: The purpose of the leaks and how Wikileaks framed them was precisely to sucker journalists into covering anodyne behavior as if it was scandalous. There are numerous factors, but one — which we also saw with respect to the Clinton Foundation — is that once editors and journalists have invested enough time in a story they’re very reluctant to conclude that Al Capone’s vault is in fact empty. It’s very hard to imagine even Clinton haters as obsessive as Fang and Greenwald writing a story about Hillary Clinton engaging in completely unexceptionable media engagement strategies any minimally competent campaign engages in if the story had been obtained from conventional sources, let alone hyping their “findings” as if they had he 21st century Pentagon Papers on their hands. (AFICT, neither particularly cared about the other Hillary Clinton EMAILS! By now critics have written volumes on t some of the best-selling singles ever released, so I won’t linger.
Suffice it to say that I prefer the relentless forward motion of their disco-tinged singles (Jane Wyman in her Douglas Sirk phase fiercely smiling in an effort to hold it together) and the grandness of their ballads, notably when they abjured cuteness (yes to “The Winner Takes It All,” no to “Chiquitita”). Knowing Me, Knowing You 2. (A Man After Midnight) 4.
Take a Chance on Me 5. I Know There’s Something Going On 6. Voulez-Vous 7.
Summer Night City 8. Lay All Your Love on Me 9. Angel Eyes 10. The Winner Takes It All 11. Slipping Through Your Fingers 12.
Dancing Queen 13. One of Us 14.
Here you can download viva hate morrissey shared files: Morrissey 1988 Viva Hate BY THEUNDEAD.rar mega.co.nz Morrissey-Viva Hate.rar mediafire.com 94.44 MB. Our goal is to provide high-quality PDF documents, Mobile apps, video, TV streams, music, software or any other files uploaded on shared hosts for free! Jan 20, 2017. The era when I was old enough to discover music coincided with the first peak of Morrissey's solo career, during which he released a run of fabulous singles between 1988's Viva Hate and 1991's Kill Uncle* (his commercial peak wouldn't come for another three years). My friend Greg assembled a fab mix. Download-Theses Mercredi 10 juin 2015.
On and On and On 15. When All is Said and Done 17. I Do, I Do, I Do, I DO 18. The Visitors 20. When I Kissed the Teacher 21. I Am the City. Janet Reitman’s Rolling Stone on Betsy DeVos explains how Christians and billionaires have created a racket that operates under the fiction of public education.
One of those consortium, the Council for National Policy, hides Christian policy behind its bloodless moniker. Some of the material uncovered: As a candidate, Trump suggested diverting $20 billion in federal money toward private-school vouchers. School choice, he said, was the “civil rights issue of our time.” But mass privatization is about more than improving test scores, as was made clear in a report the Council for National Policy submitted to the Trump administration. Though CNP’s membership is closely held, the Southern Poverty Law Center recently obtained a copy of its 2014 roster. “It Only Hurts When I Cry,” “Ain’t That Lonely Yet,” “I Wouldn’t Put It Past Me” — damn, what an asshole. For thirty years, from his origins as a neotrad cowpunker associated with The Blaster and X (hence the Maria McKee duet to the minimalist pleasures of his last four releases, Dwight Yoakam has delivered the goods without conceding an millimeter to likability.
Pete Anderson no longer produces his material, and I can’t tell the difference. Buenas Noches from a Lonely Room (She Wore Red Dresses) 2. Guitars, Cadillacs 4. Streets of Bakersfield (Feat. Buck Owens) 5.
A Thousand Mile From Nowhere 6. You’re the One 7. Fast as You 8. Things Change 9. I Sang Dixie 10.
It Only Hurts When I Cry 11. The Late Great Golden State 12. Dim Lights, Thick Smoke 13. Long White Cadillac 14. If There Was a Way 15. Ain’t That Lonely Yet 17.
Turn It On, Turn It Up, Turn Me Loose 18. You’re the One 19. Rock It All Away 20. Population Me 21. I Wouldn’t Put It Past Me 22.
Suspicious Minds 23. The Heart That You Own 25. It Won’t Hurt. Are We Not Cats? Director: Xander Robin Where and when: 3/8 at O Cinema Miami Beach, 9 p.m.
“A sort of giddy, slacker spin on Cat People,” the online summary avers, and I hope the writers had the Val Lewton original in mind, not the deluxe, sodden 1981 remake. Too short to wear out its welcome, Are We Not Cats?
Wears its irony as loosely as a scarf as it tells the story of Eli (Michael Patrick Nicholson), a scruffy New Yorker who over several winter days reveals how deeply his trichotillomania runs. Trichotillomaniacs pull out their hair on compulsion, as opposed to festival audiences who might do so after sitting through the last twenty of Robin’s eighty-minute feature. For a while, though, Are We Not Cats?, based on Robin’s short film, is amusing. Homeless after his Russian parents’ abrupt move to Arizona, Eli holes up in his van, sullen – what on earth is a white boy to do? On a delivery job he meets Kyle (Michael Godere) and Kyle’s girlfriend Anya (Chelsea LJ Lopez), a girl whose air of kooky merriment bears a suspicious resemblance to the Kate Winslet of Eternal Sunshine of the Spotless Mind if Winslet’s character weren’t suffering from trichophagia. Their courtship in a fetid basement is a battle royale: clump by clump he tears off his hair while Anya eats hers.
Had Robin ” it couldn’t have been funnier. Not funny: Robin’s halfhearted stab at Cronenbergian fascination with punsihing the human body. Matt Clegg’s talent for lighting disgusting interior spaces and the dirtier parts of deep winter is a plus. ———- El Amparo Director: Roberto Calzadilla Where and When: 3/9 at Coral Gables Art Cinema, 6:45 p.m. In 1988, twelve fishermen from the eponymous village in Venezuela, thought to be guerrillas, were murdered by the military.
Roberto Calzadilla’s film wisely doesn’t show the massacre itself – instead, prefatory events reveal these men as the usual scruffy bunch of local drunks and amiable ne’er-do-wells who talk shit over aguardiente and sass the women. How survivors Chumba and Pinilla tell their story to skeptics and wrestle with the moral complications of false confessions and bribery forms the crux of El Amparo, a solid drama best when showing the collision of bureaucracy at its most brutal faces off against country wiles (often I thought it should have been sneakier). After an opening sequence set in a bar shot with the severity of a Tsai film, El Amparo settles for the usual handheld realism, which works fine in a confrontation between a honest local police chief and a colonel who wants to jail the survivors for slandering the armed forces. As the scene builds it’s impossible to predict what will come next.
Here is my A Day Without Women post, titled: Most decisively, there was a sudden change in the net sentiment results that followed immediately after FBI Director James Comey released his Oct. 28 letter to Congress about a renewed investigation of Clinton emails. Immediately afterwards, there was a 17-point drop in net sentiment for Clinton, and an 11-point rise for Trump, enough for the two candidates to switch places in the rankings, with Clinton in more negative territory than Trump. At a time when opinion polling showed perhaps a 2-point decline in the margin for Clinton, this conversation data suggests a 28-point change in the word of mouth “standings.” The change in word of mouth favorability metric was stunning, and much greater than the traditional opinion polling revealed.
Based on this finding, it is our conclusion that the Comey letter, 11 days before the election, was the precipitating event behind Clinton’s loss, despite the letter being effectively retracted less than a week later. In such a close election, there may have been dozens of factors whose absence would have reversed the outcome, such as the influence campaign of the Russian government as detailed by US intelligence services. But the sudden change in the political conversation after the Comey letter suggest it was the single, most indispensable factor in the surprise election result. This conclusion helps us to understand how it is possible that the polls were generally correct about a Clinton lead through most of the campaign, but nevertheless Trump still won because of a late October surprise.
I’m not sure to what degree I should trust Engagement Labs’ chief commercial officer, and this same fellow acknowledges that in elections this close any number of factors in concert can influence results; but that’s the point too. The Comey letter came at the right moment. Listeners who show a preference for an album by these men are working for the Trump administration. After years of enjoyment, I Just Can’t Stop It, Wha’ppen, and Special Beat Service remain indistinguishable: models of litheness and buoyancy, with a saboteur’s precision and stealth for inserting the early eighties’ most eloquent affirmations of liberalism into pop. Other landmarks: Saxa as least egregious and most necessary saxophonist in a decade that had heard Steve Mackay, Andy McKay and Duncan Kilburn; a white singer whose tune smarts depended on the improvisatory eloquence of a champion toaster, and a toaster who benefited from the exigencies of the three-minute single; recording the best Doc Pomus cover; and producing Fine Young Cannibals, an offshoot as strange and rewarding that also didn’t overstay its welcome. Twist and Crawl 2. Best Friend 3.
Save It For Later 4. Mirror in the Bathroom 5. Doors of Your Heart 6.
Johnny Come Home (Fine Young Cannibals) 9. Jeannette 10.
Suspicious Minds (Fine Young Cannibals) 11. Can’t Get Used to Losing You 12. She Drives Me Crazy (Fine Young Cannibals) 14.
Dream Home in NZ 15. Tenderness (General Public) 16. Sole Salvation 17. Don’t Look Back (Fine Young Cannibals) 18.
Walk Away 19. Blue (Fine Young Cannibals) 20. Over and Over 21. Stand By Margaret 22. I’m Not the Man I Used to Be.
Contents • • • • • • • • • • • • • About the album [ ] After releasing in March 1988, Morrissey modified his method of releasing music. Instead of choosing to produce an immediate follow-up album, he decided to release a string of independent singles in the hopes of achieving success in that market. Morrissey initially planned to release a second album after releasing a few holdover singles. As such, he released 'The Last of the Famous International Playboys', 'Interesting Drug', and ' Board, Ouija Board' over the course of 1989. The first two of these became top ten hits. However, by the end of 1989 it became apparent that he would not be able to put out an album of new material soon enough. Morrissey decided to scrap the idea of a full-length LP and release a compilation of singles and instead.
Thus, the Bona Drag project was born. 'November Spawned a Monster' was released in May 1990 to modest success; the album and the single 'Piccadilly ' followed, both released on the same day that October. Composition [ ] Bona Drag features nearly all of the strong pieces of material written by Morrissey in the first three years of his solo career. The tracks include four top ten hits. Morrissey included two tracks on this compilation from his album: 'Suedehead' and 'Everyday Is Like Sunday'. The album is also significant for including the first tracks by Morrissey to chart in the United States. 'Piccadilly Palare' and 'Ouija Board, Ouija Board' both reached number 2 on the Modern Rock chart.
'The Last of the Famous International Playboys' went to number 3, 'November Spawned a Monster', number 6, and 'Interesting Drug', number 11. Bona Drag launched Morrissey's career in the US, and in many ways it marked the turning point after which he became less popular in the UK but achieved increasing success in America. The album sleeve is taken from Morrissey's ' promotion video.
Morrissey's shirt colour was altered from black to red in the photo. 20th anniversary reissue [ ] In July 2010, EMI announced Bona Drag would be reissued on 27 September 2010, with the original track listing plus six officially unreleased studio outtakes.
The front artwork would have the shirt changed from red to the original black, and the back and inner artwork would be updated with previously unseen photos chosen by Morrissey. It would be released on the resurrected imprint. The re-issue eventually came out on 4 October, entering the UK charts at number 67. Music blog awarded the release a score of '9.8' and a 'Best new reissue' tag, calling Bona Drag 'the most enduring success of Morrissey's solo career'. Track listing [ ] All songs by Morrissey/Street, except where noted. LP [ ] Side A No.
Title A-side/B-side Length 1. ' (Morrissey/Armstrong) Single A-side 3:28 2. ' Single A-side 3:27 3. ' (Morrissey/Langer) Single A-side 5:28 4. 'Will Never Marry' Edited version of B-side of 'Everyday Is Like Sunday' 2:22 5. 'Such a Little Thing Makes Such a Big Difference' B-side of 'Interesting Drug' 2:51 6.
' Single A-side 3:40 7. ' Single A-side 4:25 Side B No. Title A-side/B-side Length 1.
Algebra Lineal Grossman Pdf 5 Edicion De Tu. ' B-side of 'Suedehead' 3:49 2. ' Single A-side 3:34 3. 'He Knows I'd Love to See Him' (Morrissey/Armstrong) B-side of 'November Spawned a Monster' 3:08 4. 'Yes, I Am Blind' (Morrissey/Rourke) B-side of 'Ouija Board, Ouija Board' 3:44 5. 'Lucky Lisp' B-side of 'The Last of the Famous International Playboys' 2:51 6. ' Single A-side 3:54 7.
Retrieved 1 February 2016. • (15 November 1990)... Retrieved 1 February 2016.
• Arnold, Gina (23 November 1990)... Retrieved 1 February 2016. • Willman, Chris (25 November 1990)... Retrieved 1 February 2016.
• (20 October 1990). 'Interesting Drag'.: 4. • ^ Plagenhoef, Scott (14 October 2010)... Retrieved 15 October 2010. • 'Morrissey: Bona Drag'.
November 2010. In Brackett, Nathan; Hoard, Christian...
• McKay, Alastair (November 2010). 'Morrissey: Bona Drag'. • (7 May 1991)... Retrieved 1 February 2016.
12 July 2010. Retrieved 17 January 2012. Archived from on 3 July 2011.
Retrieved 17 January 2012. Archived from on 9 May 2014. Retrieved 2015-09-04. If necessary, click Advanced, then click Format, then select ', then click SEARCH •.