Download Attack Me With Your Love By Cameo
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C A M E O - Attack Me With Your Love DJ Re-Work & Re-Master By Petko TurnerHeyWhen you walk, when you pass me byThere's reasons that come immediately to mindOne is I'd like to have you, two is I love your faceThe third one is irrelevant ??cause there's no time or placeAttack me with your loveAttack me with your love, baby (Attack me with your love)Attack me with your loveBushwhack me with your love, baby (And I'll do all the things you want me to)Excite me with your loveEntice me with your love, babyCome slap me with your loveI'm happy with your love, babyI think you need to know the deal about just how I really feelCause intentionally I'm for real and I'm sure I'll make you feelThat I'm a mean man and I'm a go-getter (Ow)Hey, baby, babyLate at night when the evening comesI sit down to check my options, there are noneFirst thing I think about is your lovely smileAnd the things that drive me wild (Uh)Got a little lady drivin' me crazyWhat am I gonna do, woo-hooGot a little lady drivin' me crazyWhat am I gonna do if I can't have youAttack me with your loveAttack me with your love, babyAttack me with your loveBushwhack me with your love, baby (And I'll do all the things you want me to)Excite me with your loveEntice me with your love, baby (Oh)Come slap me with your loveI'm happy with your love, babyHey, pretty lady (Lady)There's no defense against your loveI want to show you how I feelHey, baby (Oh), babyThe night is young, here take this glassWe'll toast to happiness and a love that'll ever lastOf all the loves I've had beforeNo one can compare, to me you're so much more (Uh)Baby, just let me do (Hey) what I want to do to youI know I'll have you, woo-oohIf you can let me know what I want to do to youThen I'll wait for you (I'll wait for you), I'll wait for youAttackAttack, babyAttackBushwhack, babyExciteEntice, babyCome slap meI'm happy, baby
when you walk when you pass me by, there's illusions that come immediately to mind, one is I like to if mhave you two is I love your face, third one is irrelevant coz it's not the time or place chorus . I think u need to know the deal, 'bout how I really feel coz intensely I'm for real and I'm a mean man and I'm a go get up oow baby*2 . Late at night when the evening come, I sit to check my options there are none, 1st thing I think about is your lovely smile and all the things that drive me wild ngaaa . got u lady, gat me crazy what I'm I gonna do ooohhoo . chorus . hey pretty lady lady . there's no deafence against your love I wanna show how I feel and baby*2 night is young, here take this glass, we'll toast to happiness and a love that will always last of all the love had before no one can compare to me you're so much more aahhh if you'll just let me do what I wanna do to you I know I'll have u oaoohh then I'll wait for you attack, entice baby
When you walk, when you pass me by
There's reasons that come immediately to mind
One is I'd like to have you, two is I love your face
The third one is irrelevant 'cause there's no time or place
But the "love yourself above all" philosophy of Rand and Ryan not only represents a direct attack, as Rand understood, on the core message of Christianity (and therefore Christmas). It is also dangerous to the potential survival of humanity.
Our News, Politics and Culture teams invest time and care working on hard-hitting investigations and researched analyses, along with quick but robust daily takes. Our Life, Health and Shopping desks provide you with well-researched, expert-vetted information you need to live your best life, while HuffPost Personal, Voices and Opinion center real stories from real people.
3_________________________________Since all the lines make sense, and almost all the stanzas almostmake sense, you keep waiting for the songs to make sense. And waiting,and waiting, through calm, memorable arrangements that are never in ahurry. But they rarely come clear, perhaps because Eef Barzalaybelieves it isn't just love that's ending, it's the world, and whatexactly is sensible about that? As befits an Israeli in Nashville inthe end times, he worries about his relationship with the Almighty, soit's no surprise that "Jews for Jesus Blues" parses fine: "Now thatI'm found I miss being lost" means what it says, with attendantexplanations. The next song is called "God Answers Back": "If you geteverything you hope for/Then I will have to punish you." Which reallyisn't fair. But what can we mortals do? 4_______
5____________________________________2________ moved well-wishers to decry the evil corporationthat forbade its prestige artiste to pile all the post-rehab "songs"he recorded with Bjrk hand Marius deVries onto one gloriousdouble CD. But had any of them actually heard the lachrymosities hesaved for part two? Get Jon Brion in here quick, Van Dyke Parks even,"The Art Teacher" is worth saving. His mom will still love him, that'ssomething--thank God for her cameo. For less sanguine admirers,however, this is too classical, too romantic, and too I-yam-what-I-yamall at once. 6_______
Shakespeare's expeditious method of dispatching Lewis back to France in a brief report from Salisbury (TLN 2692-705) is remarkably similar to the almost casual way the women disappear in the second half of the play. My heading here, separating the characters of the women and children from the men, might seem to resuscitate the now discredited habit in the opening dramatis personae of listing the women after the men; my justification is that although King John provides strong roles for women it is striking that their stage time ends so abruptly. We may not expect Lady Faulconbridge or Blanche of Spain to return after their cameo appearances in acts one and two, but the two women with major parts, Eleanor and Constance, die arbitrarily off stage in a single speech from a messenger (TLN 1839-41). It is almost as though Shakespeare decided to follow Lewis's patriarchal injunction "Women and fools break off your conference" (TLN 450). Not surprisingly, the women are all shown to be dependent on the power of the men in their lives;
92Of the four women in the play, only Eleanor seems to have responsibilities of her own. King John sends "powers" (TLN 1375) to her, so it is clear that she has forces to command, and the king depends on her "intelligence" (her spies) to bring him news of events in France (TLN 1834). Eleanor is a striking and somewhat surprising figure. The play has scarcely begun, with formal ceremony as the ambassador from France is invited to speak, when Eleanor interrupts, and King John must ask her to be silent. Dusinberre (41) asks a good question at this point: who does Chatillon speak to after Eleanor's caustic remark? Does he ignore her and continue the formal confrontation with the king, or does he speak to her, recognizing her as the power behind the throne? In any case, as soon as Chatillon leaves Eleanor takes over the stage, lecturing the king on his lack of effective diplomacy, and openly acknowledging his tenuous claim to the throne. She takes the initiative in claiming the Bastard as her grandson, and in the scene before Angiers is fierce in her attacks on Constance. The text is cryptic on the subject, but it is certainly possible to see her as a co-conspirator with John in the death of Arthur; she draws him away so that the king and Hubert can confer--at which point the king suborns Hubert to kill the child (TLN 1318ff).
My earlier discussion of the importance of emotions in the play began with a focus on the role of Constance, and its attraction for the great nineteenth century actresses. Early critics of the play, especially those writing of Shakespeare's female characters, debated earnestly the motivation that drove Constance: was it her own ambition, expressed through her son, or was she acting through pure maternal love? The text, however, offers ample evidence for a complex character, driven by more than one simple motivation: she is not shown to go through the same process of learning as the Bastard, but she has several "voices" in the play, nonetheless (see the many discussions of her character by earlier critics).
100In a fashion later to be made even more emphatic by Cleopatra, she attacks the messenger, dismissing the hapless Salisbury as a "common man" (TLN 929). Her speeches as she responds to Salisbury are those of Shakespeare in full organ-music mode with repeated phrases and rhetorical questions:
101But while hers is a formidable stage presence, the character Shakespeare creates is not always wholly sympathetic. In a curious contrast with her admiration for Arthur's "gifts," she has earlier made clear that her love for Arthur depends on his physical beauty:
103A few lines later, Pandulph arrives, right on heavenly cue, reigniting the enmity between France and England. Constance is, for the moment, triumphant, but while the political fortunes of the character fall, the role for the actor reaches its height as Constance laments Arthur's capture, and (presciently) fears for his death. The intensity of her feelings, and her unconstrained expression of them, is figured in her hair, which hangs loose as she enters. As she addresses "amiable, lovely death" (TLN 1408) her language at times approaches the excessive ("Thou odoriferous stench, sound rottenness" [TLN 1409]), and clearly the men observing her are uncomfortable. King Philip is restrained, asking her to be patient (TLN 1405, 1420), but Pandulph is impatient: "Lady, you utter madness and not sorrow" (TLN 1427). The men on stage conveniently dismiss her grief as madness, and it is equally true that some critical approaches have accepted Pandulph's diagnosis. Editors of the play have tended to modernize the punctuation of her speeches by sprinkling them with exclamation marks as a signal of the seeming excess of her emotion; but to do so in effect provides stage directions that limit our response: a sentence or phrase may equally be a statement or an exclamation, and the frequent use of exclamations will make Constance seem more extreme than need be the case. At the end of her first speech, Constance says, apostrophizing Death, "Misery's love, / O, come to me" (TLN 1419-20). Is this a quiet moment where she pleads, or an exclamation where she is demanding? The Folio, which uses very few exclamation marks, has a simple period, leaving both alternatives open; editors as distinguished as Honigmann and Braunmuller decide which tone she is adopting and furnish the reader with an exclamation mark. My own practice has been to use exclamation marks sparingly, since Constance is insistent that she has only a "lady's feeble voice" (TLN 1425), and, while she is grieving intensely, she is in full possession of her senses: 5376163bf9
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