Tough As Nails is a competition series that celebrates everyday Americans who roll up their sleeves and don’t think twice about working long hard hours and getting their hands dirty, in order to keep their country running. Competitors who consider the calluses on their hands a badge of honor will be tested for their strength, endurance, life skills and, most importantly, mental toughness in challenges that take place at real-world job sites.
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A young woman has a chance to save the love of her life, when she discovers that the mix-tape they made together can transport her back in time.
Barnett’s Manual has become the industry standard, demystifying every aspect of bicycle repair by emphasizing detail, logic, and measurement. The manual, published in four volumes and printed on perforated, grease-resistant paper, can be used by both bike mechanics and the serious DIY-er. Each chapter is structured logically for maximum use, terminology, reasons for service, prerequisites, tool choices, anticipation of complications, fits and dimensions, service procedures, and troubleshooting. Extensive reference information minimizes the need to cross-reference to other sources when solving a repair problem, and the drawings on nearly every page help explain each procedure.
This significant volume moves music-historical research in the direction of deconstructing the national grand narratives in music history, of challenging the national paradigm in methodology, and thinking anew about cultural traffic, cultural transfer and cosmopolitanism in the musical past. The chapters of this book confront, or subject to some kind of critique, assumptions about the importance of the national in the musical past. The emphasis, therefore, is not so much on how national culture has been constructed, or how national cultural institutions have influenced musical production, but, rather, on the way the national has been challenged by musical practices or audience reception.
Outside of specialized works devoted to “black history,” blacks are largely absent from Canada’s historical literature. It is not that they have been air- brushed out of the grand panorama: they were never included to begin with. This state of affairs obscures the fact that “black history” is “white history” – what usually passes for history tout court – and the sooner this is recog- nized the better. We cannot know who we are without knowing who we were, and we in Canada – whatever our origins or skin tone – will never know that without understanding the black experience and what it tells us about the Eurocentric culture that has dominated our history. But we cannot begin to restore the missing black element to its rightful place without first establish- ing who the blacks were who have been left out.
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V.C. Andrews’ Dawn follows the story of Dawn Longchamp, who after growing up in humble surroundings with a very hardworking family including her devoted father Ormand and older brother Jimmy, suddenly has everything she loves ripped away from her. After discovering the shocking truth about the people who raised her, she is thrust into a new family whose dark and twisted secrets change the course of her life forever.
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