Last Dance

Last Dance may refer to:

In music:

In film and television:

See also

Dance

Dance is a performance art form consisting of purposefully selected sequences of human movement. This movement has aesthetic and symbolic value, and is acknowledged as dance by performers and observers within a particular culture. Dance can be categorized and described by its choreography, by its repertoire of movements, or by its historical period or place of origin.

An important distinction is to be drawn between the contexts of theatrical and participatory dance, although these two categories are not always completely separate; both may have special functions, whether social, ceremonial, competitive, erotic, martial, or sacred/liturgical. Others disciplines of human movement are sometimes said to have a dance-like quality, including martial arts, gymnastics, figure skating, synchronized swimming and many other forms of athletics.

Performance and participation

Theatrical dance, also called performance or concert dance, is intended primarily as a spectacle, usually a performance upon a stage by virtuoso dancers. It often tells a story, perhaps using mime, costume and scenery, or else it may simply interpret the musical accompaniment, which is often specially composed. Examples are western ballet and modern dance, Classical Indian dance and Chinese and Japanese song and dance dramas. Most classical forms are centred upon dance alone, but performance dance may also appear in opera and other forms of musical theatre.

Greg

Greg may refer to:

See also

Last

A last is a mechanical form that has a shape similar to that of a human foot. It is used by shoemakers and cordwainers in the manufacture and repair of shoes. Lasts typically come in pairs and have been made from various materials, including hardwoods, cast iron, and high-density plastics.

Production

Lasts come in many styles and sizes, depending on the exact job they are designed for. Common variations include simple one-size lasts used for repairing soles and heels, durable lasts used in modern mass production, and custom-made lasts used in the making of bespoke footwear. Though a last is made approximately in the shape of a human foot, the precise shape is tailored to the kind of footwear being made. For example, a boot last would be designed to hug the instep for a close fit. Modern last shapes are typically designed using dedicated computer-aided design software.

Historically, lasts were typically made from hardwoods and cast iron because these materials retain their shape, even when in contact with wet materials (like leather) and subjected to the mechanical stresses of stretching and shaping shoes on them. Today, wooden lasts are generally used only for bespoke shoemaking, particularly in Europe and North America.

Little Miss

"Little Miss" is a song written and recorded by Jennifer Nettles and Kristian Bush, of the American country music duo Sugarland. It was released in November 2010 as the second single from album The Incredible Machine. Before the album's release, the song charted on the Billboard Hot 100 at number 80, due to digital downloads. It has also reached the Top 20 of the Billboard Hot Country Songs chart. The song was featured in the pilot of The CW TV series Hart of Dixie.

Critical reception

Blake Boldt of Engine 145 gave the song a thumbs up, saying "There’s hope and heart and a whole lot to like about this, one of the year’s best singles and an odd bright spot on Sugarland’s ambitious fourth album. The Incredible Machine may be an unruly mess, but "Little Miss" is a hit." Mark Erickson of Roughstock was also favorable of the song, giving the song four stars, saying "The melody is inviting and the lyrics are some of the duo’s best of the album". Although he was in very critical of the album altogether, Jonathan Keefe with Slant Magazine was high praise of the song, calling the "album's best song; [it's] the only one that even hints at Sugarland's roots as a country act [...] it's also the most restrained cut on the album in terms of both its production and performance makes it an obvious standout, but it's a strong enough song that it can stand on its own merits." Sarah Rodman with The Boston Globe called it an "amiable shuffle", saying it "fit squarely in the country pop arena."