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Pet Sounds

Pet Sounds is the 11th studio album by the American rock band the Beach Boys, released May 16, 1966 on Capitol Records. It met with a lukewarm critical and commercial response in the United States, peaking at number 10 on Billboard Top LPs chart, lower than the band's preceding albums. In the United Kingdom, the album was hailed by critics and peaked at number 2 in the UK Top 40 Albums Chart, remaining among the top ten positions for six months. Promoted as "the most progressive pop album ever", Pet Sounds attracted recognition for its ambitious recording and sophisticated music, it is considered to be among the most influential albums in the history of music. The album was produced and entirely composed by Brian Wilson with guest lyricist Tony Asher, it was recorded between January and April 1966, a year after Wilson quit touring with his bandmates. His goal was to create "the greatest rock album made"—a cohesive work with no filler tracks, it is sometimes considered a Wilson solo album and a refinement of the themes and ideas he introduced with The Beach Boys Today!.

Lead single "Caroline, No" was issued as his official solo debut. It was followed by two singles credited to the group: "Sloop John B" and "Wouldn't It Be Nice". Wilson's Wall of Sound-based orchestrations mixed conventional rock set-ups with elaborate layers of vocal harmonies, found sounds, instruments never before associated with rock, such as bicycle bells, French horn, Electro-Theremin, string sections, beverage cans; the album consists of introspective songs like "I Know There's an Answer", a critique of LSD users, "I Just Wasn't Made for These Times", the first use of a theremin-like instrument on a rock record. Its unprecedented total production cost exceeded $70,000. In October, the leftover song "Good Vibrations" became a worldwide hit. In 1997, a "making-of" version of Pet Sounds was overseen by Wilson and released as The Pet Sounds Sessions, containing the album's first true stereo mix. Pet Sounds is regarded by musicologists as an early concept album that advanced the field of music production, introducing non-standard harmonies and timbres, incorporating elements of pop, exotica and the avant-garde.

The album could not be replicated live and was the first time a group departed from the usual small-ensemble electric rock band format for a whole LP. Combined with its innovative music, perceived as a wholly self-conscious artistic statement, the record furthered the cultural legitimization of popular music, was crucial to the development of progressive/art rock, helped bring psychedelic music to the mainstream. In 2003 and 2012, Rolling Stone ranked Pet Sounds second on its lists of the greatest albums of all time. In 2004, it was preserved in the National Recording Registry by the Library of Congress for being "culturally or aesthetically significant." The July 1964 release of the Beach Boys' sixth album All Summer Long marked an end to the group's beach-themed period. From there on, their recorded material took a different stylistic and lyrical path. While on a December 23 flight from Los Angeles to Houston, the band's songwriter and producer Brian Wilson suffered a panic attack only hours after performing with the group on the musical variety series Shindig!

The 22-year-old Wilson had skipped several concert tours by but the airplane episode proved devastating to his psyche. To focus his efforts on writing and recording, Wilson indefinitely resigned from live performances. Freed from the burden, he showcased the advances in his musical development evident within the albums The Beach Boys Today! and Summer Days, released in the first half of 1965. With the July 1965 single "California Girls", Wilson began experimenting with song composition while under the influence of psychedelic drugs, a factor that yielded a great effect on the group's musical conceptions. During early 1965, he had what he considered to be "a religious experience" after consuming a full dose of LSD, he stated, "I learned a lot of things, like patience. I can't teach you, or tell you what I learned from taking it." A week after his first LSD trip, he began suffering from auditory hallucinations, which have persisted throughout his life. Wilson stated: "I wrote Pet Sounds on marijuana—not on it, but I utilized marijuana now and for Pet Sounds....

It gave me the ability—carte blanche—to create something, you know what I mean? And that's. But, for me, that's where it was at in 1966."At the suggestion of bandmate Al Jardine, Wilson began working on "Sloop John B", a traditional Caribbean folk song that Jardine had learned from listening to the Kingston Trio. Wilson recorded a backing track on July 12, 1965, but after laying down a rough lead vocal, he set the song aside for some time, concentrating on the recording of what became their next LP, the informal studio jam Beach Boys' Party!, in response to their record company Capitol's request for a Beach Boys album for the Christmas 1965 market. Wilson devoted the last three months of 1965 to polishing the vocals of "Sloop John B" and recording six new original compositions. In November 1965, "The Little Girl I Once Knew" was released as a non-album single. A section of the song features total silence, leading to poor airplay where radio stations preferred not to have moments of dead air in the middle of a song.

It was the last original Beach Boys song issued. In 1965, Wilson met Tony Asher at a recording studio in Los Angeles. Asher was at the time a 26-year-old lyricist and copywriter working in jingles

The Holographic Principle

The Holographic Principle is the seventh studio album by the Dutch symphonic metal band Epica, released on 30 September 2016. The album was mixed by Jacob Hansen; the release date along with the album's title and cover was revealed on Epica's website on 3 June 2016, the tracklisting was revealed on 17 June 2016. The album is notable for being the first without band leader Mark Jansen as guitarist, as he only provides growled vocals. No reason has been given from Jansen or Delahaye; the band has explained that the idea behind the album is the universe is a digitally generated hologram. The album produced two singles: "Universal Death Squad" and "Edge of the Blade". After Epica's 2014 album was well received and the band toured Europe, Asia and both South and North America, halfway through 2015, Epica started a new journey – writing and recording their seventh studio album The Holographic Principle. "In between touring, we spent our time in the Sandlane Recording Facilities with producer Joost van den Broek" explained guitarist Isaac Delahaye.

The songwriting process took a year, resulted in 27 songs written, but 18 songs recorded. Speaking to Spark TV, the lead singer Simone Simons stated: "Since The Quantum Enigma was received so well, we set the bar so high, but we accepted the challenge to make an better record, and we've done everything bigger than before – we had more orchestra, a bigger choir. We had so many different instruments -- live instruments. Vocally, I put everything in the record that I can do, I'm pleased with it." According to Simone, she has once again experimented a bit with her vocal approach on the new album. "With each record, I try to get the best out," she said. "And Joost, our producer, he's very good at getting everything out of me. And the songs themselves, they just ask for a lot of variation in the vocal style, and I do opera, pop, in the ballads you hear the soft voice. And, yeah, I can belt out some high notes as well." Though "The Holographic Principle" is one of Epica's most ambitious offerings to date, the album doesn't sacrifice any of its instant appeal, something which Simone says was intentional.

"I think it needs to be all in balance," she said. "We are, in heart, a metal band going in the symphonic direction. The orchestration, the choir is a little bit like the seventh and eighth bandmember of Epica, that's something we'll always keep in there, and the choir parts are very catchy, the choruses are catchy. But on this record, besides having catchy melodies, we wanted to have groovy vocal lines, and that's something. One of the aspects of Epica's sound, enhanced on "The Holographic Principle" is the growling vocal style of Epica guitarist and main songwriter Mark Jansen. "Well, it's Mark and it's our drummer as well," Simone said. "Mark is the main grunter, our drummer, Ariën, has a nice, thick sound. So I don't know if he sang all the grunt parts as well, if he doubled them with Mark, but them together makes a new grunt sound, I like it, it changes it up a bit. Mark can do really low grunts, he can do screams, Ariën has that deep sound to it." Simone praised the contributions of Isaac Delahaye, who came into the band in 2009.

"The guitars are more brutal," she said. "Also in the mix, the melodies, the grooves, I think that since Isaac joined the band, not only as a songwriter but the guitars have been lifted to a different level, have become more interesting to listen to, I find myself. So I'm a big fan of his guitar work and his songwriting."Before album's release, Epica release a three part in-studio documentary about their journey with the album recording. The videos were uploaded to Epica's YouTube channel and revealed on their website on 18 July 2016, 25 July 2016 and 24 August 2016 respectively. Mark Jansen commented on the concept of the album: “The Holographic Principle” deals with the near future, where virtual reality allows people to create their own worlds which can't be distinguished from ‘reality as we know it’; this raises the question whether our current reality could be a virtual reality in itself – a hologram. The lyrics challenge you to reconsider everything you took for granted and to be open-minded towards recent revolutions in science.

Nothing appears to be what it seems in our holographic universe.”About the lyrical inspiration the band said: "'The Holographic Principle' deals with the near future wherein virtual reality has taken off and allows people to create their own virtual worlds which can't be distinguished from'reality as we know it.' This raises the question whether our current reality is a kind of virtual reality on itself, a hologram. This implies the existence of a higher reality which we do not have access to; the lyrics challenge you to think out of the box, to reconsider everything you thought to know for sure and to be open-minded towards recent revolutions in science. Fasten your seat belts and get ready for a ride as nothing appears to be what it seems in our holographic universe." "Eidola" is the first track. Mark Jansen and Simone Simons said about the track: “The title comes from the ancient Greek for phantom or image, it’s where the word ‘idol’ comes from; the idea is. After I had written the music for Eidola, I felt there was something

Shootout on Juneau Wharf

The Shootout on Juneau Wharf was a gunfight between Jefferson Randolph "Soapy" Smith, Frank H. Reid, Jesse Murphy that took place on Friday, July 8, 1898, at 9:15 p.m. in Skagway, District of Alaska, in the United States. Smith was shot in the heart and died shortly afterwards, Reid died of his injuries 12 days later; the founding of Skagway, a port town on the Inside Passage in Alaska's panhandle, in December 1897, attracted western crime boss Jefferson Randolph "Soapy" Smith and his gang of confidence men, as the town was the primary American starting point leading to the White Pass Trail and the Klondike gold fields, discovered in 1896 and triggered a massive gold rush in the region. Smith had been well known as a streetside confidence trickster and racketeer in Denver and Creede, where he was threatened with imprisonment as a criminal in 1895 and fled the state; when interest in the gold rush peaked, he set up his swindle operations in Skagway and became the region's underworld boss, just as he had done in Denver and Creede.

Victims of the so-called Soap Gang's confidence swindles had little recourse. That and the already-slow legal system in the area made the resolution of crime difficult at best. A vigilance committee calling themselves the Committee of 101 demanded relief via the federal government; when that proved too slow, they took matters into their own hands and posted handbills around Skagway ordering the bunco men to leave the town or face the consequences. Smith retaliated by forming his own "law and order committee," but he claimed his consisted of "317 citizens." He had handbills printed up and posted around town warning the vigilantes from attempting to take the law into their own hands. Tensions climaxed on July 8, 1898, with the robbery of a returning miner's gold. On July 8, 1898, John Douglas Stewart arrived in Skagway, returning from his claim in the Klondike with a canvas pouch containing $2,600 worth of gold and $87 in cash. Stewart placed his gold in a local store safe and rented a room to wait for passage on an outgoing steamer.

Around 10:00 AM, Stewart was met by John L. "Reverend" Bowers and W. E. "Slim-Jim" Foster, two members of Soapy Smith's gang. They lured Stewart into the alleyway beside Jeff Smith's Parlor. Once there, they were joined by Van B. "Old Man" Triplett, who started up a game of three-card Monte to swindle Stewart out of his gold. Stewart lost his $87 in cash, some of which Triplett offered to return to continue the game, he was asked to provide evidence that he could pay it back if he lost. Stewart reported what happened next: I told Foster I should hold him for the money, the old man, Van Triplett, said we acted as if we could not trust him, gave some of the money back, said he would give us a chance to win it, so Foster turned the right card and started to give him the money, but said,'Supposing you had bet that in earnest, did you have the money to put up?' Foster said,'No,' and turning to me said,'You have the money,' and I said no, I did not have any money. Bowers and I went to Kaufman's store to get the money and Van Triplett and Foster remained behind.

We came back with the dust and I unrolled it and showed them the sack, the old man said he did not know if, gold, Bowers said,'Open it and show it to him, as he don't know gold dust when he sees it,' but I did not open it, just about to roll it up again, when Foster grabbed it and handing it to the old man, said, "Git!" and I started to grab the old man when they held me and said if I made a noise it would not be well for me. I pulled away from them and started after the old man, but could not see him and went across the street and asked a party where there was an officer: that I had been robbed of $3,000 by some men over there. Stewart tried to file a complaint with Deputy U. S. Marshal Sylvester S. Taylor but found no comfort. Taylor was under Smith's control and informed Stewart that if he kept quiet about the affair he would see what he could do. Stewart complained to anyone who would listen, including U. S. Commissioner Charles A. Sehlbrede, stationed in the neighboring town of Dyea. Learning of the unrest over the robbery, Smith took to the streets, mingling with the residents and merchants, claiming that no one had been robbed.

Smith argued. Between 2 and 6 p.m. "at least a dozen men went to Soapy Smith and tried to get him to disavow the robbery and give up the men." Smith, maintained his position and "declined to do anything about the matter," stating in exasperation "that if Stewart had not'hollered,' he would feel like going out and getting him a piece of the money" back. In contrast with the Alaskan, Smith told several businessmen. During the early part of the excitement, Smith promised several men, including the writer, that... no "roar" made in the papers, the gold would be returned by 4 o'clock that evening, that his influence would be used to prevent his men from in any way interfering with returning Klondikers in the future. Smith had said the gold would be returned by four; when told by a Skaguay News reporter that unless the gold was returned there would be trouble, Smith is said to have replied, "By God, trouble is what I am looking for."Arriving in Skaguay, Commissioner Sehlbrede sent for Smith to come to the mars

Jamar Howard

Jamar Howard is an American former professional basketball player. After a few years in lower American leagues, he decided to travel to Europe, where he began to achieve some good exhibitions for teams in Germany. 2005/06: San Jose Skyrockets - ABA Red Conference Champion 2007/08: VPV Giants Noerdlingen - German Pro A Champion Wichita State University Men's Basketball Named first team all-Missouri Valley Conference in 2002-03 and 2003-04 and to the second team in 2004-05... MVC Defensive Player of the Year in 2002-03…Four-time MVC All-Defensive team…Named to the MVC All-Freshman team…As a junior in 2003-04, was runner-up for MVC Player of the Year honors…Named the Wichita Eagle Most Valuable Player in 2003 and 2004…Earned the Shocker Radio Outstanding Defensive Player award in 2002, 2003, 2004 and 2005…Earned the Xavier McDaniel Rebounding Award in 2003, 2004 and 2005…Led the team in both steals and field goal percentage four times and still ranks second all-time in both free throws made and attempted …Finished career with 1,571 points, 711 rebounds, 263 assists, 153 steals and 88 blocks and averaged 12.7 points per game…Helped turn around a struggling program with three NIT bids, WSU's first postseason appearances in 14 years.

2006/07: Great Falls Explorers - CBA All-Star Game 2007: Dodge City Legend - USBL All-Defensive TeamJanuary 2020 - Inducted into the Wichita State University Sports Hall of Fame

Shiroko Station

Shiroko Station is a railway station on the Nagoya Line in Suzuka, Mie Prefecture, operated by the private railway operator Kintetsu Railway. Shiroko Station is 52.9 rail kilometers from the terminus of the line at Kintetsu Nagoya Station. All trains excluding part of limited express trains stop at this station; when Formula 1 Japanese Grand Prix is held at Suzuka Circuit, extra trains terminate and originate at this station for the spectators. Kintetsu Nagoya Line Shiroko Station has two ground-level island platforms serving four tracks. Ticket gates are located in the building over the tracks. Local and some limited express stopped During the day, Limited Express and local are set to 3/h respectively. There is a connection between limited express express and local for Every time, local stops for a long time at this station for connection or overtaking. Shiroko Station opened on September 1915 as a station on the Ise Railway, it was renamed to its present name on October 1, 1922. The Ise Railway became the Sangu Express Electric Railway’s Ise Line on September 15, 1936, was renamed the Nagoya Line on December 7, 1938.

After merging with Osaka Electric Kido on March 15, 1941, the line became the Kansai Express Railway's Nagoya Line. This line was merged with the Nankai Electric Railway on June 1944 to form Kintetsu. A new station building was completed in March 1979. Mie Prefectural Shiroko High School Suzuka Municipal Shiroko Elementary SchoolBus stop Mie Kotsu Route 01 for Hiratacho Station via Naka-Asahigaoka Itchome Route 02 for Suzuka Central Hospital via Suzukashi Station Route 03 for Suzuka Circuit via Naka-Asahigaoka Itchome Route 05 for Apita Suzuka and Suzuka Central Hospital Route 05 for Sakurajima Yonchome and Suzuka Central Hospital Expressway bus for Tachikawa Station North Entrance, Shinjuku Station West Entrance, Ikebukuro Station East Entrance, Omiya Station West Entrance and Seibu Bus Omiya Branch Expressway bus for Y-CAT, Ikebukuro Station East Entrance, Omiya Station West Entrance and Seibu Bus Omiya Branch Expressway bus for Kokura, Hakata Bus Terminal and Nishitetsu Tenjin Bus Station C-BUS Shiroko Hirata Route for Bell City via Tokuda Station and Koudai Kintetsu: Shiroko Station

Robertryan Cory

Robertryan Cory is an American animator known for his work in character design for series such as SpongeBob SquarePants and Secret Mountain Fort Awesome, the latter of which he co-developed and earned a Creative Arts Emmy Award for "Outstanding Individual in Animation" at the 64th Primetime Creative Arts Emmy Awards in 2012 for. He has worked as lead character designer on season 2 of Gravity Falls and Billy Dilley's Super-Duper Subterranean Summer. Cory was born to musician parents. In middle school, he attended a program where he would animate 30-second anti-smoking campaign spots. Cory submitted one for three years in a row, he explained that he had fun "doing the inappropriate one with my friends and I just thought this is what I should do when I grow up." He started working in animation at the age of 15 after crashing a party for cartoonists and exposing his sketchbook "full of dirty drawings". He interned at a nearby animation studio before being promoted to inbetweening work. After graduating from high school, Cory attended college where he worked as a comics artist for a porn company, where he would animate "money shots" for a series titled Pop-up Porn.

Although he explained the money was "really great", Cory quit shortly after questioning the content matter and the direction of his career. Cory considered Ren & Stimpy "Adult Party Cartoon" as one of his favorite projects to work on, given that his "only goal" in life at the time was to work on The Ren & Stimpy Show before it. Since it had been off the air for nearly a decade, Cory thought that such a task would be "impossible" to do, he called it "one of the worst experiences emotionally," though it provided him with "so many talented people" which motivated him to practice harder on his work. He felt his work for SpongeBob SquarePants as his second favorite, calling all of his prior artwork of poor quality. Like Ren & Stimpy, he appreciated his coworkers and wanted to discipline himself to "earn their respect."Cory's work as a character designer for the Secret Mountain Fort Awesome episode "Nightmare Sauce" earned him a Creative Arts Emmy Award for "Outstanding Individual in Animation" at the 64th Primetime Creative Arts Emmy Awards in 2012.

For the same episode, he was nominated for an Annie Award for "Character Animation in a Television Production" at the 39th Annie Awards. His work was showcased in a lecture given to the California Institute of the Arts in 2014, presenting notes for designing characters. Colleague and former coworker Amid Amidi of the animation entertainment blog Cartoon Brew called his approach "idiosyncratic" to his work for Spümcø, working upon his influences while spinning it off into his own style. Gladys Rodriguez of Beautiful/Decay magazine called various sketches of his work on SpongeBob that he posted on his Flickr account "fantastic", albeit she inferred from them that the show had become more violent since she last watched it years before. Robertryan Cory on IMDb Robertryan Cory on Flickr