My tiny voice beats against it like useless arms: Get up, get up, get up.
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On Friday, big banks JP Morgan Chase, Citigroup and Wells Fargo reported solid beats against the top and bottom lines.
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The indexes measure beats against misses on economic data, and when they are positive it is perceived as good news for the stock market.
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Both approaches have their strengths, and when Ms. Field beats against Mr. Pullman's chest in distress, you sense a good woman hollowed out by the moral decay amid which her every day has become a living death.
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And Candice looks down, sees the white bib actually jerking as her heart beats against her ribcage and she wants to suddenly get out of bed and run, wants to throw up, wants to tear off the hospital gown and the crisp sheets on top of her, wants to get out of this clean white space full of electronic noises and the well-rehearsed tones of doctors and nurses.
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The working leg is thrust into the air, the underneath leg follows and beats against the first leg, sending it higher. The landing is then made on the underneath leg. Cabriole may be done devant, derrière and à la seconde in any given position of the body such as croisé, effacé, écarté, and so on.
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D:Fuse can currently be heard on "The People's Mix" in podcast form. D:Fuse recently celebrated his 250th "People's Mix" broadcast. D:Fuse also works to further good causes. In 2004 he co-created the "Beats Against Bush" tour alongside Richard Vission and worked nationally with the Drug Policy Alliance against the Rave Act in 2003.
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The sounding of three beats against two, known as a polyrhythm, is experienced in everyday life and helps develop a two- dimensional attitude to the rhythm. The most widely used musical instrument in Africa is the human voice., Jacqui Malone (1996), Steppin' on the Blues, p. 17. Nomadic groups such as the Maasai do not traditionally use drums.
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22-23 ("legs beat together, or one leg beats against the other"), beats p.23 ("during a jump by striking the calves sharply together"). As before him Cecchetti in 1890, and Nijinsky in 1907, Idzikowski in 1921 performed as the Blue Bird in the pas de deux from The Sleeping Beauty of Tchaikovsky.Balanchine (1954), pp. 336-354: The Sleeping Beaty; at p.
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The Turnbull AC fail to kill the Warriors as they board a train en route to Coney Island, only for the train to be stopped by a fire on the tracks at Tremont. While continuing their journey on foot, the Warriors encounter the Orphans, still mad at being humiliated by them.DJ: Now for the latest word in the big city. Turning the break beats against the Judas Bunch, the Boppers danced back to retain their reign supreme in Harlem.
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The reed beats against the mouthpiece, and in turn causes the column of air inside the instrument to vibrate. The top half to three-quarters of the table is open to the inside of the mouthpiece. As with the brass instruments, the shape of the interior of the mouthpiece can greatly affect the sound of the instrument. Mouthpieces with a large, rounded chamber will produce a quite different sound from one with a small or square chamber.
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In the field of acoustics, a diaphragm is a transducer intended to inter- convert mechanical vibrations to sounds, or vice versa. It is commonly constructed of a thin membrane or sheet of various materials, suspended at its edges. The varying air pressure of sound waves imparts mechanical vibrations to the diaphragm which can then be converted to some other type of signal; examples of this type of diaphragm are found in microphones and the human eardrum. Conversely a diaphragm vibrated by a source of energy beats against the air, creating sound waves.
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The tonal characteristics of reed pipes are determined by several factors, the most important of which is the interaction between the shallot and the tongue. The thickness and curve of the tongue itself play an important role in determining the tonal quality of the pipe. When voicing a reed pipe, the voicer will take great care in shaping the curve of the tongue, because this controls how the tongue beats against the shallot. Whether the shallot is cylindrical or tapered (and, in the latter case, whether or not the taper is inverted) greatly affects the pipe's timbre.
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In the case of the clarinet, the reed beats against its mouthpiece, opening and closing the instrument's cylindrical closed tube to produce a tone. When the instrument is overblown, with or without the aid of its register key, the pitch is a twelfth higher. In the case of a saxophone, which has a similar mouthpiece-reed combination to the clarinet, or an oboe, where double reeds beat against each other, the conical bore of these instruments gives their closed tube the properties of an open tube; when overblown, the pitch jumps an octave higher. As for a flute, which does not have a reed, but rather is a reedless cylindrical instrument open at both ends, the pitch similarly increases by an octave.
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Simonetta Vespucci was born Simonetta Cattaneo 1453 in a part of the Republic of Genoa that is now in the Italian region of Liguria. A more precise location for her birthplace is unknown: possibly the city of Genoa, or perhaps either Portovenere or Fezzano. The Florentine poet Politian wrote that her home was "in that stern Ligurian district up above the seacoast, where angry Neptune beats against the rocks ... There, like Venus, she was born among the waves." Her father was a Genoese nobleman named Gaspare Cattaneo della Volta (a much-older relative of a sixteenth-century Doge of Genoa named Leonardo Cattaneo della Volta) and her mother was Gaspare's wife, Cattocchia Spinola (another source names her parents slightly differently, as Gaspare Cattaneo and Chateroccia di Marco Spinola.
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Powe has written books of thoughts, poetry, essays, and fiction (long and short). He has also written nationally seen columns for The Globe and Mail and the Toronto Star. He has been called "way cool" by The Globe and Mail, "one of our finest cultural commentators" by the Toronto Star, a poet who can write "hair- raising lines" that seem to come "fully formed from the cosmos" by The Globe and Mail and who takes "considerable, unfashionable risks" by The Malahat Review, "a visionary--a modern day Magellan" by the Montreal Gazette, "an intellectual terrorist" by Barbara Amiel in Maclean's, and "enigmatic...and necessary..." by the Edmonton Journal. Kenneth J. Harvey said Powe's "Heart beats against the current... [and in his work] at its ultimate core invents something original--and oftentimes breathtaking... To say brilliant would be an understatement" (Ottawa Citizen).
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Its first librarian was Solomon Porter, a Yale graduate and principal of the Grammar School. In 1838, Hartford resident and the first United States Commissioner of Education Henry Barnard organized lectures and debates for young men and called this association the Hartford Young Men's Institute. They invited Hartford Library Company subscribers to join with them, offering them lifetime memberships. Library company members agreed and brought to the institute their collection numbering over 3,000 volumes. In 1842, Daniel Wadsworth offered the Young Men's Institute a stake in what he hoped would become the cultural center of Hartford. Members accepted and, in 1844, the Young Men's Institute moved into the new Wadsworth Atheneum, eventually sharing space with the fine arts gallery, the Watkinson Library, The Connecticut Historical Society and the Hartford Art School. One of the Institute's most prominent librarians from 1846-1868, essayist Henry M. Bailey wrote in 1850 Thoughts in a Library about the mood there: "It is a stormy evening: the rain patters on the roof and beats against the windows. All without is cold and cheerless, all within is pleasant and cheerful..." In 1875, the Young Men's Institute hired Caroline Hewins as its head librarian. She was 29 years old.
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