ellauri048.html on line 1167: May make one music as before, Soittelee taas samaa säveltä,
ellauri048.html on line 1243: With all the music in her tone, Kaikki musiikki sen sävellajissa,
ellauri051.html on line 365: HARK! some wild trumpeter--some strange musician, KRÖHM! joku villi töräyttäjä -- joku outo muusikko,
ellauri051.html on line 375: Waves, oceans musical, chaotically surging, Aallot, musiikkivaltameret velloi kaoottisesti,
ellauri051.html on line 394: What charm thy music works!--thou makest pass before me, Sun musa on charmanttia! -- sä paat mun eteen kulkemaan
ellauri051.html on line 428: --Nor war alone--thy fearful music-song, wild player, brings every -- Eikä vaan sota -- sun mielilaulu, hullu soittaja, tuo kaikki muutkin
ellauri051.html on line 639: 85 Not words, not music or rhyme I want, not custom or lecture, not even the best, En taho sanoja, musaa tai loppusointuja, en palvelua enkä luentoa, en edes parasta,
ellauri051.html on line 870: 288 The youth lies awake in the cedar-roof'd garret and harks to the musical rain, 288 Nuorukainen makaa hereillä setrikattoisessa kattohuoneessa ja haukkuu musiikkisadetta,
ellauri051.html on line 946: 361 With music strong I come, with my cornets and my drums, 361 Tulen vahvalla musiikilla, korneteillani ja rumpuillani,
ellauri051.html on line 1193: 600 Ah this indeed is music -- this suits me. 600 Ah tämä on todellakin musiikkia - tämä sopii minulle.
ellauri052.html on line 897: Salen siteeraamasta Samuel Danielista 1562-1619, elisabetinaikaisesta naamiaisnaamareita väsänneestä muusikon pojasta ja kamariherrasta tämän verran: The 1911 edition of the Encyclopædia Britannica says of him: "His style is full, easy and stately, without being very animated or splendid; it is content with level flights. As a gnomic writer Daniel approaches Chapman, but is more musical and coherent. He lacks fire and passion, but he has scholarly grace and tender, mournful reverie." Enempi kanan lentoa.
ellauri053.html on line 1317: Caught in that sensual music all neglect Tossa aistinvaraisessa hötäkässä unohtuu
ellauri054.html on line 441: (Theme music)
ellauri062.html on line 151: Try using music, singing, or dancing to distract the person. Failing that, try shouting.
ellauri063.html on line 290: In 1695, Henry Purcell wrote incidental music for the Abdelazer revival at the new theater in Lincoln's Inn Fields where the play would not gain much success which would become evident by the meager second-day attendance.
ellauri063.html on line 291: Abdelazer suite is written in 10 movements of which Rondo is currently the most famous due to the use of the piece and its variations in films, including the 2005 adaptation of Pride and Prejudice in which Purcell's piece can be heard as dancing music at the Netherfield ball.
ellauri063.html on line 312: Songs in the Key of Z is a book and two compilation albums written and compiled by Irwin Chusid. The book and albums explore the field of what Chusid coined as "outsider music". Chusid defines outsider music as; "crackpot and visionary music, where all trails lead essentially one place: over the edge." Chusid's work has brought the music of several leading performers in the outsider genre to wider attention. These include Daniel Johnston, Joe Meek, Jandek and Wesley Willis. In addition, his CDs feature some recordings by artists who produced very little work but placed their recordings firmly in the outsider area. Notable amongst these are nursing home resident Jack Mudurian who sings snatches of several dozen songs in a garbled collection known as Downloading the Repertoire and the obscure and extreme scat singer Shooby Taylor AKA 'The Human Horn.'
ellauri063.html on line 317: Before he entered the world of music, Brötzmann was studying to be a painter in Western Germany and was associated with Fluxus, a radical art movement influenced by John Cage and informed by an anti-commercial sentiment.
ellauri063.html on line 319: “There is no contradiction between creation and destruction. I never thought music was a healing force of the universe. I didn’t agree with Mr. Albert Ayler. But we wanted to change things; we needed a new start. In Germany, we all grew up with the same thing: ‘Never again.’ But in the government, all the same old Nazis were still there. We were angry. We wanted to do something.” Like jazz.
ellauri067.html on line 606: Come Josephine In My Flying Machine is a popular song with music by Fred Fisher and lyrics by Alfred Bryan. First published in 1910, the composition was originally recorded by Blanche Ring and was, for a time, her signature song. Ada Jones and Billy Murray recorded a duet in November 1910, which was released the following year. There have been many subsequent recordings of the pop standard.
ellauri069.html on line 162: 657; American dancer who was among the first to raise interpretive dance to the status of creative art, incorporating classical, particularly Greek, mythology, art and music. Not very successful in the United States, she took her new style of performance to Europe where it was greeted enthusiastically. She was strangled when her long scarf became entangled in the wheels of a car.
ellauri069.html on line 222: Richard Fariña, to whom Gravity's Rainbow is dedicated, was a good friend of Pynchon's when they were students at Cornell University in the 50s. In 1963, Farina married Mimi Baez, a folksinger and sister of Joan Baez. Although first married under the Napoleonic Code in a secret ceremony in Paris in the spring of 1963, they had an official marriage in Carmel, California, for the benefit of the Baez family. Pynchon was the best man for the Carmel ceremony, coming up from Mexico City where he was living and working on Gravity's Rainbow. In A Long Time Coming and a Long Time Gone, Farina's posthumously published collection of stories (Random House, 1969), Farina describes his and Pynchon's visit to the Monterey Fair. Richard and Mimi Farina formed a folk-music duo (Farina on guitar and Mimi on dulcimer, both singing) and released several albums in the 60s. Richard Farina was killed in a motorcycle crash following a book signing in Carmel for his newly published first (and only) novel, Been Down So Long It Looks Like Up To Me (Random House, 1966). You might want to visit this sweet website dedicated to the memory of Richard and Mimi (who died of cancer in 2001).
ellauri069.html on line 234: Going My Way: Ex tää ole Fred Astairen rallatus? Fredistä on ollut puhe toisaalla. 38; A 1944 film directed by Leo McCarey. It is a light-hearted musical comedy/drama about a new young priest (Bing Crosby) taking over a parish from an established old veteran (Barry Fitzgerald). Crosby sings five songs in the film.
ellauri069.html on line 468: If I had to put it in one sentence: using a Mad Magazine/stoner parody of WWII movie musicals to look for precursors of the corporate state and WW III.
ellauri069.html on line 479: Imagine a story that combines Ulysses, Catch-22, The Canterbury tales, Under the Volcano, On the Road and many others. First, there is a huge cast of characters and most times, it is unclear who’s speaking and to whom. A second challenge is getting into the context of the book. The novel demands a vast knowledge of history, geography, music, literature, science, mathematics and occult. Apart from this the book also explicitly deals with profanity, racism, violence, pedophilia, coprophilia and seemingly infinite number of sex scenes. That being said, Pynchon doesn’t throw them arbitrarily and each one of them have a purpose. The main plot itself is set at the end of World War 2 and Europe is in chaos. As new countries and alliances are being formed, so too are new perspectives within the characters. Mental state being broken down, people making poor choices and actions being justified and helps us see how people tend to live destructively. As if there complexities weren’t enough, Pynchon includes a “postmodern” aspect of the book that leaves the first-time reader confused. Pynchon’s voice is seen through this aspect and a sense of paranoia creeps throughout the book and everything is questioned.
ellauri070.html on line 109: 42nd street musical. Dick Powell ja Ruby Keeler mv leffassa. Karseen näkönen ämmä kuin Elsa Turakainen pienenä ja kynäkaula ruipelo joka ei edes osaa ize soittaa pianoa. Sormet menee miten sattuu. We love you. You are special.
ellauri078.html on line 80: Dickinson´s verse is often associated with common meter, which is defined by alternating lines of eight syllables and six syllables (8686) or Iambic Tetrameter alternating with Iambic Trimeter. This pattern–one of several types of metrical “feet”–is known as an “iamb.” Common meter is often used in sung music, especially hymns (think “Amazing Grace” of "Yellow Roses of Texas").
ellauri080.html on line 715: Every episode begins with a camera's-eye view of a model of a neighborhood, then panning in closer to a representation of a house to the music of a piano instrumental of the theme song, "Won't You be My Neighbor?".
ellauri083.html on line 336: For all their profusion, these paled in comparison with Sachs's newest display pieces: The Cabinet, 2014, and The Rockeths, 2017. The former was a folding case fashioned from orange-and-white striped barricades and festooned with hundreds of tools, hung in groups and inscribed with the names of individuals who have "inspired, influenced, or frightened" the artist--from Le Corbusier and Louis Kahn to the members of the Wu-Tang Clan--while the latter was less a cabinet than a kind of portable workbench and shelving unit, similarly jam-packed with the tools of the artist's trade, as well as a collection of model rockets, all again labeled to namecheck various figures of personal importance--scientists, musicians, artists; Apollo, Dionysus, Stringer Bell. The fetishistic frisson the assembled materials (pens, pliers, drill bits, tape measures) clearly provoke in Sachs was made even more explicit in McMasterbation, 2016, one of a trio of scale-model space modules arrayed on plinths. Featuring a copy of the legendarily comprehensive McMaster-Carr hardware catalogue spread open like a porn mag centerfold designed for lonely gearheads--alongside a ready supply of Vaseline and a handy tissue dispenser--it was part cathectic confession of objectophilia and part self-derogating indictment of his own work's tendencies toward sometimes masturbatory excess. Smart and stupid, funny and somehow a bit sad, it was classic Sachs: too much information, in every sense of the phrase.
ellauri093.html on line 197: Their support text is from 1 Corinthians 15:33, "Do not be deceived: evil communications corrupt good table manners." Among other distinctions, the Gospel Halls would generally not use musical instruments in their services, whereas many Chapels use them and may have singing groups, choirs, "worship teams" of musicians, etc. The Gospel Halls tend to be more conservative in dress; women do not wear trousers in meetings and always have their heads covered, while in most Chapels women may wear whatever they wish, including nothing, though modesty in dress serves as a guideline, and many may continue the Orde Wingate tradition of wearing a shower cap for head covering if nothing else. Open Brethren churches are all independent, self-governing, local congregations with no central headquarters, although there are a number of seminaries, missions agencies, and publications that are widely supported by Brethren churches and which help to maintain a high degree of communication among them.
ellauri094.html on line 654: The body of Algernon Charles Swinburne’s poetry is so vast and varied that it is difficult to generalize about it. Swinburne wrote poetry for more than sixty years, and in that time he treated an enormous variety of subjects and employed many poetic forms and meters. He wrote English and Italian sonnets, elegies, odes, lyrics, dramatic monologues, ballads, and romances; and he experimented with the rondeau, the ballade, and the sestina. Much of this poetry is marked by a strong lyricism and a self-conscious, formal use of such rhetorical devices as alliteration, assonance, repetition, personification, and synecdoche. Swinburne’s brilliant self-parody, “Nephilidia,” hardly exaggerates the excessive rhetoric of some of his earlier poems. The early A Song of Italy would have more effectively conveyed its extreme republican sentiments had it been more restrained. As it is, content is too often lost in verbiage, leading a reviewer for The Athenaeum to remark that “hardly any literary bantling has been shrouded in a thicker veil of indefinite phrases.” A favorite technique of Swinburne is to reiterate a poem’s theme in a profusion of changing images until a clear line of development is lost. “The Triumph of Time” is an example. Here the stanzas can be rearranged without loss of effect. This poem does not so much develop as accrete. Clearly a large part of its greatness rests in its music. As much as any other poet, Swinburne needs to be read aloud. The diffuse lyricism of Swinburne is the opposite of the closely knit structures of John Donne and is akin to the poetry of Walt Whitman.
ellauri094.html on line 762: So just as we learn music, we cannot become better without practice and experience of music on our instrument of choice (mine is the Jewish Harp, quite popular by the rivers of Babylon). Your confession that you found prayer to be irrelevant is the same as a man banging a child on a piano and then giving up because all the banging just produced noise. You need to be taught how to pray by someone who knows how and then you need to practice, practice, practice for the rest of your life. And still you don't get a hole in one every time, I don't. Although I was trained to pray by various Catholic priests who pray for a living. Prayer professionals who get paid for it. No fucking amateurs like you. By now I find the hole usually quite easily, and can get it in after a few putts with a little help from my priestly friend.
ellauri095.html on line 117: As a poet, Hopkins's father published works including A Philosopher's Stone and Other Poems (1843), Pietas Metrica (1849), and Spicelegium Poeticum, A Gathering of Verses by Manley Hopkins (1892). He reviewed poetry for The Times and wrote one novel. Catherine (Smith) Hopkins was the daughter of a London physician, particularly fond of music and of reading, especially German philosophy, literature and the novels of Dickens. Both parents were deeply religious high-church Anglicans. Catherine's sister, Maria Smith Giberne, taught her nephew Gerard to sketch. The interest was supported by his uncle, Edward Smith, his great-uncle Richard James Lane, a professional artist, and other family members.
ellauri095.html on line 123: Hopkins became a skilled draughtsman. He found his early training in visual art supported his later work as a poet. His siblings were much inspired by language, religion and the creative arts. Milicent (1849–1946) joined an Anglican sisterhood in 1878. Kate (1856–1933) would help Hopkins publish the first edition of his poetry. Hopkins's youngest sister Grace (1857–1945) set many of his poems to music. Lionel (1854–1952) became a world-famous expert on archaic and colloquial Chinese. Arthur (1848–1930) and Everard (1860–1928) were highly successful artists. Cyril (1846–1932) would join his father's insurance firm.
ellauri095.html on line 244: He continued to write a detailed prose journal in 1868–1875. Unable to suppress a desire to describe the natural world, he also wrote music, sketched, and for church occasions, wrote "verses", as he called them. He later wrote sermons and other religious pieces.
ellauri098.html on line 177: TV Tropes is a wiki that collects and documents descriptions and examples of plot conventions and devices, more commonly known as tropes, within many creative works. Since its establishment in 2004, the site has shifted focus from covering only television and film tropes to those in other types of media such as literature, comics, anime, manga, video games, music, advertisements, and toys, and their associated fandoms, as well as some non-media subjects such as history, geography, and politics.
ellauri098.html on line 564: ISFPs are creative and imaginative, with well-developed aesthetic senses. They are naturally suited for work in music, art, design, or other areas where an eye for beauty is important. They love to explore ideas and experiment with different styles, and constantly seek out new experiences, making them spontaneous and unpredictable. This, however, can lead to a lack of focus. ISFPs also tend to have fragile egos and react badly to criticism — however well-intentioned, it is difficult for them to not take it personally. Like all introverted types, they need time on their own to think and recharge, but they still love to share their latest innovations with others.
ellauri099.html on line 44: The remains of Oscar Wilde lie in Père Lachaise Cemetery in Paris. His sleek, modern tomb, designed by the British sculptor Jacob Epstein and commissioned by Wilde’s lover and executor, John Robert "Haj" Ross, is one of the most frequently visited and recognizable graves in a cemetery notable for the many famous writers, artists, and musicians buried there (Balzac, Chopin, Proust, Gertrude Stein, Jim Morrison). The surface of Epstein’s massive monolith is covered with hundreds of lipstick kisses, some ancient and faded, others new and vibrant. (“The madness of kissing” is what Wilde said Lord Alfred Douglas’s “red-roseleaf lips” were made for.)...
ellauri100.html on line 85: Klezmer (Yiddish: קלעזמער ‎) is an instrumental musical tradition of the Ashkenazi Jews of Central and Eastern Europe. The essential elements of the tradition include dance tunes, ritual melodies, and virtuosic improvisations played for listening; these would have been played at weddings and other social functions. After the destruction of Jews in Eastern Europe during the Holocaust, there was a general fall in the popularity of klezmer. The term klezmer comes from a combination of Hebrew words: klei, meaning "tools, utensils or instruments of" and zemer, "melody"; leading to k´lei zemer כְּלֵי זֶמֶר‎, literally "instruments of music" or "musical instruments". Originally, klezmer referred to musical instruments, and was later extended to refer, as a pejorative, to musicians themselves. From the 16th to 18th centuries, it replaced older terms such as leyts (clown). It was not until the late 20th century that the word came to identify a musical genre. Early 20th century recordings and writings most often refer to the style as "Yiddish" music, although it is also sometimes called Freilech music (Yiddish, literally "Happy music").
ellauri100.html on line 283: In my own life, my jobs have ranged from busing tables to serving as a corporate officer. I have spent time in the company of high-ranking government officials, high-priced and expert lawyers, brilliant scientists and academicians, and talented musicians and artisans.
ellauri100.html on line 1168: Its bounce was music to her ear.
ellauri102.html on line 90: Feelin' the music from head to toe
ellauri102.html on line 98: Feelin' the music from head to toe
ellauri102.html on line 579: "Is it really that bad being embarrassed compared to being in everybody's phone? Thankfully, I was cured then and since I've had my kids and a good life. But when the pandemic started, it was almost like revisiting some of that because I had to kind of go back into being isolated because of my immune system. And if you ever feel really stuck, just put on some music. It has such a powerful effect. And you don't have to be a dancer. You don't have to have moves. Just move how you feel — don't worry about it looking weird. You know, life's too short to be ashamed for being weird."
ellauri102.html on line 599: And any old music will do
ellauri102.html on line 615: And any old music will do
ellauri102.html on line 621: And any old music will do
ellauri102.html on line 633: And any old music will do
ellauri102.html on line 649: And any old music will do
ellauri102.html on line 655: And any old music will do
ellauri108.html on line 164: Rastafari music developed at reasoning sessions, where drumming, chanting, and dancing are all present. Rasta music is performed to praise and commune with Jah, and to reaffirm the rejection of Babylon. Rastas believe that their music has healing properties, with the ability to cure colds, fevers, and headaches. Many of these songs are sung to the tune of older Christian hymns, but others are original Rasta creations.
ellauri108.html on line 166: The bass-line of Rasta music is provided by the akete, a three-drum set, which is accompanied by percussion instruments like rattles and tambourines. A syncopated rhythm is then provided by the fundeh drum. In addition, a peta drum improvises over the rhythm. The different components of the music are regarded as displaying different symbolism; the bassline symbolises blows against Babylon, while the lighter beats denote hope for the future.
ellauri108.html on line 168: As Rastafari developed, popular music became its chief communicative medium. During the 1960s, ska was a popular musical style in Jamaica, and although its protests against social and political conditions were mild, it gave early expression to Rasta socio-political ideology. Particularly prominent in the connection between Rastafari and ska were the musicians Count Ossie and Don Drummond. Ossie was a drummer who believed that black people needed to develop their own style of music; he was heavily influenced by Burru, an Afro-Jamaican drumming style. Ossie subsequently popularised this new Rastafari ritual music by playing at various groundings and groundations around Jamaica, with songs like "Another Moses" and "Babylon Gone" reflecting Rasta influence. Rasta themes also appeared in Drummond's work, with songs such as "Reincarnation" and "Tribute to Marcus Garvey".
ellauri108.html on line 170: 1968 saw the development of reggae in Jamaica, a musical style typified by slower, heavier rhythms than ska and the increased use of Jamaican Patois. Like calypso, reggae was a medium for social commentary, although it demonstrated a wider use of radical political and Rasta themes than were previously present in Jamaican popular music. Reggae artists incorporated Rasta ritual rhythms, and also adopted Rasta chants, language, motifs, and social critiques. Songs like The Wailers' "African Herbsman" and Peter Tosh's "Legalize It" referenced cannabis use, while tracks like The Melodians' "Rivers of Babylon" and Junior Byles' "Beat Down Babylon" referenced Rasta beliefs in Babylon. Reggae gained widespread international popularity during the mid-1970s, coming to be viewed by black people in many different countries as music of the oppressed. Many Rastas grew critical of reggae, believing that it had commercialised their religion. Although reggae contains much Rastafari symbolism, and the two are widely associated, the connection is often exaggerated by non-Rastas. Most Rastas do not listen to reggae music, and reggae has also been utilised by other religious groups, such as Protestant Evangelicals. Out of reggae came dub music; dub artists often employ Rastafari terminology, even when not Rastas themselves.
ellauri108.html on line 189: Rastas differ on whether they regard dreadlocks as compulsory for practicing the religion. Some Rastas do not wear their hair in dreadlocks; within the religion they are often termed "cleanface" Rastas, with those wearing dreadlocked hair often called "locksmen". Some Rastas have also joined the Ethiopian Orthodox Church, the Christian organisation to which Haile Selassie belonged, and these individuals are forbidden from putting their hair in dreadlocks by the Church. In reference to Rasta hairstyles, Rastas often refer to non-Rastas as "baldheads", or "combsome", while those who are new to Rastafari and who have only just started to grow their hair into dreads are termed "nubbies". Members of the Bobo Ashanti sect of Rastas conceal their dreadlocks within turbans, while some Rastas tuck their dreads under a rastacap or tam headdress, usually coloured green, red, black, and yellow. Dreadlocks and Rastafari-inspired clothing have also been worn for aesthetic reasons by non-Rastas. For instance, many reggae musicians who do not adhere to the Rastafari religion wear their hair in dreads. A Rasta man wearing a rastacap has been sighted in Jamaica.
ellauri108.html on line 220: Whereas its membership had previously derived predominantly from poorer sectors of society, in the 1960s Rastafari began attracting support from more privileged groups like students and professional musicians. The foremost group emphasising this approach was the Twelve Tribes of Israel, whose members came to be known as "Uptown Rastas". Among those attracted to Rastafari in this decade were middle-class intellectuals like Leahcim Semaj, who called for the religious community to place greater emphasis on scholarly social theory as a method of achieving change. Although some Jamaican Rastas were critical of him, many came under the influence of the Guyanese black nationalist academic Walter Rodney, who lectured to their community in 1968 before publishing his thoughts as the pamphlet Groundings. Like Rodney, many Jamaican Rastas were influenced by the U.S.-based Black Power movement. After Black Power declined following the deaths of prominent exponents such as Malcolm X, Michael X, and George Jackson, Rastafari filled the vacuum it left for many black youth.
ellauri108.html on line 223: Reggae musician Bob Marley did much to raise international awareness of the Rastafari movement in the 1970s.
ellauri108.html on line 227: Through reggae, Rasta musicians became increasingly important in Jamaica's political life during the 1970s. To bolster his popularity with the electorate, Jamaican Prime Minister Michael Manley employed Rasta imagery and courted and obtained support from Marley and other reggae musicians. Manley described Rastas as a "beautiful and remarkable people" and carried a cane, the "rod of correction", which he claimed was a gift from Haile Selassie. Following Manley's example, Jamaican political parties increasingly employed Rasta language, symbols, and reggae references in their campaigns, while Rasta symbols became increasingly mainstream in Jamaican society. This helped to confer greater legitimacy on Rastafari, with reggae and Rasta imagery being increasingly presented as a core part of Jamaica's cultural heritage for the growing tourist industry. In the 1980s, a Rasta, Barbara Makeda Blake Hannah, became a senator in the Jamaican Parliament.
ellauri108.html on line 229: Enthusiasm for Rastafari was dampened by the unexpected death of Haile Selassie in 1975 and that of Marley in 1981. During the 1980s, the number of Rastas in Jamaica declined, with Pentecostal and other Charismatic Christian groups proving more successful at attracting young recruits. Several publicly prominent Rastas converted to Christianity, and two of those who did so—Judy Mowatt and Tommy Cowan—maintained that Marley had converted from Rastafari to Christianity, in the form of the Ethiopian Orthodox Church, during his final days. The significance of Rastafari messages in reggae also declined with the growing popularity of dancehall, a Jamaican musical genre that typically foregrounded lyrical themes of hyper-masculinity, violence, and sexual activity rather than religious symbolism.
ellauri108.html on line 231: The mid-1990s saw a revival of Rastafari-focused reggae associated with musicians like Anthony B, Buju Banton, Luciano, Sizzla, and Capleton. From the 1990s, Jamaica also witnessed the growth of organised political activity within the Rasta community, seen for instance through campaigns for the legalisation of cannabis and the creation of political parties like the Jamaican Alliance Movement and the Imperial Ethiopian World Federation Incorporated Political Party, none of which attained more than minimal electoral support. In 1995, the Rastafari Centralization Organization was established in Jamaica as an attempt to organise the Rastafari community.
ellauri108.html on line 237: Probably the largest Rastafari group, the House of Nyabinghi is an aggregate of more traditional and militant Rastas who seek to retain the movement close to the way in which it existed during the 1940s. They stress the idea that Haile Selassie was Jah and the reincarnation of Jesus. The wearing of dreadlocks is regarded as indispensable and patriarchal gender roles are strongly emphasised, while, according to Cashmore, they are "vehemently anti-white". Nyabinghi Rastas refuse to compromise with Babylon and are often critical of reggae musicians like Marley, whom they regard as having collaborated with the commercial music industry.
ellauri108.html on line 244: The Twelve Tribes peaked in popularity during the 1970s, when it attracted artists, musicians, and many middle-class followers—Marley among them—resulting in the terms "middle-class Rastas" and "uptown Rastas" being applied to members of the group. Carrington died in 2005, since which time the Twelve Tribes of Israel have been led by an executive council. As of 2010, it was recorded as being the largest of the centralised Rasta groups. It remains headquartered in Kingston, although it has followers outside Jamaica; the group was responsible for establishing the Rasta community in Shashamane, Ethiopia.
ellauri108.html on line 258: Some Rastas have left the religion. Clarke noted that among British Rastas, some returned to Pentecostalism and other forms of Christianity, while others embraced Islam or no religion. Some English ex-Rastas described disillusionment when the societal transformation promised by Rastafari failed to appear, while others felt that while Rastafari would be appropriate for agrarian communities in Africa and the Caribbean, it was not suited to industrialised British society. Others experienced disillusionment after developing the view that Haile Selassie had been an oppressive leader of the Ethiopian people. Cashmore found that some British Rastas who had more militant views left the religion after finding its focus on reasoning and music insufficient for the struggle against white domination and racism.
ellauri108.html on line 260: Although it remains most concentrated in the Caribbean, Rastafari has spread to many areas of the world and adapted into many localised variants. It has spread primarily in Anglophone regions and countries, largely because reggae music has primarily been produced in the English language. It is thus most commonly found in the Anglophone Caribbean, United States, Canada, United Kingdom, Australia and New Zealand, and Anglophone parts of Africa.
ellauri108.html on line 412: King Nebuchadnezzar had a huge golden image built as a symbol of his power and glory. He then commanded that his people bow down and worship this image whenever they heard the sound of his musical herald. Those who disobeyed the order would be thrown into an immense, blazing furnace.
ellauri109.html on line 593: Roth learned to take it easy. He listened to music, reread old favorites, visited museums, took afternoon naps, and watched baseball in the evening.
ellauri110.html on line 351: Pepys may also have dallied with a leading actress of the Restoration period, Mary Knep. "Mrs Knep was the wife of a Smithfield horsedealer, and the mistress of Pepys"—or at least "she granted him a share of her favours". He called her husband "an ill, melancholy, jealous-looking fellow" and suspected him of abusing his wife. Knep provided Pepys with backstage access and was a conduit for theatrical and social gossip. When they wrote notes to each other, Pepys signed himself "Dapper Dickey", while Knep was "Barbry Allen" (a popular song that was an item in her musical repertory).
ellauri111.html on line 671: Sing. Learn Christian hymns to encourage you. This is a link to a collection of hymns with the words and the music (free).
ellauri111.html on line 677: You can also order a hymn book from us. I have The New National Baptist Hymnal (Published in 1977 with KJV readings [Note: This website makes no money for any of these recommendations or links]. I am not a Baptist or any other name/denomination found outside of the Authorized King James Bible). I also have another hymnal entitled, Praise! Our Songs and Hymns (KJV) (always get KJV materials. KJV stands for "King James Version." Don't get "New" King James Version (NKJV) or "NIV"--these are two of many counterfeit Bibles.) Hymnals include the musical notes and lyrics. If you can play an instrument, you can learn many songs. We should think about the words of the various hymns to see if they are based on the Bible or not. Don't use jew´s harp, kazoo or electric guitar, however. Or comb and toilet paper either, that would be blasphemy.
ellauri118.html on line 1167: Eurydice in Greek mythology, the luckless bride bitten by a snake on her wedding day. Her husband, Orpheus, the famed musician, convinced Hades to let Eurydice return to earth. However, Orpheus disobeyed the strictures of the journey and looked at Eurydice too soon, thus dispatching her back to the abode of the dead forever.
ellauri119.html on line 442: In Hinduism, kāma is pleasurable, sexual love, personified by the god Kamadeva. For many Hindu schools, it is the third end (Kama) in life. Kamadeva is often pictured holding a bow of sugar cane and an arrow of flowers; he may ride upon a great parakeet. The philosophical work Narada Bhakti Sutras, written by an unknown author (presumed to be Narada), distinguishes eleven forms of love. Kama Sutra has more. Gaudiya Vaishnavas who worship Krishna as the Supreme Personality of Godhead and the cause of all causes consider Love for Godhead (Prema) to act in two ways: sambhoga and vipralambha (union and separation), like Empedocles' love and strife, attraction and repulsion, in and out in ever faster succession. Radha is considered to be the internal potency of Krishna, and is the supreme lover of Godhead. Her example of love is considered to be beyond the understanding of material realm as it surpasses any form of selfish love or lust that is visible in the material world. The reciprocal love between Radha (the supreme lover) and Krishna (God as the Supremely Loved) is the subject of many poetic compositions in India such as the Gita Govinda and Hari Bhakti Shuddhodhaya, and a lot of chanting, tinkling little bells and opening and closing of musical doors.
ellauri119.html on line 462: Luce Irigaray (born 3 May 1930) is a Belgian-born French feminist, philosopher, linguist, psycholinguist, psychoanalyst and cultural theorist who examined the uses and misuses of language in relation to women. Irigaray's first and most well known book, published in 1974, was Speculum non matris sed aliae mulieris (1974), which analyzes the texts of Freud, Hegel, Plato, Aristotle, Descartes, and Kant through the lens of phallocentrism. Presently, she is active in the Women's Movements in both France and Italy. Eroticism (from the Greek ἔρως, eros—"desire") is a quality that causes sexual feelings, as well as a philosophical contemplation concerning the aesthetics of sexual desire, sensuality, and romantic love. That quality may be found in any form of artwork, including painting, sculpture, photography, drama, film, music, or literature. It may also be found in advertising. The term may also refer to a state of sexual arousal or anticipation of such – an insistent sexual impulse, desire, or pattern of thoughts.
ellauri131.html on line 351: Elvis Presley – posthumous musician
ellauri135.html on line 139: Konsta vietti rattoisaa kesälomaa Jekaterina-vaimon ja 7-vuotiaan pojan kaa Bogovon kylässä vuonna 1924. Samana vuonna Pirkko täytti 2 ja Calle 1, Kalle Viänänen julkaisi teoxen Savolaista sanarrieskoo, ja the renowned klezmer clarinetist and self-proclaimed “King of Jewish music” Naftule Brandwein recorded a purely instrumental version with the title “Der Terk in America” laulusta Uskadaaraa.
ellauri141.html on line 109: Quintus Horatius Flaccus (8th of December, Ab Urbe Condita 689, B. C. 65 - 27th of November, B. C. 8) was born at or near Venusia (Venosa), in the Apennines, on the borders of Lucania and Apulia. His father was a freedman, having, as his name proves, been the slave of some person of the Horatia gens. As Horace implies that he himself was ingenuus, his father must have obtained his freedom before his birth. He afterwards followed the calling of a coactor, a collector of money in some way or other, it is not known in what. He made, in this capacity, enough to purchase an estate, probably a small one, near the above town, where the poet was born. We hear nothing of his mother, except that Horace speaks of both his parents with affection. His father, probably seeing signs of talent in him as a child, was not content to have him educated at a provincial school, but took him (at what age he does not say, but probably about twelve) to Rome, where he became a pupil of Orbilius Pupillus, who had a school of much note, attended by boys of good family, and whom Horace remembered all his life as an irritable teacher, given unnecessarily to the use of the rod. With him he learnt grammar, the earlier Latin authors, and Homer. He attended other masters (of rhetoric, poetry, and music perhaps), as Roman boys were wont, and had the advantage (to which he afterwards looked back with gratitude) of his father’s care and moral training during this part of his education. It was usual for young men of birth and ability to be sent to Athens, to finish their education by the study of Greek literature and philosophy under native teachers; and Horace went there too, at what age is not known, but probably when he was about twenty. Whether his father was alive at that time, or dead, is uncertain. If he went to Athens at twenty, it was in B. C. 45, the year before Julius Cæsar was assassinated. After that event, Brutus and Cassius left Rome and went to Greece. Foreseeing the struggle that was before them, they got round them many of the young men at that time studying at Athens, and Horace was appointed tribune in the army of Brutus, a high command, for which he was not qualified. He went with Brutus into Asia Minor, and finally shared his defeat at Philippi, B. C. 42. He makes humorous allusion to this defeat in his Ode to Pompeius Varus (ii. 7). After the battle he came to Italy, having obtained permission to do so, like many others who were willing to give up a desperate cause and settle quietly at home. His patrimony, however, was forfeited, and he seems to have had no means of subsistence, which induced him to employ himself in writing verses, with the view, perhaps, of bringing himself into notice, rather than for the purpose of making money by their sale. By some means he managed to get a place as scriba in the Quæstor’s office, whether by purchase or interest does not appear. In either case, we must suppose he contrived soon to make friends, though he could not do so by the course he pursued, without also making many enemies. His Satires are full of allusions to the enmity his verses had raised up for him on all hands. He became acquainted, among other literary persons, with Virgil and Varius, who, about three years after his return (B. C. 39), introduced him to Mæcenas, who was careful of receiving into his circle a tribune of Brutus, and one whose writings were of a kind that was new and unpopular. He accordingly saw nothing of Horace for nine months after his introduction to him. He then sent for him (B. C. 38), and from that time continued to be his patron and warmest friend.
ellauri141.html on line 368: Mut näyttää vähän siltä että Horatiuxen letku ei seissyt monta hetkeä. Se ehkä selittää ezen viisujen perussävy on tollanen tekosirkeä, puoliveteinen ja letkeä. Horace’s obsessions were music, sex, death and wine and crowns made from plants.
ellauri141.html on line 404: The solfege system (Do, Re, Mi), which is the theme of a song by the Von Trapp children, is just a small sample of Horace's all-pervasive influence on western culture, even among people who might never have heard the name Quintus Horatius Flaccus. Horace was not just a superb literary craftsman, but a musician, songwriter and entertainer for the Roman elite, creating a new Latin idiom derived from Greek lyric song. A final chapter, "Horace, Guido and the Do-re-mi Mystery", the result of careful research and detective work, argues that Guido d'Arezzo, an eleventh-century Benedictine choirmaster, used the melody of Horace's Ode to Phyllis (alla) to invent the do-re-mi mnemonic, but applied it to an eighth-century Hymn to John the Baptist ("Ut queant laxis") by Paul the Deacon, keeping the true source secret. A musical comparison of the Horatian melody and Guido's version of "ut-re-mi" is included. Lyons' verse translation of the Odes was named a Financial Times Book of the Year (1996) and was welcomed as 'a wonderful rendering of one of the great, central poets in the European tradition.'
ellauri144.html on line 62: In truth it is profitable to cast aside toys and to learn wisdom; to leave to lads the sport that fits their age, and not to search out words that will fit the music of the Latin lyre, but to master the rhythms and measures of a genuine life. There-fore I talk thus to myself and silently recall these precepts:
ellauri144.html on line 181:

Phillu mainizee (175) Mandelin tykänneen Tito Puentesista ja Pupi Camposta niin paljon että muutti nimensä Babaluuxi. (Kolmas nimi on pianisti Joe Loco.) "Babalú" is a Cuban popular afro song written by Margarita Lecuona, the cousin of composers Ernestina and Ernesto Lecuona. The song title is a reference to the Santería deity Babalú Ayé. "Babalú" was the signature song of the fictional television character Ricky Ricardo, played by Desi Arnaz in the television comedy series I Love Lucy, though it was already an established musical number for Arnaz in the 1940s as evidenced in the 1946 film short Desi Arnaz and His Orchestra. By the time Arnaz had adopted the song, it had become a Latin American music standard, associated mainly with Cuban singer Miguelito Valdés, who recorded one of its many versions with Xavier Cugat and his Waldorf-Astoria Orchestra. Arnaz made the song a rather popular cultural reference in the United States.
ellauri144.html on line 192: music.co.uk/top-folksongs-chords/png/guantanamera.png" width="90%" />
ellauri144.html on line 294: His greatest successes were in musical comedy revues, typically featuring actresses in deshabillé, such as As the Girls Go (which also starred Clark) and Michael Todd's Peepshow (Kuoleman tirkistelyesitys, vanhentunut).
ellauri147.html on line 185: One or two of my American friends tell me that in public buildings in the US it’s also possible to call the street-level floor the ground floor, like in Britain. But Emily has never visited public buildings, as she works in the private sector. She is a private dancer, dancer for money, any old music will do. Typerä Emily juoxee muka päivittäin maratoneja mutta väsyy rapuissa. Se ei varmaan ole koskaan nähnyt rappuja.