• Curt Bedeau • Gerry Charles • Hugh L Clarke • Brian George • Lucien George • Paul George Full Force singles chronology ' (1985) ' All Cried Out' (1986) ' (1987) ' (1985) ' All Cried Out' (1986) ' (1987) ' All Cried Out' is a song recorded by that appeared on their 1985 album. The song hit number eight on the chart in October 1986 and also was a major hit on the R&B singles chart, peaking at number three. The actual artist credit on the record label of the 7-inch vinyl release was listed as Lisa Lisa and Cult Jam with Full Force featuring Paul Anthony & Bow Legged Lou. Contents • • • • • • • • Allure version [ ] 'All Cried Out' by featuring from the album Released August 12, 1997 Format,, Recorded 1997 Length 4: 35 Curt Bedeau, Gerry Charles, Hugh L Clarke, Brian George, Lucien George, Paul George,, singles chronology 'No Question' (1997) ' All Cried Out' (1997) 'Last Chance' (1998) 'No Question' (1997) 'All Cried Out' (1997) 'Last Chance' (1998) single singles chronology ' (1997) 1997 ' All Cried Out' (1997) All Cried Out1997 ' (1997) 1997 In 1997, American contemporary R&B group covered 'All Cried Out' and included it on their. The song features fellow R&B group and was produced by, and for Carey's short-lived. Allure's cover version became the group's biggest hit and outperformed the original on the, peaking at #4 during the week of November 22, 1997. Less than three months after its release, the single was certified gold for shipments exceeding 500,000; it ultimately sold over 800,000. Songtekst van Allure met All Cried Out kan je hier vinden op Songteksten.nl. Oct 14, 2007 Music and Lyrics of the song All cried out. My Windows movie maker is not working properly so i wasn't able to put the lyrics the the song. What i did is i. In 1997, American contemporary R&B group Allure covered 'All Cried Out' and included it on their eponymous debut studio album. The song features fellow R&B group 112 and was produced by Cory Rooney, Walter Afanasieff and Mariah Carey for Carey's short-lived Crave Records. It charted on the for two years in a row, reaching #43 on the and #84 on the. Music video [ ]. This section needs expansion. You can help. (February 2015) The official for the song was directed. Single track listing [ ] • 'All Cried Out' (Radio Edit)- 3:38 • 'All Cried Out' (Radio Mix)- 4:44 • 'All Cried Out' (Dub Mix)- 7:49 • 'All Cried Out' (Main Club Pass)- 10:50 Charts [ ] Lisa Lisa & Cult Jam version [ ] Chart (1986) Peak position U.S. Billboard 3 Allure version [ ] Chart (1997) Peak position Billboard Hot 100 4 Billboard Hot R&B/Hip-Hop Singles & Tracks 9 US Billboard 7 Chart (1998) Peak position Australia 11 New Zealand 2 (Official Charts Company) 12 References [ ]. Get the embed code Allure Feat. 112 - Miscellaneous Album Lyrics1.All Cried Out2.All Cried Out (Duet With 112)Allure Feat. 112 Lyrics provided by SongLyrics.com Note: When you embed the widget in your site, it will match your site's styles (CSS). This is just a preview!
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'America' became the band's first and only number-one single in the and was the country's 17th best selling single of that year. The song also peaked within the top 10 in Ireland, the Netherlands and New Zealand, and within the top 40 in Austria, Belgium, France, Switzerland and Germany. • Zacharias, Adam (12 October 2006)... Retrieved 6 January 2016. • Colville, Liz (1 August 2006)... Archived from on 30 March 2016. Retrieved 6 January 2016. • Lomas, Michael (29 September 2006)... Retrieved 6 January 2016. • Murphy, John (17 July 2006)... Retrieved 6 January 2016. • Kamin, Doug... Retrieved 6 January 2016. • ' (in German).. Create & stream a free custom radio station based on the song All My Life by America on iHeartRadio! When i heard that song, naiinlove ako.:) sana may isang special na tao sa buhay ko ang magdedicate. • ' (in Dutch).. • ' (in French).. • ' (in French).. • ' (in Dutch).. Enter America in the search field and then press Enter. External links [ ] •. Last week, the actor, Special Olympian, and Frank Stephens gave this testimony to Congress: “I am a man with Down syndrome and my life is worth living.” In fact, he went farther: “I have a great life!” For those conceived with his developmental disability, it is the best and worst of times. “The life expectancy for someone born with Down syndrome has increased from twenty-five in the early 1980s to more than fifty today,” Caitrin Keiper in The New Atlantis. “In many other ways as well, a child born with Down syndrome today has brighter prospects than at any other point in history. Early intervention therapies, more inclusive educational support, legal protections in the workplace, and programs for assisted independent living offer a full, active future in the community.” But as she goes on to explain, “the abortion rate for fetuses diagnosed with Down syndrome tops ninety percent.” In Iceland, with the condition is killed. CBS News that “the United States has an estimated of 67 percent (1995-2011); in France it's 77 percent (2015); and Denmark, 98 percent (2015). The law in Iceland permits abortion after 16 weeks if the fetus has a deformity––and Down syndrome is included in this category.”. Many of those living with Down syndrome are understandably dismayed at the implication that their extra chromosome renders their life more trouble than it is worth. That’s the context for, which urges allocating federal money to research that would help people with Down syndrome, rather than proceeding as though the best way to address it is prenatal testing and selective abortion: Mr. Chairman and members of the committee, Just so there is no confusion let me say that I am not a research scientist. However, no one knows more about life with Down Syndrome than I do. Whatever you learn today, please remember this: I am a man with Down Syndrome and my life is worth living. Sadly, across the world, a notion is being sold that maybe we don't need research concerning Down Syndrome. Some people say prenatal screens will identify Down Syndrome in the womb and those pregnancies will just be terminated. It's hard for me to sit here and say those words. I completely understand that the people pushing this particular “final solution” are saying that people like me should not exist. That view is deeply prejudice by an outdated idea of life with Down Syndrome. Seriously, I have a great life! I have lectured at universities, acted in an award-winning film and an Emmy-winning TV show, and spoken to thousands of young people about the value of inclusion in making America great. I have been to the White House twice––and I didn't have to jump the fence either time. Seriously, I don't feel I should have to justify my existence, but to those who question the value of people with Down Syndrome, I would make three points. First, we are a medical gift to society, a blueprint for medical research into cancer, Alzheimers, and immune system diroders. Second, we are an unusually powerful source of happiness: a Harvard-based study has discovered that people with Down Syndrome, as well as their parents and siblings, are happier than society at large. Surely happiness is worth something? Finally, we are the canary in the eugenics coal mine. We are giving the world a chance to think about the ethics of choosing which humans get a chance at life. So we are helping to defeat cancer and Alzheimers and we make the world a happier place. Is there really no place for us in the world? Is there really no place for us in the NIH budget? On a deeply personal note, I cannot tell you how much it means to me that my extra chromosome might lead to the answer to Alzheimers. It's likely that this thief will one day steal my memories, my very life, from me. This is very hard for me to say, but it has already begun to steal my mom from me. Please, think about all those people you love the way I love my mom. Help us make this difference, if not for me and my mom then for you and the ones you love. Fund this research. Let's be America, not Iceland or Denmark. Let's pursue answers, not 'final solutions.' Let's make our goal to be Alzheimer's free, not Down Syndrome free. Testimony like this tends to circulate most widely in anti-abortion circles, but both opponents and of abortion rights should be able to agree on its value for parents. Parents who carry a fetus with Down syndrome to term, or who are conflicted about whether or not to do so, will almost certainly speak with a medical professional, and perhaps with a counselor or religious adviser. But they are unlikely to hear from an adult with Down syndrome—and perhaps unaware that many are loving their lives, bringing joy to others, and giving themselves to their communities. If those truths were more widely known, I suspect the odds of making it from conception to a long life with Down syndrome would be much higher. Every so often, a right-wing commentator who purports to abhor dishonesty among media elites admits that they’ve been guilty of dishonestly purveying propaganda. These figures are not marginal. In the final years of the Bush administration it was Rush Limbaugh, easily the most popular talk-radio host on the right, who responded to GOP losses in Congress by admitting that he hadn’t been leveling with his listeners about their political party. He declared, “I no longer am going to have to carry the water for people who I don’t think deserve having their water carried. Now, you might say, ‘Well, why have you been doing it?’ Because the stakes are high! Even though the Republican Party let us down, to me they represent a far better future for my beliefs and therefore the country’s than the Democrat Party does.”. This is a good day, Samantha tells me: 10 on a scale of 10. We’re sitting in a conference room at the San Marcos Treatment Center, just south of Austin, Texas, a space that has witnessed countless difficult conversations between troubled children, their worried parents, and clinical therapists. But today promises unalloyed joy. Samantha’s mother is visiting from Idaho, as she does every six weeks, which means lunch off campus and an excursion to Target. The girl needs supplies: new jeans, yoga pants, nail polish. Listen to the audio version of this article: Feature stories, read aloud: At 11, Samantha is just over 5 feet tall and has wavy black hair and a steady gaze. She flashes a smile when I ask about her favorite subject (history), and grimaces when I ask about her least favorite (math). She seems poised and cheerful, a normal preteen. But when we steer into uncomfortable territory—the events that led her to this juvenile-treatment facility nearly 2,000 miles from her family—Samantha hesitates and looks down at her hands. “I wanted the whole world to myself,” she says. “So I made a whole entire book about how to hurt people.”. HEMET, California—Many cities across America are doing better today than they were before the recession. This is not one of them. A decade after the start of the Great Recession, it struggles with pervasive crime and poverty. “We’re still recovering—we were really hit hard on all levels,” Linda Krupa, the mayor of Hemet, told me. A fifth of the population lives below the poverty line, up from 13 percent in 2005. Hemet is not alone in its troubles. A released this year by the Economic Innovation Group, a research group started by Silicon Valley entrepreneurs, found that one in six Americans lives in what the group calls “economically distressed communities” that are “increasingly alienated from the benefits of the modern economy.” Such communities have high shares of poverty, many housing vacancies, a large proportion of adults without a high-school diploma, high joblessness, and a lower median income than the rest of the state in which they are located. They also lost jobs and businesses between 2011 and 2015. In the first novel ever written about Sherlock Homes, we learn something peculiar about the London detective. Holmes, supposedly a modern man and a keen expert in the workings of the world, does not know how the solar system works. Specifically he is unfamiliar with the heliocentric Copernican model, which, upon its slow acceptance in the 17th century, revolutionized Western thought about the place of our species in the universe. “What the deuce is it to me?” Holmes asks his sputtering soon-to-be sidekick, Dr. “You say that we go ’round the sun. If we went round the moon it would not make a pennyworth of difference to me or to my work.” Brains are a kind of “little empty attic,” says the detective, and they should be filled only with furniture that’s useful to one’s line of work. Holmes doesn’t doubt the Copernican model; he simply has no use for it in solving murder cases. “Now that I do know it,” he adds, “I shall do my best to forget it.”. On Thursday morning, Adam Gill stepped outside in a heavy, bright-yellow coat, bulky gloves, and a ski mask to brace himself against the blistering wind. He brought with him a metal teakettle full of boiling water. As he tipped the kettle over, the piping-hot liquid turned instantly into snow and blew away in the wind. That’s how cold it was at the Mount Washington Observatory in New Hampshire, the highest peak in the northeastern United States., a meteorologist at the observatory, conducting this little presentation received thousands of sympathetic likes on Facebook. The temperature that day at the observatory a bone-chilling low of -34 degrees Fahrenheit (-37 degrees Celsius)—and that was without accounting for wind chill. The day broke the previous record of -31 degrees Fahrenheit (-35 degrees Celsius), set in 1933. At Reed College, a small liberal-arts school in Portland, Oregon, a 39-year-old recently caused an uproar over cultural appropriation. In the classic Steve Martin skit, he performs a goofy song, “King Tut,” meant to satirize a Tutankhamun exhibit touring the U.S. And to criticize the commercialization of Egyptian culture. You could say that his critique is weak; that his humor is lame; that his dance moves are unintentionally offensive or downright racist. All of that, and more, was debated in a humanities course at Reed. But many students found the video so egregious that they opposed its very presence in class. “That’s like somebody making a song just littered with the n-word everywhere,” a member of Reedies Against Racism (RAR) told the student newspaper when asked about Martin’s performance. She told me more: The Egyptian garb of the backup dancers and singers—many of whom are African American—“is racist as well. The gold face of the saxophone dancer leaving its tomb is an exhibition of blackface.”. Sophie Gilbert and David Sims will be discussing the new season of Netflix’s Black Mirror, considering alternate episodes. The reviews contain spoilers; don’t read further than you’ve watched. See all of their coverage. When Black Mirror’s third season premiered in late 2016, it began with “,” a wrenchingly comical episode about the horrors of a connected world, where every interaction or transaction with another person is rated and judged on social media. Its fourth season begins with an opposite horror: a hermetically sealed world, disconnected from the rest of the internet, a sci-fi fantasy perversely controlled by one man. In “Nosedive,” escaping the online universe was the goal; in “USS Callister,” it’s the opposite. Credit to the show’s creator, Charlie Brooker (who co-wrote this episode with William Bridges): He can conjure nightmares from anywhere. This year, podcasts got funnier, sharper, and even more niche. Our recommendations here pass a vigorous audio smell test. First, the arrival of a new podcast episode must send you into an ethical quandary: How do I get out of at least some of my obligations today to listen to this? Second, you must be able to recommend this to a colleague with the knowledge that your reputation is at stake. A podcast that teaches you how to prepare your taxes by hand might blow your hair back, but it’s doubtful you’ll recommend it to anyone aside from your accountant. Third, we recused ourselves from ranking any podcasts produced by The Atlantic, including and. Finally, the podcast world, like any other sphere, is about what have you done for me lately. The best shows don’t paint themselves into a corner. They evolve and progress or risk their listeners hitting “unsubscribe.” Podcasts, like cowboys, shouldn’t get fenced in. These shows generated maximum buzz, kept us refreshing our apps, broke boundaries, and made our future selves romanticize the golden years of podcasting. Alice In Chains Returning To Seattle On November 2 2007-09-16 07:32:00 Alice in Chains have been named as one of the headlining acts at this year's Symphony Legacy. Visit Amazon.com's Alice In Chains Page and shop for all Alice In Chains books. Check out pictures, bibliography, and biography of Alice In Chains. 1995 - Alice In Chains. 2009 - Black Gives Way To Blue. 2013 - The Devil Put Dinosaurs Here. Etiquetas: A, Alice in Chains, Estados Unidos, Grunge. Posted by This is a great sounding bootleg complied from various performances, released by Kiss The Stone Records in 1993. 01 - Junkhead 02 - Would 03 - Man In The Box 04 - Real Thing 05 - Love Hate Love 06 - Sea Of Sorrow 07 - Bleed The Freak 08 - Sickman 19 - It Ain't Like That 10 - Put You Down 11 - Would? 12 - We Die Young 13 - Real Thing 14 - Bleed The Freak 15 - Man In The Box Tracks 1-2 - Singles Premier Party 1992 Tracks 3-7 - Seattle 1990 Tracks 8-15 - LA 1992 Direct download MP3 320kbps - Many more (including this) are available to download from. Alice In Chains were one of the few bands, in my opinion, to overcome the stigma that the label of “grunge” brought to bands in the 90s. While it took years (if even that) for the likes of Pearl Jam and Stone Temple Pilots to be thought of as more alternative rock, Alice In Chains sort of stuck in the middle. They don’t quite fit into any particular genre. The amount of blues they are influenced by makes one want to put them in with the like of Guns N’ Roses, yet the heaviness that guitarist Jerry Cantrell brings to the table, combined with the vocal harmonies the band is now famous for, puts it somewhere in metal. (Cantrell, for the record, actually believes the band to be heavy metal.) But nonetheless, the influence the band has had has been enormous. Dirt remains one of the best albums of the 90s, and Layne Staley is remembered as one of modern rock’s greatest singers. It’s about time we go back and go over the albums that made this band what they are today. Facelift (1990) Alice in Chains’s debut puts the band in fairly regular grunge territory. The album has a sense of filthiness about it, in that the sound is sort of blunt; the production didn’t seem very high on anybody’s to do list. But that’s just the point; it’s not meant to be beautiful or polished. (If grunge brought anything new to the table, it was that apathy about sound; why else would the likes of Eddie Vedder and Chris Cornell (in his early Soundgarden years, that is) sound souninspired?) Jerry Cantrell’s guitars are heavy and muddy, and Layne Staley’s vocals are about as “grungy” as they’ll ever be. Facelift, however, is a pretty strong debut all in all. “Man in the Box” was essentially AIC’s breakout hit, and is arguably the band’s signature song. Already Cantrell and Staley’s lyricism is notably dark, with “Man in the Box” in particular producing some intense imagery (“Feed my eyes / now you’ve sewn them shut; “I’m the dog who gets beat / shove my nose in shit”). Critically it was a success, with critics lauding its universality to all types of rock fans, and commercially, Facelift was the first grunge album to ever reach platinum status. Dirt (1992) If “Man in the Box” is AIC’s signature song, then Dirt was the band’s signature album, and quite possibly their magnum opus. While Facelift was dark, Dirt exponentially increased the psychological bleakness the band was capable of. Layne Staley sheds an interesting light on things like drug addiction and death (“Junkhead” and “Them Bones” respectively), while Jerry Cantrell recounts his father’s experiences in the Vietnam War with “Rooster.” The album’s sound matches its lyricism, with Cantrell bringing some pummeling guitars into the mix (the riff on “Hate to Feel” is just insane, if you ask me). But what makes Dirt really stand out from the rest of the band’s discography is the unmatched pairing of Cantrell and Staley’s vocals. Although this was something they had explored on earlier releases, the dual vocals hits a major sweet spot here, really setting the mood for each song perfectly. Sometimes it comes off as just plain creepy, like the chorus of “Dirt,” while other times it adds to the sadness that a track can create, like “Down in a Hole.” Jar of Flies (1994) While Jar of Flies is an EP, it’s a pivotal moment for the band, as they begin to shed the distortion on their guitars just a little less, allowing some interesting songwriting to take place. Jerry Cantrell, as always, uses his wah pedal to great use—best exemplified in the eerie opener “Rotten Apple,” and his vocal harmonies with Layne Staley make for a cool-sounding EP overall. The band flirts with some different sounds in Jar of Flies—“Swing On This” has a bouncy, blues feel, while “Don’t Follow” is one of the band’s first songs to significantly use acoustic guitar. Although this is a short release by the band, it’s solid and is just fun to listen to. “Rotten Apple” is (in my opinion) one of the greatest songs the band has ever written, and the band definitely takes a much-needed left turn into softer territory with this release. Alice in Chains (1995) Despite Layne Staley’s crippling heroin addiction (which significantly reduced his contributions on the album), the band’s self-titled effort managed to fill out the band’s sound some. The heaviness previously found on Dirt is very much still there, but it’s used to create an atmosphere rather than be a deciding component of the songwriting. (Essentially, distortion seems to be added on as an afterthought on most of the songs, just in case the regular riffs weren’t enough to keep a track afloat.) Mostly, the album is acoustic-based, with Cantrell having a larger hand in vocals, handling lead vocal duties on “Heaven Beside You,” “Grind,” and “Over Now.” Despite being acoustic, though, the songwriting on Alice in Chains sounds downright scary. The notes the band employs over the album create a space of druggy paranoia, as if Staley had injected his fix into the master recordings rather than his own body. Black Gives Way to Blue (2009) Following Layne Staley’s death in 2002, the band went on unofficial hiatus for three years, in which Jerry Cantrell released his second solo album Degradation Trip. Soon enough, though, he reformed the group, replacing Staley with William DuVall, and released the first album of a new era of Alice in Chains, Black Gives Way to Blue. Sonically the album is an amalgam of AIC’s “softer” sounds ( Jar of Flies and Alice in Chains) and their earlier, “harder” albums, with an emphasis on the latter. The stoner-esque grooves people came to love from Dirt were back, in tracks like “Check My Brain” and “Acid Bubble,” but Black Gives Way had a wider palate than just that. “Your Decision” and “When the Sun Rose Again” continued the vein of more acoustic Alice songs, and the title track in particular made use of a softness that had really never been heard before in an AIC release ever. Reception, however, was mixed. Commercially, the album was a success, and most critics regarded the album highly—including the Elton John feature in the album’s title track—but some fans—Staley loyalists to the end—criticized DuVall’s vocals, which, considering Staley’s unique vocal style, is somewhat justified. The Devil Put Dinosaurs Here (2013) AIC’s latest output isn’t much different from Black Gives Way to Blue in terms of sound, though the band sounds a little tighter and more comfortable with William DuVall’s vocals. There are still tons of heavy guitars—“Phantom Limb” perhaps being one of the best riffs the band has written to date—mixed with acoustic pieces like “Voices” or “Choke.” The album’s strange title and lyrics are mostly a commentary on religion, referring to the belief by some Christians that dinosaurs were created by Satan to confuse the faith of the masses. While Devil doesn’t really progress the sound the band brought back in Black Gives Way to Blue, it’s not exactly a bad album. The songs that supported the album—“Stone” and “Hollow”—were decent fits into the AIC songbook. It’s worth a listen if you’re a hardcore Alice fan or just want some good rock, but don’t expect something completely out there like the self-titled album was back in the day. While Alice In Chains may not be the most “progressive” and “experimental” band out there, they do what they do best: namely, making music that has some emotional depth, but also manages to rock people’s socks off. And while Layne Staley may never be perfectly replaced, William DuVall does a great job, considering the massive shoes he is expected to fill. Hopefully we’ll be seeing something new from the band this year, to add another dusty boulder to the rock-solid house that is Alice in Chains. |
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