- published: 19 Aug 2012
- views: 149286
- author: ShowsCompletos2
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![RPM - Rádio Pirata Ao Vivo (Álbum Completo) [1986]](http://web.archive.org./web/20130515235635im_/http://i.ytimg.com/vi/G3h5A_a4xao/default.jpg "Rádio Pirata ao Vivo é o segundo álbum da banda de rock brasileira RPM, lançado em 1986. É um dos discos mais vendidos da história da indústria fonográfica d...")
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- Alternator
- Angular velocity
- Annotation
- Automobile
- CDDA
- Crankshaft
- Dental drill
- DVD
- Engine
- Fibre Channel
- Floppy disc
- Formula One
- Formula One car
- Four-stroke engine
- Frequency
- Gas turbine
- Germany
- Gramophone record
- Hard drive
- Hertz
- JetCat
- Physical quantity
- Radian per second
- Rotational speed
- RPM (disambiguation)
- SCSI
- Semantics
- Serial ATA
- Solid-State Disk
- Turbocharger
- Turn (geometry)
- Washing machine
- Aad de Bruyn
- Abi Ekoku
- Adewale Olukoju
- Adolfo Consolini
- Al Feuerbach
- Angiolo Profeti
- Armas Taipale
- Barclay Palmer
- Beatrice Faumuina
- Benn Harradine
- Bernard Prendergast
- Bertil Jansson
- Bill Tancred
- Borys Chambul
- Brett Morse
- Brian Oldfield
- Carl Myerscough
- Catherine Tizard
- Christine Fletcher
- Cummin Clancy
- Dave Weill
- David Guiney
- Denis Horgan
- Einar Nilsson
- Emeka Udechuku
- Endre Madarász
- Eric Coy
- Ernst Paulus
- Fanie du Plessis
- Ferenc Klics
- Frantz Kruger
- Geoff Capes
- George Puce
- Giuseppe Tosi
- Hans Woellke
- Harald Andersson
- Harald Stenerud
- Ian Reed
- Jacko Gill
- Jan Brasser
- Jay Silvester
- Jeff Teale
- John Savidge
- John van Reenen
- Juan Martínez Brito
- Jules Noël
- József Darányi
- Kálmán Marvalits
- Lars Haglund
- Les Mills
- Mark Pharaoh
- Maurice Davin
- Mike Lindsay
- Mike Winch
- Nick Sweeney
- Nikolaos Syllas
- Oscar Zallhagen
- Patrick Bermingham
- Paul Mardle
- Phillip Mills
- Raoul Paoli
- Ray Lazdins
- Raymond Kintziger
- Richard Sheldon
- Richard Slaney
- Robin Tait
- Roy Hollingsworth
- Scott Martin
- Tom Nicolson
- Vilho Niittymaa
- Ville Pörhölä
- Vilmos Varjú
- Warwick Selvey
- Werner Reiterer
- Wesley Coe
- Wikipedia Persondata
- Zygmunt Heljasz
- Édouard Duhour
- Lyrics: play full screen play karaoke
- R.P.M. - Swollen Members
- R.P.M. - Sugar Ray
- R.P.M. - Disturbing Tha Peace
- Revoluções Por Minuto - RPM
- Radio Pirata - RPM
- Pr´esse Vício - RPM
- Olhar 43 - RPM
- Louras Geladas - RPM
- Juvenília - RPM
- Estação No Inverno - RPM
- A Fúria Do Sexo Frágil Contra O Dragão Da Maldade - RPM
- Fatal - RPM
- Flores Astrais - RPM
- Alvorada Voraz - RPM
- Vida Real (Big Brother Brasil) - RPM
- Rainha - RPM
- Onde Está O Meu Amor? - RPM
- Para Sa'yo - RPM
- London, London - RPM
- A Cruz E A Espada - RPM
- R.P.M. - Shawnna
- Sob À Luz Do Sol - RPM
Aiyyo actions reactions, addition subtraction
Crew split the factions, split the fractions
E-mail celly talk two-way faxes
Rap bold is love just ask the axis, relax
Listen to what your ears say
Don't believe the hear-say, or a beer say
You fuckin' with entrepreneurs and rhyme wars
Marked up passports and world-wide tours
But still bangin' out of cars I'm sure
All the heads that cop our shit romp the tour
You kick a little something but the crowd want more
I kick a smorgasbord, that could feed the poor
I learn to spit raps, brace for kick back
And drip wax, some of the illest on slip mats
Cy Young pitchin', catch the transmission
Swollen Membership on a Cali to Van mission.
Passport stamped up at the station
Through customs through immigration
The sign reads welcome to your nation
We come to bring the celibration.
The war on paper, bongs and smoke vapours
Blowin' up and out, goin' up a belt
Watch the formula, shadows and corridors
We haven't slept yet, my eyes are bloodshot
And when the drums drop, that's the fun part
Stare and snipe you out here at the street fight
Let the beat ride black market midnight
Attack a stack of vamps like a pit fight
So many bones get broken in the rib shack
That's where I live at, yo watch the kick back
RPMs back seats and engine blocks
I got my tale pipe stuck up in a glove box
All our songs rock, duck the Molotov
Clear bottle, call the dogs off
At the borders, and at the air ports
We shoot straight and know exactly what to aim for.
Aiyyo it's spread like a virus, Mad Prev and Iris (Iriscience)
Never ask if you can dig it like Cyrus
Shadow boxin' got a killer silhouette
Even when we open crowd be like they rock the illest set
Feel us yet? You romper room rappers
Ain't catchin' half the shit I say until the mornin' after
This shit is evil on pars don't have to play it backwards
This was made from stacks of cash from underneath my mattress
But most of y'all are just a bunch of fuckin' actors
Flexible suckin' your own dick for practice, actors
If I can't get a chance to put my claim on it
You smoked about a thousand pounds with my name on it
Free medical and dental plan
I'm on six figures bitch you drive a rental van
Smokin' weed in coffee shops, stripper sucked for dough
You will recover when you discover baby
There is no other when you recover baby
And when the mood is right, you'll get it every night
Go on and play it light, your on the other side
Your beautiful, beside me
Your beautiful, it's me
I will let you, I will let you down
Into another, don't run for cover baby
There is no other into another baby
And when the time is right I got you in my sight
I'll reach into your life and look around inside
Your beautiful, inside of me
Your beautiful, it's me
I will let you, I will let you down
I will let you, I will let you down
Your beautiful, inside of me
Your beautiful, it's me
I will let you, I will let you down
I will let you, I will let you down
I will let you
I will let you
I will let you
I will let you
Shawnna kick hot shit for bitches that got they baby daddies locked
in the pen' gone; fittin to rock cause he did wrong
Run up on the cops and he hit 'em with the glock with his wig gone
Sellin rock on the big phone
In the projects niggaz run up on your set with the tech' out
Leave you wet with you chest out
Killer niggaz realer niggaz have a nigga fill a never realer nigga
Drill a nigga fuckin with a villian never spill a nigga
Fuck that! Nigga bust back, we in the 'Llac
Me and my bitches all strapped
Puffin the sack and we be sippin on 'gnac
Fittin to react, and pop a nigga for them stacks (OOH-OOOH!)
Niggaz I'm with they put the fifth to your whole melon
Now with the murderers are known felons
I gotta pop a nigga drop a nigga rock a nigga shock a nigga
Lock a nigga fuck a nigga, cop the floppin nigga
Roll for my bitches that be droppin in the strip clubs
Tryin get 'em a lil' somethin
If you gotta take it off, take it off like a boss for the big ones
Then you get you a big gun
Motherfuckers from the Chi like to put it yo' eye if it's on bitch
Put it straight to yo' dome heads
Now you fuckin with them gangsters, ballers, hoes, hustlers
Bangers - niggaz that with them real motherfuckers like whoa!
It's real real - on the block I been up for days
I gotta keep the steel steel - in case a nigga wanna get in the way
So now what's the deal deal? On the street you got nothin to say
So when I see him I'ma get him (WHAT!) drill him (WHAT!)
Fill him fill him (WHAT WHAT!)
Twista kick hot shit for hoes and thugs
in ghettoes and clubs that get crunk; for my homies locked down
to whoever hurtin in the hood and ballers with 22's on big trucks
To my thugs that call over to they mob
And to the hustlers that be servin hydro and cocaine
To my niggaz that ain't hoes; if they have to
they will steal a nigga touch a nigga check a nigga cut a nigga
Pull the trigger bust a nigga, yellow motherfucker nigga
Ready to fill and spill a drink, I'm drunk go and weed it up
And I'm talkin about go like I'm smokin the bone
full of some shit that damn sho' wouldn't seed it up
Got you fillin the hole then go see your body
probably reanimated with all my Legit Ballaz rollin up
Up the streets stuffed the beats
So you see them Navigators, Escalades, Benzes,
Beamers, Excursions - bumpin systems TV's and them 20's spinnin
Mob for them niggaz that done up off them hard times
K-Town, West side, South side
Murder us for the money that's why I'm known to kick a hard rhyme
Whatever set you represent throw it up
If you buck or crunk then take yo' motherfuckin shirt off
Dealers get your work off; you wanna party
full of hustle niggaz killer niggaz gangsta niggaz chill niggaz
Baller niggaz thug niggaz player haters real niggaz
I'ma kick hot shit for bitches up in the industry tryin to compete me
I'm from the hood South side, West side
where niggaz'll put a motherfuckin slug in my enemy
Motown, Pucketown, do or die
The difference between a motherfuckin thug and a gangsta
One's thug in a chamber
Get a nigga stick a nigga put him in a ditch and then forget a nigga
Hit a nigga puck a nigga little with the rocker nigga
Puff that say you love that
We in the 'Llac and put the lemon in the 'gnac
Remy and sacks that got me scummy in the back
Puffin the raps that got me layin out slacks
and it's speakin like, "Wow, that, blunt let me hit the weed"
Cause I been feelin like
fuck a nigga bust a nigga Shawnna never love a nigga
Chi about to show the motherfuckers how to rush a nigga
Crush that put it on momma
On everything I got e'rything for the drama, puff marijuana
To the Shawnna and put it on ya
Flows who you froze in a comma
We so relentless, you know Chi up in the business
Flows in yo' dome in an instance
Hoes and them folks and the Mo's and the ki's and the fo's
Sinais de vida no país vizinho
Eu já não ando mais sozinho
Toca o telefone
Chega um telegrama enfim
Ouvimos qualquer coisa de Brasília
Rumores falam em guerrilha
Foto no jornal, cadeia nacional
Viola, o canto ingênuo do caboclo
Caiu o santo do pau oco
Foge pro riacho
Foge, que eu te acho sim
Fulano se atirou da ponte aérea
Não agüentou fila de espera
Apertar os cintos, preparar pra descolar
Nos chegam gritos da ilha do Norte
Ensaios pra dança da morte
Tem disco pirata
Tem video cassete até
Agora a China bebe coca-cola
Aqui na esquina cheiram cola
Biodegradante, aromatizante, tem
Invadir, pilhar, tomar o que É nosso
Pirataria nas ondas do rádio
Havia alguma coisa errada com o rei
Preparar a nossa invasão
E fazer justiça com as próprias mãos
Dinamitar um paiol de bobagens
E navegar o mar da tranqüilidade
Toquem o meu coração, façam a revolução
Que estar no ar, nas ondas do rádio
Nos submundo repousa o repudio
E deve despertar
You know that it would be untrue
You know that I would be a liar
If I was to say to you
Girl you couldn't get much higher
Come on baby light my fire
Come on baby light my fire
Try to set the night on fire
Come on baby light my fire
Disputar em cada freqüência
Um espaço nosso nessa decadência
canhões de amor ao que vai vingar
Toquem o meu coração, façam a revolução
Que está no ar, nas ondas do radio
No underground repousa o repudio
E deve despertar
Toquem o meu coração, façam a revolução
Que está no ar, Que está no ar
No underground
E deve despertar
Nem mais um cigarro invade meus pulmões
Bombas de fumaça explodem nos salões
Nem mais uma taça rasa de cristal
Querosene e álcool explodem no local
Não tem mais tempo
Não tem mais ninguém
Rezando nos templos em Jerusalém
Nem mais uma linha,
A alma sozinha
Lívida e divide-se em partes desiguais
Nem mais um remédio
Já não tem remédio
O tédio que se instala na sala de estar
Não tem mais tempo
Não tem mais ninguém
Explodem os templos
Vão dizer amém
seu corpo é fruto proibido
é a chave de todo o pecado e da libido
e prum garoto introvertido, como eu
é a pura perdição
é um lago negro, o seu olhar
é água turva de beber, se envenenar
nas suas curvas derrapar
sair da estrada
morrer no mar (no mar)
é perigoso o seu sorriso
é um sorriso assim jocoso, impreciso
diria misterioso, indecifrável
riso de mulher
não sei se é caça ou caçadora
se é Diana ou Afrodite, ou se é Brigite
Stephanie de Mônaco, aqui estou
inteiro ao seu dispor (princesa)
pobre de mim
invento rimas assim
pra você
e um outro vem em cima
e você nem pra me escutar
pois acabou
não vou rimar
coisa nenhuma
agora vai, como sair
que eu já não quero nem saber
se vai caber
ou vão me censurar (será?)
E pra você eu deixo apenas
o meu olhar 43, aquele assim
meio de lado, já saindo
indo embora
louco por você (que pena!)
Que desperdício!
Disfarça e faz que nem me viu
Que não me ouviu te chamar
Desfaz assim de mim
Que nem se faz com qualquer um
Agora eu sei, passei por cada papel
E rastejei, tentando entrar no seu céu
Agora eu sei, passei por cada papel
Me embriaguei e acordei num bordel
Já sei que um é pouco
Dois é bom e três é demais
Eu fico louco de ciúmes de um outro rapaz
Agora eu sei, passei por cada papel
E rastejei, tentando entrar no seu céu
Agora eu sei, passei por cada papel
Me embriaguei e acordei num bordel
Na madrugada
Na mesa do bar
Louras geladas
Vêm me consolar
Qualquer mulher é sempre assim
Vocês são todas iguais
Nos enlouquecem, então se esquecem
E já não querem mais
Agora eu sei, passei por cada papel
E rastejei, tentando entrar no seu céu
Agora eu sei, passei por cada papel
Me embriaguei e acordei num bordel.
Mais...
Muito mais...
Na madrugada
Na mesa do bar
Loiras geladas
Vêm me consolar.
Passei por cada papel e rastejei.
Passei por cada papel, me embriaguei
E acordei num bordel
Sinto um imenso vazio, e o Brasil
Que herda o costume servil
Não serviu pra mim
Juventude, aventura e medo
Desde cedo, encerrado em grades de aço
E um pedaço do meu coração é teu
Destroçado com as mãos
Pelas mãos de Deus
E as imagens, transmissões divinas
E o cinismo, e o protestantismo europeu
Parte o primeiro avião
E eu não vou voltar
E quem vem pra ficar
Pra cuidar de ti
Terra linda
Sofre ainda a vinda
De piratas,
Mercenários sem direção
E eu até sei quem são
Sim, eu sei
Você sempre faz confusão
Diz que não, e vem
Vem chorando
Vem pedir desculpas
Vem sangrando
Dividir a culpa entre nós
Luz de velas nos castiçais
Iluminam tempos atrás
O passado é uma ilusão
Seu retrato acusação
Outro inverno gela em meu coração
Neste inferno é sempre a mesma estação
Outro inverno gela em meu coração
Neste inferno é sempre a mesma estação
Vento frio vem me chamar
Me arrepio só de pensar
Num futuro escuro e só
Inseguro, voltando ao pó
No silêncio escuto a voz
São demônios ou somos nós
Sem juízo, sem salvação
Exorcizo sua aparição
Ela vai à luta de corpo inteiro
Ela faz de tudo, ela faz ligeiro
E as coisas que precisa, tudo o que quer
Se materializa uma mulher
Uma menina enlouquecida
Pela cidade, a sina e a buzina
Vontade férrea, feminina fúria
Determinada, perigo, prazer
Ela não se assusta, nem mesmo pisca
Sabe o quanto custa servir de isca
Anda pelas ruas de madrugada
Tem as pernas sujas, as mão geladas
Rímel nos olhos, batom que mancha
Fuma, se perfuma e o penteado não desmancha
Quem sabe é mãe, mãe de família
Quem sabe até é sua própria filha
Não fale de amor
Não diga bobagem
Não prometa aquilo que não vai cumprir
Eu já sei de cór toda essa viagem
E sei que não é fácil decidir
Mas seja o que for
Tome cuidado
Aparetemente não faz mal
Brincar de amor
Mas é complicado
E qualquer erro pode ser fatal
Não fale demais
Não se desespere
Tudo tem a hora e o lugar
Não volte atrás
Agora, espere
Procure aprender como se faz.
Um grito de estrela
Vem do infinito
E um bando de luz
Repete o grito
Todas as cores e outra mais
Procriam flores Astrais
O verme passeia na lua cheia
O verme passeia na lua cheia
O verme passeia na lua cheia
O verme passeia na lua cheia
Na virada do século
Alvorada Voraz
Nos aguardam exércitos
Que nos guardam da paz - que paz
A face do mal, um grito de horror
Um fato normal, um êxtase de dor
E medo de tudo
Medo do nada
Medo da vida
Assim engatilhada
Fardas e força
Forjam as armações
Farsas e jogos
Armas de fogo
Um corte exposto
Em seu rosto amor, e eu
Nesse mundo assim vendo esse filme passar
Assistindo ao fim vendo meu tempo passar
Apocalipticamente
Como num clip de ação
Um clic seco, um revólver
Aponta em meu coração
O caso Morel, o crime da mala
Coroa Brastel, o escândalo das jóias
E um contrabando,
E um bando de gente importante envolvida
Juram que não
Torturam ninguém
Agem assim
Pro seu próprio bem
São tão legais
Foras da lei
Sabem de tudo
O que eu não sei
Se você pudesse me dizer
Se você soubesse o que fazer
O que você faria
aonde iria chegar...
Se você soubesse quem você é
Até onde vai a sua fé
O que você faria
pagaria pra ver
REFRÃO
Se pudesse escolher
Entre o bem e o mal
Ser ou não ser...
Se querer é poder
Tem que ir até o final
se quiser vencer...
Se pudesse eu te levaria
Até onde você quer chegar
O brilho das estrelas
O primeiro lugar
REFRÃO
O mundo é perigoso
E cheio de armadilhas
De mistério e gozo
Verdades e mentiras
Viver é quase um jogo
Um mergulho no infinito
Se souber brincar com fogo
Não há nada mais bonito
REFRÃO
Vem como uma chuva de verão, atenção!
Vem como um relâmpago no céu, um trovão
Vem súbito e intenso como um sinal
Vem como uma mulher, como um vendaval
Refrão
Lábios cor de vinho tinto
Sabe o que estou sentindo e tem
Olhos da cor do verão
E você vê
Claro como a luz do dia
Ela é uma rainha e tem
Tanto amor no coração
Vem quando você já não sabia por que
Nem pra onde ir e nem o que fazer
Vem rápido e preciso
E você vê
Vem como um aviso do que pode ser
REFRÃO
Vem, a coisa mais bonita que você já viu
Vem e tem o poder de mudar a sua vida
REFRÃO
Onde está o meu amor?
Quem será, com quem se parece?
Estará no Brasil
Ou será que nem me conhece?
Onde andará meu amor?
Seja onde for irá chegar
Onde está o meu amor?
Que será que ele faz da vida?
Deve saber amar
E outras coisas que Deus duvida
Corre, se esconde
Finge que não
Jura que sim
Morre de amores
Aonde?
Longe de mim
Onde está o meu amor?
Leve, envolto em tanto mistério
Deve saber voar
Deve ser tudo que eu espero
Onde andará o meu amor?
Seja onde for
Eu sei que vai chegar
Ooh ooh ooh oh
Ooh ooh ooh oh
Ooh ooh ooh oh whoa
Ooh ooh ooh oh
Ooh ooh ooh oh
Ooh ooh ooh oh whoa
Baby ko, penge ng konting oras mo
Para lang mapakita, halika, pakinggan mo
Maraming pogi d'yaan
Merong mayaman at sikat
Marami ring pa-machong nagkalat
Ako ay simple lang at gwapo
Nagmamahal sa'yo
Para sa'yo yo yo yo yo
(It's all for you)
Para sa'yo yo yo yo yo
(It's all for you)
Para sa'yo yo yo yo yo
(It's all for you)
Para sa'yo, ang puso ko
PARA SA'YO
Grabe 'to ang kapal ng mukha mo noh?
Akala mo kung sino, si Piolo? Mangarap ka noh!
Ngunit nahuli mo na kahit marami pang iba
Naglalaway ka pa rin sa akin
Sige na nga aaminin ko na
Na-iinlove ako sa'yo
Para sa'yo yo yo yo yo
(It's all for you)
Para sa'yo yo yo yo yo
(It's all for you)
Para sa'yo yo yo yo yo
(It's all for you)
Para sa'yo, ang puso ko
Para sa'yo yo yo yo yo
(It's all for you)
Para sa'yo yo yo yo yo
(It's all for you)
Para sa'yo yo yo yo yo
(It's all for you)
Para sa'yo, ang puso ko
PARA SA'YO
Para sa iyo lang itong puso ko
Lahat ay gagawin ko para sa'yo
Mahalin mo lang ako, Ibibigay ko lahat
At ang puso ko sa'yo, ay laging tapat
Ako nga ay salat, pero itsura ay angat
Lahat sila pagnakita ako, mapapakagat
Pero walang ibang mahal, kundi ikaw
Kaya ngayon ay nandirito at nanliligaw
Dili puso ko sayo'y, naglalaway
Kaya naman ako sayo'y, patay na patay
Mahal kita, bigyan mo sana ng halaga
Alam mo ba ako sayo'y, nagkakandarapa
Marami nga d'yaang iba, at puro maskulado pa
Pero hindi ako susuko at magpaparaya
YEAH, para sayo lang itong puso ko
Kaya mahal, pakinggan mo ako
Para sa'yo yo yo yo yo
(It's all for you)
Para sa'yo yo yo yo yo
(It's all for you)
Para sa'yo yo yo yo yo
(It's all for you)
Para sa'yo, ang puso ko
Para sa'yo yo yo yo yo
(It's all for you)
Para sa'yo yo yo yo yo
(It's all for you)
Para sa'yo yo yo yo yo
(It's all for you)
Para sa'yo, ang puso ko
PARA SA'YO
You know it's true
What can I do?
Ang "puso" ko, it's all for you
You know it's true
What can I do?
Lahat ng "love" ko, it's all for you
You know it's true
What can I do?
Ang "puso" ko, it's all for you
You know it's true
What can I do?
I'm wandering round and round, nowhere to go
I'm lonely in London, London is lovely so
I cross the streets without fear
Everybody keeps the way clear
I know I know no one here to say hello
I know they keep the way clear
I am lonely in London without fear
I'm wandering round and round, nowhere to go
While my eyes go looking for flying saucers in the sky
But my eyes go looking for flying saucers in the sky
Oh Sunday, Monday, Autumn pass by me
And people hurry on so peacefully
A group approaches a policeman
He seems so pleased to please them
It's good to live, at least, and I agree
He seems so pleased, at least
And it's so good to live in peace
And Sunday, Monday, years, and I agree
While my eyes go looking for flying saucers in the sky
But my eyes go looking for flying saucers in the sky
I choose no face to look at, choose no way
I just happen to be here, and it's ok
Green grass, blue eyes, grey sky
God bless silent pain and happiness
I came around to say yes, and I say
Havia um tempo em que eu vivia
Um sentimento quase infantil
Havia o medo e a timidez
Todo um lado que você nunca viu
E agora eu vejo aquele beijo
Era mesmo o fim
Era o começo e o meu desejo
Se perdeu de mim
E agora eu ando correndo tanto
Procurando aquele novo lugar
Aquela festa
O que me resta
Encontrar alguém legal pra ficar
E agora eu vejo
Aquele beijo
Era mesmo o fim
Era o começo e o meu desejo
Se e perdeu de mim
E agora eu vejo
Aquele beijo
Era mesmo o fim
Era o começo e o meu desejo
Se perdeu de mim
E agora é tarde
Acordo tarde
Do meu lado alguém
Que eu nem conhecia
Outra criança adulterada
Pelos anos que a pintura escondia
Agora eu vejo
Aquele beijo era o fim, o fim
Era o começo e o meu desejo
Se perdeu de mim
E agora eu vejo
Aquele beijo era mesmo o fim
Era o começo e o meu desejo
Se perdeu de mim
Shawnna kick hot shit for bitches that got they baby daddies locked
In the pen gone, finna to rock 'cause he did wrong
Run up on the cops and he hit 'em with the glock with his wig gone
Sellin' rock on the big phone
In the projects niggaz run up on your set with the tech' out
Leave you wet with you chest out
Killer niggaz, realer niggaz, have a nigga, fill a never realer nigga
Drill a nigga fuckin' with a villain never spill a nigga
Fuck that, nigga bust back, we in the 'llac
Me and my bitches all strapped
Puffin' the sack and we be sippin' on 'gnac
Finna to react, and pop a nigga for them stacks
Niggaz I'm with they put the fifth to your whole melon
Now with the murderers are known felons
I gotta pop a nigga drop a nigga rock a nigga shock a nigga
Lock a nigga fuck a nigga, cop the floppin' nigga
Roll for my bitches that be droppin' in the strip clubs
Tryin' get 'em a lil' somethin
If you gotta take it off, take it off like a boss for the big ones
Then you get you a big gun
Motherfuckers from the Chi like to put it yo' eye if it's on bitch
Put it straight to yo' dome heads
Now you fuckin' with them gangsters, ballers, hoes, hustlers
Bangers, niggaz that with them real motherfuckers like whoa
It's real, real, on the block I been up for days
I gotta keep the steel steel, in case a nigga wanna get in the way
So now what's the deal, deal? On the street you got nothin' to say
So when I see him I'ma get him, what, drill him, what
Fill him fill him, what, what
It's real, real, on the block I been up for days
I gotta keep the steel steel, in case a nigga wanna get in the way
So now what's the deal, deal? On the street you got nothin' to say
So when I see him I'ma get him, what, drill him, what
Fill him fill him, what, what
Twista kick hot shit for hoes and thugs
In ghettoes and clubs that get crunk, for my homies locked down
To whoever hurtin' in the hood and ballers with 22's on big trucks
To my thugs that call over to they mob
And to the hustlers that be servin' hydro and cocaine
To my niggaz that ain't hoes; if they have to
They will steal a nigga touch a nigga check a nigga cut a nigga
Pull the trigger bust a nigga, yellow motherfucker nigga
Ready to fill and spill a drink, I'm drunk go and weed it up
And I'm talkin' about go like I'm smokin' the bone
Full of some shit that damn sho' wouldn't seed it up
Got you fillin' the hole then go see your body
Probably reanimated with all my legit ballaz rollin' up
Up the streets stuffed the beats
So you see them Navigators, Escalades, Benzes
Beamers, Excursions, bumpin' systems TV's and them 20's spinnin'
Mob for them niggaz that done up off them hard times
K-Town, West side, South side
Murder us for the money that's why I'm known to kick a hard rhyme
Whatever set you represent throw it up
If you buck or crunk then take yo' motherfuckin' shirt off
Dealers get your work off; you wanna party
Full of hustle niggaz, killer niggaz, gangsta niggaz, chill niggaz
Baller niggaz, thug niggaz, player haters, real niggaz
It's real, real, on the block I been up for days
I gotta keep the steel steel, in case a nigga wanna get in the way
So now what's the deal, deal? On the street you got nothin' to say
So when I see him I'ma get him, what, drill him, what
Fill him fill him, what, what
It's real, real, on the block I been up for days
I gotta keep the steel steel, in case a nigga wanna get in the way
So now what's the deal, deal? On the street you got nothin' to say
So when I see him I'ma get him, what, drill him, what
Fill him fill him, what, what
I'ma kick hot shit for bitches up in the industry tryin' to compete me
I'm from the hood South side, West side
Where niggaz'll put a motherfuckin' slug in my enemy
Motown, pucketown, do or die
The difference between a motherfuckin' thug and a gangsta
One's thug in a chamber
Get a nigga stick a nigga put him in a ditch and then forget a nigga
Hit a nigga puck a nigga little with the rocker nigga
Puff that say you love that
We in the 'llac and put the lemon in the 'gnac
Remy and sacks that got me scummy in the back
Puffin' the raps that got me layin' out slacks
And it's speakin' like, "Wow, that, blunt let me hit the weed"
'Cause I been feelin' like
Fuck a nigga bust a nigga Shawnna never love a nigga
Chi about to show the motherfuckers how to rush a nigga
Crush that put it on momma
On everything I got e'rything for the drama, puff marijuana
To the Shawnna and put it on ya
Flows who you froze in a coma
We so relentless, you know Chi up in the business
Flows in yo' dome in an instance
Hoes and them folks and the M.O's and the K.I's and the F.O's
And the B.D's and lows and the fiends and the hoes and god
It's real, real, on the block I been up for days
I gotta keep the steel steel, in case a nigga wanna get in the way
So now what's the deal, deal? On the street you got nothin' to say
So when I see him I'ma get him, what, drill him, what
Fill him fill him, what, what
It's real, real, on the block I been up for days
I gotta keep the steel steel, in case a nigga wanna get in the way
So now what's the deal, deal? On the street you got nothin' to say
So when I see him I'ma get him, what, drill him, what
Fill him fill him, what, what
It's real, real, on the block I been up for days
I gotta keep the steel steel, in case a nigga wanna get in the way
So now what's the deal, deal? On the street you got nothin' to say
So when I see him I'ma get him, what, drill him, what
Fill him fill him, what, what
It's real, real, on the block I been up for days
I gotta keep the steel steel, in case a nigga wanna get in the way
So now what's the deal, deal? On the street you got nothin' to say
So when I see him I'ma get him, what, drill him, what
Quero das horas escuras
Cumplicidade em qualquer loucura
Quero as noites em claro
A eletricidade, um luar de mil watts
Já não morro mais de medo
Que o tempo escorra pelos dedos
Já não sinto quase nada
Na madrugada fria
Quero a sujeira nas ruas
Nas veias de asfalto, quero me injetar
Quero o perigo correndo comigo
Sem nunca poder me alcançar
Já não morro mais de medo
Que o tempo escorra pelos dedos
Já não sei de quase nada
Sob a luz do sol
Quero a cidade vazia
O clarão do dia me ofusca a visão
Minha cabeça lateja
Meu corpo cansado se espalha no chão
RELEASE
ALBUMS
- Revoluções por minuto
- Alvorada voraz
- Juvenília
- Sete mares
- Fatal
- Liberdade / Guerra fria
- London, London
- A cruz e a espada
- Exagerado
- Vem pra mim
- Carbono 14
- Sob a luz do sol
- Rainha
- Louras geladas
- Rádio pirata
- Vida real
- Olhar 43
- Onde está o meu amor?
- Revoluções por minuto
- Alvorada voraz
- A cruz e a espada
- Naja (instrumental)
- Olhar 43
- Estação no inferno
- London, London
- Flores astrais
- Rádio Pirata / Light my fire
- Radio pirata
- Olhar 43
- A cruz e a espada
- Estação no inferno
- A fúria do sexo frágil contra o dragão da maldade
- Louras geladas
- Liberdade / Guerra fria
- Sob a luz do sol
- Juvenilia
- Pr'esse vício
- Revoluções por minuto
- Revoluções Por Minuto
- Alvorada Voraz
- A Cruz e a Espada
- Olhar 43
- London, London
- Estação no Inferno
- Rádio Pirata - Light My Fire
- Louras Geladas
- Quatro Coiotes
- Naja
- Flores Astrais
- Juvenilia
- Partners
- Um caso de amor assim
- Sete Mares
- Gita
- A Dália Negra
RELEASE
ALBUMS
- Art School Doesn't Make Artists.
- Dawkin's Haunts
- Social Gravity (For a Dance by Tess Meyer)
- The Dawn and Death of a Language
- Piano and Microphones (feat. Anastasia Clarke)
- Developments at Bennington College, 2005-08
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RPM ao Vivo 2002 - Show Completo
- Order: Reorder
- Duration: 70:58
- Updated: 11 May 2013
RPM ao Vivo 2002 - Show Completo 01 - Revoluções Por Minuto 02 - Alvorada Voraz 03 - Juvenília 04 - Sete Mares 05 - Fatal 06 - Liberdade/Guerra Fria 07 - Lon...
http://wn.com/RPM_ao_Vivo_2002_Show_Completo
RPM ao Vivo 2002 - Show Completo 01 - Revoluções Por Minuto 02 - Alvorada Voraz 03 - Juvenília 04 - Sete Mares 05 - Fatal 06 - Liberdade/Guerra Fria 07 - Lon...
RPM - Rádio Pirata Ao Vivo (Álbum Completo) [1986]
- Order: Reorder
- Duration: 37:45
- Updated: 11 May 2013
Rádio Pirata ao Vivo é o segundo álbum da banda de rock brasileira RPM, lançado em 1986. É um dos discos mais vendidos da história da indústria fonográfica d...
http://wn.com/RPM_Rádio_Pirata_Ao_Vivo_Álbum_Completo_1986_
Rádio Pirata ao Vivo é o segundo álbum da banda de rock brasileira RPM, lançado em 1986. É um dos discos mais vendidos da história da indústria fonográfica d...
- published: 24 Dec 2012
- views: 43375
- author: RockClassudo
Rpm - Alvorada Voraz
- Order: Reorder
- Duration: 4:04
- Updated: 11 May 2013
RPM em show com a musica Alvorada Voraz.
http://wn.com/Rpm_Alvorada_Voraz
RPM em show com a musica Alvorada Voraz.
- published: 18 Dec 2008
- views: 889214
- author: pauloricardooficial
Pirate Radio - By RPM
- Order: Reorder
- Duration: 3:29
- Updated: 10 May 2013
RPM - Radio Pirata.
http://wn.com/Pirate_Radio_By_RPM
RPM - Olhar 43
- Order: Reorder
- Duration: 5:00
- Updated: 10 May 2013
O RPM (Revoluções por Minuto) é o grupo do rock brasileiro surgido em 1985, tendo sido um dos mais populares do país nos anos de 1986 e 1987. Foi um dos grup...
http://wn.com/RPM_Olhar_43
O RPM (Revoluções por Minuto) é o grupo do rock brasileiro surgido em 1985, tendo sido um dos mais populares do país nos anos de 1986 e 1987. Foi um dos grup...
- published: 05 May 2009
- views: 1168181
- author: weverton oliveira
RPM Alvorada Voraz
- Order: Reorder
- Duration: 3:30
- Updated: 11 May 2013
Written by.
http://wn.com/RPM_Alvorada_Voraz
RPM by Les Mills
- Order: Reorder
- Duration: 0:30
- Updated: 09 May 2013
Heroes campaign video of RPM by Les Mills.
http://wn.com/RPM_by_Les_Mills
Heroes campaign video of RPM by Les Mills.
- published: 11 May 2008
- views: 294531
- author: lesmillsgroupfitness
Power Rangers: R.P.M - Promo 1
- Order: Reorder
- Duration: 3:51
- Updated: 09 May 2013
The Official Power Rangers: R.P.M Promo 1. The promo features the cast members: Eka Darville, Dan Ewing, Ari Boyland, Rose McIver, and Milo Cawthorne. The pr...
http://wn.com/Power_Rangers_RPM_Promo_1
The Official Power Rangers: R.P.M Promo 1. The promo features the cast members: Eka Darville, Dan Ewing, Ari Boyland, Rose McIver, and Milo Cawthorne. The pr...
- published: 09 Feb 2009
- views: 980464
- author: rpmcast
Demo: RPM Ultrazord Formation!
- Order: Reorder
- Duration: 10:43
- Updated: 11 May 2013
Welcome to my demo of the RPM Ultrazord, the behemoth formed when you combine the High Octane Megazord, Valvemax Megazord, Mach Megazord, and Paleomax Megazo...
http://wn.com/Demo_RPM_Ultrazord_Formation!
Welcome to my demo of the RPM Ultrazord, the behemoth formed when you combine the High Octane Megazord, Valvemax Megazord, Mach Megazord, and Paleomax Megazo...
- published: 06 Dec 2009
- views: 304667
- author: ShukuenShinobi
Overhead Cam at 14K RPM
- Order: Reorder
- Duration: 3:20
- Updated: 14 May 2013
This video shows an operational cutaway of a BMW S1000RR — a 193HP superbike — bumping against its 14200RPM redline. A cam and valvetrain at 118 cycles per ...
http://wn.com/Overhead_Cam_at_14K_RPM
This video shows an operational cutaway of a BMW S1000RR — a 193HP superbike — bumping against its 14200RPM redline. A cam and valvetrain at 118 cycles per ...
- published: 23 Feb 2010
- author: iHeartAuto
Agora É Tarde - 10/04/13 - RPM - Completo (HD)
- Order: Reorder
- Duration: 48:49
- Updated: 11 May 2013
http://www.facebook.com/piazinhu http://twitter.com/robertpiazinhu https://www.facebook.com/fuuuhd ;}
http://wn.com/Agora_É_Tarde_10_04_13_RPM_Completo_HD
http://www.facebook.com/piazinhu http://twitter.com/robertpiazinhu https://www.facebook.com/fuuuhd ;}
- published: 11 Apr 2013
- views: 42218
- author: fuuuhd2
RPM - Especial Globo Reporter
- Order: Reorder
- Duration: 38:35
- Updated: 08 May 2013
RPM - Especial Globo Reporter Extraido do DVD Rádio Pirata Ao Vivo.
http://wn.com/RPM_Especial_Globo_Reporter
RPM - Especial Globo Reporter Extraido do DVD Rádio Pirata Ao Vivo.
- published: 16 Jun 2012
- views: 22422
- author: 4coiotes
Power Rangers RPM High Octane Megazord Review
- Order: Reorder
- Duration: 6:14
- Updated: 30 Apr 2013
Power Rangers RPM High Octane Megazord Review.
http://wn.com/Power_Rangers_RPM_High_Octane_Megazord_Review
Power Rangers RPM High Octane Megazord Review.
- published: 08 Feb 2009
- views: 2134722
- author: happinesstoall
RPM - Sugar Ray
- Order: Reorder
- Duration: 3:16
- Updated: 12 May 2013
Sugar Ray's RPM video off their "Floored" CD Release 1997.
http://wn.com/RPM_Sugar_Ray
Sugar Ray's RPM video off their "Floored" CD Release 1997.
- published: 25 Jul 2006
- views: 503590
- author: sugarrayvideos
Les Mills RPM™ 51 (footage from Ultimate Super Workshop Sydney, 2011)
- Order: Reorder
- Duration: 1:00
- Updated: 20 Apr 2013
RPM™ is a 45 minute indoor cycling workout that burns serious calories. What you are viewing is a portion of track 7 which focuses on interval training. To f...
http://wn.com/Les_Mills_RPM™_51_footage_from_Ultimate_Super_Workshop_Sydney,_2011
RPM™ is a 45 minute indoor cycling workout that burns serious calories. What you are viewing is a portion of track 7 which focuses on interval training. To f...
- published: 01 Aug 2011
- views: 104556
- author: LesMillsAsiaPacific
Fordulatszam RPM ( teljes film magyarul ).avi
- Order: Reorder
- Duration: 86:49
- Updated: 05 May 2013
Kerlek szavaz ha ertekeled hogy fel tetem a filmet.
http://wn.com/Fordulatszam_RPM_teljes_film_magyarul_avi
Kerlek szavaz ha ertekeled hogy fel tetem a filmet.
- published: 08 Apr 2012
- views: 317203
- author: Andrei Vasil
RPM Caetano Veloso London London
- Order: Reorder
- Duration: 4:49
- Updated: 07 May 2013
written by Caetano Veloso Brasil was in a militar dictatorship for 20 years. Caetano was "invited" to leave the country in the late 60's. He wrote this song ...
http://wn.com/RPM_Caetano_Veloso_London_London
written by Caetano Veloso Brasil was in a militar dictatorship for 20 years. Caetano was "invited" to leave the country in the late 60's. He wrote this song ...
- published: 09 Jun 2008
- views: 89940
- author: Turistaaindadeguerra
CD'yi 23 000 RPM Hızda Döndürmek - CD exploding 25 500 RPM
- Order: Reorder
- Duration: 1:45
- Updated: 17 Feb 2013
Daha Fazla İçerik için: www.facebook.com/bilgipaylastikcacogalir Daha Fazla İçerik için: www.facebook.com/bilgiveteknolojikulubu.
http://wn.com/CD'yi_23_000_RPM_Hızda_Döndürmek_CD_exploding_25_500_RPM
Daha Fazla İçerik için: www.facebook.com/bilgipaylastikcacogalir Daha Fazla İçerik için: www.facebook.com/bilgiveteknolojikulubu.
- published: 08 Feb 2013
- views: 914
- author: bilimveteknoloji
Judd V8 10,000 RPM !!! E36 BMW Hillclimb car
- Order: Reorder
- Duration: 3:15
- Updated: 12 May 2013
George Plasa E36 320 BMW 560hp 10000rpm Judd V8 Hillclimb supercar http://bit.ly/eAMFYF.
http://wn.com/Judd_V8_10,000_RPM_!!!_E36_BMW_Hillclimb_car
George Plasa E36 320 BMW 560hp 10000rpm Judd V8 Hillclimb supercar http://bit.ly/eAMFYF.
- published: 14 Nov 2007
- views: 1862341
- author: tsport100
Mike Nichols RPM Speedway 5-4-13
- Order: Reorder
- Duration: 11:19
- Updated: 12 May 2013
Video shot by Dirt Track Central "like" us on Facebook http://www.facebook.com/DirtTrackCentral And visit us at http://www.dirttrackcentral.com.
http://wn.com/Mike_Nichols_RPM_Speedway_5-4-13
Video shot by Dirt Track Central "like" us on Facebook http://www.facebook.com/DirtTrackCentral And visit us at http://www.dirttrackcentral.com.
- published: 11 May 2013
- views: 86
- author: hoppupperformance
RPM ALVORADA VORAZ 1987 A MELHOR VERSÃO AOS EFEITOS DE UM VIDEO CLIP
- Order: Reorder
- Duration: 3:45
- Updated: 10 May 2013
Sejam todos bem- vindos, que todos sintam-se a vontade pra comentar o video "Welcome all" A MELHOR VERSÃO JÁ EXIBIDA RPM ALVORADA VORAZ 1987 AOS EFEITOS DE U...
http://wn.com/RPM_ALVORADA_VORAZ_1987_A_MELHOR_VERSÃO_AOS_EFEITOS_DE_UM_VIDEO_CLIP
Sejam todos bem- vindos, que todos sintam-se a vontade pra comentar o video "Welcome all" A MELHOR VERSÃO JÁ EXIBIDA RPM ALVORADA VORAZ 1987 AOS EFEITOS DE U...
- published: 28 Dec 2008
- views: 911132
- author: whyjksdp
RPM™ 57 Sizzler
- Order: Reorder
- Duration: 1:20
- Updated: 25 Apr 2013
The official sizzler of RPM™ 57 See you all at the Les Mills Hellas QW4-2012 Sunday 09/12/2012 Keep updated for the latest news and upcoming events of Les Mi...
http://wn.com/RPM™_57_Sizzler
The official sizzler of RPM™ 57 See you all at the Les Mills Hellas QW4-2012 Sunday 09/12/2012 Keep updated for the latest news and upcoming events of Les Mi...
- published: 23 Oct 2012
- views: 17160
- author: lesmillshellas
PISTONS @ 10.000RPM
- Order: Reorder
- Duration: 3:11
- Updated: 04 May 2013
http://www.colinfurze.com THIS WAS DONE ON A SHIT BACKROAD THAT LEADS TO A FARM NO MOTORBIKES COME DOWN THIS ROAD UNLESS THEY WANT A SACK OF POTATOES BUT TRY...
http://wn.com/PISTONS_@_10000RPM
http://www.colinfurze.com THIS WAS DONE ON A SHIT BACKROAD THAT LEADS TO A FARM NO MOTORBIKES COME DOWN THIS ROAD UNLESS THEY WANT A SACK OF POTATOES BUT TRY...
- published: 13 Mar 2009
- views: 645345
- author: colinfurze
photo: AP / Koji Sasahara
14 May 2013
The Japanese military's forced prostitution of Asian women before and during World War II was necessary to "maintain discipline" in the ranks and provide rest for soldiers, an outspoken nationalist mayor has said. The comments made on Monday are already raising anger in neighbouring countries that bore the brunt of Japan's wartime aggression, and that have long complained that Japan has failed to make amends for wartime atrocities ... ....(size: 8.3Kb)
photo: US Navy / MCS2 Tony D. Curtis
15 May 2013
A drone the size of a fighter jet has taken off from the deck of an US aircraft carrier for the first time in a test flight that could eventually open the way for the US to launch unmanned aircraft from almost anywhere in the world. The X-47B is the first drone designed to take off and land on a carrier, meaning the US military would not need permission from other countries to use their bases ... 643 Source.. AP ... Infographic....(size: 8.4Kb)
photo: AP / Abdukareem Haruna
15 May 2013
Nigeria's President Goodluck Jonathan has acknowledged that parts of Borno state have been 'taken over' by insurgents. (AFP). More Coverage. The insurgents, who say they are fighting to create an Islamic state in the north, have carried out scores of attacks since 2009 but Jonathan said the violence can no longer be treated as "militancy or criminality" ... Previous decree ... Jonathan vowed that he would not employ that measure ... ....(size: 3.4Kb)
photo: AP / Abdukareem Haruna
15 May 2013
Admitting that Islamist extremists now control some of his nation’s villages and towns, President Goodluck Jonathan declared a state of emergency on Tuesday across Nigeria’s troubled northeast, promising to send more troops to fight what he said is now an open rebellion. Mr ... Get Free E-mail Alerts on These Topics. Nigeria Jonathan, Goodluck Disasters and Emergencies Muslims and Islam ... . Inside NYTimes.com. Books » ... ....(size: 2.5Kb)
photo: AP / FSB Public Relations Center
14 May 2013
MOSCOW — Russia’s Federal Security Service announced Tuesday that it had detained an agent of the Central Intelligence Agency during an attempt to recruit a Russian agent, saying the American had brought a large sum of cash, technical devices and “appearance disguising means.”. Connect With Us on Twitter. Follow @nytimesworld for international breaking news and headlines. Twitter List. Reporters and Editors ... Fogle....(size: 6.8Kb)
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noodls
15 May 2013
The super-small, light, and extremely responsive turbocharger delivers power quickly when the throttle is open from low rpm. The turbocharger's ability to reach nearly 250,000 rpm results in virtually no turbo lag ... With power rated at 91 PS (67 kW) at 3,750 rpm, the engine also delivers an outstanding 204 Nm of torque from 2,000 rpm to 2,750 rpm....(size: 10.0Kb)
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Stuff
15 May 2013
2.4-litre four-cylinder 16-valve DOHC i-VTEC petrol engine, 129 kW at 6900 rpm, 225 Nm at 4000 rpm. 3.5-litre V6 24-valve VCM i-VTEC petrol engine, 206 kW at 6200 rpm, 339 Nm at 4900 rpm ... reworked so it now produces 206 kW and 339 Nm, and with torque markedly improved in the lower rev ranges below 4900 rpm where the engine typically operates....(size: 7.5Kb)
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PR Newswire
15 May 2013
"We are excited to partner with the United Way of Southeast Louisiana Area to raise funds to help those who still suffer from the effects of Hurricane Katrina," said Glenn Mueller , RPM Pizza president and Domino's Pizza New Orleans franchise owner ... "RPM Pizza is so proud to be a part of this community, as we have as a local business for the past 32 years," said Mueller....(size: 3.5Kb)
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noodls
15 May 2013
(Source ... 2013-05-15 ... Up to 280 Nm from just 1,650 rpm Greater economy ... It generates exceptional maximum torque of up to 280 Nm (50 Nm more than its predecessor), which is available from just 1,650 rpm (previous generation. 2,200 rpm) ... While most competitors provide maximum torque of 240 - 250 Nm, the Astra five-door, sedan and Sports Tourer 1.6 SIDI Turbo impress with powerful low-end torque of up to 280 Nm between 1,650 and 4,250 rpm....(size: 6.1Kb)
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U~T San Diego
15 May 2013
sales record this year. The current GL record is 26,396 in 2007 ... There are new, more powerful engines for the 2013 model year, too, including a 550-horsepower, 5.5-liter, biturbo, gasoline V-8 with a whopping 560 foot-pounds of torque starting at 2,000 rpm ... Still, a strong GL contender in the lineup is the base GL350 with a much more fuel thrifty, 240-horsepower, diesel V-6 and an impressive at 455 foot-pounds starting at 1,600 rpm ... ....(size: 3.3Kb)
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The Washington Post
15 May 2013
Associated Press ... officials say ... Associated Press ... U.S ... There are new, more powerful engines for the 2013 model year, too, including a 550-horsepower, 5.5-liter, biturbo, gasoline V-8 with a whopping 560 foot-pounds of torque starting at 2,000 rpm ... Still, a strong GL contender in the lineup is the base GL350 with a much more fuel thrifty, 240-horsepower, diesel V-6 and an impressive at 455 foot-pounds starting at 1,600 rpm ... ....(size: 4.0Kb)
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Seattle Post
15 May 2013
sales record this year. The current GL record is 26,396 in 2007 ... There are new, more powerful engines for the 2013 model year, too, including a 550-horsepower, 5.5-liter, biturbo, gasoline V-8 with a whopping 560 foot-pounds of torque starting at 2,000 rpm ... Still, a strong GL contender in the lineup is the base GL350 with a much more fuel thrifty, 240-horsepower, diesel V-6 and an impressive at 455 foot-pounds starting at 1,600 rpm ... ....(size: 5.8Kb)
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The Business Review
15 May 2013
The winning bid for coffee with Apple CEO Tim Cook in an online charity auction was $610,000. Web contributor- Silicon Valley Business Journal. The winning in an online charity auction was $610,000. The auction, to raise money for the RFK Center for Justice and Human Rights, had 86 bidders and the winner's identity was not disclosed, . The auction site, , valued the meeting at $50,000 ... Companies. AAPL Related links. ... RPM Mortgage, Inc ... ... ... ... ....(size: 3.0Kb)
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The Business Review
15 May 2013
Google Inc. is expected to launch a paid music streaming service as soon as this week, possibly at its Google I/O conference that starts Wednesday. Web contributor- Silicon Valley Business Journal. is expected to launch a paid music streaming service as soon as this week, possibly at its Google I/O conference that starts Wednesday ... Related.. Companies. GOOG Related links.. Industries.. Comments ... Most Popular ... Seiler LLP ... RPM Mortgage, Inc ... ... ... ... ....(size: 3.1Kb)
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The Business Review
15 May 2013
Bloomberg. Google Inc. has been ordered by a court in Germany to remove autocomplete from some searches when the resulting suggestions are considered libelous. . Web contributor- Silicon Valley Business Journal. has been ordered by a court in Germany to remove autocomplete from some searches when the resulting suggestions are considered libelous. The move overturned two lower court rulings, ... Companies ... Industries. ... RPM Mortgage, Inc ... ... ....(size: 3.2Kb)
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The Business Review
15 May 2013
Bloomberg. Apple Inc. has asked the court to allow it to add the Samsung Galaxy S4 to its second patent suit against Samsung Electronics Co. Ltd. and has indicated it is willing to remove another device from the suit to keep its list at 22. Web contributor- Silicon Valley Business Journal ... The move comes after the court asked both Apple and Samsung to identify the infringing products they want included in the case, ... RPM Mortgage, Inc ... ... ... ... ....(size: 3.2Kb)
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noodls
15 May 2013
(Source. MAN SE). At the end of April, 2013 in Korea, MAN Diesel & Turbo's latest G-type engine passed its Type Approval Test at HHI-EMD, the engine and machinery division of Hyundai Heavy Industries ... Christian O. Rasmussen, Head of Classification Business, MAN Diesel & Turbo, praised the collaboration between his company and HHI-EMD and said ... G-type engines' longer stroke results in a lower rpm for the engine driving the propeller....(size: 2.7Kb)
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The Independent
15 May 2013
Price. £23,995. Engine capacity. 1.4-litre turbo diesel. Power Output (PS @ rpm). 140 @ 6000. Top Speed (mph). 129. 0-60 mph (seconds). 10.2. Fuel economy (mpg). 44.8. CO2 emissions (g/km). 148. This is Cassandra. Sorry, let me start again, this is the Cascada and it's the new convertible from Vauxhall ... And it's not just Jaguars and Porsches either, even sensible car makers like Ford, Volkswagen and Vauxhall like to take their tops off these days ... ....(size: 3.2Kb)
For other uses, see Revolutions per minute (disambiguation).
"RPM" redirects here. For other uses, see RPM (disambiguation).
Revolutions per minute (abbreviated rpm, RPM, r/min, or r·min−1) is a measure of the frequency of a rotation. It annotates the number of full rotations completed in one minute around a fixed axis. It is used as a measure of rotational speed of a mechanical component.
Standards organizations generally recommend the symbol r/min, which is more consistent with the general use of unit symbols. This is not enforced as an international standard. In French for example, tr/mn (tours par minute) is commonly used, and the German equivalent reads U/min (Umdrehungen pro Minute).
Contents |
International System of Units[link]
According to the International System of Units (SI), rpm is not a unit. This is because Revolutions is a semantic annotation rather than a unit. The annotation is instead done in the subscript of the formula sign if needed. Because of the measured physical quantity, the formula sign has to be f for (rotational) frequency and ω or Ω for angular velocity. The corresponding basic SI unit is s−1 or Hz. When measuring angular speed, rad·s−1 can also be used as unit.
Even though angular velocity, angular frequency and hertz all have the dimensions of 1/s, angular velocity and angular frequency are not expressed in hertz, but rather in an appropriate angular unit such as radians per second. Thus a disc rotating at 60 revolutions per minute (rpm) is said to be rotating at either 2π rad/s or 1 Hz, where the former measures the angular velocity and latter reflects the number of complete revolutions per second. The conversion between a frequency f measured in hertz and an angular velocity ω measured in radians per second are:
- Failed to parse (Missing texvc executable; please see math/README to configure.): \omega = 2 \pi f\,\,\text{and}\,\,f = \frac {\omega} {2 \pi}\text{.}\,\!
Examples[link]
Main article: Orders of magnitude (angular velocity)
- On many kinds of disc recording media, the rotational speed of the medium under the read head is a standard given in rpm. Gramophone (phonograph) records, for example, typically rotate steadily at 16 2⁄3, 33 1⁄3, 45 or 78 rpm (5⁄18, 5⁄9, 3⁄4, or 1.3 Hz respectively).
- Modern ultrasonic dental drills can rotate at up to 800,000 rpm (13.3 kHz).
- The "second" hand of a conventional analogue clock rotates at 1 rpm.
- Audio CD players read their discs at a precise, constant rate (4.12335 mbit/sec of raw physical data for 1.4112 mbit/sec (172.2KB/s) of usable audio data) and thus must vary the disc's rotational speed from around 480 rpm (actually 8 Hz), when reading at the innermost edge, to 210 rpm (actually 3.5 Hz) at the outer edge.[1] CD-ROM drives’ maximum rotational speeds are rated in multiples of this figure, even though they do not hold to constant read speeds when reading from most disc formats. A plain figure, e.g. "8x" denotes a continual read speed and variable spin speed up to eight times the original maximum (64Hz, 3840 RPM); one noted as e.g. "32x max" denotes a constant spin speed at thirty-two times the original minimum (112Hz, 6720 RPM) and a variable read speed which may be as low as 14x at the point where a 1x drive would spin at 480 RPM, only reaching a true 32x in the regions which would have required 210 RPM. By holding the RPM constant, a greater maximum read speed can be achieved for the same maximum RPM (an "8x" drive becomes an "18x max"; drives commonly offer 40, 48 or 52x maximum speeds when problems of vibration and discs disintegrating due to centrifugal forces would otherwise limit them to less than 24x / 11000 RPM) when there is no need for it to remain fixed across the whole disc. As more linear space is available per rotation at the outer edges, and late-1970s technology imposed quite coarse limits on the minimum size of the physical data structures, keeping a constant RPM would have been wasteful of disc area and demanded larger discs, lower audio quality, shorter running time, or a combination of all three. Despite the additional complexity of continually adjusting the rotational speed, it is a worthwhile tradeoff to improve data density.
- DVD players also usually read discs at a constant linear rate. The disc's rotational speed varies from 1530 rpm (actually 25.5 Hz), when reading at the innermost edge, and 630 rpm (actually 10.5 Hz) at the outer edge.[1] PC DVD drives’ speeds are, like CD drives, usually given in multiples of this figure, either as an overall multiplier (e.g. in slower 4x drives which may spin at up to 6120 RPM when reading data near the spindle), or a maximum based on peak read speed (e.g. "16x max" for a model that spins up to 10080 RPM across the whole disc). The overall multipliers are lower than for CDs, as "single speed" DVD already spins approximately 3x faster than CD but is subject to similar limits on maximum RPM. The remainder of the difference in data transfer speed (1385 vs 150 KB/sec for data (DVD has no mode equivalent to CDDA), or a little more than 9x) comes from increased linear storage density and a slight improvement in error-correction efficiency. The same limits are also seen in Blu-Ray drives and media, where the basic spin rate is higher still (similar to 4x CD) and the fastest typical PC drives operate at "12x max" (5x minimum) BD speed; almost 52 MB/sec, over 350x basic CDROM speed, but still no higher physical spin speed than the 10~12,000 RPM of 48~52x Max CDROMs.
- A washing machine's drum may rotate at 500 to 2000 rpm (8–33 Hz) during the spin cycles.
- A power generation turbine (with a 2 pole alternator) rotates at 3000 rpm (50 Hz) or 3600 rpm (60 Hz), depending on country – see AC power plugs and sockets.
- Modern Automobile engines are typically operated around 2000–3000 rpm (33–50 Hz) when cruising, with a minimum (idle) speed around 750–900 rpm (12.5–15 Hz), and an upper limit anywhere from 4500 to 10,000 rpm (75–166 Hz).
- A piston aircraft engine typically rotates at a rate between 2000 and 3000 rpm (30–50 Hz).
- Computers’ hard drives typically rotate at 5400 or 7200 rpm (90 or 120 Hz), the most common speeds for the ATA or SATA-based drives in consumer models. High-performance drives (used in fileservers and enthusiast gaming PCs) rotate at 10,000 or 15,000 rpm (160 or 250 Hz), usually with higher-level SATA, SCSI or Fibre Channel interfaces and smaller platters to allow these higher speeds, the reduction in storage capacity and ultimate outer-edge speed paying off in much quicker access time and average transfer speed thanks to the high spin rate. Until recently, lower end and "eco" laptop drives could be found with 4200 or even 3600 RPM spindle speeds (70 and 60 Hz) but these have fallen out of favour due to their lower performance, improvements in energy efficiency amongst faster models, and the takeup of SSDs for use in slimline and "ultra portable" machines. Similar to CD and DVD media, the amount of data that can be stored or read for each turn of the disc is greater at the outer edge than near the spindle; however, hard drives keep a constant RPM, so the effective data rate is faster at the edge (conventionally, the "start" of the disc, opposite to CD/DVD).
- Floppy disc drives typically ran at a constant 300 or occasionally 360 RPM (a relatively slow 5 or 6 Hz) with a constant per-revolution data density, which was simple and inexpensive to implement, though inefficient. Some designs such as those used with older Apple computers (Lisa, early Macintosh, later II's) were more complex and used variable RPM and per-track storage density (at a constant read/record rate) to store more data per disc; for example, between 394 RPM (with 12 sectors/track) and 590 RPM (8 sectors) with the Mac's 800 KB double-density drive at a constant 39.4 KB/sec (max) – vs 300 RPM, 720 KB and 23 KB/sec (max) for double-density drives in other machines. [2]
- The engine of a Formula One racing car can reach 18,000 rpm (300 Hz) under some circumstances.[3] The exhaust note of the car has a much higher pitch, because each of the cylinders of a four-stroke engine fires once for every two revolutions of the crankshaft. Thus an eight-cylinder engine turning 300 times per second will have an exhaust note of 1200Hz.
- A Zippe-type centrifuge for enriching uranium spins at 90,000 rpm (1,500 Hz) or faster.[4]
- Gas turbine engines rotate at tens of thousands of rpm. JetCat model aircraft turbines are capable of over 100,000 rpm (1,700 Hz) with the fastest reaching 165,000 rpm (2,750 Hz).[5]
- An electromechanical battery (EMB) works at 60,000–200,000 rpm (1–3 kHz) range using a passively magnetic levitated flywheel in vacuum.[6] The choice of the flywheel material is not the most dense, but the one that pulverises the most safely, at surface speeds about 7 times the speed of sound.
- A turbocharger can reach 290,000 rpm (4,800 Hz), while 80,000–200,000 rpm (1–3 kHz) is common.
See also[link]
- Orders of magnitude (angular velocity)
- Constant linear velocity, or CLV, used when referring to the speed of audio CDs
- Constant angular velocity, or CAV, used when referring to the speed of gramophone (phonograph) records
- Turn (geometry)
References[link]
- ^ a b "Physical parameters of DVD". DVD Technical Notes. Moving Picture Experts Group (MPEG). 1996-07-21. http://www.mpeg.org/MPEG/DVD/Book_A/Specs.html. Retrieved 2008-05-30.
- ^ "Double-Density Versus High-Density Disks, Apple online support pages". apple.com. http://support.apple.com/kb/TA39910?viewlocale=en_US. Retrieved 2012-05-05.
- ^ "The Official Formula 1 Website". formula1.com. http://www.formula1.com/inside_f1/understanding_the_sport/5280.html. Retrieved 2008-05-13.
- ^ "Slender and Elegant, It Fuels the Bomb". electricityforum.com. http://www.electricityforum.com/news/mar04/centrifuge.html. Retrieved 2006-09-24.
- ^ "JetCat P-60 turbine specification page". jetcat.com. http://www.jetcatusa.com/p60.html. Retrieved 2006-07-19.
- ^
- A typical 80mm, 30 CFM computer fan will spin at 2,600–3,000 rpm on 12 V DC power.
http://wn.com/Revolutions_per_minute
This page contains text from Wikipedia, the Free Encyclopedia - http://en.wikipedia.org/wiki/Revolutions_per_minute
This article is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.
This article is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.
| Leslie Roy Mills CNZM, MBE |
|
|---|---|
| 36th Mayor of Auckland City | |
| In office 1990–1998 |
|
| Preceded by | Catherine Tizard |
| Succeeded by | Christine Fletcher |
| Personal details | |
| Born | (1934-11-01) 1 November 1934 (age 77) New Zealand |
| Nationality |  New Zealand |
Leslie ("Les") Roy Mills CNZM, MBE, (born 1 November 1934 in Auckland) is a retired New Zealand athlete, who represented New Zealand at Olympic Games and Commonwealth Games over two decades. He competed in shot put, discus and weightlifting events. At the 1966 British Empire and Commonwealth Games he achieved his best result, a gold medal in discus.
After retiring from active competition, Mills became a gym owner in 1968 and a businessman. He was Mayor of Auckland, New Zealand's largest city, from 1990 to 1998. He gives his name to Les Mills International, a company founded by his son Phillip Mills.[1]
Contents |
Athletics career[link]
| Medal record | ||
|---|---|---|
| Men's Athletics | ||
| Competitor for New Zealand |
||
| Commonwealth Games | ||
| Gold | 1966 Kingston | Discus |
| Silver | 1958 Cardiff | Discus |
| Silver | 1966 Kingston | Shot put |
| Silver | 1970 Edinburgh | Discus |
| Bronze | 1970 Edinburgh | Shot put |
- 1952: Wins New Zealand Junior Shot and Discus
- 1958 British Empire and Commonwealth Games: Discus, Silver Medal
- 1960 Summer Olympics: Captain and Flagbearer for the New Zealand Team. Placed 11th in Shot Put, and 28th in Discus.
- 1962 British Empire and Commonwealth Games: 5th place Discus, 6th place Shot.
- 1964 Summer Olympics: 7th place Shot.
- 1966 British Empire and Commonwealth Games: Gold Medal Discus, Silver Medal Shot Put
- 1968 Summer Olympics: Competed injured, 11th place Shot
- 1970 British Commonwealth Games: Discus Silver Medal, Shot Put Bronze Medal.
- 1972 Summer Olympics: 14th place Discus, 23rd Shot Put.
- 1974–1976 National Sports Director of Papua New Guinea.
- 1977–1979 First Director of Coaching in Athletics for New Zealand.
- 1978 Commonwealth Games New Zealand Coach.
He also has trained New Zealand throwers, such as Beatrice Faumuina.
Personal bests[link]
| Event | Distance | Place | Date |
|---|---|---|---|
| Discus | 61.52 m | 1971 | |
| Shot put | 19.80 m | Honolulu | 1967 |
Mills's personal best for the shot put was a New Zealand national record for 44 years, until 16-year-old Jacko Gill broke it on 23 April 2011 with a throw of 20.01 m[2]
Mills is only one of two people to have the rare honour of twice being the New Zealand flag bearer at Olympic Games, the other being Arthur Porritt.[3]
Mayor of Auckland City[link]
Mills served as the Mayor of Auckland City between 1990 and 1998.[4] His Mayoral term commenced with a by-election in 1990 after the resignation of Dame Catherine Tizard, who had been appointed Governor-General. The new council had been formed following local body amalgamation in 1989 which saw many of the district borough councils merged into one larger city. Mills' first term oversaw the merger of these many district boroughs into one city. The Aotea Centre was also opened at the beginning of his term. Other initiatives which commenced on Mills' watch as Mayor included the introduction of the green "wheelie bins", metered user charges for water use, council assets like golf courses were leased to private management, and the city also quit some assets that no longer were of priority, like its abattoir.
Other major events during Mills' tenure included work commencing on the America's Cup Village at the Auckland viaduct, the commencement and opening of the Sky Tower and Casino complex that now dominates the Auckland skyline, the redevelopment of the Civic theatre, and refurbishment of the Auckland Town Hall.
During this period, the 1998 Auckland power crisis occurred, which shut down most of the inner city. Mills' Britomart Transport Centre plans also came under some criticism as being too focused on property development and not enough on transport. His successor Christine Fletcher led plans for a scaled down Britomart Station without the large property development plans.
Mills was defeated in a three way contest between himself, businessman Richard Holden and eventual winner Christine Fletcher in 1998. Mills himself was absent for most of the election campaign, leading the New Zealand team at the 1998 Commonwealth Games, and mentoring the gold medal winning discus thrower Beatrice Faumuina.
References[link]
- ^ "Planet Fitness". http://www.les-mills.com/lesmillsinternational.htm. Retrieved 28 July 2010.
- ^ "Athletics: Jacko's massive throw an absolute thriller". nzherald. http://www.nzherald.co.nz/sport/news/article.cfm?c_id=4&objectid=10721230. Retrieved 24 April 2011.
- ^ "Mark Todd best bet to carry NZ's flag again". stuff.co.nz. http://www.stuff.co.nz/sport/olympics/6786263/Mark-Todd-best-bet-to-carry-NZs-flag-again. Retrieved 22/4/2012.
- ^ Orsman, Bernard (11 October 2004). "Race is over – now hard work begins". The New Zealand Herald. http://www.nzherald.co.nz/nz/news/article.cfm?c_id=1&objectid=3599218. Retrieved 20 September 2010.
External links[link]
- Les Mills Fitness Programs
- Les Mills International (USA) homepage
- Les Mills International (Australia) homepage
- Les Mills in the UK
- Les Mills International (China) homepage
- Profile at New Zealand Commonwealth Games website
| Political offices | ||
|---|---|---|
| Preceded by Catherine Tizard |
Mayor of Auckland City 1990–1998 |
Succeeded by Christine Fletcher |
|
|||||
|
||||||||||||||
| Persondata | |
|---|---|
| Name | Mills, Les |
| Alternative names | |
| Short description | New Zealand athlete and politician |
| Date of birth | 1 November 1934 |
| Place of birth | New Zealand |
| Date of death | |
| Place of death | |
http://wn.com/Les_Mills
This page contains text from Wikipedia, the Free Encyclopedia - http://en.wikipedia.org/wiki/Les_Mills
This article is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.
This article is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.
| Caetano Veloso | |
|---|---|
 Caetano Veloso at Umbria Jazz (Perugia, Italy) |
|
| Background information | |
| Birth name | Caetano Emanuel Viana Teles Veloso |
| Born | (1942-08-07) August 7, 1942 (age 69) |
| Origin | Santo Amaro da Purificação, Bahia, Brazil |
| Genres | Música Popular Brasileira, tropicalismo, psychedelic rock, folk rock, standards |
| Occupations | Singer-songwriter, musician, writer |
| Instruments | Vocals, guitar |
| Years active | 1967–present |
| Labels | RCA, Universal Music Group |
| Associated acts | Gilberto Gil, Maria Bethânia, Gal Costa, Chico Buarque, Os Mutantes, Jorge Ben, João Gilberto |
| Website | http://www.caetanoveloso.com.br |
Caetano Emanuel Viana Teles Veloso (Portuguese pronunciation: [kaeˈtɐ̃nu emanuˈɛw viˈɐ̃nɐ ˈtɛlis veˈlozu]; born August 7, 1942), better known as Caetano Veloso, is a Brazilian composer, singer, guitarist, writer, and political activist. Veloso first became known for his participation in the Brazilian musical movement Tropicalismo, which encompassed theatre, poetry and music in the 1960s, at the beginning of the Brazilian military dictatorship. He has remained a constant creative influence and best-selling performing artist and composer ever since.
Veloso was born in the city of Santo Amaro da Purificação, in Bahia, a state in the northeastern area of Brazil, but moved to Salvador, the state capital, as a college student in the mid-1960s. Soon after the move, Veloso won a music contest and was signed to his first label. He became one of the founders of Tropicalismo with a group of several other musicians and artists—including his sister Maria Bethânia—in the same period. However the Brazilian government at the time viewed Veloso's music and political action as threatening, and he was arrested, along with fellow musician Gilberto Gil, in 1969. The two eventually were exiled from Brazil, and went to London, where they lived for two years. After he moved back to his home country, in 1972, Veloso once again began recording and performing, becoming popular outside of Brazil in the 1980s and 1990s.
Contents |
Biography[link]
Early years (1942–1969)[link]
 |
A 19 second sample of "O Leãozinho", a song recorded relatively early in Veloso's career.
|
| Problems listening to this file? See media help. | |
Veloso was born in Santo Amaro da Purificação, Bahia, the fifth of seven children of José Teles Veloso (1901–1983) and Claudionor Viana Teles Veloso (born 1907). His childhood was influenced greatly by artistic endeavors: he was interested in both literature and filmmaking as a child, but focused mainly on music. The musical style of bossa nova and João Gilberto, one of its most prominent exponents, were major influences on Veloso's music as he grew up.[1] Veloso first heard Gilberto at 17 years old, and describes the musician as his "supreme master."[2] He recognizes Gilberto's contribution to Brazilian music as new—"illuminating" the tradition of Brazilian music and paving the way for future innovation.[2] Veloso moved to the Bahian port city of Salvador as a teenager, the city in which Gilberto lived and a center of Afro-Brazilian culture and music.[3]
1n 1965 he moved again to Rio de Janeiro, with his sister Maria Bethânia, also a musician. Shortly after the move, Veloso won a lyrics contest for his composition "Um Dia" and was signed to Philips Records.[4] Beginning in 1967, with collaborators including Bethânia, Gilberto Gil, Gal Costa, Tom Zé, and Os Mutantes, Veloso developed Tropicalismo, which fused Brazilian pop with rock and roll and avant-garde music. Veloso describes the movement as a wish to be different—not "defensive" like the right-wing Brazilian military government, which vehemently opposed the movement. Leftist college students also condemned Tropicalismo because they believed it commercialized Brazilian traditional music by incorporating musical influence from other cultures, specifically the United States.[2] Even though Tropicalismo was controversial among traditional critics, it introduced to Música Popular Brasileira new elements for making music with an eclectic style.[5]
Veloso studied philosophy at the Universidade Federal da Bahia,[1] which influenced both his artistic expression and viewpoint on life. Two of his favorite philosophers were Jean-Paul Sartre and Martin Heidegger.[5] Veloso's leftist political stance earned him the enmity of Brazil's military dictatorship which ruled until 1985; his songs were frequently censored and some banned. Veloso and Gil spent several months in prison in 1969 and then were sent into exile. He said that "they didn't imprison us for any song or any particular thing that we said," ascribing the government's reaction to its unfamiliarity with the cultural phenomenon of Tropicália—they seemed to say "We might as well put them in prison."[6] The federal police detained the two and flew them to an unknown destination. Finally, Veloso and Gil lived out their exile in London, England. When Caetano was asked about his experience there he says, "London felt dark, and I felt far away from myself." Nevertheless, the two improved their music there and were asked to make a musical production with the producer Ralph Mace.[5]
Musical career (1972–present)[link]
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Veloso's work upon his return in 1972 was often characterized by frequent merging not only of international styles but of Brazilian folkloric styles and rhythms as well. His popularity grew outside Brazil in the 1980s, especially in Israel, Greece, Portugal, France, and Africa. His records released in the United States, such as O Estrangeiro, helped gain him a larger audience.
To celebrate 25 years of Tropicalismo, Veloso and Gilberto Gil released a CD called Tropicalia 2 in 1993.[7] One song, "Haiti", attracted people's attention during the time, especially because it included powerful statements about sociopolitical issues present in Haiti and also in Brazil. Issues addressed in the song included ethnicity, poverty, homelessness, and capital corruption in the AIDS pandemic.[7][8] By 2004, he was one of the most respected and prolific international pop stars, with more than 50 recordings available including songs in film soundtracks of Michelangelo Antonioni's Eros, Pedro Almodóvar's Hable con ella, and Frida, for which he performed at the 75th Academy Awards but did not win. In 2002 Veloso published an account of his early years and the Tropicalismo movement, Tropical Truth: A Story of Music and Revolution in Brazil.
His first all-English CD was A Foreign Sound (2004), which covers Nirvana's "Come as You Are" and compositions from the Great American Songbook such as "The Carioca" (music by Vincent Youmans and lyrics by Edward Eliscu and Gus Kahn), "Always" (music and lyrics by Irving Berlin), "Manhattan" (music by Richard Rodgers and lyrics by Lorenz Hart), "Love for Sale" (music and lyrics by Cole Porter), and "Something Good" (music and lyrics by Richard Rodgers). Five of the six songs on his third eponymous album, released in 1971, were also in English.
Veloso has contributed songs to two AIDS benefit compilation albums produced by the Red Hot Organization: Red Hot + Rio (1996) and Onda Sonora: Red Hot + Lisbon (1998).
In 2011, he again contributed two songs to the Red Hot Organization's most recent compilation album, "Red Hot + Rio 2." The two tracks include Terra (Prefuse 73 '3 Mellotrons In A Quiet Room' Version) and Dreamworld: Marco de Canaveses, in collaboration with David Byrne.
His September 2006 album, Cê, was released by Nonesuch Records in the United States. It won two Latin Grammy Awards, one for best singer-songwriter[9] and one for Best Portuguese Song, "Não Me Arrependo".[10] With a total of five Latin Grammys, Veloso has received more than any other Brazilian performer.
Veloso has been called "one of the greatest songwriters of the century"[11] and "a pop musician/poet/filmmaker/political activist whose stature in the pantheon of international pop musicians is on a par with that of Bob Dylan, Bob Marley, and Lennon/McCartney".[4]
Veloso has won five Latin Grammy Awards.[citation needed]
Personal life[link]
Veloso's first marriage in 1969 was to a dance student named Andréa Gadelha, known as Dedé, who was the sister of Gilberto Gil's ex-wife Sandra Gadelha. With Dedé, he had his first son Moreno, born in 1972. In 1982 Veloso started a relationship with Paula Lavigne. Veloso's marriage with Gadelha ended in 1983 and he married Lavigne in 1986 when she was 17. The couple had two sons: Zeca (born 1992) and Tom (born 1997). Veloso and Lavigne divorced in 2004.
Musical style[link]
Veloso's home, Bahia, has had a decisive role in his music. He praises Bahia for its importance in Brazil's colonial period—when the Portuguese first came—as well as for Bahia's contribution to Brazilian music. He has cited among his musical influences Amália Rodrigues, Cole Porter, the Rolling Stones 1969 tour, and above all, João Gilberto.
Veloso says that he is unable to make a comparison between his musical style in the 1960s, at the height of Tropicália, and his current work. He does note, however, that he has been able to accomplish music of a higher quality later in his career; that he is "better at everything."[2]
Discography[link]
Studio albums[link]
|
Live albums[link]
Soundtracks[link]
Compilations[link]
|
References[link]
- ^ a b Manning, Jason. "The Life of Caetano Veloso". Online NewsHour (Public Broadcasting Service). http://www.pbs.org/newshour/bb/entertainment/veloso/biography.html. Retrieved 2008-03-22.
- ^ a b c d Gross, Terry; Veloso, Caetano (2002-12-10). "Brazilian Songwriter Caetano Veloso" (radio). Fresh Air (National Public Radio). http://www.npr.org/templates/story/story.php?storyId=873042. Retrieved 2008-05-16.
- ^ Wald (2007), p. 118
- ^ a b Dougan, John. "Biography". Allmusic. All Media Guide. http://www.allmusic.com/artist/p3470/biography. Retrieved 2008-03-22.
- ^ a b c Schnabel, Tom (1998). Rhythm Planet: The Great World Music Makers. New York City, New York: Universe Publishing. ISBN 0-7893-0238-1.
- ^ Pareles, Jon (1992-09-09). "At Lunch with Caetano Veloso; Lots of Rebellion and a Little Hot Sauce For the Spirited Bob Dylan of Brazil". The New York Times (The New York Times Company). http://query.nytimes.com/gst/fullpage.html?res=9E0CEEDF113FF93AA3575AC0A964958260. Retrieved 2008-05-16.
- ^ a b Béhague, Gerard, Gerard. (Spring/Summer 2006). "Rap, Reggae, Rock, or Samba: The Local and the Global in Brazilian Popular Music (1985–95)". Latin American Music Review 27 (1): 79–90. DOI:10.1353/lat.2006.0021. http://muse.jhu.edu/login?uri=/journals/latin_american_music_review/v027/27.1behague08.html.
- ^ Scheper-Hughes, Nancy; Hoffman, Daniel (May/June 1994). "Kids Out of Place" (– Scholar search). NACLA report on the Americas (New York City, New York: NACLA) 575: 122. DOI:10.1177/0002716201575001008. Archived from the original on October 27, 2007. http://web.archive.org/web/20071027234702/http://www.dreamscanbe.org/Reasearch+Page+Docs/Scheper-Hughes+et+al+-+KIDS+OUT+OF+PLACE.doc. Retrieved 2008-03-22. [dead link]
- ^ "Mejor Album Cantautor" (in Spanish). Univision.com. http://www.univision.com/content/content.jhtml?cid=726869. Retrieved 2008-03-22.
- ^ "Mejor Cancion Brasileña (Idioma Portugues)" (in Spanish). Univision.com. http://www.univision.com/content/content.jhtml?cid=675839. Retrieved 2008-03-22.
- ^ Rohter, Larry (2002-11-17). "A Revolutionary Who's Still on the Move". The New York Times (The New York Times Company). http://query.nytimes.com/gst/fullpage.html?res=9E06EED61131F934A25752C1A9649C8B63. Retrieved 2008-03-22.
Sources
- Perrone, Charles A. (1989) Masters of Contemporary Brazilian Song: MPB 1965-1985. Austin: University of Texas Press. Chapter 2 "Other Words and Other Worlds of Caetano Veloso."
- Wald, Elijah (2007). Global Minstrels: Voices of World Music. New York City, New York: Routledge. ISBN 0-415-97930-7.
- Veloso, Caetano (2003). Tropical Truth: A Story of Music and Revolution in Brazil. New York City, New York: Alfred A. Knopf.
- Mei, Giancarlo (2004) (in Italian). Canto Latino: Origine, Evoluzione e Protagonisti della Musica Popolare del Brasile. Stampa Alternativa-Nuovi Equilibri.
- Veloso, Caetano (1997). Alegria, Alegria. Rio de Janeiro, Brazil: Pedra que Ronca.
- Veloso, Caetano (1997). Verdade tropical. São Paulo, Brazil: Companhia das Letras.
- Veloso, Caetano (2003). Letra só. São Paulo, Brazil: Companhia das Letras.
- Veloso, Caetano (2005). O mundo não é chato. São Paulo, Brazil: Companhia das Letras.
- Morais Junior, Luís Carlos de (2004). Crisólogo: O estudante de poesia Caetano Veloso. Rio de Janeiro, Brazil: HP Comunicação.
External links[link]
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Wikimedia Commons has media related to: Caetano Veloso |
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Wikiquote has a collection of quotations related to: Caetano Veloso |
- Official site
- Caetano Veloso discography on Slipcue.com
- Caetano Veloso, "Zii e zie" by Billboard
- Caetano Veloso Album Guide
- Caetano Veloso Performing live
- Caetano Veloso on Charlie Rose
- Caetano Veloso at the Internet Movie Database
- Works by or about Caetano Veloso in libraries (WorldCat catalog)
- Caetano Veloso collected news and commentary at The New York Times
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| Persondata | |
|---|---|
| Name | Veloso, Caetano |
| Alternative names | Veloso, Caetano Emanuel Viana Teles |
| Short description | Singer, songwriter, composer, writer, activist |
| Date of birth | August 7, 1942 |
| Place of birth | Santo Amaro, Bahia, Brazil |
| Date of death | |
| Place of death | |
http://wn.com/Caetano_Veloso
This page contains text from Wikipedia, the Free Encyclopedia - http://en.wikipedia.org/wiki/Caetano_Veloso
This article is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.
This article is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.
| Mike Nichols | |
|---|---|
| Born | Michael Igor Peschkowsky (1931-11-06) November 6, 1931 (age 80) Berlin, Germany |
| Occupation | Film director, theatrical director, comedian |
| Years active | 1963–present |
| Spouse | Patricia Scott (m. 1957–1960) Margo Callas (m. 1963–1974) Annabel Davis-Goff (1975–1986) Diane Sawyer (m. 1988–present) |
Mike Nichols (born Michael Igor Peschkowsky; November 6, 1931) is a German-born American television, stage and film director, writer, producer and comedian. He began his career in the 1950s as one half of the comedy duo Nichols and May, along with Elaine May. In 1968 he won the Academy Award for Best Director for the film The Graduate. His other noteworthy films include Who's Afraid of Virginia Woolf?, Carnal Knowledge, Working Girl, Closer and the TV mini-series Angels in America. He also staged the original theatrical productions of Barefoot in the Park, Luv, The Odd Couple and Spamalot.
Nichols is one of a small group of people who have won an Emmy, Grammy, Oscar, and Tony Award. His other honors include the Lincoln Center Gala Tribute in 1999, the National Medal of Arts in 2001,[1] the Kennedy Center Honors in 2003 and the AFI Life Achievement Award in 2010.
Contents |
Early life and education[link]
Mike Nichols was born Michael Igor Peschkowsky[2] in Berlin, Germany, the son of Brigitte (née Landauer) and Paul Peschkowsky, a physician.[2][3] His father was born in Vienna, Austria, to a Russian Jewish immigrant family that had been wealthy and lived in Siberia, leaving after the Russian Revolution and settling in Germany around 1920.[2] His mother's family were German Jews.[2] His maternal grandparents were anarchist Gustav Landauer and author Hedwig Lachmann. Nichols is a third cousin twice removed of scientist Albert Einstein, through Nichols' mother.[2] He moved to the United States to flee the Nazis on April 28, 1939.[2][4][5] His father, who had changed his name to Paul Nichols, had successfully set up a medical practice in Manhattan and the family lived near Central Park.[6] He became a naturalized citizen of the United States in 1944 and attended public elementary school in Manhattan (PS 87).[7] After graduating from Walden High School, Nichols briefly attended New York University before dropping out. In 1950, he enrolled in the pre-med program at the University of Chicago.[6]
While attending the University of Chicago in the 1950s, Nichols began skipping class to attend theatrical activities. Nichols first met Elaine May at this time when she criticized his acting in a performance of August Strindberg's Miss Julie. At the University, Nichols made his theatrical debut as a director with a performance of William Butler Yeats' Purgatory.[6]
In 1954, Nichols dropped out of the University of Chicago and moved back to New York City, where he was accepted into the Actor's Studio and studied under Lee Strasberg.
Nichols and May[link]
In 1955 Nichols was invited to join the Compass Players, which was predecessor to Chicago's Second City and whose members included Elaine May, Shelley Berman, Paul Sills, Del Close, and Nancy Ponder.[6][8]
Nichols moved back to Chicago to perform comedy with Compass and starting doing improvisational routines with Elaine May, which led to the formation of the comedy duo Nichols and May in 1958. They gradually gained popularity, appearing in nightclubs, and on radio. They released three best-selling records, made guest appearances on several television programs and won the 1962 Grammy Award for Best Comedy Album. In 1960 Nichols and May opened the Broadway show An Evening With Mike Nichols and Elaine May, directed by Arthur Penn. In the show they were accompanied by Chicago pianist Marty Rubenstein, host of the television show Marty's Place and the musical director at Mister Kelly's. . Personal idiosyncrasies and tensions eventually drove the duo apart to pursue other projects in 1961. They later reconciled and worked together many times, such as the unsuccessful A Matter of Position, a play written by May and starring Nichols. May scripted Nichols films The Birdcage and Primary Colors. They appeared together at President Jimmy Carter's inaugural gala and in a 1980 New Haven stage revival of Who's Afraid of Virginia Woolf? with Swoosie Kurtz and James Naughton.[9]
Career as a director[link]
1960s[link]
After the professional split with May, Nichols went to Vancouver, B.C. to pursue his theatrical directing career. He directed a production of The Importance of Being Ernest and acted in a production of George Bernard Shaw's St. Joan.[6]
In 1963, Nichols was chosen to direct Neil Simon's Barefoot In The Park. He realized almost at once that directing was what he wanted to do for the rest of his life. Barefoot in the Park was a blockbuster hit, running for 1530 performances and earning Nichols a Tony Award for his direction.[6] This began a series of highly successful plays on Broadway (often from works by Simon) that would establish his reputation. After an off-Broadway production of Ann Jellicoe's The Knack, Nichols directed Murray Schisgal's play Luv in 1964. Again the show was a hit and Nichols won a Tony Award (shared with The Odd Couple). In 1965 he directed another play by Neil Simon, The Odd Couple. The original production starred Art Carney as Fexlin Ungar and Walter Matthau as Oscar Madison. The play ran for 966 performances and won Tony Awards for Nichols, Simon and Matthau.[6] Overall, Nichols has won eight Tony Awards: six for Best Director of either a play or a musical, one for Best Play and one for Best Musical.
By 1966, Nichols was a star director and Time Magazine called him a superstar and "the most in-demand director in the American theatre."[6] With no experience in filmmaking, Warner Brothers invited Nichols to direct a screen adaptation of Edward Albee's Who's Afraid of Virginia Woolf? The film was a huge success, grossing $14.5 million, winning five Academy Awards with thirteen nominations (including Nichols first nomination for Best Director), three BAFTA Awards, and was critically acclaimed, with critics calling Nichols "the new Orson Welles."[6]
After his successful directorial debut, Nichols returned to Broadway to direct The Apple Tree before starting production on his second film,The Graduate. On its initial release The Graduate grossed $50 million, making it both the highest grossing film of 1967 and one of the highest grossing films in history up to that date. It was nominated for seven Academy Awards, including Best Picture, Best Actor, Best Actress, Best Supporting Actress, Best Adapted Screenplay and Best Cinematography. Mike Nichols won the Academy Award for Best Director.
Nichols then returned to the Broadway stage with a revival of Lillian Hellman's The Little Foxes in 1967, which ran for 100 performances. He then directed Neil Simon's Plaza Suite in 1968, earning him another Tony Award for Best Director. He also directed the short film Teach Me! in 1968, which starred actress Sandy Dennis
1970s[link]
At the height of his success and fame, Mike Nichols next film was a big-budget adaptation of Joseph Heller's famous novel Catch-22, released in 1970. Nichols then directed the controversial film Carnal Knowledge in 1971. The film grossed $12.3 million but was highly controversial upon release because of the casual and blunt depiction of sexual intercourse.
Nichols then returned to Broadway to direct Neil Simon's The Prisoner of Second Avenue in 1971. The play won Nichols another Tony Award for Best Director. In 1973 Nichols directed a revival of Anton Chekhov's Uncle Vanya on Broadway starring George C. Scott and with a new translation written by himself and Albert Todd.[6]
In 1973 Nichols directed The Day of the Dolphin, based on the novel A Sentient Animal) by Robert Merle and adapted by Buck Henry. The film was not successful financially and received mixed reviews from critics.[6]
In 1975 Nichols directed The Fortune. The film was a financial failure and received mostly negative reviews. Nichols has described it as "a leap into extremes of behavior and last resorts. It's about people so innocent that they don't know when you kill someone she dies. It's like kids playing bang-bang." It was Nichols last feature narrative film for eight years.[6]
Nichols then returned to the stage with two moderately successful production in 1976. David Rabe's Streamers opened in April and ran for 478 performances. Trevor Griffiths's Comedians ran for 145 performances.
Also in 1976 Nichols worked as Executive Producer to create the television sitcom Family for ABC. The series ran until 1980.
In 1977 Nichols produced the original Broadway production of the hugely successful musical Annie, it ran for 2,377 performances in 1983. Nichols won the Tony Award for Best Musical.
Later in 1977, Nichols directed D.L. Coburn's The Gin Game. The play ran for 517 performances and won a Tony Award for Best Actress for Jessica Tandy.
1980s[link]
In 1980 Nichols directed the documentary Gilda Live, a filmed performance of comedian Gilda Radner's one-woman show Gilda Radner Live on Broadway. It was released at the same time as the album of the show, both of which were successful.
Nichols then returned to the Broadway stage with two unsuccessful shows. Billy Bishop Goes to War opened in 1980 and closed after only twelve performances. In 1981 Nichols directed Neil Simon's Fools, which closed after forty performances.
Nichols career seemed to rebound in 1983 with the film Silkwood, based on the life of whistleblower Karen Silkwood. The film was a financial and critical success, earning $35 million at the box office. Film critic Vincent Canby called it "the most serious work Mike Nichols has yet done."[6] The film received five Academy Award nominations, including Best Director for Nichols.
Later that year Nichols and Peter Stone helped to fix up and rewrite the musical My One and Only just days before its Boston premiere. The show eventually went to Broadway and ran for 767 performances, winning Tony Awards for Best Actor, Best Choreography (both for Tommy Tune) and best Supporting Actor (Charles "Honi" Coles).[10]
In 1984 Nichols directed the Broadway premiere of Tom Stoppard's The Real Thing. The New York Times critic Frank Rich wrote that "The Broadway version of The Real Thing - a substantial revision of the original London production - is not only Mr. Stoppard's most moving play, but also the most bracing play that anyone has written about love and marriage in years."[11] The play was nominated for seven Tony Awards and won five, including a Best Director Tony for Nichols.
Nichols quickly followed this success with the Broadway premiere of David Rabe's Hurlyburly, also in 1984. It was performed just two block away from the theater showing The Real Thing. It was nominated for three Tony Awards and won Best Actress for Judith Ivey.[6]
In 1983 Nichols had seen comedian Whoopi Goldberg's one woman show The Spook Show and decided to help Goldberg expand it. Goldberg's self titled Broadway show opened in October 1984 and ran for 156 performances. It also led to Goldberg's film career.
In 1986 Nichols directed the Broadway premiere of Andrew Bergman's Social Security. The show ran for 188 performances. That same year Nichols made the film Heartburn. The film earned $25 million at the box office and got mixed reviews.
In 1988 Nichols completed two feature films. The first was an adaptation of Neil Simon's autobiographical stage play Biloxi Blues. The film received mixed critical reviews, but earned over $51 million worldwide.
Later in 1988 Nichols directed one of his most successful films, Working Girl. Working Girl was a huge hit upon its release, earning $103 million worldwide. It also received mostly positive reviews from critics with an 84% rating at Rotten Tomatoes and a 73 metascore at Metacritic. It was nominated for six Academy Awards (including Best Director for Nichols) and won the Academy Award for Best Song for Carly Simon's "Let the River Run".
1990s[link]
Nichols' other films include Wolf, Regarding Henry, Postcards from the Edge, and Primary Colors. He also directed The Birdcage, a remake of the French film La Cage aux Folles. Both The Birdcage and Primary Colors were written by Nichols's stand-up partner May.
2000s[link]
In the 2000s Nichols directed the theatrical films What Planet Are You From?, Closer and Charlie Wilson's War. He directed Wit and Angels in America for television.
He's also won Emmy Awards for his direction of Wit (2001) and Angels in America (2003).[12]
Nichols is a contributing blogger at The Huffington Post. He's also a co-founder of The New Actors Workshop in New York City, where he occasionally teaches.[13]
Personal life[link]
Nichols has been married four times. His first wife was Patricia Scott; they were married from 1957 to 1960. He was married to Margo Callas from 1963 to 1974, producing a daughter, Daisy Nichols. His third marriage, to Annabel Davis-Goff, produced two children, Max Nichols and Jenny Nichols. They were divorced in 1986. He married ABC World News anchor Diane Sawyer, on April 29, 1988.
According to research done by Professor Henry Louis Gates, Jr., of Harvard University, in 2010 for the PBS series Faces of America, Nichols' grandfather was a leading theorist on anarchism in the early 20th century and Nichols is related to Albert Einstein who was a cousin on his mother’s side.[14]
Among Nichols' personal pursuits is a lifelong interest in Arabian horses.[15][16] From 1968-2004, he owned a farm in Connecticut and was a noted horse breeder.[17] Over the years, he also imported quality Arabian horses from Poland, some of which later resold for record-setting prices.[18]
Work[link]
Broadway stage productions[link]
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Filmography[link]
See also: Category:Films directed by Mike Nichols
| Year | Film | Oscar nominations |
Oscar wins |
|---|---|---|---|
| 1966 | Who's Afraid of Virginia Woolf? | 13 | 5 |
| 1967 | The Graduate | 7 | 1 |
| 1968 | Teach Me! | ||
| 1970 | Catch-22 | ||
| 1971 | Carnal Knowledge | 1 | |
| 1973 | The Day of the Dolphin | 2 | |
| 1975 | The Fortune | ||
| 1980 | Gilda Live | ||
| 1983 | Silkwood | 5 | |
| 1986 | Heartburn | ||
| 1988 | Biloxi Blues | ||
| Working Girl | 6 | 1 | |
| 1990 | Postcards from the Edge | 2 | |
| 1991 | Regarding Henry | ||
| 1994 | Wolf | ||
| 1996 | The Birdcage | 1 | |
| 1998 | Primary Colors | 2 | |
| 2000 | What Planet Are You From? | ||
| 2001 | Wit | ||
| 2003 | Angels in America | ||
| 2004 | Closer | 2 | |
| 2007 | Charlie Wilson's War | 1 |
Discography[link]
- Nichols and May- Improvisations to Music (1959) Mercury
- Nichols and May- An Evening with Mike Nichols and Elaine May (1960) Mercury
- Nichols and May- Mike Nichols & Elaine May Examine Doctors (1962) Mercury MG 20680/SR 60680
- Nichols and May- In Retrospect (1982) Polygram, re-released as compact disc in 1996
Awards and honors[link]
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References[link]
- Notes
- ^ Lifetime Honors - National Medal of Arts
- ^ a b c d e f Faces of America: How 12 Extraordinary People Discovered Their Pasts, by Henry Louis Gates, Jr., 2010, p. 14 - 33
- ^ "Mike Nichols - Films as Director". filmreference. 2008. http://www.filmreference.com/Directors-Mi-Pe/Nichols-Mike.html. Retrieved 2008-09-01.
- ^ Mike Nichols’ life in the trenches By Glenn Kenny, LA Times, December 16, 2007, in print edition E-31.
- ^ http://www.npr.org/2012/03/09/148305666/mike-nichols-salesman-by-day-always-an-artist
- ^ a b c d e f g h i j k l m n Wakeman, John. World Film Directors, Volume 2. The H. W. Wilson Company. 1988. 704-710.
- ^ Stated on a episode of Faces of America, in 2010
- ^ Coleman, Janet (1991). The Compass: The Improvisational Theatre That Revolutionized American Comedy. University Of Chicago Press, ISBN 978-0-226-11345-6
- ^ Lee Hill (June 2003). "Great Directors Critical Database: Mike Nichols". Senses of Cinema:. http://www.sensesofcinema.com/2003/great-directors/nichols/. Retrieved 2008-10-12.
- ^ Caggiano, Chris (May 22, 2011). "Review - My One and Only at the Goodspeed Opera House - Everything I Know I Learned From Musicals". everythingmusicals.com. http://everythingmusicals.com/everything_i_know_i_learn/2011/05/review-my-one-and-only-at-the-goodspeed-opera-house.html. Retrieved October 19, 2011.
- ^ Rich, Frank (January 6, 1984). "Tom Stoppard's Real Thing". The New York Times. http://theater.nytimes.com/mem/theater/treview.html?res=9407E7D81338F935A35752C0A962948260. Retrieved March 15, 2011.
- ^ "Mike Nichols Biography". filmreference. 2008. http://www.filmreference.com/film/11/Mike-Nichols.html. Retrieved 2008-09-01.
- ^ "The Founders". The New Actors Workshop. 2009. http://www.newactorsworkshop.com. Retrieved 2009-02-03.
- ^ "Faces of America: Mike Nichols", PBS, Faces of America series, with Professor Henry Louis Gates, Jr., 2010.
- ^ "Nichols and Dimes"
- ^ Flatley, Guy. "A DAY IN THE COUNTRY WITH MIKE NICHOLS"
- ^ "About Us-Trowbridge’s Ltd."
- ^ Cochran, Marsha. "They Sell Horses, Don't They? Not the Spectacular Way Mike Nichols Does It" People Magazine June 7, 1976
- Further reading
- Schuth, H. Wayne. Mike Nichols, Twayne Publishers, 1978. ISBN 0-8057-9255-4.
External links[link]
- Mike Nichols at the Internet Broadway Database
- Mike Nichols at the Internet Off-Broadway Database
- Mike Nichols at the Internet Movie Database
- Mike Nichols (Inside Actors Studio Interview) on YouTube
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| Persondata | |
|---|---|
| Name | Nichols, Mike |
| Alternative names | |
| Short description | |
| Date of birth | November 6, 1931 |
| Place of birth | Berlin, Germany |
| Date of death | |
| Place of death | |
http://wn.com/Mike_Nichols
This page contains text from Wikipedia, the Free Encyclopedia - http://en.wikipedia.org/wiki/Mike_Nichols
This article is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.
This article is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.
