"Stir Fry" differs from Migos' traditional Atlanta-style trap sound. In an interview with Beats 1's Ebro Darden, the group revealed the instrumental for the song was originally intended for an unreleased T.I. song in 2008. Quavo stated that "Pharrell said that he was waiting for this moment."[2]

"The ongoing prayer of my life is, "Stir up the love in my heart, Holy Spirit. Don't let my love grow cold. Lead me on in the way of righteousness." These songs come from a place of stirring up love in my own heart, and I hope they will stir up the love in your heart as well. May they remind you that you are loved extravagantly by your Father God and held in His arms, that Jesus is a true friend, and that you can step into the flow of Holy Spirit anytime of the day or night and experience His perfect peace. I'm expecting good things from Him because He IS Love, and He is with us always." 


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Jamtine: Making cookies for my love, I stir and mix!

Melodii: Making cookies for your love, you stir and mix!

Jamtine: He deserves icing and sprinkles, yes all of it!

Melodii: How exactly long has this butter been out to sit?


At about the same period, musical instrument technology led to the development of the viola da gamba, a fretted, bowed string instrument. Amateur European musicians of means eagerly took up the viol, as well as the lute, the recorder, the harpsichord (in various guises, including the spinet and virginal), the organ, and other instruments. The viola da gamba and recorder were played together in consorts or ensembles and often were produced in families or sets, with different sizes playing the different lines. Publications by Petrucci and others supplied these players for the first time with notated music (as opposed to the improvised music performed by professional instrumentalists). The sixteenth century saw the development of instrumental music such as the canzona, ricercare, fantasia, variations, and contrapuntal dance-inspired compositions, for both soloists and ensembles, as a truly distinct and independent genre with its own idioms separate from vocal forms and practical dance accompaniment.

Microstructural physical simulation allows the estimation of the thermomechanical conditions imposed to the material during friction stir welding, which are still unknown. Data on equivalent strain and strain rate are instrumental for the further development of FSW and the numerical simulation of such a process. Physical simulation of UNS S32205 duplex stainless steel friction stir welding was performed in a thermomechanical simulator coupled with a custom-built liquid nitrogen cooling system. Hot torsion tests were able to reproduce the microstructures observed in FSW, namely the thermomechanically affected zone and the center of the stir zone.

In any case, we can ask students to consider why and how the performer's life is turned into myth. That process may be more visible -- or students may be more willing to see it -- when an example is taken from the past rather than the present. An example I can recommend is Ole Bull: Norway's Romantic Musician and Cosmopolitan Patriot (Madison: University of Wisconsin Press, 1993) by Einar Haugen and Camilla Cai. This is the story of one of the great touring virtuosos of the nineteenth century, of how he constructed his career as a living myth, and even of how, without the benefit of recordings, the myth was sustained after his death. Bull's music-making can no longer stir us like the music of great composers of his age, but his story belongs to one of the most compelling parts of music history, the history of myth-making about performers' lives.

Adrienne Rodriguez is a Ph.D. student and graduate assistant in music education at Michigan State University, where she supervises student teachers, teaches early childhood music classes for parents and children, and assists with elementary and early childhood music methods courses. She previously taught elementary general music, early childhood music, and private instrumental and vocal lessons in Florida. She holds a Bachelors of Music Education degree from the Eastman School of Music and a Masters in Music Education from The University of Miami. Her research interests include early childhood music, musical home environment, and musical parenting.

There will be a tinge of sadness for Pan as his father, Jung-ho, who passed away in 2010, will not see him achieve one of his lifelong goals. His father, who was an elementary school teacher, was instrumental in getting Pan to play the game at a young age and would drive him and his brother in their family van to junior tournaments all around Chinese Taipei. Apart from playing for his father's memory, Pan will also have plenty of reason to cherish a memorable week as he turns 28 on Thursday. ff782bc1db

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