Bambi boo stand push up Born born born born born Bambi totters foot foot Tot tot tot tot tot Mini body S.O.S. dotty Downy hairy tip toeing moony Tiny hoofies bend oh bend bonny Puffy butty stand up now waggy Bamboozle hide in grass Down down down down down Bambi boo hop step jump Fawn fawn fawn fawn fawn Rah Rah Rah Rah Rah The Tears and Music of Love Basket Ball Get Your Groove Back This Is God SpeakingBuck and Judy Lyrics Buck and Judy tasty, isn't it? Buck and Judy big, isn't it? Buck and Judy asking name of the fruit No one knows what No one had seen that Dust falls onto earth, down Finding how to rise, sighs ahhhh Buck and Judy commenting on the fruit Buck and Judy what was that? About “Buck and Judy”Duran Duran – Pressure Off Lyrics Pressure Off lyrics © Sony/ATV Music Publishing LLC Lyrics term of use DEERHOOF ''Offend Maggie'' (Kill Rock Stars) All the parts are in place on ''Offend Maggie,'' Deerhoof's beguiling, characteristically uproarious new album.

Big, brash guitar riffs; And in the foreground, just barely, the deceptively sweet singing voice of Satomi Matsuzaki, bringing an uneasy calm to lyrics that court the absurd. This San Francisco indie-rock band has its formula patented. That isn't at all a bad thing, as a good portion of ''Offend Maggie'' illustrates. ''The Tears and Music of Love'' opens the curtain on the brittle garage-rock tone favored by the guitarist John Dieterich, and on the brute, bashing swing of Greg Saunier's drumming. A handful of other tracks take advantage of the second guitarist Ed Rodriguez, advancing a rewarding fullness of sound. Ms. Matsuzaki alternates between Japanese and English, tending toward simple but inscrutable imagery in either tongue. The tension between naïveté and sophistication is what best animates Deerhoof's music, which explains why the more Dada-like moments here -- one jangly aside about basketballs and bunnies, and another lampooning the voice of God -- add little to the conversation.

(Gibberish, however artful, tilts the scales too far in one direction.) The group fares better when, for instance, Ms. Matsuzaki recalls ''talking about girly things'' against a darkly suspenseful chord progression, in a song called ''Jagged Fruit.'' chandelier hire kznAnd there are moments here, like the multitracked la-la-las in the chorus of ''Chandelier Searchlight,'' that hint at some earnest but off-kilter pop aspirations. chihuly waterford crystal chandelierFor Deerhoof that's what counts as jarring: not complex obscurity but beseeching clarity. chandeliers japonais pdfTo the credit of everybody involved, those efforts feel natural even when the music doesn't. NATE CHINEN More Articles in News > Fact Checks of the Second Presidential Debate

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Latest Election Polls 2016 Too Hot to Handle The Harmony of Liberty Should Beach Privatization Be Allowed? Room for Debate asks whether shorefront homeowners should have to open their land to all comers. A Woman’s Leadership May Steady Murray Curlers’ Aim: Sweep to a Win Over the HeatSearchlights (Illilluminations), 2005, C-print, 55 x 43 inches (139.7 x 109.2 cm) Motel Boomerang (The New Antiquity), 2008, C-print, 43 1/4 x 54 1/2 inches (109.9 x 138.4 cm) The Upstate New York Olympics, 2010-1134,  minute loop; 3 DVDs in artist designed case, Installation dimensions variable Angel Armor (The New Antiquity), 2009, C-print, 26 x 20 inches (66 x 50.8 cm) Fluorescent Green Cleat (The New Antiquity), 2009, C-print, 17 x 21 inches (43.2 x 53.3 cm) Immigrant Snapshot Album (The New Antiquity), 2009, C-print, 18 x 23 inches (45.7 x 58.4 cm) Gypsy Meal (The New Antiquity), 2009, C-print, 24 x 30 inches (61 x 76.2 cm) Glamorous Hair (The New Antiquity), 2009, C-print, 26 x 33 inches (66 x 83.8 cm)

Auto Part Labels (The New Antiquity), 2009, C-print, 42 x 53 inches (106.7 x 134.6 cm) Statue of Pants (The New Antiquity), 2009, C-print, 60 x 72 inches (152.4 x 182.9 cm) Virgin Mary (Politicians in Cyan), 2008, C-print, 50 1/2 x 40 inches (128.3 x 101.6 cm) Sole Shop (The New Antiquity), 2008, C-print, 30 1/4 x 38 3/4 inches (76.8 x 98.4 cm) Chandelier (Illilluminations), 2006, C-print, 42 x 55 inches (106.7 x 139.7 cm) Empire State Building (Illilluminations), 2005, C-print, 16 x 13 inches (40.6 x 33 cm) White House (My Life in Politics), 2002-04, C-print, 20 x 24 inches (50.8 x 61 cm) Study of a Head of a Woman (Permanent Collection), 2003, C-print, 23 3/4 x 14 1/2 inches (60.3 x 36.8 cm) Greek Girls (Permanent Collection), 2003, C-print, 35 x 30 inches (88.9 x 76.2 cm) McDonald's II (Retail), 2000, C-print, 50 x 60 inches (127 x 152.4 cm) KFC (Retail), 2000, C-print, 50 x 60 inches (127 x 152.4 cm) Fresco (The New Antiquity), 2008, C-print, 54.33 x 42.83 inches (138 x 108.8 cm)

Tim Davis was born in Blantyre, Malawi (1969) and lives and works in Tivoli, New York. His work has been extensively exhibited in the United States and Europe. Davis' most recent body of work, The Upstate New York Olympics, is the artist's personal and often humorous investigation of the cultural impact of competitive sports. Exploring his local Hudson Valley landscape, Davis invents new sporting events, like the “Lawn Jockey Leap Frog and the “Trash Day Knife Toss,” and then performs them for the video camera, where as the only athlete he lacks competition. Davis acts like an athlete but doesn’t look like one, and these games often involve a healthy amount of trespassing instead of overblown pomp and circumstance. Shot in HD video with the thoroughness of his still photographs, the actual events are sincere attempts to interact with an underseen landscape and comic commentary on the seemingly arbitrariness of the actual Olympics. The photographs in Davis’ body of work, The New Antiquity, were made over five years, in the suburbs of great and ancient capitals, in Italy and China, and then along the eastern seaboard of the United States.

They portray a world where layers of time are collapsed. New buildings and structures and objects seem to be decaying into what Davis calls “a soon to be ancient past. Intended as a complex and open-ended work of “creative non-fiction,” the pictures in this body of work, made with a large-format camera, are both beautifully clear and vehemently obscure. Tim Davis received a B.A. from Bard College (where he currently teaches), an M.F.A. from Yale University. Solo exhibitions include Samuel Dorsky Museum of Art at SUNY New Paltz, New Paltz, NY; Jay Jopling / White Cube, London; the Knoxville Museum of Art, Knoxville, TN and the Museum of Contemporary Photography, Chicago, IL. Several monographs of his work have been published including, The New Antiquity and Permanent Collection. He is the recipient of the 2007-2008 Joseph H. Hazen Rome Prize and the 2005 Leopold Godowsky Jr. Color Photography Award. His work is in the collections of The Metropolitan Museum of Art, The Whitney Museum of American Art, The Guggenheim Museum, and The Walker Art Center, among many others.