Answer:
The salsa genre took form in the United States, and it may feature elements from all sorts of Latin American styles. In addition to Cuban son, salsa draws from Cuban danzón, rumba, guaracha, cha-cha-chá, mambo, and son montuno, as well as cumbia to Latin jazz.
It is a fixture that you see every day in plumbers' shop windows. Whether Mr Mutt with his own hands made the fountain has no importance. He CHOSE it. He took an ordinary article of life, placed it so that its useful significance disappeared under the new title and point of view – created a new thought for that object.
Answer:
the merlion is a mythical creature with a lions head and the body of a fish
Explanation:
We're not in love
We share no stories
Just something in your eyes
Don't be afraid
The shadows know me
Let's leave the world behind
Take me through the night
Fall into the dark side
We don't need the light
We'll live on the dark side
I see it, let's feel it
While we're still young and fearless
Let go of the light
Fall into the dark side
Fall into the dark side
Give into the dark side
Let go of the light
Fall into the dark side
Beneath the sky
As black as diamonds
We're running out of time
Don't wait for truth
To come and blind us
Let's just believe their lies
Believe it, I see it
I know that you can feel it
No secrets worth keeping
So fool me like I'm dreaming
Take me through the night
Fall into the dark side
We don't need the light
We'll live on the dark side
I see it, let's feel it
While we're still young and fearless
Let go of the light
Fall into the dark side
Fall into the dark side
Give into the dark side
Let go of the light
Fall into the dark side
(Dark side)
Take me through the night
Fall into the dark side
We don't need the light
We'll live on the dark side
I see it, let's feel it
While we're still young and fearless
Let go of the light
Fall into the dark side
When the playwright Simon Stephens complained that the recession had made theatre audiences more conservative, it could have been dismissed as sour grapes. The Olivier award-winner's latest play, The Trial of Ubu, had opened to mixed reviews and proved a commercial flop, playing on one snowy Saturday night to just 54 people in a 277-seat auditorium at London's Hampstead theatre.
Now, however, two of the UK's leading playwrights, Sir David Hare and Mark Ravenhill, have expressed disquiet that subsidised theatres are avoiding challenging or experimental work in favour of more familiar or feelgood fare.
Hare said many venues that once housed less commercial work were becoming increasingly mainstream, because of a desire to make up the shortfall caused by cuts to their funding.
