10 Results for : legaspi

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    Leon Legaspi, Giovanna: Bienvenido a Wonderland
    Erscheinungsdatum: 14.03.2014, Medium: Taschenbuch, Einband: Kartoniert / Broschiert, Titel: Bienvenido a Wonderland, Autor: Leon Legaspi, Giovanna, Verlag: Palibrio, Sprache: Spanisch, Schlagworte: FICTION // Fantasy // General, Rubrik: Belletristik // Science Fiction, Fantasy, Seiten: 148, Informationen: Paperback, Gewicht: 196 gr, Verkäufer: averdo
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    Legaspi Beluso, Jeferson: Knights of the Lost Arabian Oud
    Erscheinungsdatum: 05.12.2008, Medium: Taschenbuch, Einband: Kartoniert / Broschiert, Titel: Knights of the Lost Arabian Oud, Autor: Legaspi Beluso, Jeferson, Verlag: AuthorHouse UK, Sprache: Englisch, Schlagworte: FICTION // Action & Adventure, Rubrik: Belletristik // Romane, Erzählungen, Seiten: 464, Informationen: Paperback, Gewicht: 524 gr, Verkäufer: averdo
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    Lawrence, John: You Are God
    Erscheinungsdatum: 17.10.2019, Medium: Taschenbuch, Einband: Kartoniert / Broschiert, Titel: You Are God, Titelzusatz: A Novel About God, Spirituality, Manifestation, Quantum Mechanics, the Subconscious, and Awakening, Autor: Lawrence, John // Legaspi, Anna, Verlag: Christian Faith Publishing, Inc, Sprache: Englisch, Schlagworte: BODY // MIND & SPIRIT // Spiritualism // Chakra // Aura und spirituelle Energie, Rubrik: Esoterik, Seiten: 244, Informationen: Paperback, Gewicht: 530 gr, Verkäufer: averdo
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    Lawrence, John: You Are God
    Erscheinungsdatum: 17.10.2019, Medium: Taschenbuch, Einband: Kartoniert / Broschiert, Titel: You Are God, Titelzusatz: A Novel About God, Spirituality, Manifestation, Quantum Mechanics, the Subconscious, and Awakening, Autor: Lawrence, John // Legaspi, Anna, Verlag: Christian Faith Publishing, Inc, Sprache: Englisch, Schlagworte: BODY // MIND & SPIRIT // Spiritualism // Chakra // Aura und spirituelle Energie, Rubrik: Esoterik, Seiten: 244, Informationen: Paperback, Gewicht: 530 gr, Verkäufer: averdo
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    Legaspi:The Impact of Management Accoun
    Erscheinungsdatum: 27.10.2015, Medium: Taschenbuch, Einband: Kartoniert / Broschiert, Titel: The Impact of Management Accounting Literature to Practice, Titelzusatz: A Study of Management Accounting Concepts in the Philippines Industries, Autor: Legaspi, Joy Lynn, Verlag: LAP Lambert Academic Publishing, Sprache: Englisch, Rubrik: Betriebswirtschaft, Seiten: 52, Informationen: Paperback, Gewicht: 96 gr, Verkäufer: averdo
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    Legaspi:The Most Important Quality Attr
    Erscheinungsdatum: 03.03.2016, Medium: Taschenbuch, Einband: Kartoniert / Broschiert, Titel: The Most Important Quality Attributes to Achieve Customer Satisfaction, Titelzusatz: A Consumer Judgment on Product and Service Based Quality, Autor: Legaspi, Joy Lynn, Verlag: LAP Lambert Academic Publishing, Sprache: Englisch, Rubrik: Betriebswirtschaft, Seiten: 72, Informationen: Paperback, Gewicht: 124 gr, Verkäufer: averdo
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    Ortega Legaspi:Sistema Colinérgico Musc
    Erscheinungsdatum: 01/2012, Medium: Taschenbuch, Einband: Kartoniert / Broschiert, Titel: Sistema Colinérgico Muscarínico y la Modulación del Dolor Crónico, Titelzusatz: Su papel en la corteza anterior del cíngulo, Autor: Ortega Legaspi, Juan Manuel // Pellicer Graham, Francisco, Verlag: EAE, Sprache: Spanisch, Rubrik: Medizin // Allgemeines, Lexika, Seiten: 80, Informationen: Paperback, Gewicht: 136 gr, Verkäufer: averdo
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    THE CREEPSHOW + Support - Verlegt vom 26.5.2022
    The CREEPSHOWKenda - vox/guitarSean Sickboy McNab - bass/voxThe Reverend McGinty - keys/voxAlejandro ´Pituko´ - drumsChuck Coles - GuitarWhat doesn?t kill you only makes you stronger!For the past 13+ years The Creepshow have been smashing the whole damn world in the face with their brutaltastic mélange of punk, country, psychobilly and good old-fashioned rock n´ roll. They´ve toured the world, sold a metric shit-ton of records, garnered millions of video views and blown the faces off a ga-zillion fans. The Creepshow has performed in more than 50 countries and shared the stage with Rancid, NOFX, Dropkick Murphys, Tiger Army, Sham 69 and Reverend Horton Heat just to name a few? But the road to infamy hasn´t always been paved with accolades and sold out shows. Over the years, the band has been fraught with innumerable hardships along the way. From robberies and wrecks to line-up changes and countless personal obstacles, the band has lived through it all. And they always come out on top. With the debut of their first album ?Sell Your Soul? in 2006, The Creepshow was immediately catapulted to the forefront of the bourgeoning international psychobilly/punk scene and opened the door for them to bring their eye and ear scorching live show to the four corners of the earth. The release of ?Run For Your Life? (2008 Epitaph/Stomp), ?They All Fall Down? (2010 Epitaph/Stomp) and ?Life After Death? (2013 Stomp/Sailors Grave) further cemented the band as one of the most impressive, critically acclaimed and well-respected touring acts out there.Which brings us to the epic new album ?Death At My Door? released in September ´17. Ten tracks of raging, bloodcurdling and raucously rebellious fury showcase the very best from this roadharderned group of beautiful misfits. The haunting vocal stylings of Kenda Legaspi soar seamlessly over Chuck Coles? buzzsaw sharp guitar lines and the ragtime gospel organs/keys of the Reverend McGinty; all the while held together by the hard-driving stand-up double-bass slapping rhythms of Sean McNab and the impossibly violent percussive assault of Sandro Sanchioni on drums. From the defiant and empowering ?Sticks & Stones? and the incredibly anthemic ?Til Death Do Us? to the circle-pit inducing ?Tomorrow May Never Come? and the eerily heartwrenching ballad ?My Soul To Keep?, Death At My Door is a diverse and addictive album from a genre-defying band who are at the very top of their game? Don?t sleep on this one, because you never know what?s waiting for you just outside your door.
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    JOHN LEE HOOKER JR. & BAND
    Mit John Lee Hooker Jr. kommt ein großartiger Top-Act des Chicago-Blues nach vier Jahren Europa-Abstinenz endlich wieder auf Tour auf den alten Kontinent. Noch dazu hat er ein neues Album im Gepäck. Der 64-jährige Sohn von Blues-Legende John Lee Hooker, selbst 2-fachnomminierter Grammy Award - Künstler (2004 + 2008) und Gewinner vieler weiterer Auszeichnungen (u.a. The California Music Award for Best Traditional Artist in 2004, The Esteemed W.C. Handy Award in 2004 und The Bay Area Music Chapter for Come Back Artist of the Year), kommt mit vielen neuen Songs im Gepäck, aber natürlich auch den altbekannten Hooker-Songs und Blues-Standards. Die 5-köpfige Band gehört derzeit zum Besten, was in Sachen Blues & Roots international geboten wird.John Lee Hooker Jr. entstammt der musikalisch hochbegabten Sippe aus Detroit, die vom legendären Großvater Will Moore über den berühmten Vater John Lee Hooker bis hin zu den erfolgreichen Geschwistern Zakiya und Robert sowie Cousin Archie reicht. Bereits mit acht Jahren trat er im Radio auf und wusste, dass er den selben Weg wie sein Vater gehen würde. Mit 16 stand er auf der Bühne des Fox-Theaters in Detroit und kaum 18 Jahre alt erschien seine erste Platte bei ABC Records. Anschließend ging es in die große amerikanische Welt hinaus, von Alaska bis New Orleans wurde John Jr. bei allen bedeutenden Bluesfestivals gefeiert. Er spielte mit den besten der arrivierten Blueslegenden wie Bo Didley, Charlie Musslewhite, Luther Tucker, Deacon Jones, Elvin Bishop und natürlich mit seinem Dad John Lee Hooker und der Coast to Coast Blues Band, bei der er häufig der Star war. In seinen Songs ist oft ein gehöriger Schuss bissiger Sozialkritik zu hören und das erinnert an Johnny Guitar Watson. Jener hatte einen großen Einfluss auf John Jr?s Musik, ebenso wie Big Mama Thornton, Jimmy Reed, Jimi Hendrix und die beiden Kings, BB und Albert. Um seine eigene Stimme zu finden vermied er es, den großen Vater John Lee zu imitieren. John Jr. beschreibt das Rezept für seine Musik mit ?zwei Teile R&B, ein Teil Jazz und ein fetter Teil ´down home blues´ . Damit fesselt er sein Publikum, dass er häufig animiert aktiv mitzusingen und zu tanzen und für das er ebenso die Bühne verlässt um mit zu tanzen. Sein 2004 veröffentlichtes Album ?Blues with a Vengeance (Kent Records) wurde bei den California Music Awards (vormals BAMMYS genannt) und den renommierten W.C. Handy Awards als bestes Blues Album des Jahres ausgezeichnet und die Bay Area Blues Society ehrte den Musiker als besten Comeback-Künstler des Jahres 2004. Ferner wurde das Album gleich doppelt für den Grammy nominiert (bester Blues Album und bester Blues Sänger). Sein Studio-Album ?All Odds against me? (Steppin´ Stone Records / Jazzhaus Records; 2008) war in der Kategorie ?Best Traditional Blues Album? 4 Jahre später erneut für den Grammy Award nominiert. Aktuell präsentiert John Lee Hooker Jr. mit seiner Band seine neue CD ?That´s What The Blues Is All About?. Ein Mix aus traditionellen Blues und Gospelklängen aus eigener Feder. So wie auch die Konzerte geprägt sind von Blues, Gospel und Soul, wobei der Meister bei seinen ?Predigen? nichts von seinem sozialkritischen Biss verloren hat. Aber das Publikum in Wallungen und zum Tanzen zu bringen, steht für ihn natürlich nach wie vor an vorderster Stelle, so wie er es einst selbst als kleiner Junge in der Kirche seiner Gemeinde gelernt hat. John Lee Hooker, Jr. (voc), Billy Eric Roach (g), John Starnes (b), Elpher ?Dog? Legaspi (keys), Michael Rogers (dr)http://johnleehookerjr.com/?v=3a52f3c22ed6
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    Songs from Home: Art Songs & Folk Songs from the Philippines
    Songs From Home: Art Songs and Folk Songs from the Philippines Philippine vocal music is as varied as the numerous islands that comprise it's archipelago. Though traditional folk songs are a rich confluence of the country's colonial and indigenous past, it remains distinct from it's various influences. Those featured in this album cover several provinces across the country's major regions (Luzon, Visayas, Mindanao), each detailing rural experiences that capture not only pastoral imagery but the Filipino traits of love, community, the penchant for humor and play. After several periods of powerful colonization, a movement against western musical traditions began to grow in the early 20th century. Composers pursued the restoration or re-creation of a musical identity that was truly Filipino, much of which was greatly based on themes and rhythms established by traditional folk music. The Philippine Art Song around such a time was born. Slow and sentimental, these art songs not only aimed to glorify the talents of local composers and lyricists, it actually celebrated the achievement of a unique Filipino musical identity. Such musical nationalism eventually carried on decades later with popular songs that catered to a wider audience, infiltrating various media like TV, film, and radio. With much pride, I present to you this collection of Philippine musical gems, each piece holding some significance close to my heart. It is my hope that what I hear and feel each time I sing these works will transport you similarly through a journey of my homeland, the Philippines. Joseph Legaspi Sitsiritsit Based on a childhood playground rhyme, nonsensical text and rhythmic onomatopoeia characterize this playful song. It humorously puts together charmingly peculiar scenes and images that include gold and green beetles, women parading around like roosters, babies being bartered for fish paste (bagoong) or a doll, rice flour cookies (puto seko), and even the Child Jesus (Sto. Niño) finds it's way into the song. Lagi Kitang Naaalala An earnest love song that deals with nostalgia and unrequited love, the persona in this piece continues to pine for the affections of his beloved. Written by Leopoldo Silos, Sr., one of the well-known purveyors of Original contemporary Filipino Music, this song exemplifies his abilities as a composer of ballads and romantic tunes. Solis was also known as a master arranger and singer, and was awarded for his musical direction of the television musical "Aawitan Kita" (I'll Sing For You). Pamulinawen This song originates from the Ilocos region, northern Philippines. Many often mistake this as a traditional folksong when it had actually been written during the turn of the century. This is perhaps due to the fact that it utilizes the customary pattern of likening an amour to the idyllic surroundings and it's rather simple depiction of unreciprocated love. In this case, the woman is likened to that of a stone, stoic to the wooing of a man's affections. Manang Biday A traditional Ilokano folksong, this piece refers to a woman named "Biday" (the title "Manang" used as a sign of respect in the Ilocos region and in several parts of the country). The man is asking Biday to look outside her window and listen to his plea. The piece is interestingly cast in two contrasting eight-measure periods (parts A and B), the entire text composed of eight nine-syllable lines. The first four lines (part A) refer to the lover's plea for attention, while the next four (part B) contain Manang Biday's rejection of him. No Dua Dua-em Pay A traditional folksong from the Ilocos Region, north of the Philippines, this popular piece tells of a lover's fervent plea for reciprocation from his beloved who is doubtful of his feelings for her. A unique character of the piece is it's use of the Cuban habanera rhythm. One of the outcomes of 300 years of Spanish colonization, this musical style is more locally known as a 'danza', evident in many of the folksongs during the era. Sarung Banggi This contemplative piece is one of the Bicol region's most popular songs. Written in 1912, it has been performed constantly across the archipelago, adapted into various mediums by numerous composers: piano (R. Santos), choral (L. D. San Pedro), solo voice with piano accompaniment (F. De Leon, C. de Guzman, E. Pajaro), rondalla ensemble (A. Buenaventura), and symphonic theme (F. Buencamino). Aside from it's elegant melody, the lyricism of it's words evokes certain sophistication as the persona beholds the presence of his amour. Si Nanay, Si Tatay Di Co Babayaan Akin to most kundimans, this piece is written in a minor key and is in slow ¾ time. These aspects reinforce the significance of the subject matter, which tackles the relationship between parent and child, admonishing the latter's gratitude and service in return for having been cared for since birth. This Bicolano song is composed of four phrases, each beginning with similar rhythmic patterns that are sung on the same note. Dandansoy A sentimental and melancholic theme pervades throughout this traditional Visayan folksong. Originating from middle region of the Philippine archipelago (Kulasi, Antique), the piece is set in a minor key and written in slow triple time similar to many kundimans. The song's persona bids a sad farewell to his lover, urging her to look toward the direction of his departure should she begin to miss him. Several versions shift to a major key in the middle section, intensifying the piece's emotion by casting hope in the persona's possible change of heart. Ahay, Tuburan Like many folksongs passed on orally through generations, it is possible that the piece would veer away from the original, it's lyrics the result of varying translations and interpretations. Though it finds it's origins in the Visayan region (Aklan), another version of this gem was heard in the Mindanao region (Cotobato). This particular version is based on a transcription of the song collected and recorded in 1956 in Aklan by Priscilla Magdamo, one of the pioneers in the field of Philippine ethnomusicology. The piece poignantly conveys the emotions felt during farewells, of having to yield personal happiness to more pressing matters. Damgo Man Lang Written in 1982, this song from the Bohol region deals with social realities that include injustice and deprivation, and the dream of eventually finding truth and rising above all that muddle it. Though it was primarily created as a love song, several revisions had resulted into a powerful commentary on Philippine society, it's themes remaining relevant to this day. The piece had won the grand prize during the 1983 Cebu Pop Music Festival, the original version sung by Arthur Ungab, one of Bohol region's celebrated voices in contemporary music. Usahay With it's unforgettable and dreamy melody, this popular love song was recorded with the composer as 'unknown." Popular recording artists Susan Fuentes, Dulce and Pilita Corrales were among those who recorded this Visayan melody. It has been recently discovered that the real composer was Col. Gregorio Labja, a largely unacknowledged but venerable and prolific composer from Tagum, Davao del Norte, of the Visayan region. This is the first time in this song's history that Labja is acknowledged publicly as the song's genuine composer. Originally composed for the male voice, as it was dedicated to a lady whom the composer courted, the first recording by Susan Fuentes omitted a stanza that would attribute to the male voice. Sukta ang Kabulakan A folksong from the Visayas region, found in central Philippines, this piece likens a fair maiden and her affections to blossoms in a garden, the metaphor characteristic of songs during the Spanish colonial era. This piece may very well be an example of the 'balitaw' musical form prevalent then, an exchange of love poetry between two singers. Usually sung in a quatrain or ballad stanza, the 'balitaw' can go on for some length either re
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