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Cherokee Studios
Published on AIA Top Ten (http://www.aiatopten.org) Home > Cherokee Studios Cherokee Studios Project Overview The photo shows the eastern street view of the building along Fairfax Avenue. - Photo Credit: John Linden The main entrance, including retail frontage on the first floor, can be seen in this photo. - Photo Credit: John Linden A street view looking northwest is shown in the photo. - Photo Credit: John Linden . This urban infill, mixed-use, market-rate housing project was designed to incorporate green design as a way of marketing a green lifestyle. It is pending LEED Platinum certification. The design maximizes the opportunities of the mild Southern California climate with a passive cooling strategy using cross-ventilation and thermal convection while taking advantage of the abundantly sunny location. A commitment to minimizing the project's ecological footprint informed all aspects of the design. The main architectural feature of this project is the building's owner-controlled double-façade system. The occupant is able to adjust the operable screens of the building façade as necessary for privacy, views, shading, and thermal comfort. As a result, the facade is virtually redesigned "live" from within, responding to the occupants of the building in real time. The façade also enhances the existing streetscape and promotes a lively pedestrian environment. By visually breaking up the façade into smaller, articulated moving elements, the building appears to move with the passing cars and people. Like many features of the building, the façade is multivalent and rich with meaning, performing several roles for formal, functional, and experiential effect. Location: 751 N. -
Sesame Street Sesame Street Fever Mp3, Flac, Wma
Sesame Street Sesame Street Fever mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Funk / Soul / Pop Album: Sesame Street Fever Country: Taiwan Released: 1978 Style: Disco, Novelty MP3 version RAR size: 1601 mb FLAC version RAR size: 1968 mb WMA version RAR size: 1736 mb Rating: 4.4 Votes: 931 Other Formats: MP4 VQF AUD MIDI ASF MMF AAC Tracklist Hide Credits A1 –Robin Gibb, The Count , Grover , Ernie , Cookie Monster Sesame Street Fever A2 –Bert And The Girls Doin' The Pigeon Rubber Duckie A3 –Ernie And His Rubber Duckie* Composed By – Moss* B1 –Robin Gibb Trash B2 –Cookie Monster And The Girls C Is For Cookie B3 –Marty And Grover Has Anybody Seen My Dog? Credits Arranged By, Conductor – David Horowitz, Dick Lieb, Leon Pendarvis Arranged By, Conductor, Directed By [Musical Direction] – Joe Raposo Art Direction – Robert Pierce Bass – Herb Bushler Cello – Jesse Levy, Kermit Moore Co-producer, Engineer – Michael Delugg Composed By – Raposo* (tracks: A1, A2, B1 to B3) Congas – Jimmy Maelen Drums – Richard Crooks Guitar – Cliff Morris, Jack Cavari, Jeff Layton Keyboards – David Horowitz, Pat Rebillot Mixed By, Edited By – Michael Delugg Mixed By, Edited By, Other [Concieved By] – Joe Raposo Other [Concieved By] – Arthur Shimkin Other [Continuity By], Other [From An Idea By] – Normal Stiles Other [Created By], Voice [As Ernie] – Jim Henson Other [Muppet Disco Attire] – Calista Hendrickson, Sherry Amott Percussion – George Devons* Photography By [Cover] – Neil Selkirk Producer – Joe Raposo Reeds – Lou Marini Saxophone [Baritone] – Dave Tofani -
Celebrity and Race in Obama's America. London
Cashmore, Ellis. "To be spoken for, rather than with." Beyond Black: Celebrity and Race in Obama’s America. London: Bloomsbury Academic, 2012. 125–135. Bloomsbury Collections. Web. 29 Sep. 2021. <http://dx.doi.org/10.5040/9781780931500.ch-011>. Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 29 September 2021, 05:30 UTC. Copyright © Ellis Cashmore 2012. You may share this work for non-commercial purposes only, provided you give attribution to the copyright holder and the publisher, and provide a link to the Creative Commons licence. 11 To be spoken for, rather than with ‘“I’m not going to put a label on it,” said Halle Berry about something everyone had grown accustomed to labeling. And with that short declaration she made herself arguably the most engaging black celebrity.’ uperheroes are a dime a dozen, or, if you prefer, ten a penny, on Planet SAmerica. Superman, Batman, Captain America, Green Lantern, Marvel Girl; I could fi ll the rest of this and the next page. The common denominator? They are all white. There are benevolent black superheroes, like Storm, played most famously in 2006 by Halle Berry (of whom more later) in X-Men: The Last Stand , and Frozone, voiced by Samuel L. Jackson in the 2004 animated fi lm The Incredibles. But they are a rarity. This is why Will Smith and Wesley Snipes are so unusual: they have both played superheroes – Smith the ham-fi sted boozer Hancock , and Snipes the vampire-human hybrid Blade . Pulling away from the parallel reality of superheroes, the two actors themselves offer case studies. -
Produced Byray Manzarek
PRODUCED BY RAY MANZAREK Originally released April 1980 Originally released May 1981 Originally released July 1982 Originally released September 1983 Frank Gargani Debbie Leavitt Power... Passion... Poetry! Attack the world. Let’s do some damage. What a band. Four monsters of skin. My favorite rockers of the then time. John Doe - Mr. Handsome - of the deep rich voice, the hard, strong jaw, the angular bass stance and the hot/cool lyrics. Their harmonies - some would say Schoenberg - his partner Exene, of the wailing scream in the night, the clear eyed pinning of American failings, the fine words of Diana Bonebrake love and booze and madness in the midnight dawn of Los Angeles. “Johny Hit and Run Paulene...” and he’s got a sterilized hypo filled with a sex-machine drug, and he only has 24 hours to shoot all Paulenes between the legs. So get busy, boy. And he does. Listen to those words! That naughty, naughty Johny. I love ‘em. And Exene’s “The World’s a Mess, it’s in My Kiss.” I just love that crazy combination: World - Mess - Kiss. And Billy Zoom on guitar, or is that at least 3 or 4 guitars. How does he do it? It’s so massive, so sharp, so bright, so fucking LOUD!!! And he is so silver smooth and cool. Effortless fingering, impeccable on the frets. Doesn’t he ever make a mistake? Is he a flesh and blood Valhalla guitar god? Yeahhh! And who is that madman beating the living shit out those drums? Ladies and Gentleman... D. -
Dec. 22, 2015 Snd. Tech. Album Arch
SOUND TECHNIQUES RECORDING ARCHIVE (Albums recorded and mixed complete as well as partial mixes and overdubs where noted) Affinity-Affinity S=Trident Studio SOHO, London. (TRACKED AND MIXED: SOUND TECHNIQUES A-RANGE) R=1970 (Vertigo) E=Frank Owen, Robin Geoffrey Cable P=John Anthony SOURCE=Ken Scott, Discogs, Original Album Liner Notes Albion Country Band-Battle of The Field S=Sound Techniques Studio Chelsea, London. (TRACKED AND MIXED: SOUND TECHNIQUES A-RANGE) S=Island Studio, St. Peter’s Square, London (PARTIAL TRACKING) R=1973 (Carthage) E=John Wood P=John Wood SOURCE: Original Album liner notes/Discogs Albion Dance Band-The Prospect Before Us S=Sound Techniques Studio Chelsea, London. (PARTIALLY TRACKED. MIXED: SOUND TECHNIQUES A-RANGE) S=Olympic Studio #1 Studio, Barnes, London (PARTIAL TRACKING) R=Mar.1976 Rel. (Harvest) @ Sound Techniques, Olympic: Tracks 2,5,8,9 and 14 E= Victor Gamm !1 SOUND TECHNIQUES RECORDING ARCHIVE (Albums recorded and mixed complete as well as partial mixes and overdubs where noted) P=Ashley Hutchings and Simon Nicol SOURCE: Original Album liner notes/Discogs Alice Cooper-Muscle of Love S=Sunset Sound Recorders Hollywood, CA. Studio #2. (TRACKED: SOUND TECHNIQUES A-RANGE) S=Record Plant, NYC, A&R Studio NY (OVERDUBS AND MIX) R=1973 (Warner Bros) E=Jack Douglas P=Jack Douglas and Jack Richardson SOURCE: Original Album liner notes, Discogs Alquin-The Mountain Queen S= De Lane Lea Studio Wembley, London (TRACKED AND MIXED: SOUND TECHNIQUES A-RANGE) R= 1973 (Polydor) E= Dick Plant P= Derek Lawrence SOURCE: Original Album Liner Notes, Discogs Al Stewart-Zero She Flies S=Sound Techniques Studio Chelsea, London. -
Board Packet
September Board Meeting To be held at the offices of Texas State Affordable Housing Corporation 2200 East Martin Luther King Jr. Blvd. Austin, TX 78702 Thursday, September 25, 2014 10:30 a.m. BOARD MEETING TEXAS STATE AFFORDABLE HOUSING CORPORATION To be held at the offices of Texas State Affordable Housing Corporation 2200 East Martin Luther King Jr. Blvd Austin, Texas 78702 September 25, 2014 at 10:30 am CALL TO ORDER, ROLL CALL Bob Jones CERTIFICATION OF QUORUM Chair The Board of Directors of Texas State Affordable Housing Corporation will meet to consider and possibly act on the following: PUBLIC COMMENT PRESIDENT’S REPORT David Long Tab A: Homeownership Finance Report Tab B: Development Finance Report Tab C: Monthly Budget and Investment Reports ACTION ITEMS IN OPEN MEETING: Tab 1 Presentation, Discussion and Possible Approval of Minutes of the Board Meeting held on August 21, 2014. Tab 2 Presentation, Discussion and Possible Approval of the 2014 Grant Awards for the Texas Foundations Fund. Tab 3 Presentation, Discussion and Possible Approval of a Resolution to Re-Appoint Mr. Russell Vandenburg to the Texas Foundations Fund Advisory Council Created by the Board of Directors of the Corporation and to Restate, Ratify and Affirm him as Vice-Chairperson of the Advisory Council to serve until his successor is elected and qualified or until his earlier removal or resignation. Tab 4 Presentation, Discussion and Possible Approval of the Publication for Public Comment of the Guidelines, Scoring Criteria and Targeted Housing Needs for the Allocation of Qualified Residential Rental Project Tax Exempt Bond Funds under the Multifamily Housing Private Activity Bond Program Request for Proposals and the 501(c)(3) Bond Program Policies for Calendar Year 2015. -
Exhibit O-137-DP
Contents 03 Chairman’s statement 06 Operating and Financial Review 32 Social responsibility 36 Board of Directors 38 Directors’ report 40 Corporate governance 44 Remuneration report Group financial statements 57 Group auditor’s report 58 Group consolidated income statement 60 Group consolidated balance sheet 61 Group consolidated statement of recognised income and expense 62 Group consolidated cash flow statement and note 63 Group accounting policies 66 Notes to the Group financial statements Company financial statements 91 Company auditor’s report 92 Company accounting policies 93 Company balance sheet and Notes to the Company financial statements Additional information 99 Group five year summary 100 Investor information The cover of this report features some of the year’s most successful artists and songwriters from EMI Music and EMI Music Publishing. EMI Music EMI Music is the recorded music division of EMI, and has a diverse roster of artists from across the world as well as an outstanding catalogue of recordings covering all music genres. Below are EMI Music’s top-selling artists and albums of the year.* Coldplay Robbie Williams Gorillaz KT Tunstall Keith Urban X&Y Intensive Care Demon Days Eye To The Telescope Be Here 9.9m 6.2m 5.9m 2.6m 2.5m The Rolling Korn Depeche Mode Trace Adkins RBD Stones SeeYou On The Playing The Angel Songs About Me Rebelde A Bigger Bang Other Side 1.6m 1.5m 1.5m 2.4m 1.8m Paul McCartney Dierks Bentley Radja Raphael Kate Bush Chaos And Creation Modern Day Drifter Langkah Baru Caravane Aerial In The Backyard 1.3m 1.2m 1.1m 1.1m 1.3m * All sales figures shown are for the 12 months ended 31 March 2006. -
AL SCHMITT Al Schmitt Is a Renowned Recording and Mix Engineer Whose
AL SCHMITT Al Schmitt is a renowned recording and mix engineer whose acclaimed music career has spanned more than half a century. During that time Al has been awarded more accolades than any of his contemporaries including holding the record for most Grammy awards for a recording or mix engineer. To date, Al is the recipient of 23 Grammy Awards, including the Grammy Trustees Lifetime Achievement Award in 2006. In 2014, Al received the Honorary Doctorate from Berklee School of Music. Al is a New York native, of whom Barbra Streisand states, "as a fellow Brooklyn-ite, we speak the same language." He has worked on more than 150 gold and platinum albums, and was inducted into the TEC Awards Hall of Fame in 1997 to honor his technical and creative excellence in recording and sound. In the early days of his career, working at RCA, Al engineered albums for such legendary artists as Sam Cooke, Rosemary Clooney and Henry Mancini, featuring the Grammy Award winning title, "Moon River", which also won an Academy Award for Best Song, and for "Breakfast at Tiffany's." During this time he also worked on scoring for multiple motion pictures as well. In the mid 60's, while demand for his engineering services grew, Al also aspired to become an independent producer. In addition to recording all the last records of the legendary Sam Cooke, during this same period, Al also worked with Ann Margaret, Bobby Darin and Eddie Fisher. He also worked with newer, up and coming artists of the time including Jefferson Airplane, Jackson Browne and Neil Young. -
Behind the Gear Studios and I Worked There for Three Weeks
brothers - I’d had enough. So then I went to A&M Behind The Gear Studios and I worked there for three weeks. The studio This Issue’s Guru of Gadgets sucked then. There was sort of a bad, lean-on-the- by Larry Crane shovel attitude. I felt like everyone there was just collecting paychecks - I like to work. So I went to the Jonathan Little Village Recorders, which is a nice studio. It was owned by Geordie Hormel. I worked there from 1984 to 1987. I’d gotten to know Jimmy Iovine and Shelly Yakus from the Cherokee days. They were working at Cherokee and we did the Tom Petty record Southern Accents and the Eurythmics [Be Yourself Tonight], one of those Talking Heads records [True Stories] with Eric Thorngren engineering, Robbie Robertson’s first [self-titled] solo record with Daniel Lanois and a lot of records with Gary Katz. Being a tech was nice because I didn’t have From the first moment another engineer Phase-Corrected Speaker Systems” (which later I put in to sit in the room all the time, but back then you were raved about a Little Labs DI to me, I knew the end of the IBP manual). I sent that out with my pretty involved in the whole process. I built my first that this company was onto something resume, saying, “This is some of my work.” Tom Lubin, mic pre while I was there. Tchad Blake and Mitchell special. It turns out Little Labs is the editor of RE/P Magazine, said to come see him in Froom really liked it. -
A History of Electroacoustics: Hollywood 1956 – 1963 by Peter T
A History of Electroacoustics: Hollywood 1956 – 1963 By Peter T. Humphrey A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Music and the Designated Emphasis in New Media in the Graduate Division of the University of California, Berkeley Committee in charge: Professor James Q. Davies, Chair Professor Nicholas de Monchaux Professor Mary Ann Smart Professor Nicholas Mathew Spring 2021 Abstract A History of Electroacoustics: Hollywood 1956 – 1963 by Peter T. Humphrey Doctor of Philosophy in Music and the Designated Emphasis in New Media University of California, Berkeley Professor James Q. Davies, Chair This dissertation argues that a cinematic approach to music recording developed during the 1950s, modeling the recording process of movie producers in post-production studios. This approach to recorded sound constructed an imaginary listener consisting of a blank perceptual space, whose sonic-auditory experience could be controlled through electroacoustic devices. This history provides an audiovisual genealogy for electroacoustic sound that challenges histories of recording that have privileged Thomas Edison’s 1877 phonograph and the recording industry it generated. It is elucidated through a consideration of the use of electroacoustic technologies for music that centered in Hollywood and drew upon sound recording practices from the movie industry. This consideration is undertaken through research in three technologies that underwent significant development in the 1950s: the recording studio, the mixing board, and the synthesizer. The 1956 Capitol Records Studio in Hollywood was the first purpose-built recording studio to be modelled on sound stages from the neighboring film lots. The mixing board was the paradigmatic tool of the recording studio, a central interface from which to direct and shape sound. -
Sing the Hit Songs of Sesame Street Mp3, Flac, Wma
Sesame Street Sing The Hit Songs Of Sesame Street mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Children's Album: Sing The Hit Songs Of Sesame Street Country: US Released: 1974 Style: Educational, Story MP3 version RAR size: 1396 mb FLAC version RAR size: 1217 mb WMA version RAR size: 1658 mb Rating: 4.2 Votes: 288 Other Formats: DXD AHX WMA MOD MPC AA AU Tracklist A1 –The Kids Sesame Street Theme A2 –The Kids Sing A3 –Kermit* Bein' Green A4 –Grover What Do I Do When I'm Alone? A5 –Oscar* I Love Trash A6 –Grover And Marty Has Anyone Seen My Dog? B1 –Ernie Rubber Duckie B2 –Cookie Monster "C" Is For Cookie B3 –Big Bird AB-C-DEF-GHI B4 –The Kids Somebody Come And Play B5 –Susan* And The Kids Someday, Little Children B6 –Big Bird And Snuffle-upagus* Nobody Credits Art Direction – Robert Pierce Edited By – James Timmens* Lyrics By [Words By], Music By – Jeffrey Moss, Joe Raposo Other [Project Coordinator] – Jacquie Turner Other [Project Directors For Ctw] – Christopher Cerf, Sharon Lerner Other [Properties Director] – Nat Mongioi Photography – Judy Ross, Sandy Speiser Producer [Album Produced By], Directed By [Musical Director] – Joe Raposo Supervised By [Project] – Arthur Shimkin Voice Actor [Big Bird, Oscar] – Carrol Spinney* Voice Actor [Bob] – Bob McGrath Voice Actor [Cookie Monster, Grover, Bert] – Frank Oz Voice Actor [David] – Northern Calloway Voice Actor [Ernie] – Jim Henson Voice Actor [Gordon] – Hal Miller Voice Actor [Herbert Birdsfoot, Suffle-upagus, The Count, Sherlock Hemlock, Farley, Herry Monster, Marty] – Jerry Nelson Voice Actor [Luis] – Emilio Delgado Voice Actor [Mr. -
THE MUPPETS “Artist") (Also: Hessian, Headbanger, Or Heavy Metal Dude) by John Paine Sexual Dance, the Pigeon
NOT INSIDE • Crackhouse! Original Motion Picture Soundtrack •The Bruce Jenner Basement Tapes • Back-masking: Sinful Satan ism or Silly Sham? • TV Superstar or Rock Goddess? FM asks Justine Bateman Which is Hipper • Madonna Confesses: “Now I’m Androgynous!” full of these people with the Leather Lingerie clothes and the tans, and we just said, ‘Shit.’ We needed The Story of something smooth to say to betties at parties other than *What’s your major?' W e re a l an I.V. Band ized that we had to form a by Kim Kash and band, so that we’d have an Jeffrey P. McManus opener — Y ea h , I ’m in Leather Lingerie’. Cool, huh?” he grins, Leather Lingerie is the quin and takes a long drag from his tessential I.V. band. The smoke. drummer sucks. The amp got ,It is the band's first rehear left out in the rain last quarter. sal, and they don’t let the fact The bass player, Jimmy, has a that they’ve never played girlfriend who lives in L.A., so together get them down — he never makes it to practice (a they’re in a real band now. bimonthly event held in the Clarke is still in the bathroom. singer’s Sabado Tarde drive The jam begins, and the way). And they refuse to play at cupboard doors rattle to the any party with less than three feedback. They play a reggae Meister kegs. version of “Stepping Stone," We caught up with the LL then Steve and li’l Ricky, the boys in drummer Steve’s pad, guitarist, begin arguing about upstairs from a well-known what songs are to be on LL’s Isla Vista sandwich shop.