hillbilly bone_hillbilly

1.《黎明杀机》15个屠夫的背景介绍是什么？

2.谁帮我写一段关于爵士乐的英文介绍

3.乡村音乐的主题和内容？

4.黎明杀机四位屠夫的故事

5.Talkin New York 歌词

6.电梯演讲英文怎么说?

7.剥削**的子类型

bitch please ii eminem歌词!!!

<br>8 Mile Freestyle vs Lickty Spilt Lyrics

<br>[Lickty Spilt]

<br>This guy\'s a choke artist

<br>Ya catch a bad one

<br>Your better off shootin yourself

<br>With Papa Doc\'s handgun

<br>Climbin up this mountain your weak

<br>Ill leave you lost without a paddle

<br>Floatin shits creek

<br>

<br>You ain\'t Detroit, Im the D

<br>Your the new kid on the block

<br>Bout to get smacked back to the boonedocks

<br>Fuckin Nazi, this crowd ain\'t your type

<br>Take some real advice and form a group with Vanilla Ice

<br>And what I tell you, you better use it

<br>This guy\'s a hillbilly, this ain\'t Willie Nelson music

<br>

<br>Trailor trash, Ill choke you to your last breath

<br>And have you lookin foolish

<br>Like Cheddar Bob when he shot himself

<br>Silly Rabbit, I know why they call you that

<br>Cause you follow Future like you got carrots up his asscrack

<br>And when you actin up thats when you got jacked up

<br>And left stupid like Tina Turner when she got smacked up

<br>

<br>Ill crack your shoulder blade

<br>Youll get dropped so hard

<br>Elvis will start turnin in his grave

<br>I dont know why they let you out in the dark

<br>You need to take your white ass back across 8 mile

<br>To the trailor park

<br>

<br>[Eminem]

<br>

<br>This guy raps like his parents jerked him

<br>He sounds like Eric Sermon, the generic version

<br>This whole crowd looks suspicious

<br>Its all dudes in here, except for these bitches

<br>So Im a German, Eh

<br>Thats ok, you look like a fuckin worm with braids

<br>These Leaders of the Free World rookies

<br>Lookie, how can 6 dicks be pussies

<br>

<br>Talkin bout shits creek

<br>Bitch, you could be up piss creek

<br>With paddles this deep

<br>Your still gonna sink

<br>Your a disgrace

<br>Yeah, they call me Rabbit

<br>This is a turtle race

<br>

<br>He can\'t get with me spittin this shit

<br>Wickedly lickety shot

<br>Spickety spickety split lickety

<br>So Im gonna turn around with a great smile

<br>And walk my white ass back across 8 mile!

<br>

<br>

<br>

<br>

<br>8 Mile Freestyle Pt.II vs "Lotto" Lyrics

<br>

<br>[Lotto]

<br>(spoken)

<br>Yo, it\'s ime toget rid of this coward once and for all.

<br>I\'m sick of the motha fucka! Check this shit out!

<br>[Rap]

<br>I\'ll spit a racial slur, honky, sue me!

<br>This shit is a horror flick,

<br>but the black guy doesn\'t die in this movie!

<br>Fuckin\' wit Lotto, dawg, you gotta be kiddin!

<br>That makes me believe you really don\'t have an interest in livin!

<br>You think these niggas gonna feel the shit you say?

<br>I got a betta chance with joining the KKK.

<br>On some real shit, though, I like you

<br>That\'s why I didn\'t wanna have to be the one you commit sucide to

<br>Fuck \'Lotto,\'call me your leader

<br>I feel bad I gotta murder that dude from "Leave It To Beaver"

<br>I used to like that show, now you got me to "fight back" mode

<br>But oh well, if you gotta go, then you gotta go!

<br>I hate to do this, I would love for this shit to last

<br>So I\'ll take pictures of my rear end so you won\'t forget my ass

<br>And all\'s well that ends well, ok?

<br>So I\'ll end this shit with a "FUCK you, but have a nice day!"

<br>

<br>

<br>[Eminem]

<br>Ward, I think you were a little hard on the Beaver

<br>So was Eddie Haskal, Wally, and Ms. Cleaver

<br>This guy keeps screamin\', he\'s paranoid!

<br>Quick, someone get his ass another steroid!

《黎明杀机》15个屠夫的背景介绍是什么？

这不是歌，本来就是battle，当然是即兴发挥，歌词如下

8 Mile Freestyle vs Lickty Spilt Lyrics

[Lickty Spilt]

This guy\'s a choke artist

Ya catch a bad one

Your better off shootin yourself

With Papa Doc\'s handgun

Climbin up this mountain your weak

Ill leave you lost without a paddle

Floatin shits creek

You ain\'t Detroit, Im the D

Your the new kid on the block

Bout to get smacked back to the boonedocks

Fuckin Nazi, this crowd ain\'t your type

Take some real advice and form a group with Vanilla Ice

And what I tell you, you better use it

This guy\'s a hillbilly, this ain\'t Willie Nelson music

Trailor trash, Ill choke you to your last breath

And have you lookin foolish

Like Cheddar Bob when he shot himself

Silly Rabbit, I know why they call you that

Cause you follow Future like you got carrots up his asscrack

And when you actin up thats when you got jacked up

And left stupid like Tina Turner when she got smacked up

Ill crack your shoulder blade

Youll get dropped so hard

Elvis will start turnin in his grave

I dont know why they let you out in the dark

You need to take your white ass back across 8 mile

To the trailor park

[Eminem]

This guy raps like his parents jerked him

He sounds like Eric Sermon, the generic version

This whole crowd looks suspicious

Its all dudes in here, except for these bitches

So Im a German, Eh

Thats ok, you look like a fuckin worm with braids

These Leaders of the Free World rookies

Lookie, how can 6 dicks be pussies

Talkin bout shits creek

Bitch, you could be up piss creek

With paddles this deep

Your still gonna sink

Your a disgrace

Yeah, they call me Rabbit

This is a turtle race

He can\'t get with me spittin this shit

Wickedly lickety shot

Spickety spickety split lickety

So Im gonna turn around with a great smile

And walk my white ass back across 8 mile!

8 Mile Freestyle Pt.II vs "Lotto" Lyrics

[Lotto]

(spoken)

Yo, it\'s ime toget rid of this coward once and for all.

I\'m sick of the motha fucka! Check this shit out!

[Rap]

I\'ll spit a racial slur, honky, sue me!

This shit is a horror flick,

but the black guy doesn\'t die in this movie!

Fuckin\' wit Lotto, dawg, you gotta be kiddin!

That makes me believe you really don\'t have an interest in livin!

You think these niggas gonna feel the shit you say?

I got a betta chance with joining the KKK.

On some real shit, though, I like you

That\'s why I didn\'t wanna have to be the one you commit sucide to

Fuck \'Lotto,\'call me your leader

I feel bad I gotta murder that dude from "Leave It To Beaver"

I used to like that show, now you got me to "fight back" mode

But oh well, if you gotta go, then you gotta go!

I hate to do this, I would love for this shit to last

So I\'ll take pictures of my rear end so you won\'t forget my ass

And all\'s well that ends well, ok?

So I\'ll end this shit with a "FUCK you, but have a nice day!"

[Eminem]

Ward, I think you were a little hard on the Beaver

So was Eddie Haskal, Wally, and Ms. Cleaver

This guy keeps screamin\', he\'s paranoid!

Quick, someone get his ass another steroid!

--------------------------------------------------------------------------------

2 哈哈~终于找到8mile里freestyle的歌词了，连对手的都有，进来啊

"Blahbity bloo blah blah blahbity blooh blah!"

I ain\'t hear a wordyou said, "hipidy hooblah!"

Is that a tank top, or a new bra?

Look Snoop Dogg just got a fuckin\' boob job!

Didn\'t you listen to the last round, meat head?

Pay attention you saying the same shit that he said!

Matter fact, dog here\'s a pencil

Go home, write some shit, make it suspenseful,

And don\'t come back until something dope hits you

Fuck it! You can take the mic hme with you!

Lookin like Cyclone hit you,

Tank top screamin\', "Lotto, I don\'t fit you!"

You see how far those white jokes get you?

Boys like how Vanilla Ice gonna diss you?"

My motto: Fuck Lotto!

I get the 7 digits from your mother for a dolla tommorow

8 Mile Freestyle Pt.III vs Papa Doc

Now everybody from the 313

Put your mothefucking hands and follow me

Everybody from the 313

Put your mothefucking hands up

Look Look

Now while he stands tough

Notice that this man did not had his hands up

This free world got you gased up

Now who\'s afraid of the big bad wolf

1, 2, 3 and to the 4

1 pac , 2 pac, 3 pac, 4

4 pac, 3 pac, 2 pac, 1

You\'re pac, he\'s pac, no pacs, none

This guy aint no mother-fuckin MC,

I know everything he\'s got to say against me,

I am white, I am a fuckin bum, I do live in a trailer with my mom,

My boy Future is an Uncle Tom.

I do got a dumb friend named Cheddar Bob who shoots

himself in the leg with his own gun,

I did get jumped by all 6 of you chumps

And Wink did fuck my girl,

I\'m still standin here screamin "FUCK THE FREE WORLD!"

Don\'t ever try to judge me dude

You don\'t know what the fuck i\'ve been through

But i know something about you

You went to Crankbook, that\'s a private school

What\'s the matter dawg? You embarrased?

This is guy\'s a gangster, he\'s real name\'s Clarence

And Clarence lives at home with both parents

And Clarence\'s parents have a real good marriage

This guy don\'t wanna battle, He\'s shook

\'Cause there no such things as half-way crooks

He\'s scared to death

He\'s scared to look in his fuckin yearbook, fuck Crankbook

Fuck the beat, i go acapella

Fuck a papa doc, fuck a clock, fuck a trailer, fuck everybody

Fuck y\'all if you doubt me

I\'m a piece of fucking white trash, i say it proudly

And fuck this battle, I don\'t wanna win, I\'m outty,

Here, tell this people something they dont know about me

谁帮我写一段关于爵士乐的英文介绍

1、陷阱杀手（The Trapper）： 埃文·迈克米伦

迈克米伦庄园的少爷，从小便受到父亲阿奇?迈克米伦严厉的教育，但艾文因崇拜其父治理企业的铁腕手段反而对他言听计从。两人联手经营矿场与铸造厂而使庄园成为辉煌的大企业。

但产能逐年攀升的同时，日渐年老的阿奇却开始担忧财产终将被外人侵占，为了保护庄园的秘密，他开始禁止矿场工人回乡探亲，又加长工时、苛扣工资，最后竟命令艾文将工人全数灭口，而艾文也毫不犹豫的照办，将一百多名工人骗入矿坑后引爆炸药，又一一虐杀被困在地底深处的生还者。

阿奇在命案发生后，离奇死于仓库的地下室，而艾文则从此消失无踪。其设计灵感来自**《十三号星期五》中的杰森·沃赫斯。

2、幽灵杀手（The Wraith）：菲利普·奥乔莫

汽车天堂废车场的员工，起初为了追求新生活而来到城市，被废车场老板阿札罗夫雇用而从事修车与用粉碎机辗压废车的工作。

然而有天他却在一辆即将报废的车上发现手脚被绑住的年轻人，奥乔莫将其释放后，年轻人遭到赶来的老板割喉杀死。

在他的质问之下，奥乔莫才得知原来阿札罗夫受雇于当地黑帮，帮忙处决他们的敌人与叛徒，而奥乔莫夹进粉碎机中的车辆几乎都装着人。

崩溃的他当场将阿札罗夫丢进粉碎机中辗死，并在老板的头露出来时将其连同脊椎一同拉出，随后逃离现场。

其后恶灵看上他无数的过去将其抓走，他几经折磨最终失去理智，成为杀手为恶灵追杀逃生者，恶灵更将老板的头颅与脊椎幻化成阿札罗夫之斧给予他做为武器。

3、电锯杀手（The Hillbilly）：马克斯·汤普森

寒风农场的农场主马克思与伊芙琳·汤普森的儿子，因他天生便长著一张面目全非的丑脸而被父母厌恶，不仅不为他取名，甚至为了避人耳目而将他关在一间没有门的房间，每天仅借着墙壁上的小开口给他送饭。

然而某天他却意外逃了出去并杀死了父母，并开始以电锯屠杀在农场中能看到的一切人事物，寒风农场失去主人后遭到分割变卖，但却因电锯杀手的传闻而无人敢下手。其设计灵感来自**《德州电锯狂》。

4、护士（The Nurse）：莎莉·史密森

克洛特斯·普瑞恩疯人院工作的护士，原本有着幸福美满的家庭，却因为丈夫安德鲁的死亡一夕变调，为了家计，莎莉不得已在疯人院做晚班看护。

多年下来，莎莉在经历疯人院糟糕的环境最终精神崩溃，并萌生了净化疯人院的想法，于某天深夜将四名同事与五十名病患全数掐死。

清晨，到处徘徊的莎莉被早班的同事发现并送往医院，但他搭乘的救护车却在途中撞毁于树林中，而莎莉从此消失无踪。其设计灵感来自《寂静岭》中的怪物“护士”。

5、妖巫（The Hag）：丽莎·谢伍德

黑水沼泽某传统村落的居民，曾与村中的耆老学过符文与咒术。某天经过树林时遭到敌对的食人族村落，由于当时正值饥荒，丽莎与其他被抓到食人村的人们被囚禁在地窖中；

日复一日的被削下身上的肉当作食物，许多人受不了腐臭的环境与折磨最终死去，然而丽莎却坚强的活了下来，并因强烈的恨意化身为怪物，最终挣脱手铐，将所有食人村的居民肢解食用。

等到村庄的救援队到达时，食人村仅剩下一堆尸体残肢，以及以鲜血所画的象征安宁与好运的符文。其设计灵感来自北美印第安人传说中的食人怪物温迪戈。

6、医生（The Doctor）：赫曼·卡特

莱里疗养中心的医生。天资聪颖的他高中时就曾在心理学公报刊登文章，后在就读耶鲁大学时被美国中央情报局看上而加入伊利诺伊州的一处秘密设施，即莱里疗养中心。

在那里，赫曼受到奥托·斯坦珀博士的指导，开始帮助CIA审问间谍，以及对囚犯与“病患”进行再教育课程，为了更有效的工作，赫曼甚至以电击治疗折磨。

而对外则以医生的身份掩人耳目，而因为美国当时处于冷战，被蒙蔽的社会大众因此无视他究竟有无医疗执照，直到某天疗养中心沉寂了一周的时间，才让警方发现包括斯坦珀博士在内的工作人员与患者们，已经全被赫曼电击拷问至死或成为植物人。

其中还发现赫曼正在做控制心灵的研究，但最后政府却选择销毁中心的所有资料，掩蔽消息。

7、女猎手（The Huntress）：安娜

流传于俄罗斯红树林的地方传说，形象为一名半人半兽的高大女人，专杀男人并吃掉她们的女孩。实际上安娜原是一名女野人的女儿，幼时母亲因为冬天食物耗尽，不得不去狩猎危险的麋鹿，结果失手被它的角顶飞重伤，当时的安娜力气太小，只能看着母亲逐渐断气。

长大后的她凭借母亲教导的生存技巧成为一名危险的女猎人，由于她从未与母亲以外的人类相处，便将野兽与闯进领地的旅人们一视同仁，当作猎物杀死。

但或许是出于与母亲的记忆，每次安娜都会将小女孩带回家中，戴上动物面具并用木头玩具取悦她们，然而安娜并不懂得照顾小孩，导致女孩最终都因饥饿与寒冷而死，安娜不得不开始攻击附近村落以抢夺女孩。

她的事迹最终变成了地方传说，直到第一次世界大战爆发后，附近的居民都撤退四散，而安娜在留下屠杀一整队德军兵团的传说后也就此消失。

其外观造型的灵感来自于美国费尔法克斯县的都市传说兔子人，游戏中逃生者可以听到女猎人哼著俄罗斯摇篮曲“баюшкибаю”（BayushkiBayu）。

8、小丑（The Clown）：肯尼斯·切斯

肯尼斯·切斯来自单亲家庭，与酗酒的父亲长年不和。在日复一日的上学生涯中，肯尼斯偶然对路上的羽毛起了兴趣，便与牙医买来捕捉鸟类，并由此开始了杀死小动物收集其身体部位的兴趣。

直到21岁那年，父亲竟在他的收藏品中发现了一根男人的手指，发觉事情败露的肯尼斯逃往外地，来到了一家巡回马戏团工作并改名杰佛瑞·霍克，并很快的融入马戏团的大家庭中；

然而在十年的巡回生活里，肯尼斯却在社交生活中染上了酒瘾与毒瘾，后来更重拾了过去的兴趣，以巡回生活为掩护开始偷走同事的衣服，打扮成小丑受害者，将他们虐杀后收集其手指。

最终肯尼斯在逃离马戏团之后成为了有名的犯，因此被看上而在某次来到坎贝尔神父的教堂表演时进入了恶灵的世界。

9、怨灵（The Spirit）：山冈凛

就读日本香川-高松大学的女大学生。山冈家的祖先为武士，原本是富有的家庭，但却因欠了一大笔债而家道中落，再加上凛的母亲病倒，使她不得不开始兼职以减轻家庭的重担。

而父亲为了还债也开始加班期望获得晋升，长期精神不济的情况下又受到恶灵的搅扰的父亲，在被公司解雇后最终绝望，拿起武士刀自己的妻子，刚好回家的凛也难逃一劫，被父亲斩断四肢扔下楼梯而死。

恶灵原本想以父亲作为杀手，但因为看上了凛强烈的复仇欲望，将父亲的武士刀给了她，凛因此成了杀手“怨灵”。

10、军团（The Legion）：弗兰克·莫里森

弗兰克原是出生于加拿大卡尔加里的少年，六岁时被政府安排至寄养家庭，但却因性格暴躁，经常打架闹事而辗转在好几个家庭之间借住，十六岁时被送到奥蒙德的安德鲁斯家；

原本弗兰克并不喜欢陈旧又气候阴暗的奥蒙德，打算转到另一个寄养家庭，但在认识了茱莉、乔伊、苏西三位朋友后打消了这个念头，四名不良少年组成了帮派“军团”，开始戴上面具以霸凌、偷窃、破坏公物为乐。

某天弗兰克遭到商店解雇，他一气之下便联合朋友们趁夜砸坏商店，却没想到茱莉被还在留守的清洁工抓住，弗兰克为了救她意外杀死了清洁工；

事后他害怕三人泄漏此事，便强迫他们每人都在清洁工身上刺一刀，并将尸体搬到树林间掩埋，期间四人受到恶灵的引导，最终迷失于恶灵的世界中成为杀手。

11、瘟疫（The Plague)：亚迪莉丝

巴比伦神庙的女祭司。五岁时即被家人遗弃于神庙，不久被庙中的祭司收留并作为净化仪式的助手抚养长大。

成年后巴比伦爆发了瘟疫，祭司们全数病倒，只能将主持仪式的重任交给亚迪莉丝，正当备感焦虑之时，她却意外发现祭司房间后的地穴，并在其中找到了一尊戴满珠宝的雕像。

为了安抚恐慌的民众，亚迪莉丝戴上了雕像上的装饰品，以自身的美貌与庄严得到了信徒们的支持，成为巴比伦的高阶祭司。

然而这并不能阻止瘟疫的扩散，就连亚迪莉丝也染上了疾病，不得不戴上面纱以遮蔽腐烂、脓肿的身体，亚迪莉丝为了安抚神灵，带着染病的信徒们离开城市，最终全死于乌拉尔图的一处洞穴中。

12、鬼武士（The Oni）：山冈火山

出身山罔家族的武士，也是最早被恶灵蛊惑而变成杀手的山冈家祖先。年轻时与父亲在提拔平民为武士的事上意见相左，认为这是对传统的玷污，遂偷了他的刀并踏上了诛杀冒牌武士的旅途。

然而他的手法极为惨忍，许多被击败的对手甚至被拔去发髻羞辱，令当地的领主愤而以“鬼山冈”的绰号怒骂他与山罔家族。

火山的父亲不得不出面清扫门户，亲自与火山决战，却一时犹豫反而惨死于他的金棒下。误杀父亲的火山因此暴怒失控，单枪匹马攻进了领主的城镇将他杀死，没想到却被愤怒的当地居民围困，最终山冈被虐杀而死。

离奇的是火山的遗体与金棒却在之后突然消失，而镇上也开始流传恶鬼出没的传说。

13、鬼（The Shape）：迈克尔·迈尔斯

黎明杀机第一位版权DLC角色，美国恐怖**《月光光心慌慌》中的魔，游戏中仅采用1978年的第一部人物设定，并未照后来的续集设定他与劳丽是兄妹。

**中年仅六岁便杀死自己的姐姐而被送往精神病院，二十年后回到哈登菲尔德（Haddonfield）大开杀戒，而**中的女主角劳丽·斯特罗德便是遭到追杀的受害者之一。

14、食人魔（The Cannibal）：布巴·索耶

美国恐怖**《德州电锯狂》中的魔“人皮脸”（LeatherFace），名字采用1986年续集《德州电锯狂2》中提到的布巴·“少年”·索耶。

居住在偏远乡村的一间农庄，为了生存屠杀所有经过的旅客，和家人一起食用人肉。

15、梦魇（The Nightmare）：弗莱迪·克鲁格

美国恐怖**《猛鬼街》里的梦中杀手，服装造型采自2010年重启**《新猛鬼街》。

弗莱迪原是春木镇（SpringWood）的榆树街一名恋童癖犯，因残杀多名孩童，被受害者家长们放火烧死，数年后成为怨灵，开始进入孩子们的梦中追杀他们。一旦受害者在自己的梦中被杀，则现实生活也会死亡。

乡村音乐的主题和内容？

Jazz

I INTRODUCTION

Jazz, type of music first developed by African Americans around the first decade of the 20th century that has an identifiable history and distinct stylistic evolution. Jazz grew up alongside the blues and popular music, and all these genres overlap in many ways. However, critics generally agree about whether artists fall squarely in one camp or another.

II CHARACTERISTICS

Since its beginnings jazz has branched out into so many styles that no single description fits all of them accurately. A few generalizations can be made, however, bearing in mind that for all of them, exceptions can be cited.

Performers of jazz improvise within the conventions of their chosen style. Typically, the improvisation is accompanied by the repeated chord progression of a popular song or an original composition. Instrumentalists emulate black vocal styles, including the use of glissandi (sliding movements that smoothly change the pitch), nuances of pitch (including blue notes, the “bent” notes that are played or sung slightly lower than the major scale), and tonal effects such as growls and wails.

In striving to develop a personal sound, or tone color (an idiosyncratic sense of rhythm and form and an individual style of execution), performers create rhythms characterized by constant syncopation (the placing of accents in unexpected places, usually on the weaker beat) and by swing. Swing can be defined as a sensation of momentum in which a melody is alternately heard together with, then slightly at variance with, the regular beat. Written scores, if present, are often used merely as guides, providing structure within which improvisation occurs. The typical instrumentation begins with a rhythm section consisting of piano, string bass, drums, and optional guitar, to which may be added any number of wind instruments. In big bands the wind instruments are grouped into three sections: saxophones, trombones, and trumpets.

Although exceptions occur in some styles, most jazz is based on the principle that an infinite number of melodies can fit the chord progressions of any song. The musician improvises new melodies that fit the chord progression, which is repeated again and again as each soloist is featured, for as many choruses as desired.

Although pieces with many different formal patterns are used for jazz improvisation, two formal patterns in particular are frequently found in songs used for jazz. One is the AABA form of popular-song choruses, which typically consists of 32 measures in ? meter, divided into four 8-measure sections: section A, a repetition of section A, section B (the “bridge” or “release,” often beginning in a new key), and a repetition of section A. The second form, with roots deep in African American folk music, is the 12-bar blues form. Unlike the 32-bar AABA form, blues songs have a fairly standardized chord progression.

III ORIGINS

Jazz is rooted in the mingled musical traditions of African Americans. These include traits surviving from West African music; black folk music forms developed in the Americas; European popular and light classical music of the 18th and 19th centuries; and later popular music forms influenced by black music or produced by black composers. Among the surviving African traits are vocal styles that include great freedom of vocal color; a tradition of improvisation; call-and-response patterns; and rhythmic complexity, both in the syncopation of individual melodic lines and in the conflicting rhythms played by different members of an ensemble. Black folk music forms include field hollers, rowing chants, lullabies, and later, spirituals and blues (see African American Music).

European music contributed specific styles and forms: hymns, marches, waltzes, quadrilles, and other dance music, as well as light theatrical music and Italian operatic music. European music also introduced theoretical elements, in particular, harmony, both as a vocabulary of chords and as a concept related to musical form. (Much of the European influence was absorbed through private lessons in European music, even when the black musicians so trained could only find work in seedy entertainment districts and on Mississippi riverboats.)

Black-influenced elements of popular music that contributed to jazz include the banjo music of the minstrel shows (derived from the banjo music of slaves), the syncopated rhythmic patterns of African-influenced Latin American music (heard in southern U.S. cities), the barrelhouse piano styles of tavern musicians in the Midwest, and the marches played by black brass bands in the late 19th century. Near the end of the 19th century, another influential genre emerged. This was ragtime, a composed music that combined many elements, including syncopated rhythms (from banjo music and other black sources) and the harmonic contrasts and formal patterns of European marches. After 1910 bandleader W. C. Handy took another influential form, the blues, and broke its strict oral tradition by publishing his original blues songs. (Favored by jazz musicians, Handy’s songs found one of their greatest interpreters in the 1920s in blues singer Bessie Smith, who recorded many of them.)

The merging of these multiple influences into jazz is difficult to reconstruct because it occurred before the existence of recording, which has provided valuable documentation. Of course, individual musicians had varying backgrounds and few people were directly exposed to all of these influences. For example, most jazz artists were and are city dwellers and might have only known rural black forms indirectly.

IV HISTORY

Most early jazz was played in small dance bands or by solo pianists. Besides ragtime and marches, the repertoire included all kinds of popular dance music and blues. The bands typically played at picnics, weddings, parades, and funerals. Characteristically, the bands played dirges on the way to funerals and lively marches on the way back. Blues and ragtime had arisen independently just a few years before jazz and continued to exist alongside it, influencing the style and forms of jazz and providing important vehicles for jazz improvisation.

A New Orleans Jazz

Shortly after the turn of the 20th century, the earliest fully documented jazz style emerged and centered in New Orleans, Louisiana. In this style the cornet, trumpet, or violin carried the melody, the clarinet played florid countermelodies, and the trombone played rhythmic slides and sounded the root notes of chords or simple harmonies. Below this basic trio the guitar or banjo sounded the chords, along with a piano, if available; a string bass (or tuba for marching parades) provided a bass line; and drums supplied the rhythmic accompaniment. In theory, these roles were the same as in other kinds of music—it was the addition of improvisation, along with elements of other black music such as blues and ragtime, that made jazz unique.

A musician named Buddy Bolden appears to have led some bands that influenced early jazz musicians, but this music and its sound have been lost to posterity. Although some jazz influences can be heard on a few early phonograph records, not until 1917 did a jazz band record. This band, a group of white New Orleans musicians called The Original Dixieland Jazz Band, created a sensation overseas and in the United States. Among the band’s many successors, two groups emerged in the early 1920s that were particularly celebrated: the New Orleans Rhythm Kings and the Creole Jazz Band, the latter of which was led by cornetist King Oliver, an influential stylist. The series of recordings made by Oliver’s band are often considered the most significant jazz recordings by a New Orleans group. Other leading New Orleans musicians included trumpeters Bunk Johnson and Freddie Keppard, soprano saxophonist and clarinetist Sidney Bechet, drummer Warren “Baby” Dodds, and pianist and composer Jelly Roll Morton. The most influential jazz musician nurtured in New Orleans, however, was King Oliver’s second trumpeter, Louis Armstrong.

B Armstrong’s Impact

Armstrong was a dazzling improviser, technically, emotionally, and intellectually. He and his generation changed the format of jazz by bringing the soloist to the forefront, and within his recording groups, the Hot Five and the Hot Seven, he demonstrated that jazz improvisation could go far beyond simply ornamenting the melody—he created new melodies based on the chords of the initial tune. He also set a standard for later jazz singers, not only by the way he altered the words and melodies of songs, but also by improvising without words, like an instrument. This form of vocal improvisation is known as scat singing.

C Chicago and New York City

For jazz, the 1920s was a decade of great experimentation and discovery. Many New Orleans musicians, including Armstrong, migrated to Chicago, Illinois, influencing local musicians and stimulating the evolution of the Chicago style. This style was derived from the New Orleans style but emphasized soloists, often added saxophone to the instrumentation, and usually produced tenser rhythms and more complicated textures. Instrumentalists working in Chicago or influenced by the Chicago style included trombonist Jack Teagarden, banjoist and guitarist Eddie Condon, drummer Gene Krupa, and clarinetist Benny Goodman. Also active in Chicago was Bix Beiderbecke, whose lyrical approach to the cornet provided an alternative to Armstrong’s bravura trumpet style. Many Chicago musicians eventually settled in New York City, another major center for jazz in the 1920s.

D Jazz Piano

Another vehicle for the development of jazz in the 1920s was piano music. The Harlem section of New York City became the center of a highly technical, hard-driving solo style known as stride piano. The master of this approach in the early 1920s was James P. Johnson, but it was Johnson’s protégé Fats Waller—a talented vocalist and entertainer as well—who became by far the most popular performer of this idiom.

A second piano style to develop in the 1920s was boogie-woogie. A form of blues played on the piano, it consists of a short, sharply accented bass pattern played repeatedly by the left hand while the right hand plays freely, using a variety of rhythms. Boogie-woogie became especially popular in the 1930s and 1940s. Leading boogie-woogie pianists included Meade Lux Lewis, Albert Ammons, Pete Johnson, and Pine Top Smith.

The most brilliant pianist of the 1920s, comparable to Armstrong in sheer innovation and present on some of his most influential recordings, was Earl “Fatha” Hines, a Chicago-nurtured virtuoso considered to possess a wild, unpredictable imagination. His style, combined with the smoother approach of Waller, influenced most pianists of the next generation—notably Teddy Wilson, who was featured with Goodman’s band in the 1930s, and Art Tatum, who performed mostly as a soloist and was regarded with awe for his virtuosity and sophisticated harmonic sense.

E The Big-Band Era

Also during the 1920s, large groups of jazz musicians began to play together, after the model of society dance bands. These were the so-called big bands, which became so popular in the 1930s and early 1940s that the period was known as the swing era. One major development in the emergence of the swing era was a rhythmic change that smoothed the two-beat rhythms of some early bands into a more flowing four beats to the bar. Musicians also developed the use of short melodic patterns, called riffs, in call-and-response patterns. To facilitate this procedure, orchestras were divided into instrumental sections, each with its own riffs, and opportunities were provided for musicians to play solos.

The development of the big band as a jazz medium was strongly influenced by the achievements of Duke Ellington and Fletcher Henderson. Henderson’s arranger, Don Redman, and later Henderson himself, introduced written jazz scores that were widely admired for their effort to capture the quality of improvisation that characterized the music of smaller ensembles. To achieve this improvisation, Redman and Henderson were aided by gifted soloists such as tenor saxophonist Coleman Hawkins and by Armstrong, who played in Henderson’s band during 1924 and 1925.

Ellington led a band at the Cotton Club in New York City during the late 1920s. Continuing to direct his orchestra until his death in 1974, he composed colorful experimental concert pieces ranging in length, from the three-minute “Ko-Ko” (1940) to the hourlong Black, Brown, and Beige (1943), as well as songs such as “Solitude” and “Sophisticated Lady.” More complex than Henderson’s music, Ellington’s music made his orchestra a cohesive ensemble, with solos written for the unique qualities of specific instruments and players. Other black bands that were popular among musicians and audiences were led by Jimmie Lunceford, Chick Webb, and Cab Calloway.

A different style of big-band jazz was developed in Kansas City, Missouri, during the mid-1930s and was epitomized by the band of Count Basie. Originally assembled in Kansas City, Basie’s band reflected that region’s emphasis on improvisation, keeping the prepared passages relatively short and simple. The wind instruments in his band exchanged ensemble riffs in a free, strongly rhythmical interplay, with pauses to accommodate instrumental solos. Basie’s tenor saxophonist Lester Young, in particular, played with a rhythmic freedom rarely apparent in the improvisations of soloists from other bands. Young’s delicate tone and long, flowing melodies, laced with an occasional avant-garde honk or gurgle, opened up a whole new approach, just as Armstrong’s trumpet and cornet playing had done in the 1920s.

Other trendsetters of the late 1930s were trumpeter Roy Eldridge, electric guitarist Charlie Christian, drummer Kenny Clarke, and vibraphonist Lionel Hampton. Jazz singing in the 1930s became increasingly flexible and stylized. Ivie Anderson, Mildred Bailey, Ella Fitzgerald, and, above all, Billie Holiday were among the leading singers. Europeans also became more active in jazz during this time. Christian, for example, was influenced by Belgian guitarist Django Reinhardt, whose brilliant recordings were available in the United States.

F Interplay with Popular and Classical Music

The pioneering efforts of Armstrong, Ellington, Henderson, and others made jazz a dominant influence on American music during the 1920s and 1930s. Popular musicians such as bandleader Paul Whiteman used some of the more obvious rhythmic and melodic devices of jazz, although with less improvisational freedom and skill than were displayed in the music of the major jazz players. Attempting to fuse jazz with light classical music, Whiteman’s orchestra also premiered jazzy symphonic pieces by American composers such as George Gershwin. Closer to the authentic jazz tradition of improvisation and solo virtuosity was the music played by the bands of Benny Goodman (who used many of Henderson’s arrangements), Gene Krupa, and Harry James.

Since the days of ragtime, jazz composers had admired classical music. A number of swing-era musicians “jazzed the classics” in works such as “Bach Goes to Town” (written by Alec Wilder and recorded by Goodman) and “Ebony Rhapsody” (recorded by Ellington and others). Composers of concert music, in turn, paid tribute to jazz in works such as Contrasts (1938, commissioned by Goodman) by Hungarian Béla Bartók and Ebony Concerto (1945, commissioned by Woody Herman) by Russian-born Igor Stravinsky. Other composers, such as Aaron Copland, an American, and Darius Milhaud, a Frenchman, acknowledged the spirit of jazz in their works.

G The 1940s and the Postwar Decades

The preeminently influential jazz musician of the 1940s was Charlie Parker, who became the leader of a new style known usually as bebop, but also as rebop or bop. Like Lester Young, Charlie Christian, and other outstanding soloists, Parker had played with big bands. During World War II (1939-1945), however, the wartime economy and changes in audience tastes had driven many big bands out of business. Their decline, combined with the radically new bebop style, amounted to a revolution in the jazz world.

Bebop was still based on the principle of improvisation over a chord progression, but the tempos were faster, the phrases longer and more complex, and the emotional range expanded to include more unpleasant feelings than before. Jazz musicians became aware of themselves as artists and made little effort to sell their wares by adding vocals, dancing, and comedy as their predecessors had.

At the center of the ferment stood Parker, who could play anything on the saxophone, in any tempo and in any key. He created beautiful melodies that were related in advanced ways to the underlying chords, and his music possessed endless rhythmic variety. Parker’s frequent collaborators were trumpeter Dizzy Gillespie, known for his formidable speed and range and daring harmonic sense, and pianist Earl “Bud” Powell and drummer Max Roach, both leaders in their own right. Also highly regarded were pianist-composer Thelonious Monk and trumpeter Fats Navarro. Jazz singer Sarah Vaughan was associated early in her career with bebop musicians, particularly Gillespie and Parker.

The late 1940s brought forth an explosion of experimentation in jazz. Modernized big bands led by Gillespie and Stan Kenton flourished alongside small groups with innovative musicians such as pianist Lennie Tristano. Most of these groups drew ideas from 20th-century pieces by masters such as Bartók and Stravinsky.

The most influential of the midcentury experiments with classically influenced jazz were the recordings made in 1949 and 1950 by an unusual nonet led by Charlie Parker’s protégé, a young trumpeter named Miles Davis. The written arrangements, by Davis and others, were soft in tone but highly complex. Many groups adopted this “cool” style, especially on the West Coast, and so it became known as West Coast jazz. Refined by players such as tenor saxophonists Zoot Sims and Stan Getz and baritone saxophonist Gerry Mulligan, West Coast jazz flourished throughout the 1950s. Also in the 1950s pianist Dave Brubeck (a student of Milhaud’s), with alto saxophonist Paul Desmond, achieved popularity with his blend of classical music and jazz.

Most musicians, however, particularly on the East Coast, continued to expand on the hotter, more driving bebop tradition. Major exponents of the hard-bop or East Coast style included trumpeter Clifford Brown, drummer Art Blakey, and tenor saxophonist Sonny Rollins, whose unique approach made him one of the major talents of his generation. Another derivative of the Parker style was soul jazz, played by pianist Horace Silver, alto saxophonist Cannonball Adderley, and his brother, cornetist Nat Adderley.

H The Late 1950s, 1960s, and 1970s

Several new approaches characterized jazz in the third quarter of the century. The years around 1960 ranked with the late 1920s and the late 1940s as one of the most fertile periods in the history of jazz.

H1 Modal Jazz

In 1955 Miles Davis organized a quintet that featured tenor saxophonist John Coltrane, whose complex approach produced a striking contrast to Davis’s rich-toned, unhurried, expressive melodic lines. Coltrane poured out streams of notes with velocity and passion, exploring every melodic idea, no matter how exotic; nevertheless, he played slow ballads with poise and serenity. In his solos he revealed an exceptional sense of form and pacing. In 1959 Coltrane appeared on a landmark Miles Davis album, Kind of Blue. Along with pianist Bill Evans, Davis devised for this album a set of pieces that remain in one key, chord, and mode for as long as 16 me

黎明杀机四位屠夫的故事

乡村音乐（Country Music）出现于20世纪20年代，它来源于美国南方农业地区的民间音乐，最早受到英国传统民谣的影响而发展起来。最早的乡村音乐是传统的山区音乐（Hillbilly Music），它的曲调简单、节奏平稳，带有叙述性，与城市里的伤感流行歌曲不同的是，它带有较浓的乡土气息。山区音乐的歌词主要以家乡、失恋、流浪、宗教信仰为题材，演唱通常以独唱为主，有时也加入伴唱，伴奏乐器以提琴、班卓琴、吉他等（50年代中期以前，传统的乡村音乐乐队里没有鼓）为代表。演出场所主要在家里、教堂和乡村集市，有时也参加地区性巡回演出。它与大城市的文化生活相隔离，一直处于自我封闭状态。

20世纪20年代，有些电台为了迎合农村听众的口味，开始播放山区音乐，如芝加哥的"民族谷仓舞"（National Barn Dance）节目（1924），纳什维尔的"老式大剧院"（Grand old Opry）节目（1925）等，很受欢迎。这种做法鼓励了山区音乐的乐师去电台录音，也激发了唱片公司去各地发现人才、录制唱片。从此，山区音乐开始汇入美国流行音乐的主流，并涌现出最早的一批乡村歌手，如吉米·罗杰斯和"卡特家族"演唱组。

吉米·罗杰斯（Jimmie Rodgers，1897～1933）融合了布鲁斯、白人山区歌谣（Yodels）以及民谣（Folk）等多种音乐风格，被认为是乡村音乐的开创者，并冠以"乡村音乐之王"的称号。他的歌唱从容、悠然，并且发展了一种独特的、真假声来回转换的山区民间唱法："蓝色的约得尔唱法"（blue yodel）。虽然他一生饱受肺病的折磨，但是始终没有放弃过对乡村音乐的执著。从1929年，到1933年罗杰斯共录制了一百一十首歌曲，1933年5月26 日，在刚录完音的两天后正值盛年的吉米·罗杰斯因病情恶化而去世。

"卡特家族"（The Carter family，由Alvin Carter，1891～1960，和他的妻子、弟媳妇三人组成）以一种安逸、谐和的曲风和着眼于家园、上帝和信仰等题材而赢得了听众的喜爱。对于像"卡特家族"这样的艺人，演唱只是一种业余的谋生方式。但是在乡村音乐的初始阶段，他们的确为乡村音乐的发展做出了巨大的贡献，同时也为早期乡村音乐留下了宝贵的录音资料。

Talkin New York 歌词

1.屠夫

捕兽者The Trapper：夹子屠夫

　本名埃文.麦克米兰。富二代。白人男性。

非常崇拜父亲，父亲说什么他都会去做，但父亲也因为年纪大了，心理健康慢慢的不正常。

某天父亲叫他带着一百个人进入黑暗的隧道并引爆炸药，他就照做了。

埃文(陷阱哥)最后的下场并不清楚，但他的父亲被发现死在自己仓库的地下室。

2.怨灵The Wraith：隐身屠夫

本名菲利浦.欧朱摩。汽车厂员工。黑人男性。

移民到美国的新移民，拥有老婆和孩子的他很幸运的得到的修车厂的一份新工作。

他的工作主要是利用碾压器把废弃汽车压扁。

由于老板收了黑道的好处，在怨灵哥不知道的情况下他杀(碾)了很多人。

直到某天他发现事情不对劲(发现了血迹)，跑去质问老板才得知事实。

直接暴走的他把老板丢到碾压器里面，并把他的头骨连脊椎拉了出来做成他的武器。

在杀了他的老板后，怨灵哥后来也是下落不明。

3.乡巴佬The Hillbilly：电锯屠夫

本名不详，姓氏汤普森。白人男性。

冷风农场主人麦克斯.汤普森和伊夫林.汤普森的儿子。

由于其貌丑陋，被野蛮的父母认为是家族的耻辱，于是把他关在四面都是墙的房间中。

他与外界的联系就只有一个小小的送饭洞口。

长时间的独立隔绝导致了他的凶残性，和对会移动的东西的施暴性。

最后他找到方法逃脱并用槌子和电锯杀了他的父母，并对农场中会跑动的生物施以肢解。

4.女护士The Nurse:护士屠夫

本名莎莉史密森。护士。白人女性。

莎莉史密森来到了小镇上，怀揣着住在伴有孩子欢声笑语、由丈夫安德鲁建造

的小木屋里的梦想。但命运不怀好意毁灭了莎莉想象中的美好生活。安德鲁是

一个伐木工人——这个工作伴随着危险。有一天，安德鲁的领班来拜访莎莉，

带来一个让她的生活翻天覆地的消息：她从此以后是一个人了。（丈夫出事故

死掉了）家里没有食物了，而她唯一能找到的工作是在克罗托斯普瑞恩疯人院。

没有人会去那里找工作除非像莎莉一样走投无路。没有经过培训，莎莉从底层开

始，工作了二十年仍没有升职。相反，她的精神已经到了极限。二十年，她见过

了太多恐怖的事情，可怕的回忆每晚都在折磨她。被不知底线的疯子们言语上，

肉体上折磨，莎莉只能默默地承受这些外来的虐待。终于有一天，她再也受不了

了，她产生了要净化这个扭曲的疯人院的想法。她做了她觉得必要的事情。九月

的某一天早上，当其他的同事们来到疯人院，他们发现五十多个病人死在了病床上。

莎莉是在场的唯一一个人，在现场徘徊着。只有她知道发生了什么，不过看起来一

些病人是被掐死的，脖子周围留下了伤痕。

以上转自百度百科。求采纳O(∩_∩)O~~

电梯演讲英文怎么说?

歌曲名:Talkin New York

歌手:Bob Dylan

专辑:Bob Dylan

Bob Dylan"Talkin' New York"歌词

Ramblin' outa the wild west

Leavin' the towns i love the best

Thought i'd seen some ups and down

"til i come into new york town

People goin' down to the ground

Buildings goin' up to the sky.

Wintertime in new york town

The wind blowin' snow around

Walk around with nowhere to go,

Somebody could freeze right to the bone

I froze right to the bone

New york times said it was the coldest winter in seventeen years;

I didn't feel so cold then

I swung on to my old guitar

Grabbed hold of a subway car

And after a rocking, reeling, rolling ride,

I landed up on the downtown side

Greenwich village

I walked down there and ended up

In one of them coffee-houses on the block.

Got on the stage to sing and play,

Man there said, "come back some other day

You sound like a hillbilly;

We want folk singer here

Well, i got a harmonica job, begun to play

Blowin' my lungs out for a dollar a day.

I blowed inside out and upside down.

The man there said he loved m' sound,

He was ravin' about how he loved m' sound

Dollar a day's worth

And after weeks and weeks of hangin' around

I finally got a job in new york town,

In a bigger place, bigger money too,

Even joined the union and paid m' dues

Now, a very great man once said

That some people rob you with a fountain pen

It don't take too long to find out

Just what he was talkin' about

A lot of people don't have much food on their table,

But they got a lot of forks n' knives

And they gotta cut somethin'

So one mornin' when the sun was warm

I rambled out of new york town.

Pulled my cap down over my eyes

And headed out for the western skies

So long, new york

Howdy, east orange

style="font-size: 18px;font-weight: bold;border-left: 4px solid #a10d00;margin: 10px 0px 15px 0px;padding: 10px 0 10px 20px;background: #f1dada;">剥削**的子类型

什么是电梯式演讲

麦肯锡公司曾经得到过一次沉痛的教训：该公司曾经为一家重要的大客户做咨询。咨询结束的时候，麦肯锡的项目负责人在电梯间里遇见了对方的董事长，该董事长问麦肯锡的项目负责人：“你能不能说一下现在的结果呢？”由于该项目负责人没有准备，而且即使有准备，也无法在电梯从30层到1层的300秒钟内把结果说清楚。最终，麦肯锡失去了这一重要客户。从此，麦肯锡要求公司员工凡事要在最短的时间内把结果表达清楚，凡事要直奔主题、直奔结果。麦肯锡认为，一般情况下人们最多记得住一二三，记不住四五六，所以凡事要归纳在3条以内。这就是如今在商界流传甚广的“30秒钟电梯理论”或称“电梯演讲”。

Elevator Pitch 如何翻译?

“电梯演讲”。见baike.baidu/view/2804691。即需要你用很短的时间推销成功自己。

“电梯演讲”就是目前国内统一的叫法啊，或者“1分钟演讲”，“雷电演说”？

电梯维保会议演讲稿怎么写啊？急急急 5分

你们是电梯维保单位吗？就写你们近期获得的成绩，电梯维保的情况，在主管部门的指导语引领下，获得了哪些改善与长足的进步。以后要怎么继续保持，如果改变不好的状况。最后希望电梯维保单位都严格管理，杜绝安全事故。

求一篇英语演讲稿 我的话题是英语 不要很长 我是高一的 具体说下什么内容 给提个意见 我下周一演讲...

New Discovery

A hillbilly was visiting the big city for the first time. Entering an office building, he saw a pudgy older woman step into a *** all room. The doors closed, lights flashed, and after a while the door slid open and a beautiful young

model stepped off the elevator.

Blinking in amazement, the hillbilly drawled, "I shouldhave brought my wife!"

新发现

一个乡下人第一次到大城市游逛。他走进一座大楼，看见一个岁数很大的矮胖女人迈进一个小房间。房间的门随后关上，有几个灯在闪亮。一会儿，门开了，电梯里走出一位年青漂亮的女模特。

乡下人惊奇地眨着眼睛，慢吞吞地说：“我应该把我的老婆带来!”

电梯事故5分钟时事演讲

请不要再扩大宣传电梯事故！！将心比心各行各业都不容易！！

恐惧的本身就是对我们所有电梯行业从业人员的一种不信任，一种不尊重，没有人理解一个电梯工需要为了您每天的出行方便安全付出了什么！

您在凌晨三点归来，你不曾想到一个电梯工已经在维修加班的途中；

当你进入梦乡时，这些可爱的人还在为了你明天的方便，还在熬夜排查故障。

你不曾想到您看一场球赛看一次展会一群电梯工为了大家的安全24小时在岗只是为了您的乘坐安全；

你不曾想到一个电梯工陪老婆孩子想真正的旅行一次是多么的艰难，您的一个电话我们就得在30分钟抛下老婆孩子赶往工地现场；

你不曾想到有多少维修安装的电梯工人牺牲在为您电梯服务的路上，电梯井道狭窄在您看来可能肮脏，可是那就是我们电梯人一辈子的归宿；

你可曾知道中国目前95%的事故死亡的都是在电梯里安装又或者维修的电梯工人，大家真的关心过吗？

请暂停您手中的事故传播，不要传递恐惧，您不是我们，您没有资格去调侃一帮拿着卖白菜的钱却操著卖白粉的心，说不定哪天还要进班房。抛妻弃子为了一些陌生到一辈子可能都见不上一面的人的安全彻夜难眠的电梯人。

人们一味责问电梯从业人员时，又有谁来提高他们的职业荣誉感和薪酬呢？

《创业教育与就业指导》期末作业什么是电梯式演讲

哥们，找到答案了吗 同工大

电梯安全演讲250字

电梯安全讲话稿

各位老师、同学们：

随着社会的日益发展，电梯在人们日常生活中的使用越来越普遍，电梯在给人们的生活带来极大的方便的同时，天梯安全事故也时常见诸报端。为进一步构建安全和-谐的校园环境，提高学生的安全意识，今天，我校通过知识讲座的形式开展“电梯安全进校园”专项安全教育活动。下面我将通过两方面讲讲电梯的正确使用知识：

一、电梯的正确使用方法。

1、呼叫电梯时，乘客仅需要按所去方向的呼叫按钮，请勿同时将上行和下行方向按钮都按亮，以免造成无用的轿厢停靠，降低大楼电梯的总输送效率。同时这样也是为了避免安全装置错误动作，造成乘客被困在轿厢内，影响电梯正常运行。

2、电梯门开启时，一定不要将手放在门板上，防止门板缩回时挤伤手指，电梯门关闭时，切勿将手搭在门的边缘，以免影响关门动作甚至挤伤手指。带小孩时，应当用手拉紧或抱住小孩乘坐电梯。

3、乘坐电梯时应与电梯门保持一定距离，为了安全起见，因为在电梯运行时，电梯门与井道相连，相对速度非常快，电梯门万一失灵，在门附近的乘客会相当危险。

4、不要在电梯里蹦跳。电梯轿厢上设置了很多安全保护开关。如果在轿厢内蹦跳，轿厢就会严重倾斜，有可能导致保护开关动作，使电梯进入保护状态。这种情况一旦发生，电梯会紧急停车，造成乘梯人员被困。

5、进门时很多人习惯用身体挡门，虽然没有危险，但如果你按的时间太长了，电梯控制部分会认为电梯已经出了故障。有可能会报警，甚至停下来。所以比较得体的做法，就是你进去以后，按著开门按钮。

特别需要提醒的是，有的人整个站在电梯门处，挡着电梯门，这样是很危险的。因为电梯里面是安全的，外面也是安全的。但是你站在这两个空间交界的地方，假如说这个时候出现了，大家俗话叫做开门走车的情况，这个人就会受到剪切。所以这是一个非常危险的位置，不应该在这个交界的地方停留。

6、有些单位用一台货梯作为客梯用是不允许。

货梯和客梯的区别就是它的装潢，或者它的舒适感要差一些。振动和噪音的指标没有提出特殊的要求。另外有一种货梯，是绝对不能作客梯用的，就是超面积的。因为有时候工厂

里做的这种产品比较轻，它希望轿厢做得大一点，那么经过有关部门批准，这个轿厢面积比标准的要大。如果说这种货梯作客梯用时，就会出现超载。

二、电梯出现事故后安全常识。

1、发生坠落事故时，首先是固定自己的身体。这样发生撞击时，不会因为重心不稳而造成摔伤。其次是要运用电梯墙壁，作为脊椎的防护，紧贴墙壁，可以起到一定的保护作用。最重要的，可以借用膝盖弯曲来承受重击压力。这是因为韧带是人体惟一富含弹性的组织，比骨头更能承受压力。因此，背部紧贴电梯内壁，膝盖弯曲，脚尖踮起的保护动作才是正确的。

2、电梯蹾底，就是电梯的轿厢在控制系统全部失效的情况下，会错过首层平层位置而向下行驶，直至蹾到底坑的缓冲器上停止。这样的情况很少发生，可一旦发生后果会十分严重，巨大的惯性很可能会导致乘梯者全身骨折危及生命。其实如果电梯在下降过程中，突然急速下坠，电梯的安全保护装置会使电梯停下来。值得注意的是，电梯从开始坠落到停下的距离与电梯的载重有关，因此乘坐电梯决不能超载。

3、被困到电梯里的自救措施。紧急停止运行后，电梯还有好几套可靠周密的保护装置来保护乘客的安全，不必担心它会继续往下掉。突然停梯的原因有很多种，在不知晓原因之前，任何自己设法逃离的行为都属冒险举动。在刚刚被困时，如果电梯内没有报警电话，可拍门叫喊或用鞋子敲门。如果长时间被困，最安全的做法是保持镇定，保存体力，等待救援。

4、电梯管理人员应当如何解救被困人员。当发生电梯困人事故时，电梯管理人员......

剥削**可采用**类别的题材和**风格，特别是恐怖**和纪录片，剥削**子类型以其运用的特征做分类。 主题方面，剥削**也会受到其他所谓剥削媒体的影响，例如：纸浆杂志（Pulp magazine）。 剥削**可能同时包含二种、或更多的**类别，常常模糊类别的界线，例如：桃乐丝·维斯曼（Doris Wishman）的《我要死于女儿身》（Let Me Die A Woman）包含惊悚纪录片和性剥削的元素。

劝谕**

1930年代和1940年代的剥削**，成功克服了当时严格的**审查和监督，无论以多么惊悚的主题为特色，只要宣称具有教育性质即可。通常是关于所谓婚前性行为和毒品危险的警世故事（cautionary tale），例子包括：《大麻》Marihuana（1936）、《大麻狂热》Reefer Madness（1938）、《疯狂》Sex Madness（1938）、《老爸老妈》Mom and Dad（1945）、和《野草》She Shoulda Said No!（1949）。 探讨同性恋的剥削**《寂寞孩子》Children of Loneliness（1937），如今被认定为逸失**（lost film）。

File:Coffy.jpg黑人剥削**的海报

由马龙·白兰度领衔主演的《飞车党》The Wild One（1953），是首部关于摩托车黑帮的摩托飞车手**（biker films）。 随后，在1950年代兴起一系列以改装车和摩托车为中心主题的低成本不良少年**。 1966年美国国际**（American International Pictures）《野帮伙》（The Wild Angels）的成功，引燃了风潮，并持续到1970年代初期。 其他的摩托飞车手**包括：《疯狂车手》Motorpsycho（1965）、《地狱飙车天使》Hells Angels on Wheels（1967）、《天生失败者》The Born Losers（1967）、Satan's Sadists（1969）、Nam's Angels（1970）、和 C.C. and Company（1970）。（请参见摩托飞车手**清册）

黑人剥削

黑人剥削**（blaxploitation）以黑人演员为主，明显诉求于黑人观众，常常是刻板印象上城市背景的非裔美国人，并以非裔美国人透过狡猾和暴力战胜“大人物”（the Man）为重要的主题。 此子类型的先驱是梅尔文·范·皮布尔斯（Melvin Van Peebles）的《甜甜的坏之歌》Sweet Sweetback's Baadasssss Song（1971）。 其他例子包括： 《黑色凯撒》Black Caesar（1973）、Black Devil Doll、《黑古拉》Blacula（1972）、《黑色香波》Black Shampoo（1976）、《黑种治安官》Boss Nigger（1975）、《科菲》Coffy（1973）、《浣熊皮》Coonskin（1975）、《棉花闯哈林》Cotton Comes to Harlem（1970）、Dolemite（1975）、Foxy Brown（1974）、Hell Up in Harlem（1973）、《生死关头》Live and Let Die（1973）、The Mack（1973）、《曼丁哥家族》Mandingo（1975）、《黑豹》Shaft（1971）、《毒山》Sugar Hill（1974）、《超级苍蝇》Super Fly（1972）、 The Thing With Two Heads（1972）、和 Truck Turner（1974）。 昆汀·塔伦提诺的《黑色终结令》Jackie Brown （1997）则是针对此类型的近代致敬**。

File:Cannibal Holocaust movie.jpg食人族** 1970年代，在日本一个特别的修正主义类型、非传统武士**提升到某个流行程度，此子类型成为知名的日

本武士**（chambara films），英文名称‘chambara’取其剑击的拟声。 日本武士**的起源，可追溯到黑泽明的作品，他的**以道德灰暗和夸大暴力为特色，不过与此类型最直接连结的是1970年代小池一夫的武士连环漫画，他的多部作品陆续被改编成**。日本武士**只有少部分早期的时代剧以禁欲、正规的感性为特色，新日本武士**则以复仇驱使的非正统派主角、裸露、场面、击剑、和血腥为特色。 著名的日本武士**包括：《御用牙三部曲》（Hanzo the Razor）、《修罗雪姫》（Lady Snowblood）、《带子狼》、《不良姐御传》（Sex and Fury）、和《暗杀大将军》（Shogun Assassin）。 现代的日本**，例如：《百人斩少女》（Azumi）和电视动画《剑豪生死斗》持续日本武士**的传统， 昆汀·塔伦提诺的《追杀比尔》系列**，则是此类型杰出的美国版本致敬**。其他**，例如：《机关枪少女》The Machine Girl（2008）和《东京残酷警察》Tokyo Gore Police（2008）包含日本武士**的元素，和肉体恐怖（body horror）结合.。

生态恐怖**（Eco-terror films）聚焦于一只、或成群的超大型、具有非寻常攻击性的动物，造成一特定发生地点内的人类恐慌，同时也有另一群人企图猎捕。 此类型开始于1950年代，当时对于核武试爆的忧虑，导致巨型怪兽的**大受欢迎。这些通常是被爆炸所唤醒的史前生物，或者是遭到辐射污染而突变的平凡动物。这些**包括：《哥吉拉》、《巨蚂》Them!（1954）、和《异变》Tarantula（1955）。在1970年代对于污染增多的觉醒，此类题材再度复活，并且谴责企业贪婪和军队不负责任而恣意破坏环境。《午夜魔兔》Night of the Lepus（1972）、《金蛙王》Frogs（1972）、和《哥吉拉对黑多拉》是这些**的范例。 当1975年史蒂芬·史匹柏的《大白鲨》上映后盛况空前，为数众多的高相似度**（有时被视为彻底的仿制品）如雨后春笋般趁势窜出，无非想如法炮制其财源滚滚的成功模式。 这些**包括：《大鳄鱼》Alligator（1980）、《狂犬惊魂》、《凶兽出笼》Day of the Animals（1977）、《巨浪白鲨》Great White（1980）、《大灰熊》Grizzly（1976）、《凶煞鱼怪》Humanoids from the Deep（1980）、《红海魔影》Monster Shark（）、《鲸》Orca（1977）、The Pack（1977）、《食人鱼》Piranha（1978）、Prophecy（1979）、《边缘战士》Razorback（）、《凶群出洞》Tentacles（1977）、和《追捕虎鲨》Tintorera（1977）。在这20年期间，罗杰·柯曼（Roger Corman）是这些**的主要制作人。 此类型**又再次复苏，例如：《桑树街》Mulberry Street（2007）和赖瑞·费斯登（Larry Fessenden）的《最后的寒冬》The Last Winter（2006），反映出对全球暖化和人口过剩的关切。

意大利铅黄**（Giallo films）是意大利制的变态狂**（slasher films），聚焦于杀手犯下残酷的死亡犯罪，以及后续的追凶侦查。 此类别以意大利字“铅黄”（Giallo）命名，取自纸浆杂志（pulp novels）的背景颜色，这些**最初从杂志刊载内容改编、或者受到启发。 此类别的先驱是《知道太多的女孩》La ragazza che sapeva troppo（1963），其他例子包括：《四小块灰色碎片》4 mosche di velluto grigio（1971）、《九命怪猫》Il gatto a nove code（1971）、《摧花手》L'uccello dalle piume di cristallo（1970）、《蝎子凶手案》La coda dello scorpione（1971）、《塔兰图拉毒蛛》La tarantola dal ventre nero（1971）、《妻子的罪恶》Lo strano vizio della Signora Wardh（1971）、《血与黑蕾丝》Sei donne per l'assassino（1964）、和《黑影》Tenebrae（1982）。达里奥·阿基多（Dario Argento）、卢西奥·弗尔兹（Lucio Fulci）、和马力欧·巴瓦（Mario Bava）是最精通此类型的导演。

在意大利，当你提供**剧本给制片人，他问的第一个问题不是‘你的**像什么？’，而是‘你的**像什么“**”？’，正因为如此，我们只能作出《生人回避》Zombie 2（1979），绝非 Zombie 1 -路奇·酷吉（Luigi Cozzi）。

恶搞**（Mockbusters）有时称为“重制剥削**”（remakesploitation films），是企图从强力推销的主流**广告上从中牟利的抄袭**。 著名山寨制片公司：庇护所（The Asylum）喜欢称之为“相关产品”（tie-ins），是这些**最知名的制片商。从历史的角度，这些**都与意大利**业息息相关，而且很快理解出皆为西部片、007**、和僵尸**的趋势。长期以来，这些**都是如吉姆·怀诺斯基（Jim Wynorski）这类导演的主要产品，他的作品包括：《厄夜丛林2：危机四伏》The Bare Wench Project（2000）、和《巅峰战士》Cliffhanger（1993）的仿制品《极地毁灭》Sub Zero（2005），大都直接以影像储存媒体方式发行。此举也开始吸引好莱坞主要制片厂的关注，甚至在《当地球停止转动》上映时，企图事先制止“庇护所”**公司发行《当地球不再转动》The Day The Earth Stopped（2008）的影像储存媒体上市贩售。

虽然这个名词早在1950年代就已出现，例如：《污秽的怪兽》The Monster of Piedras Blancas（1959）明显仿效《黑湖妖潭》，直到1970年代才开始普及，此时出现了仿制品《星战计划》Starcrash（1979）、Dünyay? Kurtaran Adam（1982）、和《超人们归来》Süpermen d?nüyor（1979），其中后二者未经授权盗用了约翰·威廉士为星际大战谱写的**配乐、以及**场景。

伪纪录片（Mondo films）时常被称为惊吓纪录片（shockumentaries），采取类似纪录片的形式，集中在耸人听闻的题材，例如：来自全球各地的奇风异俗、或可怕的死亡素材。 和惊吓剥削**（shock exploitation）类似，伪纪录片的目的是为了惊吓观众，而非只是处理禁忌的主题。 首部、也是最著名的伪纪录片是《世界残酷奇谭》Mondo Cane（1962），其他的例子包括：《古灵精怪东南亚》Shocking Asia（1974）、和《死亡真面目》Faces of Death 系列。

File:Shewolf.jpg纳粹剥削**

纳粹剥削**（Nazi exploitation；Nazisploitation；Il Sadiconazista）聚焦在第二次世界大战期间于死亡集中营和妓院内以纳粹方式折磨囚犯，所施加的经常是性折磨，囚犯则通常是女性，而且。 此子类型的先驱是《第七爱露营》Love Camp 7（1969），此类型的典范则是《纳粹女魔头：残酷疯*所》Ilsa, She Wolf of the SS（1974），启动了类型**的普及，并开创独特的比喻手法，以体态丰满、亢进的女施虐者（Dominatrix）伊尔莎（Ilsa）的人物形象，折磨德国俘虏营（Stalag）的囚犯。 其他例子包括：《纳粹疯*史2：间谍军妓》Elsa: Fraulein SS（1977）、《纳粹军妓之魔域逃生》SS Hell Camp（1977）、《第三帝国最后狂欢》L'ultima orgia del III Reich（1977）、《纳粹荒*史》Salon Kitty（1976）、和《纳粹军妓血泪史》SS Experiment Camp（1976）。 许多纳粹剥削**受到艺术**的影响，例如：皮耶·保罗·帕索里尼声名狼藉的《索多玛一百二十天》、和莉莉安娜·卡瓦尼（Liliana Cavani）的《魂断多瑙河》Il portiere di notte（1974）。

主义者**（Nudist films）起源于1930年代，当时**意有所指地描绘主义者的生活型态，回避了海斯法典（Hays Code）针对的限制，此情况一直持续到1950年代后期，当纽约州上诉法院在“Excelsior Pictures **公司 对 纽约评议委员会（New York Board of Regents）”一案，裁定银幕上的并非，此举等于为更多公开描绘的**开了大门。从鲁斯·梅耶（Russ Meyer）的《不道德的提斯先生》The Immoral Mr. Teas（1959）开启新页，被认定是首部将剥削元素置于主要地位的**，不带一丝一毫的歉意，也不必假装背负著道德与教育的包袱。 当《伊甸园》Garden of Eden（1954）沦为法院案例的主角时，这个情势的发展，为1960年代和1970年代更直接露骨的剥削**铺了坦途，也导致主义者类型显得过时，令人玩味。 此后，主义者类型分裂为二个子类型，例如：“美人儿”（nudie-cutie）以为特色，但是不包含肢体接触；“性暴力女”（roughie）则包括、暴力、和反社会行为。

主义者**被贴上了品质自相矛盾的标签，一方面标榜著教育性的**，另一方面却剥削他们的主题，将主要焦点摆在天体营中最美丽的女性房客，尽管当时否认有此剥削的存在。 他们描绘以限制衣着而解脱束缚的生活型态，然而此描写受到不得露出外的规定限制。对此还是有一个颠覆性的元素，就如主义者天性地拒绝现代社会，以及关于人体的基本价值。这些**也常常牵涉到阶级体系的批判，认为身体羞耻等同于上流阶层，主义等同于社会平等。《问心无愧》Unashamed (1938)的一个场景立论关于矫揉造作的衣着，以及透过仿效描写一群艺术家漆上整套衣服，所显现的相关价值。

澳洲剥削**（Ozploitation）或称为澳洲子类型**（Australian sub-genre films），广泛地涵盖恐怖、、或犯罪题材的1970年代和1980年代**。 1971年针对澳洲**分类系统的改革，导致许多相对低成本、私人集资的**如雨后春笋般冒出来，税负减免和目标外销市场，也有推波助燃的效果。 经常聘用气势渐渐下滑的国际知名演员担任主角，许多澳洲剥削**以话语简洁的角色和沙漠场景为特色，此一名词被应用在当时依赖惊吓观众、或煽动观众情欲的各式各样澳洲**。 一些较为知名的澳洲剥削**包括：《冲锋飞车队》Mad Max（1979）、Alvin Purple（1973）、Patrick（1978）、和《土耳其射击》Turkey Shoot（1982），也有一部纪录片《澳洲B片真牛B》Not Quite Hollywood: The Wild, Untold Story of Ozploitation!（2008）专门探讨此**类型。 这些**探讨关切澳洲社会的主题，特别是关于男子气概（尤指粗鲁的澳洲男生）、男生对待女生的态度、对待澳洲原住民的态度、暴力、酗酒、和对环境的剥削破坏，这些**也代表性地以乡村或内地的设定，来强调澳洲景色和环境为最具精神象征的邪恶力量，因而离间了澳洲的白人，使得他们的个人野心活力、以及他们压制这一切的企图心遭受挫折。

File:ISpitOnYourGraveposter.jpg/复仇** 变态狂**（Slasher films）聚焦于一位精神变态的杀手，以写实暴力方式，跟踪和追杀一系列的受害者，受害者经常是青少年、或年轻的成人。亚佛烈德·希区考克的《惊魂记》常常被归功为创建了此类型的基本前提框架，也确实在1970年代期间浮现出此类型，并于1980年代达到高峰。 知名的变态狂**，包括：《半夜鬼上床》系列**、《食尸人》A Nightmare on Elm Street（1980）、《女生惊魂记》Black Christmas（1974）、《灵异入侵》Child's Play（1988）、《电钻魔》The Driller Killer（1979）、《十三号星期五》Friday the 13th（1980）、《月光光心慌慌》（经常被认为于1978年启动了此类型）、《血腥情人节》My Bloody Valentine（1981）、《恐怖夜》Prom Night（1980）、《平安夜，夜》Silent Night, Deadly Night（）、《血腥死亡营》Sleepaway Camp（1983）、《德州电锯狂》The Texas Chain Saw Massacre（1974）、和《工具箱杀手》The Toolbox Murders（1978）。 随着《惊声尖叫》的成功，此类型在1990年代经历了一段主流的复苏，既模仿变态狂**的传统手法，也向其表示敬意。 变态狂**常常证实受到难以置信的欢迎，也孕育了许多的续集、前传、和旧片新拍的**，持续至今。

File:Good the bad and the ugly poster.jpgThe Good, the Bad and the Ugly知名的意大利西部片 女子监狱**（Women in prison films）在1970年代初期兴起，直到今日仍然是一个受到欢迎的子类型。 以窥*癖者关于监狱生活的性幻想为主，依赖大量、女性同性恋、性侵犯、羞辱、施虐、和女俘虏之间反叛的题材。此类型**包括：罗杰·柯曼（Roger Corman）的《笼中女》Women in Cages（1971）和《玩偶屋》The Big Doll House（1971）、《女集中营》The Bamboo House Of Dolls（1973）、杰斯·佛朗哥的《铁窗性玩偶》Barbed Wire Dolls（1975）、布鲁诺·马太（Bruno Mattei）的《女子监狱大屠杀》Womens Prison Massacre（1983）、汤姆·狄赛门（Tom DeSimone）的《感化院女孩》Reform School Girls（1986）、和强纳森·戴米的《监狱风云录》Caged Heat（1974）。

英国剥削**（Britsploitation films）：将剧情背景设定在英国的剥削**，有时也向汉默恐怖片（Hammer Horror）类型**致敬。 例子包括：1974年的《恶魔坟场》（Let Sleeping Corpses Lie）和1981年获得奥斯卡金像奖的美国**《美国狼人在伦敦》（An American Werewolf in London）。

李小龙剥削**（Bruceploitation films）：因李小龙之死而获益的剥削**，尤指利用长相神似的演员。

香港三级**（Cat III films）：经过香港**分级制度审查，限制十八岁以上成年人观赏的中国**。 这些**估计占了香港**工业的四分之一，而且各类型剥削**都有代表作。 此外，西洋**也经常被判定为三级**，例如：《野东西》Wild Things（1998）和《大开眼戒》。 依据**检查制度的准则，这些**划分成三种类别：“准片”（quasi-pornographic），例如：《之偷情宝鉴》；“类型**”（genre films），各类型香港**的成人版本；以及令人不安的“暴力**”（pornoviolence films），例如：《人肉叉烧包》，经常依据警方真实性暴力案例改编。 著名的香港演员和导演，例如：成龙或周润发，也都与此类型**有所关联。

女女剥削**（Dykesploitation films）：以同性恋和女生为特色的性剥削**，例如：《温柔的接触》That Tender Touch (1969)。

末日剥削**（Eschploitation films）：基督教启示录的末日惊悚**。（详见:末世论）

嬉皮剥削**（Hippie exploitation films）：关于嘻皮非主流文化的1960年代**，嘻皮文化始终被定型为与吸食大麻和毒品、狂野派对等活动有所关联。几乎从草创初期，好莱坞也加入行动制作出许多极端火热的嘻皮剥削**，却冒充为警世的公众讯息服务节目；事实上假装站在道德制高点，却直接瞄准去喂养病态的大众胃口；也经常描绘毒瘾狂的嘻皮生活，和以“查尔斯·曼森集团”（Manson family）形式聚集来逃避现实的景况。诸如**：《幻觉世代》Hallucination Generation（1967）、和Riot on Sunset Strip（1967）都描绘年轻嘻皮族狂野狂欢的集体、、犯罪、甚至谋杀。其他例子包括：The Love-Ins（1967）、《精神错乱》Psych-Out（1968）、《旅行》The Trip （1967）、和 Wild in the Streets（1968）。

美南剥削**（Hixploitation films）：关于美国南方的**，以夸张手法描述刻板山区乡巴佬（hillbilly）角色为特色。 例子包括：《食人族大屠杀》Eaten Alive（1977）、Hillbillies in a Haunted House（1967）、《秋酒之乡》Moonshine Mountain（1964）、Poor White Trash 2（1976）、Redneck Zombies（1987）、和《两千狂人》Two Thousand Maniacs!（1964）。

犹太人剥削**（Jewsploitation films）：以刻画犹太人报复对抗世仇，或是在所处社区内表现出怪异举止的**。犹太人剥削**与黑人剥削**、以及刻板动作**有类似的聚焦点，通常只要以犹太人演员换掉传统亚利安人角色即可。此子类型起源于2003年的**《希伯来铁锤》The Hebrew Hammer（2003），原为黑人剥削**之拙劣模仿者。此类型**的最佳范例为2008年昆汀·塔伦提诺的作品《恶棍特工》，以一群犹太人组成的突击部队为非史实剧情重心，出任务拿下二次大战法国战区纳粹最高指挥总部。史蒂芬·史匹柏的作品《慕尼黑》也可以被视为另一部突出的犹太人剥削**，因为专门刻画1972年慕尼黑大屠杀之后犹太人报复“黑色九月”的行动。尽管**剧情依据史实，这部**也展示了许多此类型的元素，包括报复典型犹太人仇敌，以及以非犹太人演员广泛使用于假想的角色。此类型的其他例子，包括：《狂热份子》The Believer（2001）、《特勤沙龙》、《犹太毒犯》Holy Rollers（2010）、和《谁吻了洁西卡》Kissing Jessica Stein（2001）。

功夫**（Martial arts films）：运用各种形式的功夫，以大量打斗场面为特色的动作**。 例子包括：《必杀拳》The Street Fighter（1974）、和《女必杀拳》（Sister Street Fighter）系列，以及李小龙主演的**（《唐山大兄》、《精武门》、《猛龙过江》、和《龙争虎斗》）。

墨西哥剥削**（Mexploitation films）：关于墨西哥文化、或墨西哥境内生活描述的**，经常处理犯罪、贩毒、黑金和性的议题。雨果·史提格利兹（Hugo Stiglitz）是此类型著名的墨西哥演员，与马力欧·阿玛达（Mario Almada）、费南多·阿玛达（Fernando Almada）兄弟一起合作过上百部相同主题的**。

忍者**（Ninja films）：功夫**的子类型，这些**以刻板、历史不正确、忍者服饰与其随身武器的影像为中心，经常包括奇幻的元素，例如忍者法术。 许多此类型的**拼接来自不相关**的库存忍者打斗片段。

修女剥削**（Nunsploitation films）：以修女处于危险、或局面为特色的**，例子包括：《群魔》The Devils（1971）、《煞女修罗》 Killer Nun（1978）、《圣兽学园》School of the Holy Beast（1974）、Sinful Nuns of Saint Valentines 和《霹雳修女》Nude Nuns With Big Guns（2010）。

日本粉红**（pink films）：风行于1970年代的日本性剥削**，经常以软调、、酷刑、BDSM、和其他非传统的性主题为特色。

巴西性喜剧**（Pornochanchada films）：巴西人率直的软调**，大部分于1970年代制作拍摄。

迷幻**（Stoner films）：以详尽描绘滥用大麻毒品为中心主题的**子类型。此类型**常以喜剧和正向风格诠释滥用大麻为特色；滥用大麻成为**的主题之一，并因此诱发大部分的**情节。美国喜剧搭档“大麻民间英雄”切奇和崇（Cheech and Chong）就是好例子，最近的《猪头汉堡包》（Harold & Kumar）**系列则与前面描述的内容极为贴切。

青少年剥削**（Teensploitation films）：以青少年为导向的剥削**，剧情经常卷入毒品、性、酗酒、和犯罪。“青少年剥削”（Teensploitation）一词首次出现于1982年商业刊物的发表会，并于2004年首度列入“韦氏大字典”（Merriam Webster's Collegiate Dictionary〉。改编自玛西·瑞妮·康拉德谋杀案（murder of Marcy Renee Conrad〉的《大河边缘》The River's Edge（1986）为此**类型最具代表性作品，由克斯宾·葛洛佛（Crispin Glover）和基努·李维主演，丹尼斯·霍柏客串演出。赖瑞·克拉克（Larry Clark）的**作品《横行霸道》Bully（2001）、《性滑板七年级》Ken Park（2002）、和《冲击年代》Kids（1995）或许是最知名的青少年剥削**。关于1950年代的青少年**，详见美国国际**（American International Pictures）。

复仇**（Vigilante films）：以采取违反法律手段追求公平正义的类型**。1970年代因为美国政府贪污腐败、越战失利、和犯罪率大增，导致民心不安，而令这类型**得以生根，这些**指向正逐渐窜起的新保守主义政治趋势。据信此子类型起源于1970年的《乔》（Joe），最经典的例子为查理士·布朗逊领衔主演的《猛龙怪客》（Death Wish）系列**，这些**经常处理在体制内求助无门的个体，例如：《比利杰克》Billy Jack（1971）的美洲原住民主角，或是诸如黑人剥削**《科菲》Coffy（1973）的角色人物，以及从小乡镇到大都会寻找流亡亲人的甘草人物(如1979年的《赤裸追凶》（Hardcore）和1976年的《除害》（Trackdown））。另外也有“治安警察”（vigilante cop）**，系描绘一位感受到司法制度迫害的警察，诸如：《捍卫家园》(Walking Tall)系列**、《冲锋飞车队》Mad Max（1979）、和克林·伊斯威特的《紧集追捕令》（Dirty Harry）系列**中的主角人物，依据传统的观念，这些**并不被视为真正的警察**，因为并无牵涉普通百姓个人遭受迫害后而寻求公平正义。同样地，马丁·史柯西斯的《出租车司机》也不符合此类型，因为**主角系为精神障碍，其他例子包括：山姆·毕京柏的《大丈夫》Straw Dogs（1971）、克林·伊斯威特的《西部执法者》The Outlaw Josey Wales（1976）、乔舒·马克（Joel Schumacher）的《城市英雄》Falling Down（1993）、和盖瑞·葛雷（F. Gary Gray）的《重案对决》Law Abiding Citizen（2009）。