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Blast beat

A blast beat is a drum beat that originated in hardcore punk and grindcore, is associated with certain styles of extreme metal, namely black metal and death metal, in metalcore. In Adam MacGregor's definition, "the blast-beat comprises a repeated, sixteenth-note figure played at a fast tempo, divided uniformly among the bass drum and ride, crash, or hi-hat cymbal." Blast beats have been described by PopMatters contributor Whitney Strub as, "maniacal percussive explosions, less about rhythm per se than sheer sonic violence". The'original' or traditional blastbeat is a single-stroke roll played between your cymbal and snare, with your kick playing with every cymbal hit. Napalm Death is said to have coined the term, though this style of drumming had been used by others for its characteristically chaotic sound; the English band Napalm Death coined the term "blast beat", though this style of drumming had been practiced by others. Daniel Ekeroth argues that the blast beat was first performed by the Swedish group Asocial on their 1982 demo.

D. R. I. Sepultura, S. O. D. Sarcófago, Repulsion included the technique prior to Napalm Death's emergence. Rockdetector contributor Garry Sharpe-Young credits D. R. I.'s Eric Brecht as the first on their 1983 debut but credits Napalm Death with making it better known. AllMusic contributor Thom Jurek credits Tony Williams of Trio of Doom as the "true inventor of the blastbeat" in 1979. There are instances of jazz drummers incorporating blast beat patterns prior to the 1970s. Drummer Bill Ward of Black Sabbath can be seen playing a brief blast beat in a 1970 performance of "War Pigs." Additionally, drummer Carl Palmer of the progressive rock super-group Emerson, Lake & Palmer used a blast beat in the band's 1970 instrumental "The Barbarian". King Crimson's "The Devil's Triangle" from their 1970 album In the Wake of Poseidon features an early example of proto-blastbeats in the half of the song. However, the blast beat as it is known today originated in the European hardcore and grindcore scenes in the 1980s.

Contrary to popular belief, blast beats originated from hardcore music, not metal music. In the UK punk and hardcore scene of the early 1980s there were many bands attempting to play as fast as possible. In 1985 emerging grindcore band Napalm Death replaced their former drummer Miles "Rat" Ratledge with Mick Harris, who brought to the band a whole new level of speed. Harris became the official drummer of Napalm Death and is credited with developing the term "blast beat", describing the fast notes played on the kick and snare. Harris started using the blast beat as a fundamental aspect of Napalm Death's early musical compositions, it was with Napalm Death's first full-length album Scum that blast beat started to evolve into a distinct musical expression of its own. Blast beats became popular in extreme music from the mid to late 1980s; the blast beat evolved into its modern form as it was developed in the American death metal and grindcore scene of the late 1980s and early 1990s. Pete Sandoval, drummer of Terrorizer and Morbid Angel, purportedly was the first to use blast beats in metronomic time and thus gave it a more useful musical characteristic for timekeeping.

Blast beats appeared in commercially successful metal music, beginning with Fear Factory's album Demanufacture and Slipknot's album Iowa. A blast beat is traditionally played as an alternating single-stroke roll broken up between the kick drum and the snare drum. Blast beats are counted in 16th notes. In a modern musical context blast beats are regarded as such when played at a minimum of above 90 beats per minute 32nd notes, or 180 bpm 16th notes. Early blast beats were quite slow and less precise compared to today's standards. Nowadays, a blast beat is played from 180 bpm 16th notes up to such high tempos as in the range of 250-280 bpm 16th notes. There is the "gravity blast", not to be confused with the one-handed gravity roll; this technique uses the rim of the snare drum as a fulcrum, allowing two snare hits with one downward motion. Typical blast beats consist of 8th-note patterns between both the bass and snare drum alternately, with the hi-hat or the ride synced. Variations exist such as displacing hi-hat/ride and bass drum hits and/or using other cymbals such as splashes, crashes and tambourines for accenting, for example when using odd time or playing progressively.

While playing 8th or 8th note triplets some drummers choose to play in sync with one foot while others split the 8th notes between both feet. In blast beats in general, the notes on the kick drum can be played either with one foot only or by alternating both feet, referred to as a "two-foot" or "economy" blast; as blast beats have evolved, different types and interpretations have emerged. There are four main variations of the blast beat: the traditional blast, the bomb blast, the hammer blast and the freehand blast; the traditional blast beat kick drum. The ride hand is playing in unison with the kick drum; the traditional blast beat is structurally similar to the skank beat, which can be regarded as a predecessor and a half time variation of the traditional blast beat. The skank beat thrash metal scene as a drum beat for extreme music; the skank beat is similar to the blast beat as it alternates between the kick and the snare, with the diffe


Frescography is a method for producing murals digitally on paper, glass or tiles, invented in 1998 by German muralist Rainer Maria Latzke. Frescography uses CAM and digital printing methods to create murals; the frescography is based on a similar technique as the woodblock printing method of the French Papier Peints wallpapers, used by manufacturers like Zuber et cie or Joseph Dufour et Cie, who began developing the procedure during the end of the 18th century. These wallpaper manufacturers used thousands of engraved woodblocks for the creation of the panorama sceneries, to create wall paper such as the 20-panel Sauvages de la Mer du Pacifique which Jean-Gabriel Charvet designed for Joseph Dufour et Cie or the “du Vue de l'Amérique Nord” designed in 1834 by Zuber et cie for the Diplomatic Reception Room of the White House, where it is still today. Unlike woodblock printing, the frescography is based on digitally cut-out motifs which are stored in a database. To avoid having to work with high-resolution files on software such as Photoshop, new CAM software programs like the Dreamworlds Design Studio allow the composition of mural designs by working with preview files which are converted to the original resolution.

By adding the exact measurements of a wall when starting a new project and taking architectural elements such as doors windows or beams into consideration, the design will result in an and tailor-fit wall mural. Once a design is finished, the low-resolution motifs are converted into the original high-resolution images and are printed on wide-format printers. Unlike the woodblock print consisting of stripes, the frescography is printed on a single piece of canvas, allowing a seamless mural tailor-fit to the walls dimensions. Once produced, the canvas is applied to the wall in a wall-paper-like procedure. Since the motifs can be placed and scaled to the individual wall measurements, the finished piece will look like it was created on-site. In 2009 the inventor of the frescography technique, Professor Rainer Maria Latzke, founded the Institute of Frescography at Utah State University in Logan, Utah; the IOF is a non-profit institution whose mission is the improvement of public knowledge and interest in the art of mural and fresco painting.

It researches on Art history, digital reproduction, printing processes and materials, restoration techniques of mural art. In cooperation with the German Zentralinstitut für Kunstgeschichte, the IOF provides online access to the collection a 40,000 images archive of European wall and mural paintings which have been compiled in the last years of World War II on direct order of Adolf Hitler to preserve the images for a reconstruction in case of war damages, it offers free online access to the Institute's 5,000 image archive “World of Ornaments”. The archive of European wall and mural paintings covers the period between the Gothic ages to the end of the 19th century; the archive of the World of Ornaments consists of 5,000 motifs based on the two greatest encyclopedic collections of ornament from the 19th-century chromo-lithographic tradition: Auguste Racinet's L“'Ornement polychrome Volumes I and II“ from 1875–1888 and “M. Dupont-Auberville's L'Ornement des tissus” from 1877; the IOF is participating in museum and exhibition projects of mural and fresco art.

Frescographies can be found in the Lanner Lehar Hall of the Vienna town hall or the world's largest cruising ship, Royal Clipper. Since frescography is based on digital printing methods, various materials ranging from canvas, ceramics, or glass to PVC, depending on the material the printer supports. One of the most used materials is Digimura FINO 300gsm; this is due to its fine-grain surface finish, ideal for both high-end graphics and art photography. The paper's fine raised rivulets make it well-suited to frescographies in large spaces and ambient backdrops. Frescographies are printed on Wide-format printers such as Efi's Vutek printer. Virtual Design Studio Website Zuber et Cie

Patrol torpedo boat PT-143

PT-143 was a PT-103-class motor torpedo boat of the United States Navy that served during World War II. PT-143 was ordered by the United States Navy and laid down on 13 July 1942 at the Elco Works of the Electric Launch Company at their Bayonne, New Jersey shipyard, she was commissioned and assigned to Motor Torpedo Boat Squadron 8 under the command of Lieutenant Commander Barry K. Atkins, USN. MTBRon 8 consisted of PT-143 along with PT-66, PT-67, PT-68, PT-142, PT-143, PT-144, PT-145, PT-146, PT-147, PT-148, PT-149, PT-150; the squadron was assigned to the Southwest Pacific where it operated out of PT boat bases at Tufi, Kiriwina Island, Mios Woendi, Dreger Harbor, Kana Kopa on New Guinea. In January 1943, PTs 144–148 were transferred to MTBRon 2 and replaced in April 1943 by PT-113 and PT-114 from MTBRon 2 along with PT-120, PT-121, PT-122 from MTBRon 6. In the early morning of 4 March 1943, during the Battle of Bismarck Sea, 10 PT boats under Atkins were sent to attack the surviving convoy off Lae.

PT-119 and PT-132 hit flotsam and had to return to base while PT-143 with PT-66, PT-67, PT-68, PT-121, PT-128, PT-149, PT-150 continued on. PT-143 and PT-150 spotted the burning transport ship Oigawa Maru, each fired a torpedo sinking the ship. 78 crewmen and 1,151 troops of the 51st Division were killed. On 28 October 1945 at Samar, Philippines, PT-143 was decommissioned, stripped of usable items, destroyed by U. S. military personnel

Charity Daw

Charity Daw is a Cuban-American Singer and Songwriter based in Los Angeles, CA. She has written RIAA certified songs for Disney's chart-topping Descendants Franchise that includes a #1 on Billboard 200, as well as Disney Channel's Liv & Maddie, Mattel's American Girl, Jordan Fisher, Alyson Stoner, Bella Thorne, We The Kings, Porsha Williams & Melissa Gorga of The Real Housewives franchise, Andrew Dice Clay's Showtime Series DICE. Songs she has written have been performed on The Grand Ole Opry, Dancing With The Stars, Dancing With The Stars: Juniors, Good Morning America, The Today Show and The Radio Disney Music Awards As a performer she has appeared on Jimmy Kimmel Live!, The Today Show, NBC's Christmas in Rockefeller Center, Good Day L. A. and Hallmark's Family. Charity studied fine music at Miami, Florida's schools for the arts; as a student, the release of her first self-produced album led to a spot on American Idol followed by a stint in Nashville, TN where she developed her songwriting and performing skills on Music Row.

Band of Merrymakers – 2016, 2017, 2018 Official website Charity Daw on IMDb

Chapter 1 (Yuma Nakayama album)

Chapter 1 is the first solo album of Japanese idol Yuma Nakayama. Chapter 1 is released in Japan on 2014 by Johnnys Entertainment. There are the Regular Edition; this album has an event ID for Nakayama Yuma's Special Event in 2015. Limited Edition 1 – Single CD High Five Kōsaten XOXO Missing Piece Mai, Koi Iolite Bokutachi no birthday Get Up! Akuma na Koi In The Name of LoveDVD 50 minute video has been decided short film「Kōsaten」 & Making①Booklet ②DVD ③Nakayama Yuma Special Event ID Regular Edition High Five Kōsaten XOXO Missing Piece Mai, Koi Iolite Bokutachi no birthday Oyasumi Hustler Get Up! Akuma na Koi Kiseki, Mitsuke ni In The Name of Love①Booklet ②Nakayama Yuma Special Event ID Chapter 1 Johnnys net Chapter 1 JEHP

Süleyman Aktaş

Süleyman Aktaş is a Turkish serial killer who murdered five people. He has been nicknamed "The Nailing Killer" due to his signature of nailing his victims' heads post-mortem. Süleyman Aktaş was born in Çambaşı, he was employed as a worker at the Turkish Electricity Company in Turkey. He was injured by high voltage during works at a 31.5 kV electric power distribution line. After this accident, he killed police superintendent Nuri Keskin in Antalya in 1986, he was arrested, was placed in Manisa Psychiatric Hospital after the court ruled his mental disorder. Aktaş stayed four and a half years in the hospital before his release, he returned to his hometown of Çambaşı village in Denizli. In 1994, Süleyman Aktaş strangled four elderly neighbors three years after he came back to his hometown, he nailed the couples Ayşe and İsmail Güneş, Rukiye and Ramazan Kocatepe in the eyes and heads. In his testimony after his arrest, he stated, he wants to nail people in the head." Aktaş was nicknamed "The Nailing Killer".

He was hospitalized as diagnosed with paranoid schizophrenia. He was apprehended in the coach terminal. In 2007, Aktaş was seen publicly for the first time after twelve years in a rehabilitation show program of the hospital. At noon of May 28, 2008, he assaulted his roommate, the child killer Ömer Yılmaz, wounded him by hitting him in the head with a rock in the exercise yard of the hospital, where he had been kept in a special department for 13 years. Yılmaz underwent a head surgery in a nearby state hospital, survived the attack. Aktaş shared the same ward as Ayhan Kartal, the latter of whom feared him before his death in 2000