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Lien Khuc Nhac Remix Root Folder
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6 Steps to a Radio-Ready Song by Graham Cochrane
RecordingRevolution.com 6 Steps To A Radio-Ready Song by Graham Cochrane Thank you for downloading this guide! As a singer/songwriter myself, I know the goal of every musician in the home studio is to start creating killer songs - songs that sound so good they could be played on the radio, TV, or just about anywhere. You probably have great song ideas already but simply aren’t able to get your recordings to translate from your head to the real world and sound professional. I’m here to help you with that. In this brief guide I’m going to walk you through the 6 steps that every radio-ready song must go through in order to sound its best. Even if your music will never be heard on the radio, you still want it to sound good enough to hang with “the big boys and girls”. My promise to you is that after reading this guide, you’ll know exactly what it takes to get the best sounding recordings in your home studio and you’ll be motivated to get back to work and start creating your best music yet. Ready to get started? Let’s dive in Graham Cochrane (Founder, RecordingRevolution.com) RecordingRevolution.com STEP 1: Lyrics & Melody The best recordings in the world start long before the recording phase. They begin with great lyrics and killer melodies. The best vocal microphone in the world is useless if the song you’re singing has a boring or hard to remember melody, cumbersome lyrics, and overall bad flow. -
Jeanne Lanvin
JEANNE LANVIN A 01long history of success: the If one glances behind the imposing façade of Rue du Faubourg Saint-Honoré, 22, in Paris, Lanvin fashion house is the oldest one will see a world full of history. For this is the Lanvin headquarters, the oldest couture in the world. The first creations house in the world. Founded by Jeanne Lanvin, who at the outset of her career could not by the later haute couture salon even afford to buy fabric for her creations. were simple clothes for children. Lanvin’s first contact with fashion came early in life—admittedly less out of creative passion than economic hardship. In order to help support her six younger siblings, Lanvin, then only fifteen, took a job with a tailor in the suburbs of Paris. In 1890, at twenty-seven, Lanvin took the daring leap into independence, though on a modest scale. Not far from the splendid head office of today, she rented two rooms in which, for lack of fabric, she at first made only hats. Since the severe children’s fashions of the turn of the century did not appeal to her, she tailored the clothing for her young daughter Marguerite herself: tunic dresses designed for easy movement (without tight corsets or starched collars) in colorful patterned cotton fabrics, generally adorned with elaborate smocking. The gentle Marguerite, later known as Marie-Blanche, was to become the Salon Lanvin’s first model. When walking JEANNE LANVIN on the street, other mothers asked Lanvin and her daughter from where the colorful loose dresses came. -
Wreaths to Remember Page 8
=VS5V Thursday, December 21, 2017 WHNL 1HZV)HDWXUHVSDJH >YLH[OZ[VYLTLTILY &UHZFKLHIVNHHS¶HPÁ\LQJ 1HZV)HDWXUHVSDJH 5DUHWDQNHU·VQHZKRPH :HHNLQSKRWRVSDJH ,PDJHVIURPWKHZHHN 1HZV)HDWXUHVSDJH 2SHUDWLRQ&KULVWPDV'URS 7OV[VI`(PYTHUZ[*SHZZ(ZOSL`7LYK\L <: (PY -VYJL :LUPVY (PYTHU 9HJOLS *HJOV HU HPYJYHM[ LSLJ[YPJHS HUK LU]PYVUTLU[HS Z`Z[LTZ HWWYLU[PJL ^P[O [OL [O (PYJYHM[4HPU[LUHUJL:X\HKYVUWSHJLZH^YLH[OVUHNYH]LZP[LK\YPUN[OL>YLH[OZ(JYVZZ(TLYPJH>YLH[O3H`PUNHUK &RPPXQLW\SDJH 9LTLTIYHUJL*LYLTVU`H[[OL-SVYPKH5H[PVUHS*LTL[LY`PU)\ZOULSS-SH+LJ>YLH[OZ(JYVZZ(TLYPJHPZHUVU (YHQWV&KDSHOPRUH WYVMP[VYNHUPaH[PVUKLKPJH[LK[VOVUVYPUNHUK[OHURPUN]L[LYHUZMVY[OLPYZLY]PJLHUKZHJYPMPJL>OH[Z[HY[LKV\[PU(YSPUN[VU 5H[PVUHS*LTL[LY`>HZOPUN[VU+*[OLJLYLTVU`UV^[HRLZWSHJLPUV]LYSVJH[PVUZHJYVZZ[OL^VYSK COMMENTARY (4*JVTTHUKJOPLMYLMSLJ[ZVU`LHYJHYLLY I`*OPLM4HZ[LY:N[:OLSPUH-YL` "JS.PCJMJUZ$PNNBOEDPNNBOEDIJFG SCOTT AIR FORCE BASE, Ill. — Happy holidays! It is a great honor to serve as your command chief. At the end of each year, I take time to re- flect on all Air Mobility Command accomplishments over the year – and this command never ceases to amaze me! This year is no different. AMC enjoyed an extremely successful year be- cause of our Mobility Airmen. With that, I offer you and your families my sincerest thanks. Because of your unwavering commitment to the mission and the support and sacrifices your families make, we are able to generate Rapid Global Mobility for America. As this year comes to a close, I’m especially reflective because this may be my last holiday season on active duty. -
Song & Music in the Movement
Transcript: Song & Music in the Movement A Conversation with Candie Carawan, Charles Cobb, Bettie Mae Fikes, Worth Long, Charles Neblett, and Hollis Watkins, September 19 – 20, 2017. Tuesday, September 19, 2017 Song_2017.09.19_01TASCAM Charlie Cobb: [00:41] So the recorders are on and the levels are okay. Okay. This is a fairly simple process here and informal. What I want to get, as you all know, is conversation about music and the Movement. And what I'm going to do—I'm not giving elaborate introductions. I'm going to go around the table and name who's here for the record, for the recorded record. Beyond that, I will depend on each one of you in your first, in this first round of comments to introduce yourselves however you wish. To the extent that I feel it necessary, I will prod you if I feel you've left something out that I think is important, which is one of the prerogatives of the moderator. [Laughs] Other than that, it's pretty loose going around the table—and this will be the order in which we'll also speak—Chuck Neblett, Hollis Watkins, Worth Long, Candie Carawan, Bettie Mae Fikes. I could say things like, from Carbondale, Illinois and Mississippi and Worth Long: Atlanta. Cobb: Durham, North Carolina. Tennessee and Alabama, I'm not gonna do all of that. You all can give whatever geographical description of yourself within the context of discussing the music. What I do want in this first round is, since all of you are important voices in terms of music and culture in the Movement—to talk about how you made your way to the Freedom Singers and freedom singing. -
Fragonard Magazine N°9 - 2021 a Year of PUBLICATION DIRECTOR and CHIEF EDITOR New Charlotte Urbain Assisted By, Beginnings Joséphine Pichard Et Ilona Dubois !
MAGAZINE 2021 9 ENGLISH EDITORIAL STAFF directed by, 2021, Table of Contents Agnès Costa Fragonard magazine n°9 - 2021 a year of PUBLICATION DIRECTOR AND CHIEF EDITOR new Charlotte Urbain assisted by, beginnings Joséphine Pichard et Ilona Dubois ! ART DIRECTOR Claudie Dubost assisted by, Maria Zak BREATHE SHARE P04 Passion flower P82 Audrey’s little house in Picardy AUTHORS Louise Andrier P10 News P92 Passion on the plate recipes Jean Huèges P14 Laura Daniel, a 100%-connected by Jacques Chibois Joséphine Pichard new talent! P96 Jean Flores & Théâtre de Grasse P16 Les Fleurs du Parfumeur Charlotte Urbain 2020 will remain etched in our minds as the in which we all take more care of our planet, CELEBRATE CONTRIBUTORS year that upturned our lives. Yet, even though our behavior and our fellow men and women. MEET P98 Ten years of acquisitions at the Céline Principiano, Carole Blumenfeld we’ve all suffered from the pandemic, it has And especially, let’s pledge to turn those words P22 Musée Jean-Honoré Fragonard leading the way Eva Lorenzini taught us how to adapt and behave differently. into actions! P106 A-Z of a Centenary P24 Gérard-Noel Delansay, Clément Trouche As many of you know, Maison Fragonard is a Although uncertainty remains as to the Homage to Jean-François Costa a familly affair small, 100% family-owned French house. We reopening of social venues, and we continue P114 Provence lifestyle PHOTOGRAPHERS enjoy a very close relationship with our teams to feel the way in terms of what tomorrow will in the age of Fragonard ESCAPE Olivier Capp and customers alike, so we deeply appreciate bring, we are over the moon to bring you these P118 The art of wearing perfume P26 Viva România! Eva Lorenzini your loyalty. -
When You Text Me It Makes Me Smile
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Fragrance List Print
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Dr Strangelove Or How I Learned to Read Kubrick's
DR STRANGELOVE OR HOW I LEARNED TO READ KUBRICK’S CONCEPTUAL UNIVERSE Laura Torrado Mariñas Universidade de Vigo Abstract Resumen The present paper intends to Este trabajo pretende explorar la explore Kubrick’s Dr Strangelove or película de Kubrick Dr Strangelove or How I Learned to Stop Worrying and How I Learned to Stop Worrying and Love the Bomb in light of his using a Love the Bomb, teniendo en cuenta una number of creative devices and some serie de convenciones creativas y features, such as the use of symmetry formales, como el uso de la simetría o de and lightning together with the la iluminación, así como la fascinación fascination with human psychology con la psicología humana y sus and its possibilities, which will be later posibilidades. Dichas convenciones explored and fully implemented in his aparecerán de nuevo plenamente more successful films, usually better desarrolladas en sus películas más considered by critics. Therefore, I will conocidas, mejor consideradas por la argue that some of the much- crítica. Por lo tanto, intentaré exponer acclaimed features of his better-known cómo algunas características de esas productions, such as the quest for producciones posteriores, tales como la humanity that will be developed in búsqueda de la humanidad que se 2001 or the preoccupation with double reflejará en 2001 o la preocupación que morals and human morality in general se mostrará en Eyes Wide Shut por la that will be put forward in Eyes Wide moralidad y la doble moral social están Shut are already present in Dr ya presentes en Dr Strangelove, Strangelove, conforming what I will empezando a configurar lo que he refer to as ‘Kubrick’s conceptual llamaré el ‘universo conceptual’ de universe’. -
Atlantis 31.2
Revista de la Asociación Española de Estudios Anglo-Norteamericanos Vol. 31, núm. 2 Diciembre 2009 31.2 (December 2009) 31.2 (Diciembre 2009) EDITORS Editores General Editor: Angela Downing Universidad Complutense de Madrid Assistant Editor: Ludmila Urbanová Managing Editor: Carmen Méndez University of Brno Universidad Complutense de Madrid Book Reviews Editor: Clara Calvo Editor’s Assistant: Juan Rafael Zamorano Universidad de Murcia Universidad Complutense de Madrid Universität Bremen Copy Editor: Jorge Arús Hita Universidad Complutense de Madrid EDITORIAL BOARD Consejo de Redacción BOARD OF ADVISORS Consejo Asesor Andrew Blake Heinz Ickstadt University of Winchester Freie Universität Berlin Martin Bygate J. Hillis Miller Lancaster University University of California at Irvine Teresa Fanego Susheila M. Nasta Universidad de Santiago de Compostela Open University Fernando Galván Francisco J. Ruiz de Mendoza Universidad de Alcalá de Henares Universidad de La Rioja BOARD OF REFEREES Consejo Científico y Evaluador Joan C. Beal Rachel Bowlby Graham D. Caie University of Sheffield University College London University of Glasgow Jesús Benito Sánchez Kris Van den Branden Gordon Campbell Universidad de Valladolid Katholieke Universiteit Leuven University of Leicester Marcella Bertuccelli Papi Mario Brdar Isabel Carrera Università di Pisa Josip Juraj Strossmayer University Universidad de Oviedo Nilufer E. Bharucha Laurel J. Brinton Shirley Chew University of Mumbai University of British Columbia University of Leeds Clare Birchall Manuel Broncano Robert Clark Middlesex University Universidad de León University of East Anglia Anita Biressi Jorge Luis Bueno Alonso Thomas Claviez Roehampton University University of Vigo University of Bern Maggie Ann Bowers Christopher S. Butler Tom Cohen University of Portsmouth Swansea University University of Albany Juan Camilo Conde-Silvestre David Johnson Victor J. -
Here Is Your New Executive ! the Northern Bluegrass Circle Music Society
The Northern Bluegrass Circle Music Society Bluegrass Newsletter Spring 2016 Here is your New Executive ! Inside This Issue P 2-3 Ronnie’s Ramblins’ / Editors P 4 Prairie Sky P 5 Christmas Party Photos P 6 Up The Creek P 7 Cabin Fever Band P 8-9 Winter Jam Camp / Photos P 10 Bix Mix Boys P 11-12 Wintergrass 2016 P 13 Sunny Jim P 14 Pluckin’ Holler Boys P 15-16 Inside The Vault P 17 Jeff Scroggins & Colorado P 18 The SteelDrivers Kinley Miller, Leonard Swanson, Ron Mercer, Sheila Hallett, Jason Baldwin, P 19-20 Local Bands/Instructors/Camps Shawn Robinson, Steve Schroeter, Marlene Thompson (missing- Gene Zwozdesky, Anna Somerville, Frank Omoe, Grant Miner) P 21 Bluegrass 101 / Wed Jam Night During the Annual General Meeting of the The returning Directors are : NBCMS in February the club elected a new Kinley Miller as Director of Advertising and team of Executive and Directors. The election Membership campaign was extensive, although considerably less expensive than our most recent Federal Anna Somerville as Workshop Director Election. The NBCMS is lucky to have the fol- (which includes the Fall Workshop and the An- lowing folks act as our Executive for the upcom- nual Winter Jam Camp) ing year : Shawn Robinson as NBCMS Webmaster Ron Mercer as President (3rd term) Steve Schroeter as Equipment Director Sheila Hallett as Vice President (long Marlene Thompson as Front of the House Di- time club member, new to the Executive) rector Jason Baldwin as Treasurer (2nd term) Frank Omoe & Grant Miner as Co-Editors for Leonard Swanson moved from his Vice the Newsletter President role to Secretary. -
The Hands That Sew the Sequins
PRESS REVIEW Eric Charles-Donatien The Hands That Sew the Sequins January 19, 2006 By ELIZABETH HAYT François Lesage showing a Saint Laurent fabric made by his company. Ed Alcock for The New York Times EVERY day for the last three weeks in Montmartre, 45 seamstresses at the House of Lesage, France's oldest embroiderer, have been hunched over wooden frames feverishly stitching sequins, rhinestones and beads onto gossamer cloth. Their needlework is so intricate it seems spun from candied sugar. Defying the official French 35-hour workweek, they are rushing to finish some 50 designs for the spring haute couture shows, which begin on Monday. The women are among the treasured "petites mains" (tiny hands), artisans who labor in workshops, that have changed little in a century, doing the elaborate handwork that transforms a designer's dress into a sumptuous showpiece of luxury. They make ornamental silk flowers, curling the edges with heated tools that look like lollipops. They fashion peau de soie evening sandals on custom lasts and stitch straw for hats and polish buttons shaped like bows and plate them in gold. It is in part this handwork that explains why haute couture garments come with astronomical price tags: upward of $25,000 for a suit and $150,000 for an evening gown. © Courtesy of Chanel A model on the catwalk wearing the results of the many specialized workshops of Paris. AA/ ECD / Revue de Presse / 2006.01-NYTimes.docx PRESS REVIEW Eric Charles-Donatien Toil and training alone do not account for the obsession with perfection.