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| Dog Saves A Dog Hit By A CarFri, 05 Dec 2008 07:38:00 -0800 by AsIfThinkingMattersThis video will break your heart. It shows love and its antithesis. People on a highway just rush along seemingly unconcerned whether they hit a dog. On the other hand, another dog shows humans what love and compassion are by rushing to its aid and dragging it from the highway. Aside from the disgusting behavior of humans and the admirable behavior of the hero dog, one must wonder where such behavior comes from. Although the cruel behavior of the humans in the cars can be explained by an evolutionary world where ethics and selflessness makes not sense, the selfless love of the hero dog cannot be so explained. Since humans are supposedly on top of the evolutionary ethical ladder, how does a "mere" dog surpass them in ethical behavior? Related: dog saves rescure dogs rescured car hit by | |
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| Nat and Allie love story ep.11 (Nat and Allie)Fri, 05 Dec 2008 07:35:57 -0800 by natallie4lifeNat still wouldnt wake up.So Allie called the doctor instead.The rest of the band are also in the room.Allie: How is he doc?Doctor: Hes fine.Just let him sleep.Hell be okay when he wakes up tomorrow.Qaasim: What exactly did happen?Allie: Well I dont really know.When me and Tuffy got there,I saw him lying on the floor.Doctor: Actually due to the bump on his head, he mustve hit it pretty hard when he fell.Cooper: But he wont have any amnesia or anything like that right?Doctor: No,but he might not remember what happened.So youll just need to tell him.Alex: Hell get to play around tomorrow right?Doctor: Of course, but let him rest first.He might have a little headache once in a while.Allie: Okay doc. Thanks for everything.Doctor: *leaves*Thomas: Hey guys why dont we have dinner first,then well come back and check up on Nat?David: Yeah Im up for that.Qaasim: Yeah Im starving!Cooper: Okay.Cmon Alex.Alex: No Im staying here with Nat.Cooper: Alex you need to eat first.Well go back later.Alex: But wholl watch over him?Allie: Its okay Alex. Ill be the one whos staying.Cooper: Youre not coming Allie?Allie: No.Besides the doctor said that I need to wipe his forehead with warm water every 30 min.So Ill just order at room service.David: Okay.Well be back later.Alex: *goes to Nat and rubs his forehead* feel better big brother.(They all leave)Allie called room service and ordered herself a sandwhich.Then she went to Nat and wiped his head with warm water.With the bandThomas: So Coop, what were you Allie and Nat talking about in the tour bus earlier?David: Yeah what was that all about?Cooper: N-nothing.Qaasim: Cmon just tell us.Cooper: Nothing really. We were just talking about what songs you guys are performing for the tour.David: Oh yeah that.I almost forgot we havent decided yet.Thomas: So what did you have in mind?Cooper: *thingking* Whew that was close!) Um we only had a few by now.That is Face in the hall,curious,crazy car,and Alexs new song.Blueberry cotton.Alex: *spits his water out* What??!!Qaasim: Whats wrong Alex? Your song is awesome man.Alex: It not that.Its just that Ive never sang on a live audience before! Id have to ask Nat to teach me to handle the pressure.Cooper: Im sure everything will work out just fine.With Nat and Allie.*knock knock*Allie: Who is it?.Room service.Your food is here mam.Allie: Okay Ill be there in a sec! Related: nat wolff allie dimeco natalina natallie rosalina the naked brothers band | |
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| John Ogdon,piano/Rachmaninoff Études-Tableaux Op.39 No.3 in F Sharp MinorFri, 05 Dec 2008 07:34:48 -0800 by tHEnOOSEsWINGSergei Rachmaninoff Études-Tableaux Op.39No.3 in F Sharp Minor=============== =================Rel ated information:John Ogdon==========John Ogdon's life and career might be summed up as prodigious. A player of great strength and protean technique, Ogdon was unafraid, and in fact preferred, to tackle the biggest scores, including Busoni's mammoth Piano Concerto, Beethoven's "Hammerklavier" Sonata, the Concerto for Solo Piano (from the Op. 39 Etudes) of Charles-Valentin Alkan, and the four-hour Opus Clavicembalisticum by Kaikhosru Sorabji, which he first played in private recital at the age of 22. His repertoire was also massive: more than 80 composers were represented, with literally hundreds of scores, many of them committed to his unparalleled memory and more than 260 of them preserved in recordings. Ogdon also was a composer of nearly 200 works in many forms, a symphony and piano concerto among them, and he taught and wrote extensively on music. Even his size was impressive. Tall and with a tendency toward obesity, Ogdon brought power and strength to his performances, with critics often resorting to words like "thunderous" in their assessments. Yet John Ogdon was always sensitive to the demands of musical architecture. An affable and approachable artist among his more aloof colleagues, Ogdon's primary concern was to communicate music's essence through clear delineation of its form. He also was capable of sensitive intimacy with his repertoire. When he was at the height of his powers, it was Ogdon's concentration and unrelenting but plastic control that impressed audiences.http://www .prestoclassical.co. uk/a/2370/John_Ogdon /1Composition Description========= ============== by Steven Coburn AllmusicThese Etudes are somewhat longer, more difficult, and more obviously Etudes than those of Opus 33, even though the poetic aspect of the "Tableaux" is still present. They are without exception extraordinarily difficult. #1, in c minor. Flying triplet figurations span the keyboard in this propulsive and driven Etude. There are two powerful climaxes; each preceded by rapidly repeated chords. #2, in a minor. Here Rachmaninov indulges his love of the "Dies Irae" chant, embedding it in the accompaniment of this tragic and powerful Elegy. A contrasting central section builds to a climax that dissipates in chromatic passages before returning to the reprise of the opening. #3, in f-sharp minor. This Etude has interesting and unusual metrical groupings of its underlying triplet rhythms. Combined with the fleeting nature of the figuration, this makes it particularly difficult to develop a sense of a regular beat. The result is effective, if somewhat unsettling. A cadenza ends the piece quietly. #4, in D major. A march-like work with shifting meters. Rachmaninov originally gave no time signature, but most editors have inserted them for the performer's convenience. The Etude is primarily a study in repeated notes and staccato chords. It is one of the less effective pieces in the set. #5, in e-flat minor. This Etude is a somber and grand work, almost too epic in mood for its scale. A powerful theme is played against triplet chords in the main section, while the contrasting middle section features a longing melody accompanied by widespread arpeggiations. The build-up to the return of the main theme is highly effective, and results in an extraordinarily powerful climax. #6, in a minor. Originally part of Opus 33, this Etude's large scale and extreme difficulty seem more appropriate to this set. This exciting and aggressive piece features alternating sections of rapid staccato chords and tricky sixteenth-note figurations. #7, in c minor. An elegiac work that starts out with slow, sustained passages followed by a driving and march-like section. The repeated chords of this passage build to a sonorous climax before subsiding for the quiet ending. #8, in d minor. This beautiful work has an underlying rhythm that makes it sound much like a Barcarolle. The harmonies are lush and romantic, supporting the sparse melodic material, which is constructed primarily of a repeated motive. There is something of a build-up to a subtle and understated climax before the interesting and staccato reprise of the main material. #9, in D major. Much like the final Prélude of Opus 32, this Etude uses material from the other pieces of the set. It is primarily a chord study, ostensibly dramatic, but not highly effective, and somewhat anticlimactic when the entire set is performed as a whole.http://www.all music.com/cg/amg.dll ?p=amg&sql=42:11409~ T1================== ============== *Note:Support the artist, their families and their legacy by purchasing their music. Related: john+ogdon piano rachmaninoff Études-tableaux op.39 | |
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| POPSTARS just 4 girls- gabriella, katharina & patricia - too lost in youFri, 05 Dec 2008 07:32:01 -0800 by saBiine329Gabriella, Katharina and Patricia singen "Too Lost In You" von den SugababesLyrics:You look into my eyes I go out of my mind I can't see anything Cos this love's got me blindI'm in over my head You got under skin I got no strength at all In the state that I'm in And my knees are weak And my mouth can't speak Fell too far this time Baby, I'm too lost in you Caught in you Lost in everything about you So deep, I can't sleep I can't think I just think about the things that you doI'm too lost in you (too lost in you) I'm going in crazy in love for you baby (I can't eat and I can't sleep) I'm going down like a stone in the sea Yeah, no one can rescue me (No one can rescue me)Oooh, baby, baby, babyBaby, I'm too lost in you Caught in you Lost in everything about you So deep, I can't sleep I can't think I just think about the things that you do (you do) I'm too lost in you (too lost in you) Related: gabriella katharina and patricia singen too lost in you von den sugababes popstars sido loons just girls | |
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