That's a very dark song, not funny at all! (...) I wrote the song two years ago, and in lots of ways I wouldn't write a song like it now. I'd really hate it if people were offended by this...But it was all started by a family friend, years ago, who'd been to dinner and sat next to this guy who was really fascinating, so charming. They sat all night chatting and joking. And next day he found out it was Oppenheimer. And this friend was horrified because he really despised what the guy stood for. I understood the reaction, but I felt a bit sorry for Oppenheimer. He tried to live with what he'd done, and actually, I think, committed suicide. But I was so intrigued by this idea of my friend being so taken by this person until they knew who they were, and then it completely changing their attitude. So I was thinking, what if you met the Devil The Ultimate One: charming, elegant, well spoken. Then it turned into this whole idea of a girl being at a dance and this guy coming up, cocky and charming, and she dances with him. Then a couple of days later she sees in the paper that it was Hitler. Complete horror: she was that close, perhaps could've changed history. Hitler was very attractive to women because he was such a powerful figure, yet such an evil guy. I'd hate to feel I was glorifying the situation, but I do know that whereas in a piece of film it would be quite acceptable, in a song it's a little bit sensitive. (Len Brown, 'In the Realm of the Senses'. NME (UK), 7 October 1989)
It's a very dark idea, but it's the idea of this girl who goes to a big ball; very expensive, romantic, exciting, and it's 1939, before the war starts. And this guy, very charming, very sweet-spoken, comes up and asks her to dance but he does it by throwing a coin and he says, ``If the coin lands with heads facing up, then we dance!'' Even that's a very attractive 'come on', isn't it And the idea is that she enjoys his company and dances with him and, days later, she sees in the paper who it is, and she is hit with this absolute horror - absolute horror. What could be worse To have been so close to the man... she could have tried to kill him... she could have tried to change history, had she known at that point what was actually happening. And I think Hitler is a person who fooled so many people. He fooled nations of people. And I don't think you can blame those people for being fooled, and maybe it's these very charming people... maybe evil is not always in the guise you expect it to be. (Roger Scott, BBC Radio 1, 14 October 1989)
They say that the Devil is a charming man.And just like you I bet he can dance.And he's coming up behind in his longTailed black coat dance,All tails in the air.But the penny landed with its head dancing.
In this darkly comedic song, a man approaches the narrator in 1939 and asks her for a dance at the toss of a coin. She accepts, and when the penny comes up heads they dance, and she finds the stranger charming. The next morning, though, she learns his identity when she sees him on the front page of the newspaper: she had been dancing with Hitler.
Released as CD players were becoming increasingly popular, the original LP ended with \"This Woman's Work\", whilst \"Walk Straight Down the Middle\" was included as a bonus track on the CD and cassette versions of the album. The gap between these two tracks is slightly longer to indicate the album was intended to finish with \"This Woman's Work\". \"Walk Straight Down the Middle\" later appeared on the compilation The Other Sides.
NEW YORK CITY, N.Y. (CBS DETROIT) - As the Kansas State marching band exited from Madison Square Garden Saturday night, the Owls of Florida Atlantic were dancing to a new tune while cutting down the nets after stamping their ticket to Houston for the Final Four.
Social media platforms are an accessible and increasingly used way for the public to gather healthcare-related information, including on sports injuries. \"TikTok\" is currently one of the fastest-growing social media platforms worldwide, and it is especially popular amongst adolescents and young adults. The widespread use and popularity of TikTok suggests that this platform has potential to be a source for healthcare information for younger individuals. The aim of this study was to gain a preliminary understanding of the concussion/head injury-related information on TikTok, and to gauge if TikTok could serve as a platform for concussion education. This exploratory study used a systematic search strategy to understand more about how concussion is being portrayed through TikTok videos. Using the keywords \"concussion\" and \"head injury,\" 200 videos were downloaded from TikTok and 43 videos were excluded. Of the 92 videos retrieved using the keyword \"concussion,\" 95% (n = 88) had more than 100,000 views and 6% (n = 10) had been viewed more than 10 million times. Over half, 54% (n = 50) of the \"concussion\" videos depicted individuals \"playing around\" and getting hit in the head, whilst only 1% (n = 1) of the TikTok videos were categorized as \"explaining concussion facts.\" The large numbers of views of concussion-related TikTok videos demonstrates the popularity of this platform and indicates that healthcare organizations should consider TikTok as a potential means for concussion education amongst younger individuals.
The present study produced an empirically derived, developmental continuum of children's understanding of specific pains. Subjects of 5 age groups: preschool (ages 3-4), first grade (ages 6-7), third grade (ages 8-10), sixth grade (ages 11-12) and college freshmen (ages 18-23) were interviewed with open-ended questions. The subjects were questioned extensively about 3 specific types of pain: an injury (skinned knee), a medical intervention (injection), and an illness (headache). Subjects were asked to describe each pain, tell why the pain hurt, and state the value of the pain. Their answers were then categorized and the categories ordered developmentally by experts in pediatric pain who were unaware of the children's ages. Then children's specific answers were given developmental scores. Multivariate analyses revealed that older children had more complex and precise understandings of pain, and this pattern differed by type of pain and by aspect of pain being considered. The subjects were also asked to report the frequency of their own pains and their parents' pain; parental and self-reported pains were closely related.
Victoria Anastasia 'Vicki' Wilomirska: After all, what can you expect of us We were brought up to be merely socially attractive. We have no ambition and no talent except for playing games and not enough of that.
\"Well, your pack sounds foolish,\" Wednesday frowned a little. \"I do not claim to be an expert in werewolves but from what I've read change could happen in any moment. There are accounts of changes happening as a child or in their late fifties. And for your own parents to put so much importance on such a trivial thing.\"
She hoped it would just become a regular thing then, that the Addams would just start attending the events they were invited to, but a few months had gone by, three functions, and the Addams' hadn't appeared at any of them.
Watching the Ghanaian-born drummer Paa Kow (pron PAH-Koh) perform with his Afro-Fusion Orchestra last Thursday evening, 7 October, at the Redstone Room in Davenport, one wondered briefly if he functions on pure enthusiasm. His fellow-musicians were alert to every key- and tempo-change, and Paa Kow often surprised his audience by leading them down different melodic paths when a song seemed instead to signal its conclusion.
I have always been a fan of dancing in my head. I was always encouraged to use imagery to help me to get the feel of a step or movement. And I find it helps me to clarify movements, steps or dances. In many ways it feels as if I am dancing it for real. And because it feels like this I can mark things through or do a full-blown performance in my head. What I find interesting about this is that studies in performance psychology show that there is real value in mentally rehearsing as well as physically rehearsing. So when I feel as if I am dancing in my head it is because this process has a physical response too.
I might be dancing in my head but the muscles that I use to perform the movements fire up in a similar way when I am dancing for real. Professional athletes and sports people use this type of mental rehearsal a lot. Professional footballers, such as, will mentally rehearse taking a penalty and when they do this it is as if they are actually taking the penalty. They will go through the process in their head seeing and feeling it all as if they were on the pitch taking a real penalty. The connection between mental and physical rehearsal and performance is a valuable tool to have and to use.
Sports psychologist, Professor David Collins calls this type of imagery, mental simulation of movement or MSM. Practising MSM is just like practising dancing, we can improve our skills so that we get better at doing it. Getting better at it also means that it is more valuable as a tool to help us reinforce learning and improve what we do.
I find dancing in my head is also a valuable tool to use when I am learning a new step or movement. I can slow it down in my mental rehearsal just as I would if I was dancing it for real so that I can pay attention to the details of the movement and how I need to move. I can mentally practise the rhythm slowed down to a manageable tempo and then speed it up when I feel ready to dance it in my head at the right tempo. I find that sorting it out in my head like this reduces the time it takes to learn new skills. I still like to use physical repetition but in combination with dancing in my head.
You may want to introduce dancing in your head to your students and dancers by encouraging them to try the activities above. And then follow this up with some discussion time at the end of a class or session to explore progress and to find out how they are getting on with dancing in their head. 59ce067264