Briefly explain Piaget’s and Erikson’s theories of development. Who had a better theory of human development: Erikson or Piaget? Please offer detail to explain your choice.
What tips would you give to someone who has just suffered a major loss, now that you know the stages of grief?
Released in 1962, "Misirlou" is widely regarded as definitive of the "Dick Dale sound" of surf music, making copious use of Dale's characteristic heavy staccato double-picking (vibrato) at high tempo and intensity (with frequent slow ascending and fast descending shapes, like waves), generous reliance on the use of reverb, complex interplay between lead and rhythm guitars, pitch bending, and heavy percussive rhythms. The prominence of guitar virtuosity is surf music is also represented in the song by several solo sections where the bass and drum stop playing, which also demonstrates the growing recognition of the drum kit as not simply a backing rhythmic layer (as we will see with Wipe Out). Again, as with a majority of instrumental surf songs, the structure is AABA. Track 4 (2:10) "Pipeline" by the Chantays 100 Years of Surfing (Re-Recorded Versions) [p] 2007 Kentblues/Bodyglove In 1962, the Chantays released with "Pipeline" what would become one of surf music's most popular and (in later years) most covered hits. While it employs many of the same elements as "Misirlou," the vibrato strumming/tremolo picking is relegated primarily to the rhythm guitar, allowing for cleaner, almost ethereal melody lines in the lead guitar (the section from 1:05 to roughly 1:28 in particular). Also prominent are the descending vibrato slides (also seen in Misir-lou) that become common elements of surf rock, particularly with song intros and outros. Track 5 (2:46) "Wipe Out" by the Surfaris Wipe Out [p] 2005 The Surfaris 1963's "Wipe Out" is arguably the most recognizable instrumental piece of the surf era. Opening with a high pitched laugh reminiscent of the descending vibrato slides of "Misirlou" and "Pipeline", it bursts into a rapid thunderous drum solo-an apparent reverse from the common trend. The fast, staccato strumming is replaced with fast, staccato drumming-representing the growing prominence of the drum kit in surf music. The guitar rhythms become structured around the drum kit, which is not so much a "back-beat" instrument here than it is a solo instrument. "Wipe Out" also demonstrates particularly well the "rocking", wave-like quality of surf guitar rhythms-the repetitive high-low alternating patterns. Track 6 (2:24) "Walk, Don't Run" by Chet Atkins Chet Atkins: Guitar Legend - the RCA Years [p] Recorded prior to 1972. All rights re-served by BMG Entertainment. Track 7 (2:06) "Walk Don't Run" by the Ventures The Ventures (Exclusive Edition) [p] 2006 HHO licensing The first of these recordings (by Chet Atkins) is the song "Walk, Don't Run" in its original form, which possesses a distinct jazz feel in terms of rhythm and tonal quality. The second, a cover recorded by the Tacoma, Washington-based Ventures in 1964 reflects the surf sound that by this point had reached the peak of its popularity in the United States. In comparing the two, the distinct elements of surf music stand out, particularly with regards to guitar effects-echo-y tone (reverb), bent notes, a smooth (as opposed to choppy) rhythmic quality, and occasional tremolo picking-and drum presence-the brushes are replaced by a heavy, obtru>GET ANSWER