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The Carroll News-Vol. 83, No. 2
John Carroll University Carroll Collected The aC rroll News Student 9-10-1992 The aC rroll News-Vol. 83, No. 2 John Carroll University Follow this and additional works at: http://collected.jcu.edu/carrollnews Recommended Citation John Carroll University, "The aC rroll News-Vol. 83, No. 2" (1992). The Carroll News. 1042. http://collected.jcu.edu/carrollnews/1042 This Newspaper is brought to you for free and open access by the Student at Carroll Collected. It has been accepted for inclusion in The aC rroll News by an authorized administrator of Carroll Collected. For more information, please contact [email protected]. •What presidential candidates aren't saying- FORUM page 3 •Where to find classical movie on campus- CAMPUS LIFE page 7 • Roger Waters returns after Pink Floyd, with new album ENTERTAINMENT page 9 •Interview with Alma's head football coach. Jim Cole SPORTS page 10 Federal law requires security report Tara Schmidtke of reporung cnmes to the police Ed.tortOI Edtror for federal record, ha<; not changed According to John Carroll Campus Secunty's method of University's reccntl}-relcased deahng With cnmmal Instances 1992 Annual Secu11ty Report, on campus. "We'll be domg the there were no reported murders, same thing as we thd m the past," rapes, robbcncs, motor vehicle said McCaffrey. "There is no thefL<>, or arrests for alcohol on the difference m how wc'rcrcacting." Carroll campus m the year 1991. Donna Byrnes, d1rector of Three aggravated assaults and 13 housmg, said that the new law has burglaries were reponed. caused the housing office to alter The annual report IS legally slightly its previous proceedmgs. -
Never-Before-Seen Extended Version of Clarence Clemons Documentary at the National Constitution Center
FOR IMMEDIATE RELEASE CONTACTS: Ashley Berke Lauren Saul Director of Public Relations Public Relations Manager 215.409.6693 215.409.6895 [email protected] [email protected] NEVER-BEFORE-SEEN EXTENDED VERSION OF CLARENCE CLEMONS DOCUMENTARY AT THE NATIONAL CONSTITUTION CENTER Event will include audience Q&A with the film’s director Nick Mead Philadelphia, PA (May 2, 2012) – A legendary musician and dramatic stage performer in his own right, Clarence Clemons was an integral and beloved member of the E Street Band. In connection with the must-see exhibition From Asbury Park to the Promised Land: The Life and Music of Bruce Springsteen, the National Constitution Center will pay tribute to the late Clemons during a special screening of Who Do I Think I Am? A Portrait of a Journey, featuring 15 minutes of never-before-seen footage. The event takes place on Wednesday, May 23, 2012, just a few weeks shy of the anniversary of Clemons’ passing. The film’s director, Nick Mead, will participate in a Q&A session moderated by Shawn Poole of Backstreets.com. Guests are encouraged to arrive at 5:00 p.m. to tour the Springsteen exhibition prior to the film screening at 6:00 p.m. Admission is $20 for non-members and $15 for members, and includes access to From Asbury Park to the Promised Land: The Life and Music of Bruce Springsteen. Reservations are required and can be made by calling 215.409.6700 or by visiting www.constitutioncenter.org. A cash bar and movie snacks also will be available. -
Increased System Fidelity for Navy Aviation Hypoxia Training
Publications 2017 Increased System Fidelity for Navy Aviation Hypoxia Training Beth. F. Wheeler Atkinson Naval Air Warfare Center Training Systems Divison, [email protected] Janet Marnane Embry-Riddle Aeronautical University, [email protected] Daniel L. Immeker CNATRA, [email protected] Jonathan Reeh Lynntech Inc., [email protected] John Zbranek Lynntech Inc., [email protected] See next page for additional authors Follow this and additional works at: https://commons.erau.edu/publication Part of the Aviation Safety and Security Commons Scholarly Commons Citation Wheeler Atkinson, B. F., Marnane, J., Immeker, D. L., Reeh, J., Zbranek, J., Balasubramanian, A. K., McEttrick, D. M., & Scheeler, W. T. (2017). Increased System Fidelity for Navy Aviation Hypoxia Training. , (). Retrieved from https://commons.erau.edu/publication/697 Wheeler Atkinson, B. F., Marnane, J., Immeker, D. L., Reeh, J., et. al. (2017). Proceedings of the 2017 Interservice/ Industry Training, Simulation, and Education Conference(I/ITSEC), Orlando, FL. This Conference Proceeding is brought to you for free and open access by Scholarly Commons. It has been accepted for inclusion in Publications by an authorized administrator of Scholarly Commons. For more information, please contact [email protected]. Authors Beth. F. Wheeler Atkinson, Janet Marnane, Daniel L. Immeker, Jonathan Reeh, John Zbranek, Ashwin K. Balasubramanian, David M. McEttrick, and W. Tyler Scheeler This conference proceeding is available at Scholarly Commons: https://commons.erau.edu/publication/697 Interservice/Industry Training, Simulation, and Education Conference (I/ITSEC) 2017 Increased System Fidelity for Navy Aviation Hypoxia Training Beth F. Wheeler Atkinson Jonathan Reeh, John Zbranek, Ashwin K. Balasubramanian Naval Air Warfare Center Training Systems Division Lynntech Inc. -
President's Page
President’s Page New President’s Initiatives As you may have heard by now, our annual meeting in San Diego in May was very successful. The science, working meetings and the social events were fantastic, attendance neared recent record highs (1369), and good financial rev- enue will help keep us solvent. My theme on this page throughout the year will be “Make a Difference in Aerospace Medicine with AsMA.” To do that, we need to have a strong and effective organization in place to serve its members in that goal. In order to allow this, I would like to iterate some initiatives to perform with your help. The first initiative is to increase membership. As an in- ternational leader, AsMA speaks with authority and its posi- tions and resolutions are highly regarded. However, we Philip J. Scarpa, Jr., M.D., M.S. have an issue with declining membership. While we should not strive to have quantity over quality, a very low member- Wikipedia, Facebook, and Twitter accounts, key to market- ship could seriously hinder our inherent activities as an au- ing and branding our organization and key to reaching thoritative leader such as in producing a quality journal, our younger Aerospace Medicine specialists. extensive committee work, and strong advocacy. I propose The third initiative is to strengthen our finances. to appeal to certain groups that may wish to consider AsMA Unfortunately, AsMA lives too close to the break-even point membership, such as aviation nurses, dentists, medevac each year. If we continue unaltered, the organization will coast guard units, and aeromedical examiners. -
The JB's These Are the JB's Mp3, Flac
The J.B.'s These Are The J.B.'s mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Funk / Soul Album: These Are The J.B.'s Country: US Released: 2015 Style: Funk MP3 version RAR size: 1439 mb FLAC version RAR size: 1361 mb WMA version RAR size: 1960 mb Rating: 4.7 Votes: 880 Other Formats: APE VOX AC3 AA ASF MIDI VQF Tracklist Hide Credits These Are the JB's, Pts. 1 & 2 1 Written-By – Phelps Collins*, Clayton Isiah Gunnels*, Clyde Stubblefield, Darrell Jamison*, 4:45 Frank Clifford Waddy*, John W. Griggs*, Robert McCollough*, William Earl Collins 2 I’ll Ze 10:38 The Grunt, Pts. 1 & 2 Written-By – Phelps Collins*, Clayton Isiah Gunnels*, Clyde Stubblefield, Darrell Jamison*, 3 3:29 Frank Clifford Waddy*, James Brown, John W. Griggs*, Robert McCollough*, William Earl Collins Medley: When You Feel It Grunt If You Can 4 Written-By – Art Neville, Gene Redd*, George Porter Jr.*, James Brown, Jimi Hendrix, 12:57 Joseph Modeliste, Kool & The Gang, Leo Nocentelli Companies, etc. Recorded At – King Studios Recorded At – Starday Studios Phonographic Copyright (p) – Universal Records Copyright (c) – Universal Records Manufactured By – Universal Music Enterprises Credits Bass – William "Bootsy" Collins* Congas – Johnny Griggs Drums – Clyde Stubblefield (tracks: 1, 4 (the latter probably)), Frank "Kash" Waddy* (tracks: 2, 3, 4) Engineer [Original Sessions] – Ron Lenhoff Engineer [Restoration], Remastered By – Dave Cooley Flute, Baritone Saxophone – St. Clair Pinckney* (tracks: 1) Guitar – Phelps "Catfish" Collins* Organ – James Brown (tracks: 2) Piano – Bobby Byrd (tracks: 3) Producer [Original Sessions] – James Brown Reissue Producer – Eothen Alapatt Tenor Saxophone – Robert McCullough* Trumpet – Clayton "Chicken" Gunnels*, Darryl "Hasaan" Jamison* Notes Originally scheduled for release in July 1971 as King SLP 1126. -
40 Steve Gadd Master: the Urgency of Now
DRIVE Machined Chain Drive + Machined Direct Drive Pedals The drive to engineer the optimal drive system. mfg Geometry, fulcrum and motion become one. Direct Drive or Chain Drive, always The Drummer’s Choice®. U.S.A. www.DWDRUMS.COM/hardware/dwmfg/ 12 ©2017Modern DRUM Drummer WORKSHOP, June INC. ALL2014 RIGHTS RESERVED. ROLAND HYBRID EXPERIENCE RT-30H TM-2 Single Trigger Trigger Module BT-1 Bar Trigger RT-30HR Dual Trigger RT-30K Learn more at: Kick Trigger www.RolandUS.com/Hybrid EXPERIENCE HYBRID DRUMMING AT THESE LOCATIONS BANANAS AT LARGE RUPP’S DRUMS WASHINGTON MUSIC CENTER SAM ASH CARLE PLACE CYMBAL FUSION 1504 4th St., San Rafael, CA 2045 S. Holly St., Denver, CO 11151 Veirs Mill Rd., Wheaton, MD 385 Old Country Rd., Carle Place, NY 5829 W. Sam Houston Pkwy. N. BENTLEY’S DRUM SHOP GUITAR CENTER HALLENDALE THE DRUM SHOP COLUMBUS PRO PERCUSSION #401, Houston, TX 4477 N. Blackstone Ave., Fresno, CA 1101 W. Hallandale Beach Blvd., 965 Forest Ave., Portland, ME 5052 N. High St., Columbus, OH MURPHY’S MUSIC GELB MUSIC Hallandale, FL ALTO MUSIC RHYTHM TRADERS 940 W. Airport Fwy., Irving, TX 722 El Camino Real, Redwood City, CA VIC’S DRUM SHOP 1676 Route 9, Wappingers Falls, NY 3904 N.E. Martin Luther King Jr. SALT CITY DRUMS GUITAR CENTER SAN DIEGO 345 N. Loomis St. Chicago, IL GUITAR CENTER UNION SQUARE Blvd., Portland, OR 5967 S. State St., Salt Lake City, UT 8825 Murray Dr., La Mesa, CA SWEETWATER 25 W. 14th St., Manhattan, NY DALE’S DRUM SHOP ADVANCE MUSIC CENTER SAM ASH HOLLYWOOD DRUM SHOP 5501 U.S. -
Febbraio 2006.Pdf
1 Periodico di informazione, cultura e curiosità dell’I.S.I.S.S “M. Casagrande” di Pieve di Soligo Anno 4, numero 2, febbraio 2006 Tra le cose più sconvenienti dell’Inverno c’è l’arriva- re a scuola presto il lunedì mattina, soprattutto se il LA DANZA DELLA NEVE proprio banco si trova a più di un metro di distanza dal termo più vicino. Tra le cose più sconvolgenti dell’Inverno c’è come certe studentesse riescano a portare magliettine a reni Sui campi e sulle strade scoperti in pieno Gennaio, soprattutto se la temperatu- ra non sale nemmeno a mezzogiorno sopra gli 0 gradi. silenziosa e lieve Tra le cose più sconcertanti dell’Inverno ci sono le conseguenze che, inevitabilmente, una pancia scoperta volteggiando, la neve in pieno Inverno comporta!! Ma tra le cose più divertenti dell’Inverno c’è sicura- cade.c a d e . mente la neve!! Danza la falda bianca Non mi è mai piaciuto l’Inverno. l’Inverno è così freddo; l’Inverno cala un velo grigio sugli occhi e fa nell'ampio ciel scherzosa, sbiadire tutto, spegne piano piano ogni cosa. Ma quando nell'ampio ciel scherzosa, cade la neve non posso fare a meno di pensare che alla fine vale la pena soffrire un pochino se la ricompensa è Poi sul terren si posa questa!! Quando cade la neve il mondo sembra adeguarsi al placido ritmo con cui scende ogni singolo fiocco, ed stanca.s t a n c a . acquistarne in parte la delicatezza. Quando cade la ne- ve, poi, ogni forma s’ammorbidisce, e il mondo sembra In mille immote forme coprirsi di un candido telo, su cui è possibile ricomincia- re a disegnare tutto, daccapo. -
Bates Belk Biography
BATES BELK BIOGRAPHY Bates Belk is a global recording artist and music producer whose high energy, boundary-pushing songs and remixes have moved international audiences on dance floors in Paris, London, Amsterdam, Berlin, Tokyo, Rio de Janeiro and USA audiences in New York City, Los Angeles, San Francisco, Chicago and Miami. In 2015, after 20 years of solely being based in New York City, Bates relocated to Berlin, Germany, where he continues to operate BB3 Dynamics Records LLC (www.BB3Dynamics.com) with offices in both Berlin and New York City. Bates globally released two Techno EPs in late 2015. The first Techno EP was released on 9 October, 2015 entitled Life Trichotomy containing a selection of philosophically-based theatrical Techno compositions written in Berlin, New York and London. The second Techno EP was released on 13 November, 2015 entitled Life Trichotomy Reincarnated – The Remixes containing songs remixed by other artists from the Life Trichotomy EP. In 2014 and 2015, Bates globally released a series of 6 electronic dance songs with the first song released in 2014 entitled OUTTASIGHT, followed by 2015 releases of the songs It’s in the Mind, Bionic Power (Pushing Harder, Jumping Higher), Danger with a Stranger and Get Me to the Disco. Bates is currently producing his début album in Berlin, which contains collaborations with over 40 Berlin-based artists. Bates was born and raised in El Paso, Texas, USA. Growing up in a region of the United States not particularly known for its acceptance of the free-thinking outsider, Bates found in music something that could help him make sense of the world and partially fill the void caused by the lack of artistic encouragement. -
THE INTERNATIONAL MAGAZINE of the AVEDIS ZILDJIAN COMPANY Welcome To
ZL326 THE INTERNATIONAL MAGAZINE OF THE AVEDIS ZILDJIAN COMPANY welcome to Z Time2011 edition issue 33 2011 Z Time Page two News & Events Page six Greatest Cymbal of All Time Page ten Legends Page fourteen Gen 16 Craigie Zildjian Page sixteen On the Road Page twenty Moving Forward Product Info Intro There are so many exciting new things going on here at Zildjian that I couldn’t wait to share this year’s Z-Time with you. 2011 represents our breakthrough into the digital Page twenty-one music making realm. Our new Gen16 product line is the result of our effort to bring our Cast Cymbals knowledge of cymbals and their sounds to the modern digital environment. You can learn more about this initiative on pages 14 and 15 or at our new website www.zildjian.com. Page fifty-five Sheet Cymbals Whether your music making is acoustic, digital, or both, our desire is to be there no matter where your music takes you. I sincerely hope you enjoy the journey. Page sixty-one Drumsticks Best regards, Page sixty-five Gear Page sixty-eight Scrapbook Craigie & Debbie Zildjian Contributing photographers: Sayre Berman Hadas Naoju Nakamura John Stephens cover artist: Volker Beushausen Heinz Kronberger Kacper Diana Nitschke Levi Tecofsky Dominic Howard - Joris Bulckens Kaminski Jimmy Katz Mario Pires Melissa Terry Muse Tina Korhonen Bernard Rosenberg Andreas Ulvo James Cumpsty photo: Calum Doris Scott Legato Tao Ruspoli JonVanDaal Richard Ecclestone Robert Downs Hyejin, Lee Bianca Scharroo Neil Zlozower Sergey Dudin H.J Lee Ronny Sequeira Ludwig Drums graphic designer: M.v.d. -
“What Happened to the Post-War Dream?”: Nostalgia, Trauma, and Affect in British Rock of the 1960S and 1970S by Kathryn B. C
“What Happened to the Post-War Dream?”: Nostalgia, Trauma, and Affect in British Rock of the 1960s and 1970s by Kathryn B. Cox A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Music Musicology: History) in the University of Michigan 2018 Doctoral Committee: Professor Charles Hiroshi Garrett, Chair Professor James M. Borders Professor Walter T. Everett Professor Jane Fair Fulcher Associate Professor Kali A. K. Israel Kathryn B. Cox [email protected] ORCID iD: 0000-0002-6359-1835 © Kathryn B. Cox 2018 DEDICATION For Charles and Bené S. Cox, whose unwavering faith in me has always shone through, even in the hardest times. The world is a better place because you both are in it. And for Laura Ingram Ellis: as much as I wanted this dissertation to spring forth from my head fully formed, like Athena from Zeus’s forehead, it did not happen that way. It happened one sentence at a time, some more excruciatingly wrought than others, and you were there for every single sentence. So these sentences I have written especially for you, Laura, with my deepest and most profound gratitude. ii ACKNOWLEDGMENTS Although it sometimes felt like a solitary process, I wrote this dissertation with the help and support of several different people, all of whom I deeply appreciate. First and foremost on this list is Prof. Charles Hiroshi Garrett, whom I learned so much from and whose patience and wisdom helped shape this project. I am very grateful to committee members Prof. James Borders, Prof. Walter Everett, Prof. -
Until the End of the World Music Credits
(Below are the credits for the music in the English version, followed by the credits, in German, for the extended restored version): English-language music credits: Musical Score Graeme Revell Musical Score Graeme Revell Solo Cello and Additional Improvisation David Darling Music Supervision Gary Goetzman and Sharon Boyle Picture and Music Editor Peter Przygodda MUSIC Music Coordinators Barklie K. Griggs Jennifer Quinn-Richardson Dana K. Sano Music Recording and Mixing Studios Tritonus Studios, Berlin Music Editor (Synch) Dick Bernstein (Offbeat Systems) Music Mixing Engineer Gareth Jones 2nd Sound Engineer Gerd Krüger Assistant Maro Birkner Additional Music Recordings Hansa Tonstudios, Berlin MUSIC TITLES IN ORDER OF APPEARANCE: "GALKAN" Appears on "Les Aborigènes, Chants et Danses de l'Australie du Nord" Phonogramme ARN 64056 Courtesy of Arion "SAX & VIOLINS" Performed by Talking Heads Lyrics and Music by David Byrne Music by Chris Frantz, Jerry Harrison, Tina Weymouth Producer Steve Lillywhite and Talking Heads Mixed by Kevin Killen Publisher Bleu Disque Music Co. Inc./ Index Music admin. by WB Music Corp./ASCAP Courtesy of Warner Bros. Records Inc./Sire Records Company/FLY Talking Heads Appear Courtesy of EMI Records Ltd. "SUMMER KISSES, WINTER TEARS" Performed by Elvis Presley Writers Jack Lloyd, Ben Weissman, Fred Wise Publisher WB Music Corp./Erica Music/ ASCAP Courtesy of RCA Records Label of BMG Music "MOVE WITH ME" Performed by Neneh Cherry Writers Neneh Cherry/Cameron Mcvey Producer Booga Bear/Jonny Dollar Publisher Virgin Music Ltd/Copyright Control/ BMI/PRS Courtesy of Circa Records, Ltd. "IT TAKES TIME" Performed by Patti Smith and Fred Smith Writers Fred Smith and Patti Smith Producer Fred Smith Publisher Druse Music Inc/Stratium Music, Inc./ASCAP Courtesy of Arista Records, Inc. -
“Born to Run”—Bruce Springsteen (1975) Added to the National Registry: 2003 Essay by Cary O’Dell
“Born to Run”—Bruce Springsteen (1975) Added to the National Registry: 2003 Essay by Cary O’Dell Original album Original label Bruce Springsteen “Born to Run” was Bruce Springsteen’s third album. The man who is “The Boss” has admitted that the creation of it was his blatant attempt for a true rock and roll record as well as commercial success after the tepid commercial reception of his earlier two albums, “Greetings from Asbury Park, N.J.” (1973) and “The Wild, the Innocent & the E Street Shuttle” (1973). On both counts, he got his wish. Upon its release, “Born to Run” would rise to number three on the charts. Besides gaining massive audience attention (by the end of the year Springsteen would be featured on the covers of both “Time” and “Newsweek”), “Born to Run” also saw the accomplishment of two other major factors in Springsteen’s artistic development. First, it saw the solidification of the line-up of Springsteen’s legendary back-up musicians, the E-Street Band. Second, it fully delivered on Springsteen’s early promise which saw him labeled as both a “modern day Dylan” and as “rock ‘n’ roll’s future.” Along with “Born to Run” being named to the National Registry in 2003, it has been ranked number eight on a list of rock’s all-time greatest albums by “Rolling Stone” magazine and was place at 18th on VH1’s list of the 500 greatest rock albums ever. Eight songs make up the tracks of “Born to Run”: “Thunder Road,” “Tenth Avenue Freeze- Out,” “Night,” “Backstreets,” “Born to Run,” “She’s the One,” “Meeting Across the River,” and “Jungleland.” In writing and developing the album, Springsteen has said he was hoping to recreate Phil Spector’s legendary “wall of sound” producing approach.