Local For Vocal Quotes

Ducks are the stars of the karaoke bird world. You’d think it would be songbirds or parrots (or boobies, because who doesn’t like to see those on stage?), but nope, they all quit going down to the corner bar to try to impress the locals with their vocals, and they joined TikTok so they could dance their way to fame.

In the present day, curb cuts are so common, both ordinary and even mundane, that most people know nothing of this history. But the resistance to their widespread implementation was protracted and fierce. Outside a few small communities like Berkeley, where vocal activists won some local implementation, there was little understanding of the chicken-or-egg problem of accessible design. “When we first talked to legislators about the issue, they told us: ‘Curb cuts, why do you need curb cuts? We never see people with disabilities out on the street. Who is going to use them?’” recalled Roberts. “They didn’t understand that their reasoning was circular.

It is important to stress that, in America at least, no matter how small and how badly off a particular stigmatized category is, the viewpoint of its members is likely to be given public presentation of some kind. It can thus be said that Americans who are stigmatized tend to live in a literarily-defined world, however uncultured they might be. If they don’t read books on the situation of persons like themselves, they at least read magazines and see movies; and where they don’t do these, then they listen to local, vocal associates. An intellectually worked-up version of their point of view is thus available to most stigmatized persons. A comment is here required about those who come to serve as representatives of a stigmatized category. Starting out as someone who is a little more vocal, a little better known, or a little better connected than his fellow-sufferers, a stigmatized person may find that the “movement” has absorbed his whole day, and that he has become a professional.

Instead of passionlessly donating money to a faraway charity with millions of people on their mailing list or getting involved in a national political cause with a large and vocal following online, we can do something local, something that contributes... in a tangible – even if tiny – way to a real place and to real people, rather than to an anonymous website.

According to a study conducted by the Oxford African American Studies Center, hip hop is part of and speaks to a long line of black American and African traditions. Many observers also make a connection between rap and West African griot tradition, the art of wandering storytellers known for their knowledge of local settings and their superior vocal skills.

Fading into the space between the times Since their last phrase to each other, Their love vocalized, But now the pain’s localized , It’s been fastened to the focal eye Of the absence in his voice, Closed captions of the passionate goodbye What was the last thing he’d said to her? It’s on the tip of her tongue, She can’t remember what she’d heard, Vowels ripped and consonants undone, Stuck in the space between words, Muted language that refuses to come The silence stands between them, Engulfed in a vast distance in time. She would trade in an instant, His syllables for the silence In the depths of her mind.

This witness that we give, this invitation to become co-citizens of the heavenly Jerusalem with us, is fostered within the culture of the church. Here is a key truth: the only way we are able to “participate in everything as citizens” is by ongoing participation in the life of God’s people. I don’t mean following a celebrity preacher on Twitter and Instagram. I don’t mean listening to our favorite theologian’s podcast or the local Christian radio station on our morning commute. I mean butts in the pews, eyes on the altar, ears attuned to the pulpit, mouths chewing the bread of the Supper, tongues red with Communion wine, hands clasping the hands of fellow believers, vocal cords singing hymns, knees bent in prayer. The only way we can be fully present in our modern Babylons is by simultaneously being fully present, bodily present, in a congregation we call home.

There are several lines of evidence that suggest that men might, in fact, be able to detect when women ovulate (Symons, 1995). First, during ovulation, women’s skin becomes suffused with blood. This corresponds to the “glow” that women sometimes appear to have, a healthy reddening of the cheeks. Second, women’s skin lightens slightly during ovulation as compared with other times of the menstrual cycle—a cue universally thought to be a sexual attractant (Frost, 2011; van den Berghe & Frost, 1986). A cross-cultural survey found that “of the 51 societies for which any mention of native skin preferences… is made, 47 state a preference for the lighter end of the locally represented spectrum, although not necessarily for the lightest possible skin color” (van den Berghe & Frost, 1986, p. 92). Third, during ovulation, women’s level of circulating estrogen increases, which produces a corresponding decrease in women’s WHR (Symons, 1995, p. 93). Fourth, ovulating women are touched more often by men in singles bars (Grammer, 1996). Fifth, men find the body odor of women to be more attractive and pleasant smelling during the follicular (fertile) stage of the menstrual cycle (Gildersleeve, Haselton, Larson, & Pillsworth, 2012; Havlicek, Dvorakova, Bartos, & Flegr, 2005; Singh & Bronstad, 2001). Sixth, men who smell T-shirts worn by ovulating women display a subsequent rise in testosterone levels compared to men who smell shirts worn by non-ovulating women or shirts with a control scent (Miller & Maner, 2010), although a subsequent study failed to replicate this effect (Roney & Simmons, 2012). Seventh, there are vocal cues to ovulation—women’s voices rise in pitch, in the attractive feminine direction, at ovulation (Bryant & Haselton, 2009). Eighth, women’s faces are judged by both sexes to be more attractive during the fertile than during the luteal phase (Puts et al., 2013; Roberts et al., 2004). Ninth, men perceive their romantic partners to be more attractive around ovulation (Cobey, Buunk, Pollet, Klipping, & Roberts, 2013). Tenth, women report feeling more attractive and desirable, as well as an increased interest in sex, around the time of ovulation (R ö der, Brewer, & Fink, 2009). And 11th, a study of professional lap dancers working in gentlemen’s clubs found that ovulating women received significantly higher tips than women in the non-ovulation phases of their cycle (Miller, Tybur, & Jordan, 2007).

In a curious parallel to Warlock and Moeran’s rowdy tenure at Eynsford, on the other side of the country in North Devon the village of Georgeham had been intruded upon by another outside artistic presence. Novelist Henry Williamson moved to a cottage there in 1921 and proceeded to outrage local decency with a string of louche girlfriends, naked swimming displays, throwing apples at neighbouring farmers, dressing like a proto-hippy in loose clothing and bare feet. Best known as author of the children’s book Tarka the Otter, Williamson’s many books, including his fifteen-volume fictionalised memoir A Chronicle of Ancient Sunlight, testify to a quasi-mystical relationship with nature and the English landscape, while his reputation was later severely tarnished because of his vocal support of the Hitler Youth and Oswald Mosley’s British fascist movement. His son Harry, born in 1950, was destined to become an associate of hippy progressive rockers Gong in the early 1970s, and was part of the collective that organised the earliest free festivals at Stonehenge (see Chapter 16). Already, in the unconventional lifestyle choices of the likes of Warlock, Moeran and Williamson, the pre-echoes of a later British counter-cultural pattern are faintly detectable.

How to Play Sigma Boy: Musical Clicker – A Complete Beginner’s Guide Sigma Boy: Musical Clicker is more than just another idle tapping game. It’s a creative and rewarding journey that lets you guide an ambitious artist from unknown street performer to global music icon. Whether you’re new to clicker games or a longtime fan of idle titles, this guide will walk you through how to play, progress, and enjoy the game to the fullest. Starting Out: The Basics When you first enter the game, you’ll be introduced to Sigma Boy—a young musician with big dreams but no resources. Your job is to help him rise to fame by tapping the screen. Each tap earns coins, which serve as the main currency in the game. Coins are used to improve Sigma Boy’s singing skills, unlock auto-clicking features, and purchase a wide range of upgrades. The more you click, the faster you earn, and the faster you can level up your character. The Role of Clicking and Auto-Clickers In the early game, tapping manually is the main way to earn coins. However, Sigma Boy: Musical Clicker doesn’t stop there. As you progress, you can unlock auto-clickers that generate income automatically, even when you’re not actively playing. These features make the game more enjoyable by allowing you to grow your empire without constant tapping. Auto-clickers can also be upgraded to increase their speed and output, making them essential for long-term progress. Upgrades and Progression Upgrading is the heart of Sigma Boy: Musical Clicker. With the coins you earn, you can purchase various upgrades, such as: Vocal improvements to make Sigma Boy sing better and earn more per click Visual upgrades like costumes, stage lights, and instruments Lifestyle items including luxury phones, cars, houses, and brand franchises Each upgrade not only boosts your income but also changes how your character and performance space look. These visual transformations make the game feel dynamic and rewarding. Unlocking New Locations As Sigma Boy’s fame grows, new performance locations become available. These range from local street corners to large stadiums, and even futuristic or space-themed stages. Each location offers higher income potential and brings a new atmosphere to your musical journey. To unlock these stages, you’ll need to meet specific coin or upgrade milestones. Reaching new stages gives a strong sense of progression and keeps the gameplay experience fresh. Offline Earnings One of the game’s most attractive features is the ability to earn coins even when you’re offline. Once you’ve unlocked and upgraded your auto-clickers, Sigma Boy will continue performing and making money while you’re away. This idle mechanic makes it easy to check in for a few minutes, collect rewards, upgrade, and return later without losing progress. Final Tips for New Players Focus on upgrading auto-clickers early to maximize passive income Prioritize voice upgrades to increase income per click Save for key items like phones and cars, as they provide big boosts Reinvest your earnings smartly to unlock new stages faster Sigma Boy: Musical Clicker is simple to pick up, but with strategic upgrades and long-term goals, it offers satisfying depth for anyone looking to build a virtual music empire. Whether you’re playing for five minutes or an hour, there’s always progress to be made.

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