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In other legends, Tāne makes the first man, Tiki, then makes a wife for him. In some West Coast versions, Tiki himself, as a son of Rangi and Papa, creates the first human by mixing his own blood with clay, and Tāne then makes the first woman. Sometimes Tūmatauenga, the war god, creates Tiki. [a] In another story the first woman is Mārikoriko.
He was inspired by his artistic parents and a large tiki given to his family by his surfer uncle. He became known for carving tiki necklaces and starting a mail order tiki business in the early 1990s. [113] [114] [115] Also towards the end of the century saw a renewed interest in trying to "authentically" recreate older drinks.
Unable to play his finger-style version, they re-arranged it in their own style. The lineup at the time consisted of Wilson, Bogle, Edwards and Howie Johnson (drums), before Johnson was replaced with Mel Taylor , however on "Walk-Dont Run" and the B side "Home", Skip Moore,a local drummer played drums.
A similar story tells how Tiki found the first woman in a pool, imagined through his reflection and birthed into reality by covering the pool with dirt. She later became excited by the sight of an eel, passing on the excitement to Tiki and resulting in the first reproductive act. [17]
Bernard Herrmann incorporated the chord in his scores for Vertigo (1958) and Tender is the Night (1962). [citation needed] Christian Thielemann, the music director of the Bayreuth Festival from 2015–20, discussed the Tristan chord in his book, My Life with Wagner: the chord "is the password, the cipher for all modern music. It is a chord that ...
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Bobby Troup and his Trio: 2:45: 27. "Winnie the Pooh (Winnie the Pooh and the Honey Tree)" Disney Studio Chorus: 2:18: 28. "Up, Down and Touch the Ground (Winnie the Pooh and the Honey Tree)" Sterling Holloway: 1:02: 29. "Little Black Rain Cloud (Winnie the Pooh and the Honey Tree)" Sterling Holloway: 0:50: 30. "I Wan'na Be Like You (The Monkey ...
The vi chord before the IV chord in this progression (creating I–vi–IV–V–I) is used as a means to prolong the tonic chord, as the vi or submediant chord is commonly used as a substitute for the tonic chord, and to ease the voice leading of the bass line: in a I–vi–IV–V–I progression (without any chordal inversions) the bass ...