, and to support the cause of Creole only when it suits its needs.
Furthermore, since music engages people as historically situated subjects whose distinct ways of being in and to the world matter, music can also be said to exercise subjectifying power.
Zouk is the first Creole music to have achieved an unprecedented commercial success not only in the Creole-speaking Islands and the Caribbean as a whole, but also in Europe and Francophone African countries Guilbault, a.
Zouk is a genre which asserts and promotes Antillean-Creole identity. It is thus by means of a particular language and a distinctive aesthetic process that zouk derives ARTICLE its assertive character and projects a sense of identity. This process is experienced in zouk not only in composition practices, but also in the creation and performance of staged choreographies, dress codes and lyrics.
Leading zouk voices have taken issue with this view inherited from the colonial regime. There are many ways in which zouk has allowed the recovery of Martinican and Guadeloupean specific histories. Musical practices constitutive of zouk have thus helped to establish affinities at several levels; namely, linguistic, sonic, historical and racial. It is precisely through such affinities, we argue, that zouk has produced a narrative of alliance among population groups from different Creole-speaking islands, other minority groups faced with a growing xenophobia within the Hexagone, as well as other musical communities with whom zouk shares some of its most salient characteristics, such as rhythmic patterns, instrumentation, lyrics, structure and promotion strategies.
In our view, however, neither the plurality of contemporary musical patterns involved, nor the full implications of their construction as Francophone can be adequately grasped in terms of musical genres. More precisely, we will examine the particular relationships between heterogeneous local products enjoying great commercial success and forming a diffused yet recognizable whole. Since the mids this young industry has experienced a significant growth, thanks in part to the political and ideological consolidation of a corporate milieu formerly divided in two opposite factions associated respectively with the France-derived chanson and the United States-derived pop-rock genres.
The opposition between chanson and pop-rock has been characterized by the conflation of politics, musical genres and performing styles. It is beyond the scope of this article to examine in detail the various forces which led to the attenuation of this iterative opposition. While French remains by far the most common language of lyrics, it is no longer the exclusive one.
In addition to articulating affective alliances, the mainstream has also involved economic alliances experienced through a series of organizations which contribute to its configuration.
This is the case, for instance, of the Francofolies de Montreal, which is perhaps the most famous and influential privately funded institution involved in this process. While the festival may aim at promoting Francophone musical cultures, it is in no way a philanthropist enterprise. We work hand in hand with our corporate partners from the record and live entertainment industries, we encourage synergy among the various sectors of showbusiness.
These narratives are articulated on a variety of planes, from the aesthetics of music composition and performance to the poetics of lyrics, by means of affect, politics, history and economy, and therefore put forward contrasting alliances which vary in form as much as in rationale and intensity.
By mixing and multiplying cultural, linguistic and musical traditions in which they partake, zouk and the mainstream have broadened their potential audiences while ARTICLE diversifying them. While both sets of practices put an emphasis on linguistic issues through lyrics, they none the less encourage a more comprehensive approach to music which also includes stage choreography, sound materials and organization techniques. In this respect, the increasing number of local and internationally oriented festivals and competitions featuring zouk or Francophone music cannot be overlooked.
While the respective roles of such organizations have yet to be fully assessed, it seems reasonable to infer that they have significantly helped artists, genres, songs and records to gain an official recognition by music-related industries at home and abroad; furthermore, they have contributed in the establishment of the measures designed to evaluate success and define popularity within the industrialized confines of the musical domain.
If this were the case, it could be argued that they have been instrumental in constructing the place occupied therein by the practices whose recognition and popularity they have helped to consolidate.
More precisely, they can be viewed as integral parts of the specific marketing strategies involved in positioning these commodities in highly competitive markets. Drawing from the multiple forms of alliances articulated through zouk and the mainstream, these strategies have involved the construction of various target markets which, we want to emphasize, do not necessarily form a fixed hierarchically organized series, but rather heterogeneous groupings of different orders of markets.
Furthermore, record sales, radio airplay and other CULTURAL STUDIES indicators of the scale of diffusion of these commodities are not necessarily the only criteria used for configuring and defining their respective markets, as linguistic affinities, shared histories, socio-economic and geographic proximities, as well as converging political agendas, also appear to play a significant role.
First, the boundaries of the so-called international market do not correspond to those of the so-called advanced industrialized world.
Northern Western capitalist countries have not necessarily been the sole bearers of all economically and culturally meaningful markets.
Countries or regions usually discriminated against on the sole basis of their supposedly less viable economies have also been involved, albeit to varying degrees, in both the economic and cultural development of various musical practices and commodities.
By using the plural form we want to emphasize the co-presence of various habits and patterns of exchange constitutive of distinct markets. It is our contention that the alliances constitutive of these musical practices have allowed their valorization within the specific inter-national and inter-local markets they have helped to produce or expand.
For example, at the Music Festival of Cartagena where zouk has been given a place of pride, artists from Martinique and Guadeloupe as well as from Columbia and Venezuela—among others— have been able to meet annually, perform for increasingly diversified audiences, and sell records to a wider range of music buyers. The musical practices under study have also been central in the reconfiguration of already inter-national markets.
For instance, the popularity of zouk has been instrumental in redefining musical relationships between Martinique and Guadeloupe on one side, and Haiti on the other. The fact that Martinican and Guadeloupean zouk has become popular in Haiti has counterbalanced the predominance which Haitian compas music has had in the French departments during to Similar reconfigurations have occurred within inter-national markets in which France has been involved.
Although the popularity of zouk has not revolutionized the relationships between France and its departments in the West Indies, it has given the musical cultures of Martinique and Guadeloupe a much brighter place under the sun of the Hexagone. It has also been the case of already existing markets shared by the French Antillean and African artistic communities in Paris which have been further strengthened as zouk has acquired greater commercial and cultural value worldwide.
The ordering of the various flows of capital, commodities, politics and policies, ideologies, technologies and expertises which these new alliances render possible are the object of our final remarks. We argue that the most pressing issues within increasingly globalized musical terrains do not concern production, distribution, promotion and marketing strategies as much as circulation.
How are crossroads policed? How is circulation limited? What are the situated political, economic, cultural and musical agencies at play? We have no comprehensive answer to offer, only a few analytical guidelines to suggest in view of initiating a critical study of emergent regimes of circulation we deem pressing. Regimes of circulation, we propose, may be analysed in terms of the discursive and non-discursive practices which regulate, sanction and legitimize the configuration of movements, trajectories and rituals of passage.
First, circulation implies movement insofar as it refers to the process of changing position or place. It also means sanctioning the material forms through which music moves commodities, experiences, individuals, know-how and policies, for instance and the types of exchange entailed in this process sale retailing, loan, home taping, reselling, barter, conversation, instrument making, to name a few.
Second, given that circulation implies movement within a circumscribed space, it could be argued that the more or less formalized circuits through which musical spaces are institutionally and discursively produced are also regulated. Third, to circulate music can also evoke how music gets spread among and used by various people. Acknowledgements The authors would like to thank organizers and participants of the Border Crossing: Future Directions in Music Studies conference held in Ottawa in March , where a preliminary version of this article was presented.
They would also like to acknowledge the financial assistance they have received from the Social Sciences and Humanities Research Council of Canada.
This article is entirely the result of a collaboration. In fact, the authors have argued over every word and every comma! Unlike other Creoles of the English Caribbean, its vocabulary has been deeply influenced by French, whereas its structure has been mostly associated with African languages. For further discussion on this issue, see Guilbault Nationalism, Globalization and Modernity, London: Sage: — Carrington, Lawrence D.
Deniau, Xavier La francophonie, Paris: P. Que Sais-je? Fahy, Paul ed. Burchell, C. Gordon and P. Miller eds , The Foucault Effect. Goldberg ed. Glissant, Edouard Le discours antillais, Paris: Seuil. Bennett, S. Frith, L. Grossberg, J.
Shepherd and G. Turner eds , Rock and Popular Music. Politics, Policies, and Institutions, London: Routledge: — Hobsbawm, E. Lipsitz, George Dangerous Crossroads. Simard, Alain ed. It considers how the languages of diplomacy and sport were articulated within a discourse of war. It examines how participants in the conflict, journalists and combatants, made use of narratives cognate with the tradition of the romance quest in an effort to make sense of the conflict, promote its aims and provide themselves with reassurance at times of uncertainty, if not naked terror.
It also considers how opposition to the war, dissenting opinions about the legitimacy of its aims and prosecution, and a more critical view of its costs, was most often and most effectively articulated in narratives which contested and deconstructed the discursive norms of the romance quest, or which challenged the coherence of the narrative or the narrative subject itself. The reinstitution of self-help, selfimprovement, thrift and rigid hierarchies of race, class and gender as the basis of both public policy and private conduct would, it was asserted, engender political, economic and moral renewal, thereby stimulating national regeneration.
The Prime Minister held up the task force and its defeat of Argentina as clear evidence of a direct, causative relationship between Victorian values and national greatness. The same virtues of leadership, duty and sacrifice that had served the nation so well in subduing large tracts of Africa, India and the Caribbean had ensured victory over Argentina, and could now be turned to the reconquest of Britain itself.
When we started out, there were the waverers and the fainthearts. The people who thought that Britain could no longer seize the initiative for herself…that Britain was no longer the nation that had built an Empire and ruled a quarter of the world. Well they were wrong. The lesson of the Falklands is that Britain has not changed and that this nation still has those sterling qualities which shine through our history.
This generation can match their fathers and grandfathers in ability, in courage and in resolution. We have not changed…. Just look at the Task Force as an object lesson. Every man had his own task to do and did it superbly. Officers and men, senior NCO and newest recruit every one realized that his contribution was essential for the success of the whole. All were equally valuable—each was differently qualified.
By working together—each was able to do more than his best. As a team they raised the average to the level of the best and by each doing his utmost together they achieved the impossible.
But the spirit has stirred and the nation has begun to assert itself. Things are not going to be the same again. The government could only hope to win public support for the radical policy agenda framing its return to Victorian values by ensuring a broad consensus about the causes, aims and conduct of the war. A moral concord about the aims and causes of the conflict, for example, was produced by divorcing the fighting from its immediate geographical and operational contexts, and constructing it as a moral and metaphysical—as much as a military— confrontation.
The world wondered the would good and true respond? Like the regulars from The Archers an everyday story of country folk inhabiting the fictitious village of Ambridge, broadcast daily on BBC Radio 4 since , the Falkland Islanders were identifiably, if not ideally our kith and kin. In dispatching the task force, it was implied that the nation was fighting for far more than British subjects and their innumerable sheep: it was defending an idealized image of itself and its people—a model of the very consensus which the narrative was intended to sponsor.
In this chronically and sometimes violently mournful perspective the essential stuff of history remains identical through time—even though it is unfortunately all concentrated at an earlier point in the passage of time. When news broke in London, late on 1 April , that Argentine forces had taken and occupied the Falkland Islands, the overriding emotions at Westminster were despair that nothing immediate could be done to counter the intervention, and anger that it had apparently been unforeseen.
The twenty-six days between the departure of the capital ships and the first naval bombardment of Argentine positions around Stanley gave the government ample time to prepare, introduce, explore and ultimately reject a range of diplomatic proposals, thereby preparing the political and discursive ground for the initiation of hostilities and the promotion of their intended results.
Two goodies from followed. The Strangeloves were a New York garage band who created a false back-story that they were Australian sheep farmers. Reasonable question, surely. The 85 year old B. King is still going strong and, in fact, will be here next April for the Byron Blues Festival. How great would it be to see Willie Nelson at the Festival?
Another of my faves is Bob Seger. I closed the show with a great double. Here they are performing live at Donington in Leave me a message on the blog or at the Theme Park page on Facebook. Nov 3. We contemplated the repercussions of hedging your bets, whether it was on the ponies, at the poker table or simply as a result of playing that universal game of chance, love. Cooder says that he learned this version from renowned Blues artist Pink Anderson, who followed tent shows in his early years.
Here they are live on the Midnight Special Any doubts about her talent should now be dismissed, surely. Ska revival band, The Specials, have to be one of the coolest bands on earth. Here they are in Great choice. Here they are live on the Jools Holland show. Even Cee Lo Green was loving this peformance. Cool pink suit too, Cee Lo! The band was notable for their effective mixture of varied musical styles incorporating elements of punk rock, dance, hip-hop, reggae and funk. Melissa contacted me to say that she loves Ray Charles.
He is a music legend. As they so cleverly point out, our whole life is a gamble so we may as well just go for it! I have no shame. They also perform the song on the live concert film The Last Waltz:.
A Grateful Dead concert was to have occurred at the venue on this date but was cancelled due to the untimely death of Dead keyboard player Brent Mydland.
Tim Freedman of Australian group The Whitlams knows a thing or two about telling a story in song. Much appreciated. It was inspirational, empowering and a heap of fun.
End of community service announcement! Jun 9. The weather has been in the news, more than usual of late, what with hurricanes, tornadoes and our own Lennox Head being declared a national disaster area after a mini tornado destroyed homes and caused chaos to this beautiful little coastal town. Prone to making stuff up. Any chance of them believing me went by the wayside.
I told them it was okay. It feels honed out of some kind of folk tradition, passed from balladeer to minstrel and back again. Like most of the early rock and soul pioneers, he was a believer. He grew up in church. His grandmother was a minister. All of that mattered to who Curtis Mayfield became in the context of both the Civil Rights movement and the soul music of the sixties and seventies.
His catalog is shot through with Christian imagery and just about all the nonbelievers were impressed by his commitment even though exactly none of them—including the legion of black and white vocalists who have covered the song in the nonbelieving style of Rod Stewart and Jeff Beck—ever gave evidence of understanding the belief system that commitment rested on.
Thomas Aquinas. The old fights have been closed down…faith is for all, Calvinism, the underpinning of both American individualism good and America slavery bad , has been rejected for something higher. Not to Spiritualism. Not to Congregationalism.
Not even to Christianity itself. As Greil Marcus would later write:. Tomming, in other words. So people get ready, for the train to Jordan Picking up passengers, coast to coast. Who would hurt all mankind just to save his own…. Believe me now! Easier still, to get confused, considering that Mayfield and his soulmates Fred Cash and Sam Gooden, now swapping leads, now in close harmony have remained cool in the face of Pentecostal transcendence.
The sound is seductive, backing the spirit of the original promise. Yes, find the pity within yourself, just before you remind the sinner how pitiless his fate is—a fate that knows no hiding place.
So now the first verse repeats, not as an assurance, but a warning. The nonbelievers who jumped on the train in the first verse are invited to jump off. So said the prophet in , even if, in later years, he sometimes forgot the force of his own warning…. Curtis Mayfield would have other songs that spoke to the dangers of all that.
To my knowledge I had never previously visited Decatur, which is somewhere up around the north end of the state. It was late in the evening, maybe past midnight. A rather nondescript clerk short, dumpy, swarthy, grumpy took my information and grunted a room number while he handed me a key. Exhausted, I stumbled to the room and fell on the bed without really paying much attention to my surroundings. Lots of open space. A sort of lounge couch which I had slept on.
Some books and CDs and stray articles of clothing strewn about. I waved for him to come on in, figuring maybe he needed to clean the place, but he just smiled and waved back and then walked away.
Nonplussed, I went about gathering my stuff. In the process I realized one of the CDs I had brought with me was this one:. I looked around to see if the room had a CD player, and, naturally, this being a flea bag motel in Decatur, Alabama, with a flickering sign and a half-paved parking lot, they had a state of the art one.
With built-in speakers that beat anything I have at my house. I immediately set about trying to discern how it worked, and, in no time at all, I had the Impressions blasting loud and strong. I kept gathering up my stuff, still in a humming, singing mood, though getting a little bit frustrated because it seemed the more I gathered, the more stuff there was. Eventually, I found some plastic bags and dumped as much in them as I could and started transporting stuff to my car, which was parked right outside the plate-glass door.
For a while, as I carted the endless bags, I noted that mine was the only car in the parking lot. An electric sign by the street? The memory hazes. Very soon after that, I cottoned that this might be a problem, because I had no cash and, though I had enough gas to get home, I knew I only had enough money in my bank account to pay for one night at the motel with my debit card.
But I was sure it had to be more than twenty dollars a day. I certainly intended to check the name of the place before I drove off. Though deeply religious, his family was not formally associated with any Christian church or sect. Blount had few or no close friends in high school but was remembered as good natured and quiet, an honor roll student, and a voracious reader.
He took advantage of the Black Masonic Lodge as one of the few places in Birmingham where African Americans had unlimited access to books. Its collection on Freemasonry and other esoteric concepts made a strong impression on him. Early professional career and college In Blount was offered his first full-time musical job by Ethel Harper, his biology teacher from the high school, who organized a band to pursue a career as a singer.
Blount joined a musicians' trade union and toured with Harper's group through the US Southeast and Midwest.
When Harper left the group mid-tour to move to New York she later was a member of the modestly successful singing group the Ginger Snaps , Blount took over leadership of the group, renaming it the Sonny Blount Orchestra. They continued touring for several months before dissolving it as unprofitable. Though the first edition of the Sonny Blount Orchestra was not financially successful, they earned positive notice from fans and other musicians. Blount afterward found steady employment as a musician in Birmingham.
The clubs of Birmingham often featured exotic trappings, such as vivid lighting and murals with tropical or oasis scenes. These were believed to have influenced the elements Sun Ra incorporated in his later stage shows. Playing for the big bands gave black musicians a sense of pride and togetherness; they were highly regarded in the black community. They were expected to be disciplined and presentable, and in the segregated South, black musicians had wide acceptance in white society.
They often played for elite white society audiences though they were typically forbidden from associating with members of the audience. In Whatley's intercession led to Blount's being awarded a scholarship at Alabama Agricultural and Mechanical University. He was a music education major, studying composition, orchestration, and music theory; and dropped out after a year. Perhaps more importantly, he claimed a visionary experience as a college student; it had a major, long-term influence on the young pianist.
In or , in the midst of deep religious concentration, Sun Ra claimed that a bright light appeared around him, and, as he later said: … my whole body changed into something else.
I could see through myself. And I went up … I wasn't in human form … I landed on a planet that I identified as Saturn … they teleported me and I was down on [a] stage with them. They wanted to talk with me. They had one little antenna on each ear. A little antenna over each eye. They talked to me. They told me to stop [attending college] because there was going to be great trouble in schools … the world was going into complete chaos … I would speak [through music], and the world would listen.
That's what they told me. According to Szwed, the musician's closest associates cannot date the story any earlier than Sun Ra also said that the incident occurred when he was living in Chicago, where he did not settle until the late s. Sun Ra discussed the vision, with no substantive variation, to the end of his life. His trip to Saturn allegedly occurred a full decade before flying saucers entered public consciousness with the encounter of Kenneth Arnold.
It was earlier than other public accounts: about 15 years before George Adamski wrote about contact with benevolent beings; and almost 20 years before the case of Barney and Betty Hill, who recounted sinister UFO abductions.
Szwed says that, "even if this story is revisionist autobiography … Sonny was pulling together several strains of his life. He was both prophesizing his future and explaining his past with a single act of personal mythology. He rarely slept, citing Thomas Edison, Leonardo da Vinci, and Napoleon as fellow highly productive cat-nappers.
He transformed the first floor of his family's home into a conservatory-workshop, where he wrote songs, transcribed recordings, rehearsed with the many musicians who were nearly constantly drifting in and out, and discussed Biblical and esoteric concepts with whomever was interested.
Blount visited the Forbes building almost daily to play music, swap ideas with staff and customers, or copy sheet music into his notebooks. He formed a new band, and like his old teacher Whatley, insisted on rigorous daily rehearsals. The new Sonny Blount Orchestra earned a reputation as an impressive, disciplined band that could play in a wide variety of styles with equal skill.
Draft and wartime experiences In October Blount received a selective service notification that he had been drafted into the Military of the United States.
He quickly declared himself a conscientious objector, citing religious objections to war and killing, his financial support of his great-aunt Ida, and his chronic hernia. His case was rejected by the local draft board, and in his appeal to the national draft board, Blount wrote that the lack of black men on the draft appeal board "smacks of Hitlerism".
Although eventually approved for alternate service at Civilian Public Service camp in Pennsylvania, he did not appear at the camp as required on December 8, Shortly after, he was arrested in Alabama. In court, Blount said that alternate service was unacceptable; he debated the judge on points of law and Biblical interpretation. Though sympathetic, the judge ruled that Blount was violating the law and was at risk for being drafted into the U.
Blount responded that if inducted, he would use military weapons and training to kill the first high-ranking military officer possible. The judge sentenced Blount to jail pending draft board and CPS rulings , and then said, "I've never seen a nigger like you before;" Blount replied, "No, and you never will again.
He said he was facing a nervous breakdown from the stress of imprisonment, that he was suicidal, and that he was in constant fear of sexual assault. When his conscientious objector status was reaffirmed in February , he was escorted to Pennsylvania. He did forestry work as assigned during the day and was allowed to play piano at night. Psychiatrists there described him as "a psychopathic personality [and] sexually perverted" but also as "a well-educated colored intellectual".
He formed a new band and quickly was playing professionally. After his beloved great-aunt Ida died in , Blount felt no reason to stay in Birmingham. He performed with the locally successful Lil Green band and played bump-and-grind music for months in Calumet City strip clubs. Blount had long admired Henderson, but Henderson's fortunes were fading his band was now made of up middling musicians rather than the stars of earlier years in large part because of his instability, due to Fletcher's long term injuries from a car accident.
Henderson hired Blount as pianist and arranger, replacing Marl Young. Ra's arrangements initially showed a degree of bebop influence, but the band members resisted the new music, despite Henderson's encouragement. In Blount performed briefly in a trio with saxophonist Coleman Hawkins and violinist Stuff Smith, both preeminent swing-era musicians. There are no known recordings of this trio, but a home recording of a Blount-Smith duet from appears on Sound Sun Pleasure, and one of Sun Ra's final recordings was a rare sideman appearance on violinist Billy Bang's Tribute to Stuff Smith.
In addition to enabling professional advancement, what he encountered in Chicago changed Blount's personal outlook. The city was a center of African-American political activism and fringe movements, with Black Muslims, Black Hebrews, and others proselytizing, debating, and printing leaflets or books.
Blount absorbed it all and was fascinated with the city's many ancient Egyptian-styled buildings and monuments. He read books such as George G. James's Stolen Legacy which argued that classical Greek philosophy had its roots in ancient Egypt. Blount concluded that the accomplishments and history of Africans had been systematically suppressed and denied by European cultures.
By Blount was leading the Space Trio with drummer Tommy "Bugs" Hunter and saxophonist Pat Patrick, two of the most accomplished musicians he had known. They performed regularly, and Sun Ra began writing more advanced songs. Sun Ra claimed to have always been uncomfortable with his birth name of Blount. He considered it a slave name, from a family that was not his.
David Martinelli suggested that his change was similar to "Malcolm X and Muhammad Ali … [dropping] their slave names in the process of attaining a new self-awareness and self-esteem". His friend John Gilmore tenor sax joined the group, and Marshall Allen alto sax soon followed.
Patrick was in and out of the group until the end of his life, but Allen and Gilmore—who would both earn critical praise for their talents—were the two most devoted members of the Arkestra.
Saxophonist James Spaulding and trombonist Julian Priester also recorded with Sun Ra in Chicago, and both went on to notable careers of their own. The Chicago tenor Von Freeman also did a short stint with the band of the early s. He became the Arkestra's biggest booster and one of Sun Ra's closest friends.
The men both felt like outsiders and shared an interest in fringe esoterica. Abraham's strengths balanced Ra's shortcomings: though he was a disciplined bandleader, Sun Ra was somewhat introverted and lacked business sense a trait that would haunt his entire career ; Abraham was outgoing, well-connected, and practical. Though still a teenager, Abraham eventually became Sun Ra's de facto business manager: he booked performances, suggested musicians for the Arkestra, and introduced several popular songs into the group's repertoire.
Ra, Abraham and others formed a sort of book club to trade ideas and discuss the offbeat topics that so intrigued them. This group printed a number of pamphlets and broadsides explaining their conclusions and ideas; some of these were collected by critic John Corbett and Anthony Elms as The Wisdom of Sun Ra: Sun Ra's Polemical Broadsheets and Streetcorner Leaflets Sun Ra and Abraham also formed an independent record label in the mids; it was generally known as El Saturn Records.
It had several variations of name. Initially focused on 45 rpm singles by Sun Ra and artists related to him, Saturn Records issued two full-length albums during the s: Super-Sonic Jazz and Jazz In Silhouette During the late s, Sun Ra and his band began wearing the outlandish, Egyptian-styled or science fiction-themed costumes and headdresses for which they would become known.
These costumes had multiple purposes: they expressed Sun Ra's fascination with ancient Egypt and the space age; they provided a distinctive uniform for the Arkestra; they provided a new identity for the band onstage, as well as comic relief. Sun Ra thought avant garde musicians typically took themselves far too seriously.
They initially had trouble finding performance venues and began living communally because of New York's higher cost of living. This frustration helped to fuel the drastic changes in the Arkestra's sound as Sun Ra's music underwent a free jazz-influenced experimental period.
This proved to be a breakthrough to new audiences and recognition. Sun Ra's popularity reached an early peak during this period, as the beat generation and early followers of psychedelia embraced him.
Regularly for the next year and a half and intermittently for another half-decade afterwards , Sun Ra and company performed at Slug's for audiences that eventually came to include music critics and notable jazz musicians.
Opinions of Sun Ra's music were divided and hecklers were not uncommon , but high praise came from two of the architects of bebop: trumpeter Dizzy Gillespie offered encouragement, once stating, "Keep it up, Sonny, they tried to do the same shit to me", while pianist Thelonious Monk chided someone who said Sun Ra was "too far out" by responding, "Yeah, but it swings.
Apart from occasional complaints about the noise of rehearsals, they were soon regarded as good neighbors because of their friendliness, drug-free living, and rapport with youngsters. The saxophonist Danny Thompson owned and operated the Pharaoh's Den, a convenience store in the neighborhood. When lightning struck a tree on their street, Sun Ra took it as a good omen.
James Jacson fashioned the Cosmic Infinity Drum from the scorched tree trunk. They commuted via railroad to New York for the Monday night gig at Slug's and for other engagements.
Reactions were mixed; hippies accustomed to long-form psychedelia like the Grateful Dead were often bewildered by the Arkestra. By this time, the performance included 20—30 musicians, dancers, singers, fire-eaters, and elaborate lighting.As you remember there was a hum on the original tracks from the movie and CD and Garth spent 5 months watching the film and re-playing every note that we saw and heard. What a guy! Posted on Sat Feb 17 from faugladtauscinagcirsinglenmaerisdeansti.xyzinfo ().
Putin and Co. This is standard practice in the Agency, in all agencies. As the Minerva Research Initiative suggests  , there is a fascination with unleashing civil unrest on the part of state think tanks. The foreign coups and color revolutions can be seen as a rehearsal for the domestic. The state is interested in us again, in the same obsessive way that the middle class is ever fascinated by itself.
The Russian coup is the coup at home, which is not a coup at all but an inventory of effects. Caudillo Trumpissimo, raised to the highest power, will vanish into a play-by-play commentary made by the sum of all actors and outlets. The civil war raging in the halls of power has been moved from the lost cause outside Damascus where different militia fought each other, sponsored by different organs of the fractured American state to the homeland itself.
How the various warring parties in Washington will seek to control, manipulate, and stabilize the forces they have unleashed is a subject worthy of great attention for any uneducated person or intelligent teenager.
So is the manner of their compromise, as there can never be an abrupt outcome but only a narcotic cessation where each compound bleeds into the next.
For these people, every political move is at once a ghastly hope and a requiem. The rules of the game demand that there are two kinds of violence: one for them and one for the poor. The most terrible is always the least offensive. The Russian fears are not supported by any recent events and are only rooted in historic events, like WW2 and before.
Paranoia should have an expiration date too. Labels: Europe , Military , Russia. I will see it again as soon as I can and if I feel that this memory of the film is merely a product of what I may have been smoking at the time I will let you know. But, somehow, I don't think I will have to.
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Alternate Versions. Love Theme from Lady Sings the Blues. Michel Legrand. Jambalaya On the Bayou. Separate Ways. Mitch Leigh. Lawrence Russell Brown. I'm Always Chasing Rainbows.
Paul Simon. Joe Raposo. Login with your social network:. Or, login here:. Password: Forgot password. Use Social Account. First name:. Last name:. Email Address:. Re-enter Password:. The loss of anonymity disillusions Jeanne about their relationship. She tells Paul she does not want to see him again. Paul, not wanting to let Jeanne go, chases her through the streets of Paris, all the way back to her apartment, where he tells her he loves her and wants to know her name.
Jeanne takes a gun from a drawer. She tells Paul her name and shoots him. Paul staggers out onto the balcony, mortally wounded, and collapses. As Paul dies, Jeanne, dazed, mutters to herself that he was just a stranger who tried to rape her and she did not know who he was, as if in a rehearsal, preparing herself for questioning by the police. Bernardo Bertolucci developed the film from his sexual fantasies: "He once dreamed of seeing a beautiful nameless woman on the street and having sex with her without ever knowing who she was".
It was later adapted as a novel by Robert Alley. The film was directed by Bertolucci with cinematography by Vittorio Storaro. Bertolucci originally intended to cast Dominique Sanda , who developed the idea with him, and Jean-Louis Trintignant. Trintignant refused and, when Brando accepted, Sanda was pregnant and decided not to do the film.
An art lover, Bertolucci drew inspiration from the works of the Irish-born British artist Francis Bacon for the opening sequence of cast and crew credits. After the film's release, criminal proceedings were brought in Italy against the film for "esasperato pansessualismo fine a se stesso" "aggravated, gratuitous pansexualism". The final judgment of the Court of Appeal Cassazione delivered on 29 January ordered that the film be seized by the censorship commission and that all copies be destroyed.
Scriptwriter Franco Arcalli, producer Alberto Grimaldi, director Bernardo Bertolucci, and Marlon Brando were each given suspended sentences of two months imprisonment. The film contains a scene in which Paul anally rapes Jeanne using butter as a lubricant. While the rape is simulated , the scene still had a tremendously negative effect on Schneider. In a interview, Schneider said that the scene was not in the script and that "when they told me, I had a burst of anger.
I threw everything. And nobody can force someone to do something not in the script. But I didn't know that". They only told me about it before we had to film the scene and I was so angry. I should have called my agent or had my lawyer come to the set because you can't force someone to do something that isn't in the script, but at the time, I didn't know that. Marlon said to me: 'Maria, don't worry, it's just a movie', but during the scene, even though what Marlon was doing wasn't real, I was crying real tears.
I felt humiliated and to be honest, I felt a little raped, both by Marlon and by Bertolucci. After the scene, Marlon didn't console me or apologise. Thankfully, there was just one take. In , Bertolucci denied that he "stole her youth" she was 19 at the time of filming , and commented, "The girl wasn't mature enough to understand what was going on.
Ghostface Killah ft Jadakiss - Run Sheek Louch ft Jadakiss, - Dinner Guest Maino ft Jadakiss - What Happened Rick Ross ft Styles P - B. That's D-Block Wu Block - Stick Up Kids Styles - Rocks Out Here Styles P ft Jadakiss - Money Hunt The Lox - Breathe Easy Saturday 18 April Sunday 19 April Monday 20 April Tuesday 21 April Wednesday 22 April Thursday 23 April Friday 24 April Saturday 25 April Sunday 26 April Monday 27 April Tuesday 28 April Wednesday 29 April Thursday 30 April Friday 1 May Saturday 2 May Sunday 3 May Monday 4 May Tuesday 5 May Wednesday 6 May Thursday 7 May Friday 8 May Saturday 9 May Sunday 10 May Monday 11 May Tuesday 12 May Wednesday 13 May Thursday 14 May Friday 15 May Saturday 16 May Sunday 17 May Monday 18 May Tuesday 19 May Wednesday 20 May Thursday 21 May Friday 22 May Saturday 23 May Sunday 24 May Monday 25 May Tuesday 26 May Wednesday 27 May Thursday 28 May Hoodie Music Jadakiss.
DJ Delz. Jacking For Beats 1. D-Block - A History of Violence. DJ DNA. Classic Beats, Vol. Playlists are available for members only. Sign up for free. Already a member? Sign in.
Clown mixtapes are for promo only, that means that they shouldn't be for sale!!! But i bet you already know that!!!! You do bring up good points, my bad. I just dont see why everyone gotta hate. I like who i like, and i dont make a big deal about who's on top everyone get their time to shine. You cant be No. There will always be a nigga that will spit some shit that will make you open your eyes. Then there re those who front so there is sum1 4every 1. If you 2 stupid mothafuckas dont want to participate in the forum you dont have too.
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Hunger Games : L'Embrasement. Cendrillon 2 : Une vie de princesse. Les Aristochats. High Art. Rocky IV. Miracle sur la 34e rue. Genre Film Action. Free movies online Regarder des films en streaming gratuitement streaming gratuit Films et series tv gratuitement films complet box office des films pour vous films et videos gratuit streaming vostfr. Keep your busy life organized Outlook does more so you can get more done. Show previous slide Show next slide.
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Bush in A pedestrian in a mask passes a sign urging people to practice social distancing, on Saturday in Miami Beach, Fla. Just as residents flocked outside to enjoy the Fourth of July, states such as Florida were reporting skyrocketing numbers of confirmed coronavirus cases. Both Florida and South Carolina reported their highest-ever daily totals for new cases.
But they're not alone: The caseload is spiking across the U. Youth from across Philadelphia gathered in front of City Hall June 9 to protest police brutality and voice their concerns and vision for the future. According to recent research cited by the CDC, nearly half of all Americans between 18 and 29 report symptoms of anxiety or depression.
It's not that young adults aren't worried about the pandemic, psychologists say, but they are at far greater risk of dying by suicide. Finding ways beyond screens to foster social bonds is crucial. President Trump, pictured June 5, signs a bill extending the time period for businesses to use funds from the Paycheck Protection Program.
On Saturday he signed a bill extending the deadline to apply for the program. The Paycheck Protection Program, enacted to help small businesses dealing with the coronavirus pandemic, had expired Tuesday. With Trump's signature Saturday, the new deadline to apply is Aug. Los Angeles Lakers superstar LeBron James has started a voting rights organization, and is urging NBA teams to offer their large venues as polling sites during the pandemic.
The offers come as many NBA players have upped their involvement in social causes. Superstar LeBron James has a new group aimed at protecting Black citizens' voting rights. Are you a student? Check out what's included with your Prime membership:.
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The second pairing of the father of Ethio-jazz and the Australian group is another winner. Bandcamp Album of the Day Jul 2, Jump Uptight by Zorro Five. The People of by The People of Written collectively by 40 different working musicians during the pandemic, this is a jazzy, soulful effort with a lot of heart.
Hero Trio by Rudresh Mahanthappa. The new LP from jazz veteran Rudresh Mahanthappa swings and sways, bolstered by his undeniable alto sax chops. Bandcamp Album of the Day Jun 24, The new single "Lies" is an afro-soul-funk stormer, able to set every dancefloors on fire.
On the flip-side the equally explosive instrumental-soul version. And he'd only ever accept one response: 'Con todo el mundo' with all the world. He created his own world to live in. Each track tells a unique story, engaging narrative threads that pulse and dwindle on hypnotic frequencies. Umami by Folamour.
Black Mantra releases their first self-titled album and features dynamic show. Produced by the band itself and mixed in the legendary North American studio NRG, the homonymous disc features 11 unpublished tracks, which mix since the 70's funk until afrobeat influences, jazz, rock and experimental psychedelia. After two years of repertoire of classic versions of the funk, the Black Mantra now finds its own sonority, which adds to the funk and minimalist groove influences of afrobeat, jazz, rock and experimental psychedelia that are clear during the show that presents the new album.
Lack of Afro - Back In Business feat. Luckily for him they said yes…. As a solo artist, Wax has released 3 solo albums, 2 mixtapes and several collaborative projects with other musicians. Releasing small batches of limited edition 45s through an exclusive mailing list and giving away digital downloads between pressings. The Fyah Starter 3 Pack!! A very limited number of our first run of releases put together as a 3 pack.
Hand stamped, hand numbered and strictly limited to 30 copies As simply as it is: lean back, put your legs on the table and just take a ride, enjoying the journey while you'll be travelling through funk and soul music in 10 tracks. Listening to this album during the day is being considered just as a wise thing to do than play it out loud during DJ-sets. Emma Galanaki - Pure.
This song is a moment's inspiration. Specifically, it was done when Emma heard a orchestral track, written by Yanni Markopoulioti. Where did the adults in the room go??? How about: Wha't the story? Hello people, we hope everyone is dealing well with the current extraordinary situation and staying safe and healthy. It hasn't felt like the time to promote our Dark Money-release but perhaps music is one of the best ways to get one's mind off of worries so here goes.
In this case actually we hope to get our collective minds focused on some really big issues that create massive inequality worldwide. Welcome to Dark Money, a real-world dystopia of hidden powers, corruption and conservatism.
Highly recommended reading, the killer book by Jane Meyer that's inspired the whole EP:. G Livelab Helsingin kapas Vallitsevan koronavirusepidemian vuoksi tilojemme puhdistamista ja hygieniaa tehostetaan ennen kaikkia tapahtumia.
Dear everyone. This is really not the day to be celebrating but our Dark Money EP is out today and you can listen to it from this link for example. Stay safe people and we'll see you at shows later in the year!
Dark Money is album of the week on Radio Helsinki! We have our first album release gigs this week, hope to see you there! Wed G Livelab Tampere Fri Sun Besame Mucho Dalida Et de l'amour de l'amour Dalida J'attendrai Rina Ketty J'attendrai Dalida Comme disait Mistinguett Dalida Gigi In Paradisco Dalida Laissez-moi danser Monday Tuesday Dalida La solitude Jean-Claude Petit Youssef Chahine Jean Claude Petit Pour ne pas vivre seul Dalidafull condensed blue highlight denotes album pick Filter Discography By Albums Singles & EPs All. Year Album Label AllMusic Rating User Ratings ; Open Scenes: Ricky-Tick Records Kallio: Warner Music Soundtrack for the Sound Eye Soundtrack for the Sound Eye (0).
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Ace Frehley Ace Frehley 4. Review Summary: The best of the "solo" albums by Kiss, Ace's solo album is an excellent combination of his abilities, and arguably the best album he ever did.
Stick with Paul Stanley Having just released two successful albums, Love Gun and Alive II, they had gained a loyal fanbase throughout their four-year career. And that year, they made a really weird move. Paul Stanley and Gene Simmons, frontmen of the band, thought that it would be a good idea to release four separate albums, each one made by one of the four members of the band. Ace Frehley and Peter Criss had to agree, of course.
So this little project was born. While Paul and Gene might have seen as another chance to earn reputation and become famous, this opportunity meant much more to Ace and Peter. Estimated delivery within business days. Delivery times may vary, especially during peak periods.
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Payment details. Payment methods. Immediate payment required for this item Immediate payment of GBP Ratings and reviews Write a review. Most relevant reviews. Ace solo Easily the best of the four solo albums, I would even say better than some kiss albums. X Previous image. I recommend purchasing vinyls from here. Mint condition, superb. Why is this review inappropriate? It's spam, or has links There are copyright or trademark issues It's offensive or has profanity It includes feedback about the seller Something else Cancel.
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Back to home page. Listed in category:. Email to friends Share on Facebook - opens in a new window or tab Share on Twitter - opens in a new window or tab Share on Pinterest - opens in a new window or tab Add to Watchlist. Opens image gallery Image not available Photos not available for this variation. Rip It Out.Ace Frehley's new album, "Spaceman," contains eight originals and a cover of the Eddie Money hit "I Wanna Go Back," continues a decade of productivity for Frehley. The album also features a reunion of sorts with his former Kiss bandmate Gene Simmons, who co-wrote the opener "Without You I'm Nothing." Click HERE to watch the interview. 10/17/
But her "yoga" doesn't end when Savasana does. By ardently embracing some of yoga's devotional practices, Seitz—a year-old editor in Manhattan—has developed a sweet sense of connection with the Divine that permeates her entire life through Bhakti Yoga.
Each morning she practices a minute devotional mantra meditation. Before she leaves for work, she repeats a mantra for safe passage. She offers gratitude before each meal. She attends a weekly arati light ceremony at her local Sivananda center. At home she performs a puja ceremony at her altar —offering milk, rice, flowers, and water to Saraswati, the Hindu goddess of music, arts, and knowledge, as well as to other deities.
She devotes her yoga practice to the spirit of the leader of the lineage she follows, the late Swami Sivananda. Like other modern yogis, Seitz has found bhakti yoga, known as the yoga of devotion, to be a lifesaver as she navigates a hectic modern existence. The Sanskrit word bhakti comes from the root bhaj , which means "to adore or worship God. At the heart of bhakti is surrender, says Uttal, who lives in California but travels the globe leading kirtans and chanting workshops.
Yoga scholar David Frawley agrees. In his book, Yoga: The Greater Tradition , he writes that the ultimate expression of bhakti yoga is surrender to the Divine as one's inner self. The path, he says, consists of concentrating one's mind, emotions, and senses on the Divine.
As American yoga matures, interest in bhakti yoga has exploded. And Bhakti Fest is another yoga festival worth attending. Bhakti yoga is becoming a popular form of yoga.
Today's Western yogis don't necessarily practice devotion to a Hindu deity, a guru, or "God" as a patriarchal figure in white robes although some do. Many Westerners who practice bhakti yoga tend to connect with a more encompassing idea of the Divine, the Beloved, the Spirit, the Self, or the Source.
As Uttal says, "Everyone has their own idea or feeling of what 'God' is. As you tap into this universal love, you naturally develop a sense of trust that this benevolent, wise universe provides; you relax; and you can't help but generate positive energy for others.
Frawley calls bhakti "the sweetest of the yoga approaches" and says it is often more accessible than other forms of yoga, which may explain its growing popularity.
At first, American yoga was just a fitness thing," says Carlos Pomeda , a yoga scholar in Austin, Texas. Explore articles by Sadhguru. Yoga Teacher Training With over active city centers across the globe, Isha Teachers dedicate themselves to the possibility of empowering another through personal transformation. Under the guidance…. The Bhagavad Gita explains, if a leaf, flower, fruit or water is offered with love and devotion to divinity, it will always be accepted.
It is not what is offered or how it is offered, it is only the feeling of the giver that matters. Bhakti has several manifestations, — there are as many forms of bhakti as there are stars in this Universe — which can be classified into three groups or pairs , namely: Apara and Para Bhakti lower and higher bhakti , Sakam and Nishkam Bhakti, and Guna and Mukhya Bhakti. Apara Bhakti , the novice stage is where we consider divinity to be the ultimate reality.
We pray, practice rituals, give offerings and perform ceremonies. We choose a form of divinity with which we form a special bond — the Ishta Devata. Through the practice of pure devotion, after years or even decades, a true devotee may reach the higher stage called Para bhakti. This is a stage that sometimes runs parallel to Apara bhakti. The journey from Apara to Para bhakti is fraught with challenges, and not many reach it.
But, those who evolve to that stage are able to experience divinity in everything and everywhere. At this level divinity becomes omniscient, omnipotent, and omnipresent. The presence and power can be felt even in the smallest and of things. There are many of us who pray for our desires to be met. The parts of the body work for the satisfaction of the whole body. The limbs of the body do not act for self-satisfaction but for the satisfaction of the complete whole.
Similarly, the living entity who acts for satisfaction of the supreme whole and not for personal satisfaction is the perfect sannyasi, the perfect yogi. The sannyasis sometimes artificially think that they have become liberated from all material duties, and therefore they cease to perform agnihotra yajnas fire sacrifices , but actually they are self-interested because their goal is becoming one with the impersonal Brahman. Such a desire is greater than any material desire, but it is not without self-interest.
Similarly, the mystic yogi who practices the yoga system with half-open eyes, ceasing all material activities, desires some satisfaction for his personal self. But a person acting in Krsna consciousness works for the satisfaction of the whole, without self-interest.
Main article: Panchayatana puja. Songs of Experience. Indiana University Press. A survey of Hinduism. SUNY Press. Hay; William Theodore De Bary Sources of Indian Tradition. Columbia University Press. An Introduction to Hinduism. Cambridge University Press. Contemporary Hinduism: ritual, culture, and practice. Brannigan The Embodiment of Bhakti.
US: Oxford University Press. Love Divine: studies in bhakti and devotional mysticism. Retrieved 17 September Wakefield The Westminster Dictionary of Christian Spirituality. WJK Press. Comparative Ethics in Hindu and Buddhist Traditions.
I must tell you that once I have established the Religion I do not want to have any holes in it. I avoided it because I was not sure that there are many who could be called as Nirmalites. Because no more black spots on the beautiful sari of your Mother. It has to be highest quality.
Gradually we used to drop people , gradually worked this. Ganesha is the root of Creation When you go against Shri Ganesh you start losing your roots, you have no roots at all.
So many think that in Sahaja Yoga God blesses you, then you must get a good amount of health, money and position, power. Yogesh Lodha. Bestselling Books View All. Moksha Bodh May Moksh SeptemberYoga Moods 表演者: Various Artists 介质: Audio CD 发行时间: