they were swallowed by the crowd and the ear-piercing music ..
He felt the rage building in him, and focused it all against that black-hearted slut.
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Another tale, "Morella," expresses similar archetypal ideas regarding reincarnation. In that tale, the daughter of the beautiful, mysterious, and Ligeia-like Morella is born at the instant of Morella's death. The child is reared by the narrator, but oddly, he gives her no name until several years have elapsed. He decides to have the child christened. He whispers, perversely, in the holy man's ears that the child is to be called Morella, when the child collapses onto the family vault, proclaiming, "I am Here!" After the second Morella dies, the narrator finds the family grave empty when he lays the daughter to rest. With the incarnation of mother-in-child, Poe demonstrates again that the tendency is always to unity. Everything be this way, or so Poe believed. Yet he may also be posing another vehicle for the re-entrance of his own mother, a fascination, or at least an idle hope, that the child-wife Virginia was growing into the place of the phantom-mother (Eliza) that he had created and nurtured within his psyche. Philip Van Doren Stern notes that Poe's phobias contribute to a narrowing of subject, that through
Steve Howe is amazing ("The Clap", "Yours is No Disgrace" (I believethe "synth" type solo in the middle of his clearly more electric parts isguitar - as he definitely plays that part in Yessongs.), and Wurm.) ChrisSquire plays his part as a second lead instrument.
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Maybe she will learn to hold her balance next time!” A buzzing sound began and the camera caught flashes of pink and purple light dancing inside the futuristic wand.
When the crying had ebbed enough for the servant to pull in deep breaths again, Angel held the wand firmly against the outer lips of her naughty snatch for two full seconds, resulting in an uncontrollable shriek of pain through which the whole neighborhood could clearly distinguish the word Bonanza.
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When confronted with a similar problem, however, Patricia Erens, in conducting her research for the book , determined that in " . . . some cases, (film) characters can be considered Jewish by virtue of their names or other distinguishing features (use of Yiddish phrases, mention of Jewish holidays, etc.), although no specific reference (to their Jewishness) is included in the (film's) dialogue." In a situation, where the information relating to the religious/cultural background of people in the film industry is not published or otherwise remains secret (for whatever reason), it is necessary to resort to methods similar to those used by Patricia Erens in order to come up with a more reasonable estimate of percentages relating to the religious/cultural background of such high level studio executives.
For those who might take the defensive posture that such a listing and calculation is at the very least inappropriate, please read further and be reminded that this book (and companion volumes by the same author) are making the very serious but quite reasonable allegations that Hollywood is controlled by a small group of Jewish males of European heritage, who are politically liberal and not very religious, and who are not representative of the Jewish community or "nation" as a whole, but who have, over the years, engaged in unethical, unfair, unconscionable, predatory, anti-competitive and illegal business practices, including wholesale discrimination (i.e., nepotism, favoritism, cronyism, blacklisting and reciprocal preferences) directed toward persons of other racial, ethnic, cultural and/or religious backgrounds. In addition, the films being produced and released by this Hollywood control group regularly contain messages about race, religion, ethnicity, culture and region of origin. Thus, the inquiry into the religious/cultural backgrounds of the Hollywood insider group is perfectly relevant, and absolutely essential to an understanding of what is really going on in Hollywood..
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The instant I heard the opencrash-boom-bang of this song, I knew this band had something I'dunderestimated before.
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And the way his lush classical lays against Wakeman's softbackdrop in "Turn" is, well ..better heard than decribed.
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Medved, Michael, "Researching the Truth About Hollywood's Impact--Consensus and Denial", , Josephson Institute, 1993.
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If the roles were reversed (i.e., a small group of white males from the South had been able to gain control of the U.S.-based film industry through the use of anti-competitive business practices, historical accident or otherwise, and had established its headquarters in Atlanta, instead of Los Angeles, then proceeded to produce and distribute movies that portrayed American Jews in a consistently negative or stereotypical manner for nearly 90 years), the country might be and should be rightfully outraged. The country should also be equally outraged by what has actually been offered by the Hollywood-based U.S. film industry, certainly with respect to its consistent defamation of the American South.
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At one point Sabrina cornered Angel and the cop talking together near the sex lube fountain and exacted her revenge against both of them by squirting an entire bottle of black licorice flavored lube into their faces and clothes.
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In particular, poor Pete Banks is absolutely smothered on this album - it was enough for him to compete with Chris' bass, which increasingly moves to the forefront of the mix, and the addition of various strings and brass instruments makes Pete very difficult to hear in many cases.But even with these weaknesses, the album could still be great if the songs were consistently great.
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As stated earlier in this work, "movies mirror the values, interests, cultural perspectives and prejudices of their makers". Similarly, Custen pointed out that the biopics of his study appear to be " . . . in-house reflections of the community of producers . . . " that made them. For example, he cites the relationship between Jewish performer George Jessel's background as a vaudeville performer and his " . . . production of six biographies for Zanuck at Fox . . . all (of which) placed vaudeville at the center of the universe . . . " Custen also observed that the studio biopics " . . . are the product of institutional pressures that located authority in the hands of one or more powerful figures whose world view was . . . remarkably narrow . . . " and that " . . . the producers of (the Hollywood biopics) . . . often filtered the content of a great life through the sieve of their own experiences, values, and personalities." In any case, the " . . . studios tried to control, through various means, the attempts of others to shape their making of history. They accomplished this--in part for reasons of efficiency, in part for ideological purposes . . . " The more current and extended study of the Hollywood biopics suggests that these phenomena of rewriting history and attempting to control moviegoers' views of history continue without significant change.
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