Programming Nightclub & Lounge Controller

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Programming Nightclub & Lounge Controller

nightclub & lounge controller Part Number: MC1010 Disco Lighting Control Software is designed specifically for the club, lounge and DJ markets to fill the needs of Lighting Jockeys and DJ’s alike. The user interface is designed with a built in wizard system that makes creating looks a step-by-step process. Disco uses a revolutionary concept of building the looks one at a time and then “mixing” them together to produce an unlimited array of combinations for all your fixtures. Disco makes it easy to create an awesome light show, regardless of experience level. programming • Step by Step Wizard walks the user through creating • Password protection for User Only Mode a look or sequence • Copy/Paste scenes and sequences • Unlimited pages of buttons that trigger Still Looks, • LED Matrix engine and LED Macros Sequences, Multiple Buttons and Timeline schedules. • Printable Patch List • Multiple Views to arrange fixtures graphically in • Unlimited fixtures different rooms or areas • Fixture Groups • More advanced users can program looks step by step • Unique movement control making positioning without the wizard fixtures easier • Palettes are automatically created on Patching or can be made custom • Patch fixtures from a list of available profiles or create your own • Palettes presets is the foundation of the programming system • Up to 24 Universes (CPU and USB interface dependent) • Direct fader Control with virtual Wheel Controls • Shape Generator for movement with Offsets • Easy Backup and Restore of Entire Shows playback • Move any button to any position on screen • Stack as many buttons (Playbacks) as needed • Audio Input or ‘tap’ sync available for each button • Each Look or Sequence can be Locked • Auto Pilot will give your light show a look of an LJ • Fog/Haze Control On main screen triggering buttons • Adjustable Refresh Rate • Independent Strobe control for all capable Fixtureson • SOLO mode for any fixture main screen • ArtNet output available • -Assign a keyboard shortcut or Midi Input Command for each button • Button Groups allow for multiple Fixture types on a single page • Button Groups allow for sub master for each group of buttons • Full Screen Video Can be played along with Lighting Scenes • Moveable buttons provide logical placement of buttons hardware Opto Isolated USB to DMX Interface Box USB Cable Disco Install USB Drive system requirements • PC with minimum 700Mhz Processor • Dual output Video card for Video Playback • Video Resolution of at least 1024 x 768 • Windows Media Player 9 or higher for Audio/Video • USB port for USB to DMX interface Playback • 40 MB Hard Drive Space • Touch screen compatible (19” or larger • Windows 2000, XP, Vista, or Windows 7 (32bit or recommended) 64bit) www.megasystemsinc.com 866-460-MEGA [email protected] Revised: 5718 Kenwick St., San Antonio, TX 78230 July 28, 2011.

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Ctif News International Association of Fire & Rescue
CTIF Extra News October 2015 NEWS C T I F INTERNATIONAL ASSOCIATION OF FIRE & RESCUE Extra Deadly Fire Roars through Romanian Nightclub killing at least 27 people From New York Times OCT. 30, 2015 “Fire tore through a nightclub in Romania on Friday night during a rock concert that promised a dazzling pyrotechnic show, killing at least 27 people and spreading confusion and panic throughout a central neighborhood of Bucharest, the capital, The Associated Press reported. At least 180 people were injured in the fire at the Colectiv nightclub, according to The Associated Press”. 1 CTIF Extra News October 2015 CTIF starts project to support the increase of safety in entertainment facilities “Information about the large fires always draws a lot of interest. This is especially true in the case when fire cause casualties what is unfortunately happening too often. According to available data, fire at Bucharest nightclub killed at least 27 people while another 180 were injured after pyrotechnic display sparked blaze during the rock concert. The media report that there were 300 to 400 people in the club when a fireworks display around the stage set nearby objects alights. It is difficult to judge what has really happened but as it seems there was a problem with evacuation routes, number of occupants and also people didn’t know whether the flame was a part of the scenario or not. Collected data and testimonials remind us on similar fires and events that happened previously. One of the first that came to the memory is the Station Night Club fire that happened 12 years ago.
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And Then We Raved A REVIEW OF THE TBILISI NIGHTCLUB INDUSTRY 2019 TBILISI NIGHTCLUB INDUSTRY Tbilisi Nightclub industry Unlike Tbilisi itself, the city’s nightlife is not able to boast a long history. Yet, the city has achieved recognition as having one of Europe’s best underground scenes. In Georgia, clubbing is about more than just a wild night out. By dismantling stereotypes, Tbilisi underground movement is trying to modify the nation’s stodgy attitudes, which stem from the soviet regime. In this sense, Tbilisi’s clubs can be viewed as islands of free expression. The under- ground culture builds community and gathers like-minded people in one space. The search for new experiences has begun to deﬁne numerous sectors, and the nightclub industry is no exception. An unusual and authentic environment is now a crucial part of captivating an audience’s attention. That’s why club owners hunt for places that are guaranteed to create this kind of experience for ravers. In most cases, Tbilisi’s nightclubs are housed in old historical buildings, which adds an additional pull and creates an enigmatic atmosphere for ravers. This practice has been common in the EU for a long time already, especially in Berlin, where former factories and warehouses have been redesigned into clubs. New Trends These days, club owners are integrating the new concept by making night- club spaces available for artistic exhibitions and venues for multifunctional use. Category : c.8,500 80 events Renting price per sq m 10 - 40 GEL “ Tbilisi nightclubs have revived spaces in post-soviet buildings that Capacity per month from USD 2.4 to USD 9 Ticket price went unused for several years.” 02 03 Colliers International Georgia I 2019 TBILISITBILISI NIGHTCLUB HOSTEL INDUSTRY MARKET Nightclubs in Tbilisi Bassiani Khidi Mtkvarze Monohall Located in the underbelly of Dinamo Arena, Bassiani is Khidi, a former industrial space which reopened as a Mtkvarze, a soviet-era seafood restaurant transformed Monohall is a newly opened multifunctional space on renowned as one of the best clubs in Europe.
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Global Nomads: Techno and New Age As Transnational Countercultures
1111 2 Global Nomads 3 4 5 6 7 8 9 1011 1 2 A uniquely ‘nomadic ethnography,’ Global Nomads is the first in-depth treat- 3111 ment of a counterculture flourishing in the global gulf stream of new electronic 4 and spiritual developments. D’Andrea’s is an insightful study of expressive indi- vidualism manifested in and through key cosmopolitan sites. This book is an 5 invaluable contribution to the anthropology/sociology of contemporary culture, 6 and presents required reading for students and scholars of new spiritualities, 7 techno-dance culture and globalization. 8 Graham St John, Research Fellow, 9 School of American Research, New Mexico 20111 1 D'Andrea breaks new ground in the scholarship on both globalization and the shaping of subjectivities. And he does so spectacularly, both through his focus 2 on neomadic cultures and a novel theorization. This is a deeply erudite book 3 and it is a lot of fun. 4 Saskia Sassen, Ralph Lewis Professor of Sociology 5 at the University of Chicago, and Centennial Visiting Professor 6 at the London School of Economics. 7 8 Global Nomads is a unique introduction to the globalization of countercultures, 9 a topic largely unknown in and outside academia. Anthony D’Andrea examines 30111 the social life of mobile expatriates who live within a global circuit of counter- 1 cultural practice in paradoxical paradises. 2 Based on nomadic fieldwork across Spain and India, the study analyzes how and why these post-metropolitan subjects reject the homeland to shape an alternative 3 lifestyle. They become artists, therapists, exotic traders and bohemian workers seek- 4 ing to integrate labor, mobility and spirituality within a cosmopolitan culture of 35 expressive individualism.
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Disclaimer Statement for Nightclub/Bar
Disclaimer Statement for Nightclub/Bar This Packet Includes: 1. General Information 2. Instructions and Checklist 3. Disclaimer Statement for Nightclub/Bar General Information Disclaimer Statement for Nightclub/Bar This Disclaimer Statement for a Nightclub/Bar indemnifies a bar or nightclub from liability in the event of injury to an individual or property damage. This disclaimer sets out the services which the establishment promotes (i.e., live music, karaoke, live DJ or dancing), the inherent risks and that the services offered by nightclub are provided on an "as is" or "as available" basis. It also sets forth that patrons understand that the club, its employees or agents are not liable for any damages resulting from use the of the nightclub services. It is imperative that every nightclub and bar have a disclaimer displayed in a prominent area or location. A written Disclaimer Statement for Nightclub/Bar will prove invaluable in the event of accidents or damages suffered by the patrons of your establishment. Instructions and Checklist Disclaimer Statement for Nightclub/Bar The parties should read the document carefully. Insert all requested information in the spaces provided on the form. This form contains the basic terms and language that should be included in similar agreements. This form contains indemnification and disclaimer language and should be prominently displayed within your nightclub or bar. The parties should retain either an original or copy of this disclaimer statement. All legal documents should be kept in a safe location such as a fireproof safe or safe deposit box. DISCLAIMER: FindLegalForms, Inc. (“FLF”) is not a law firm and does not provide legal advice.
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The Terror Attack on Bali, 2002
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A Computational Study of the Station Nightclub Fire Accounting for Social Relationships
A Computational Study of the Station Nightclub Fire Accounting for Social Relationships Sherif El-Tawil1, Jieshi Fang2, Benigno Aguirre3, Eric Best4 1Civil and Environmental Engineering Department, University of Michigan, 2350 Hayward Ave., 2374 GGB Ann Arbor, 48109-2125, United States 2CITIC Agri Fund, Beijing City, China 3Disaster Research Center, University of Delaware, United States 4Center for Applied Demography & Survey Research, University of Delaware, 210 South College Ave., Newark, DE 19716, United States Correspondence should be addressed to [email protected] Journal of Artificial Societies and Social Simulation 20(4) 10, 2017 Doi: 10.18564/jasss.3519 Url: http://jasss.soc.surrey.ac.uk/20/4/10.html Received: 11-05-2017 Accepted: 24-07-2017 Published: 31-10-2017 Abstract: Using agent-based modeling, this study presents the results of a computational study of social rela- tionships among more than four hundreds evacuees in The Station Nightclub building in Rhode Island. The fire occurred on the night of February 20, 2003 and resulted in 100 fatalities. Aer summarizing and calibrating the computational method used, parametric studies are conducted to quantitatively investigate the influences of the presence of social relationships and familiarity of the building floor plan on the death and injury tolls. It is demonstrated that the proposed model has the ability to reasonably handle the complex social relationships and group behaviors present during egress. The simulations quantify how intimate social ailiations delay the overall egress process and show the extent by which lack of knowledge of a building floor plan limits exit choices and adversely aects the number of safe evacuations.
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THE BOOGIE! a NIGHTCLUB THAT DEFIED TRADITIONAL PROBLEM SOLVING EFFORTS Or When Jack Met SARA
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11 Communities with One Definition for Nightclub, Bar Or Lounge
11 Communities with One Definition for Nightclub, COMMUNITY Bar or Lounge Charlotte, NC Nightclub: Any commercial establishment serving alcoholic beverages and providing entertainment for patrons including bars, lounges, and cabarets. Austin, TX Cocktail lounge: use of a site for retail sale of alcoholic beverages for consumption on the premises, including taverns, bars, and similar uses, except for restaurants. Tavern: A business establishment that: (1) is devoted primarily Baltimore, MD to serving alcoholic beverages to the public for on premises consumption; and (2) might or might not also: (i) serve food; and (ii) sell alcoholic beverages for off-premises consumption. Boston. MA Bar: An establishment devoted primarily to the retailing and on- premises drinking of alcoholic beverages. Such establishment may or may not serve food, and may or may not include dancing or entertainment. Chicago, IL Tavern: An establishment that is primarily engaged in serving alcoholic liquor for consumption on the premises and in which the serving of prepared food, live entertainment and dancing are permitted. Cincinnati, OH Drinking Establishments: Bars, nightclubs, lounges or dance halls serving beverages for consumption on the premises as a primary use and including on-site service of alcohol, including beer, wine and mixed drinks. Columbia SC Drinking place: An establishment engaged in the retail sale of drinks, such as beer, ale or wine for consumption on the premises. Huntersville, NC Nightclub: Any commercial establishment serving alcoholic beverages and/or providing entertainment for patrons, including bars, lounges, taverns, cabarets, and similar establishments. Nashville/Davidson County After hours establishment: Any establishment open to the Metro , TN general public at any time between the hours of 3:00 a.m.
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Exploring the Drugs-Crime Connection Within the Electronic Dance Music and Hip-Hop Nightclub Scenes
The author(s) shown below used Federal funds provided by the U.S. Department of Justice and prepared the following final report: Document Title: Exploring the Drugs-Crime Connection within the Electronic Dance Music and Hip-Hop Nightclub Scenes Author(s): Tammy L. Anderson, Ph.D. ; Philip R. Kavanaugh ; Ronet Bachman ; Lana D. Harrison Document No.: 219381 Date Received: August 2007 Award Number: 2004-IJ-CX-0040 This report has not been published by the U.S. Department of Justice. To provide better customer service, NCJRS has made this Federally- funded grant final report available electronically in addition to traditional paper copies. Opinions or points of view expressed are those of the author(s) and do not necessarily reflect the official position or policies of the U.S. Department of Justice. This document is a research report submitted to the U.S. Department of Justice. This report has not been published by the Department. Opinions or points of view expressed are those of the author(s) and do not necessarily reflect the official position or policies of the U.S. Department of Justice. Exploring the Drugs-Crime Connection within the Electronic Dance Music and Hip-Hop Nightclub Scenes Final Report to the National Institute of Justice Grant # 2004-IJ-CX-0040 April 30, 2007 Tammy L. Anderson, Ph.D. Principal Investigator Philip R. Kavanaugh Ronet Bachman Lana D. Harrison Department of Sociology and Criminal Justice University of Delaware 322 Smith Hall Newark, DE 19716 We would like to thank all of the study participants for their effort, candor and cooperation.
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Synthpop: Into the Digital Age Morrow, C (1999) Stir It Up: Reggae Album Cover Art
118 POPULAR MUSIC GENRES: AN INTRODUCTION Hebdige, D. (1987) Cut 'n' mix: Identity and Caribbean MUSIc. Comedia. CHAPTER 7 S. (1988) Black Culture, White Youth: The Reggae Tradition/romJA to UK. London: Macmillan. Synthpop: into the digital age Morrow, C (1999) StIr It Up: Reggae Album Cover Art. San Francisco: Chronicle Books. Potash, C (1997) Reggae, Rastafarians, Revolution: Jamaican Musicfrom Ska to Dub. London: Music Sales Limited. Stolzoff, N. C (2000) Wake the Town and Tell the People: Dancehall Culture in Jamaica. Durham, NC, and London: Duke University Press. Recommended listening Antecedents An overview of the genre Various (1989) The Liquidators: Join The Ska Train. In this chapter, we are adopting the term synthpop to deal with an era Various (1998) Trojan Rocksteady Box Set. Trojan. (around 1979-84) and style of music known by several other names. A more widely employed term in pop historiography has been 'New Generic texts Romantic', but this is too narrowly focused on clothing and fashion, Big Youth ( BurI).ing Spear ( and was, as is ever the case, disowned by almost all those supposedly part Alton (1993) Cry Tough. Heartbeat. of the musical 'movement'. The term New Romantic is more usefully King Skitt (1996) Reggae FIre Beat. Jamaican Gold. employed to describe the club scene, subculture and fashion associated K wesi Johnson, Linton (1998) Linton Kwesi Johnson Independam Intavenshan: with certain elements ofearly 1980s' music in Britain. Other terms used to The Island Anthology. Island. describe this genre included 'futurist' and 'peacock punk' (see Rimmer Bob Marley and The Wailers (1972) Catch A Fire.
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Nightclub & Bar Show Announces Exclusive 2020
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“House and Techno Broke Them Barriers Down”: Exploring Exclusion Through Diversity in Berlin's Electronic Dance Music Nigh
Gender Studies Department of Thematic Studies Linköping University “House and Techno Broke Them Barriers Down”: Exploring Exclusion through Diversity in Berlin’s Electronic Dance Music Nightclubs Naomi Alice Rodgers Supervisor name: Silje Lundgren Gender Studies, LiU Master’s Programme Gender Studies – Intersectionality and Change Master’s thesis 30 ECTS credits ISRN: LIU-TEMA G/GSIC2-A—15/003—SE 1 ABSTRACT Berlin is heralded worldwide as being a city that is open, innovative and diverse: a true multicultural metropolis. Music plays a central role in the city’s claim to this title. Go to any one of Berlin’s many notorious alternative nightclubs and you will hear techno, house and electronic dance music blasting out to hoards of enthusiastic partygoers. Many of these clubs and their participants claim that these parties represent diversity, acceptance, equality and tolerance: Spaces within which social divisions are suspended, difference is overcome and people are united. This ubiquitous discursive assertion is referred to in this thesis as a “diversity discourse”. This “diversity discourse” will be deconstructed and situated within a wider political context, with a specific focus on perceptions of race, ethnicity, sexuality and gender. Engaging with theories of intersectionality, post-colonial theory (looking specifically at Jasbir Puar’s important work on homonationalism) and employing qualitative methods such as in-depth interviews and autoethnographic inquiry, it will be argued that the “diversity discourse” works as a mask to conceal a reality of social segregation. Far from being sites of equality and diversity, it will be suggested that access to these nightclubs is premised on the possession of societal privilege.
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