Kamala Harris is married to a lawyer, Douglas Emhoff. They were engaged in March 2014 after the blind date arranged by her friend. They got married on 22 August 2014. They have two children, Ella, and Cole from her previous marriage. They are living happily in Brentwood, California. She had dated politician Willie Brown before her relationship with Harris. They broke up without citing the reason. six kalma mp3 six kalma mp3 free download. Show More. 6 Kalma With Audio(Mp3) 1.3.9 Update. 2019-05-12. Minor Bugs Fixes. 6 Kalma With Audio(Mp3) Tags. Education; Add Tags. By adding tag words that describe for Games&Apps, you're helping to make these Games and Apps be more discoverable by other APKPure users. “Too Much of a Good Thing” by Cahill vs Kalma is now available! The first single titled “Too Much of a Good Thing” from the soon to be released debut album from Cahill vs Kalma now available via iTunes for 99 cents or for free via davecahill.bandcamp.com, as well as on youtube! Listen to the song below: World premiere of the new single by Cahill vs. Kalma, “Plastic Lawyer Candidate” live on Adam vs The Man TONIGHT!. The premiere of the new song by Cahill vs. Kalma (www.davecahill.com) will premiere TONIGHT, June 30th at 8pm pacific / 11pm eastern. 北海道在住の3ピースロックバンド「kalma」のofficial site. menu. top news live video media bio disco goods contact. discography. all single album bd/dvd other. view detail. 2020.03.04 album teen teen teen. view detail. 2019.10.16 album days e.p. view detail. 2019.03.20 single クラスメート e.p. Summary: Kalma Mitchell is 51 years old and was born on 08/28/1969. Previous to Kalma's current city of Fort Smith, AR, Kalma Mitchell lived in Muldrow OK. In the past, Kalma has also been known as Kalma Renae Jordan, Kalma R Mitchell, Kalma R Jordan and Kalma Jordan. Kalma's relationship status is single. Taking a single dose of expired Kalma is unlikely to cause a side-effect. However, please discuss with your doctor or pharmacist, if you feel unwell or sick. An expired medicine may become ineffective in treating your prescribed conditions. To be on the safe side, it is important not to use an expired drug. The Hill 1625 K Street, NW Suite 900 Washington DC 20006 202-628-8500 tel 202-628-8503 fax. The contents of this site are ©2020 Capitol Hill Publishing Corp., a subsidiary of News ... Bernie Sanders introduces single-payer public transportation bill to end America's unequal, unfair, and expensive private transportation system. DNC embroiled in controversy after official Twitter account accidentally 'likes' pictures of US Constitution and Bill of Rights. Kung single ka ngayon, kalma lang! May magmamahal din sayo ng tunay. Being single is the first step to finding a great relationship. You’re single not because you are not good enough for one; it’s that you’re too good for the wrong one. Keep calm and be ready for the right one. He’s on his way.
The poetry of Rën has evolved a lot since I began writing in it years ago, so I've completely reworked the section in its grammar regarding it. (It has the same jun-cebak poem, though, sorry! It's just such a good poem to illustrate the form's potential weirdnesses.)
I'll post everything in Roman characters here for your interest, but if you like what you see, I definitely recommend looking at the grammar itself (located here
), as the poetry is very visual, and the shape of the lines and their orientation on the page is crucial to most forms. I'm going to try once again to format for Reddit, so wish me luck!
The final chapter in this edition discusses poetic formats in Rën. Poetry is an important form of expression in many languages, and there is a great variety around the globe in styles, formats, and topics. Certain kinds of poetry are frequently outlawed throughout history due to the impact it is believed to have on the human psyche.
In Rën, poetry is written more often than it is spoken, so the appearance of the poem on paper, or whatever medium it is printed on, is as important, if not more, than the sound. Its poetic formats are developed with a visual aesthetic rather than an auditory aesthetic in mind.
These formats should be viewed in terms of different techniques, however, as opposed to set meters or poetic templates. At the time of writing, there is no equivalent, for example to the Shakespearean sonnet, in which a poem consists specifically of three quatrains and a concluding couplet. Poetry in Rën can however still make use of rhyming patterns, alliteration, concrete forms, and moraic timing, which may be combined or excluded to create the desired aesthetic of the poem’s message. Rën poetry, then, might be compared to the musical concept of jazz, in which more emphasis is placed upon the writer’s ability to improvise, reinterpret, and at times intentionally break their own rules to formulate the subtleties of their art.
While the building blocks of Rën poetry will likely be easily recognized by those familiar with different poetic traditions, their presentation on paper, and their use, naturally has subtleties to it that are unique to the language itself, therefore necessitating this chapter.
Poetic styles in Rën are called “wings”, with jun mufta
translating as “free wing”, and it refers to the tendency of Rën poetry to contain the same number of words in each line. Nearly every poem in Rën will follow this jun
as a rule, so it is more significant when it is broken than when it is followed. Because of the general lack of crucial particles in the language, this means that each line will be weighted similarly in the amount of semantic information it carries. Even those lines that do contain a particle usually do so in the form of a complementizer, or the word Rën
, which act as an indicator to the reader to pause and connect, or to reflect and meditate upon that specific line, respectively. In the following example, we will see how word count is used to create consonance and dissonance, as well as the literary use of inflectional grammar: Rënau uwau fahleth amauncaki jahih. Manihlez tihjidh erdiaz tëzihdh salihm. Tëzihdh tëzihd asauna asauna fausadh. Janau Rënahz sawau e wand kunih omez. Jaw e modh ganz ihelnez.
[Rën.1 love.1 leave.2.DEC INV-kill.1-CAUS life.3 home.3-OBL find.3 floor-OBL speak_Rën.3.DEC wise.3 speak.3.DEC speak.3 INV-listen.1 INV-listen.1 perish.3.DEC leave.3 Rën.2-OBL ask.1 C where blood-3 body-OBL answer C dead-DEC time-OBL arrive-VN-OBL]
“Rën left those who love him to end a life.
In its home, he found that life upon the floor, speaking Rën wisely.
He spoke and spoke, and they listened and listened, and perished.
They left to their friends, was asked — where is his blood on the body?
They replied: it was dead at the time.”
The first thing to notice about this poem is that it is (mostly) centered. This is called the poem’s kal
, or throat, and refers to its alignment upon the page, which draws the reader’s attention to certain aspects of the poem. In the case of a centered alignment (kal mufta
), it means that we are meant to notice that the centered lines have an equal number of words. Just like the alignment itself, this mufta
implies a sense of centering and liberation. The significance of the single uncentered line, then, might be inferred, and is fitting, since it is spoken by the protagonist’s murderous contemporaries.
The standard number of words per line in this poem is 5, and in mufta
lines, the only particle in this case is the initial word Rën
. Note that it is a common practice in poetry to include the word Rën once or twice within the poem, and very often to begin or to end it. However, in this piece, it is used twice, and in fact, the rimufta
line contains not one, but two particles; if these particles were omitted, then it too would be a mufta
line, which tells the reader that it this rule is intentionally broken in this line. Here, even the arguable antagonist of the poem is referred to as Rën.
Regarding the grammar, there are two aspects to draw your attention to: The first is the use of the declarative mood. As you should recall, the declarative indicates not only that something happened, but that its happening, and its reason for unhappening, are unquestionable. In this poem, it relates to the predetermined nature of enlightenment, and tells us that the protagonist was always intended to metaphorically die in the home of their slated victim. Once again, notice that the only line without the definitive mood is the fourth, rimufta
The second significant piece of grammar is the use of the variable syllable, the language’s method of indexing. Notice that all three parties are indexed — the protagonist, their contemporaries, and their victim — and that indexing occurs in every line except for the last. It is not that the final line contains inanimate referents, but rather, that the referents have ceased to matter at the end of the poem.
These two grammatical pieces are strong examples of aspects of Rën poetry (and Zëw Rën in general) that simply cannot be translated well into any other language, and they reflect well the reason the language is both potentially difficult to learn, but also a useful tool in developing new methods of thought.
is alliteration, and means “alike sounds”. While in Modern English, alliteration is typically used as a very freely used method of placing emphasis upon a line or phrase, in Zëw Rën it is a much more common method of organizing a poem and giving it the flow that, in English, we might instead use rhyme or meter.
, there is a visual cue to look for when a poem is organizing itself through zomzila
, and that is the gelmat
eh , especially in places that it would not normally be, such as in the middle of a word without a vowel. This is to indicate the syllable that is to be stressed. This syllable is not always the one that would normally be stressed in a word without a variable syllable (ie the final syllable), and may still be on that syllable that would normally carry the variable syllable. Like every other rule in Rën poetry, it can be broken, misused, or emphasized for effect. Kalah asahw e haumah redahwi Kaloh tohd e kiz redahmi Lired e sewki Salihr e saleht hen Silhnhe lishnez asaliht Rën Sihliur jaghnaior e ragihba Salihr e saleht sab Rikush ridush risehm rishgad Sehba sehti jash sehmaz Risehwki red Rën
[throat.1 INV-ask C ego.1 satisfy.1-OPT throat.2 say.2 C cause-OBL satisfy.1-EN NEG-prove C ask-CAUS
pray.1-COND C pray happen sensation-VN-DEF tongue-OBL hope.1 Rën rise.1-COND awaken-COND C desire.1
pray.1-COND pray_for nothing NEG-pleasure NEG-purpose NEG-smell NEG-scent sun snow ice sky-OBL NEG-ask-CAUS prove Rën]
“One throat asked that its self be satisfied
Another throat said, then it must be satisfied
(But) it was not satisfied, for being asked
When I pray, what I pray for happens
This taste on my tongue is what I asked for, Rën!
When I rise in the morning, that is my desire
When I pray, I pray for nothing
No pleasure, no purpose, no smell or scent
Sun or snow or sleet in the sky
For not being asked, it is satisfied, O Rën”
Like the previous poem, there are some lines that are mufta
, and some that are not, and this discrepancy is significant, as is the identification of the protagonist Rënih
from the other two indexed referents.
of alliterative zomzila
is the presence of the gelmat
, however, and we can see that after the dissonant first stanza, that each line has a certain number of them: Two in the first line, and three in every other (barring the final, to be brought up later). These indicate the stressed syllables, and so those which alliterate. This particular poem makes use of a method called silsil
, or “chaining”, in which not only does each line contain an alliteration, but the following line also has its first stressed syllable alliterate with the previous alliteration. Without silsil
, there need only be two gelmat
per line. Note that, needless to say, variable syllables that do not use gelmat
(ie diphthongs) are not well-suited to zomzila
A final thing to notice is the last line in the poem, which stands out in being the fourth line of a stanza in a poem in which there are otherwise three lines per stanza, and also in breaking mufta
but without being aligned otherwise. This line is called zompajen
, or a heartbeat, and is meant to be a poignant, sometimes ironic closer to a poem. The zompajen
may or may not alliterate (in this case, it does according to silsil
), but otherwise presents as a shorter, final line to a poem, as an addendum or afterthought. While it is especially used in poems using zomzila
, it can be applied to similar effect in most poetic forms.
Jun-Atma Jun atma
means “final wing” and is the term used for poetry that is right-aligned. Poetry that is arranged this way will rhyme. Rhyming in Rën is just as with most other languages, including English: the stressed syllable must contain the same vowel, and those following it, if any, must be identical. Rën subez jagihki muhihci Biha madh ‘raz cuhihci Mihncaci wa cikihrci Adihrci wa bahihrci Sansenhe sansen atmaci Kelsur iihnhaci Ërianuftasihlagci
[Rën morning-OBL awake.1-CAUS prepare.1-POT 1000 method.DEC mind-OBL die.1-POT kill.1-POT or prey_upon.1-POT inside.1-POT or outside.1-POT breathe-VN-DEF breathe-VN final-POT every-breath ending-POT SNEG-INV-half-climb-POT]
“Rën, in the morning, as I awaken I may make ready
A thousand methods in my mind by which to die
I may be murdered, or else I may become prey
Maybe indoors, or maybe instead outside
This breath could be the final breath
Every breath could well be the end
I may never even climb half-way”
This poem appears at a glance to have a single rhyme throughout, but is actually in couplets, that are foiled in the final two lines (arguably three), which do not actually rhyme, but contain the same uncertain mood ending.
Jun-Tehëj Jun tehëj
may be seen as a development upon jun mufta
. It means “crowned wing” and while it is usually centered like jun mufta
, and necessarily contains the same number of syllables, it is highly recognizable regardless of its alignment, due to its method and its kal
: Not only does every line contain the same number of words, but also the same number of written blocks, meaning every line has precisely the same length. To draw attention to this, its kal
is to surround each line with tëj
, lending to its name. For this example, I have chosen a humorous poem that shows the jun
being broken, but typically, these poems have a flow like a mantra that induces a sense of rigidity or piety. Rën wi kinti rijowzemi Rifikmi e elsir so Mu rinakzeci e kuhir Gam lu nufbir cuhen Ricer bir e wi kalma
[Rën 4 number NEG-defile-EN NEG-think-EN C amount 5 6 NEG-nose-OBL-POT C breathe-COND blink 9 half-instance die-VN NEG-write another C 4 word]
“Rën, fourth is a number which must not be defiled Do not even think of amounts of five Six while we breathe may not enter our noses To blink nine half-times is death Never will I write another word than four”
Notice the breaking of the last line is by a single word — an easily omitted particle — which again draws attention to its purposefulness.
Jun-Cebak Jun cebak
, or “cross wing”, is a highly visual form of Rën poetry, and especially unique to the language. It makes use of the nature of Rën open-class words, in that each word is technically a complete sentence on its own, and does not require arguments or grammar in order to complete it. Therefore, the language has the nature of polysynthetic languages, in which words are theoretically their own island, while still being highly isolating, in which words may be entirely uninflected without being agrammatical. The result is that one word may be used in several different ways, in several different sentences at once, leading to the natural conclusion of poetry that may be read in more than one direction. Jun cebak
poems have two different readings: the first is peri sena
, or “listened line”, and is read as normal, from left to right, then top to bottom. The second is peri suk
, “contemplated line”, which is read in opposite order: top to bottom, then right to left, in columns. Jun cebak
is quite distinctive in that the lines are written with spacing that allows for the columns to be clearly seen, for the second reading. The lines are usually, but not always, composed of the same number of words, and indeed there may be lines that are spaced out in a particular way so that words are read in one column/suk
line rather than another. The example I have chosen exemplifies this.
Peri-sena: Rën era zemanz ganlen jagna Sut fusla jagnamë era Hiz afaz birez cen Iahdir ëmlen ëliruk megarenz Hezurez rihnhanz mihenata zemanz
[Rën mind time-OBL moment-DIST awake sleep whisper awaken-SEN mind day-OBL INV-birth another-OBL know fly.1 year-DIST SNEG-stop path-DEF-OBL nest-OBL NEG-ending-OBL toil time-OBL]
Rën, one’s mind, by time, is at every moment awake
One sleeps, and it whispers (that) the mind must awaken!
By day, it gives birth to another day, it knows
A flying creature, every year, it never stops on this trajectory
For the nest, without ending, it toils through time.
Rën era sut hiz iedir hezurez Zemanz fusla afaz ëmlen rihnhanz Ganlen jagnamë birez ëliruk mihenata Jagna era cen megarenz zemanz mukid
[Rën mind sleep day-OBL fly.1 nest-OBL time-OBL whisper INV-birth year-DIST NEG-ending moment-DIST awaken-SEN another-OBL SNEG-stop toil awake mind know path-DEF-OBL time-OBL certain]
Rën, the mind sleeps through the day, like a flying creature in a nest
Through time, that whispers, and births each year without ending
At every moment, one must awaken, never stopping, toiling
The awake mind knows that the trajectory of time is certain.
Reading these poems is nearly as much of an art as writing them, at times, but in general, if a word is “hanging”, like the final word mukid
in the pero sena
reading, then it is typically ignored. Also note that these poems largely lack indexing/variable syllables, and in general have a sense of ambiguity, with interpretation left strongly up to the reader — the abstract art of Rën poetry.
Disfruta de nuestra versión de Pedro Capó, Farruko - CALMA Eliana Raventós feat Lia Mendi ¡Deja tu comentario! - INSTAGRAM: @elianaraventos https://www.ins... Disfruta de mi nueva canción “Calma” DEJA TU COMENTARIO! Música Disponible: Pedro Capó – Calma All DSPs: http://smarturl.it/PCCalma iTunes: http://smarturl.i... If you liked this video, don't forget to give it a THUMBS UP, LEAVE A COMMENT and SUBSCRIBE to our channel: http://www.liveloveparty.tv DO YOU WANT TO BECOME... Listen to Karma Here: https://UMLE.lnk.to/fKQsXFp Follow Sky: https://www.instagram.com/skyrompiendo/ https://www.facebook.com/Sky.Rompiendo/ https://twitter... Disfruta de mi Nuevo Video “Calma” Quiero ver tu comentario abajo! Música Disponible: Pedro Capó – Calma All DSPs: http://smarturl.it/PCCalma iTunes: http://... ¡Ya disponible en las plataformas digitales! 👉🏻 https://orcd.co/fcalma Autor, voz y coros: Flavio Guitarras, bajo, programación y arreglos: Nacho Mañó Hammon... Daddy Yankee & Snow Con Calma (Video Oficial) Subtítulos Disponible Letra Oficial👇 Escucha en tu plataforma favorita: Spotify: http://open.spotify.com/albu... Ebru Yaşar'ın, DMC etiketiyle yayınlanan 'Kalmam' isimli tekli çalışması, video klibiyle netd müzik'te. Söz & Müzik: Bilal Sonses Düzenleme: Mustafa Ceceli Y... Con Calma - Daddy Yankee & Snow (Lyrics) 🎵 Attiva la 🔔 per ricevere le notifiche. Disfruten nuestro nuevo video! Pedro Capó & Farruko - Calma REMIX! Qué te pareció? Comenta abajo! Música Disponible: Apple Music: http://smarturl.it/CalmaRem...