The Song Remains the Same is a 1976 concert film featuring the English rock band Led Zeppelin. The filming took place during the summer of 1973, during three nights of concerts at Madison Square Garden in New York City, with additional footage shot at Shepperton Studios; the film premiered three years on 20 October 1976 at Cinema I in New York, on 22 October 1976 at Fox Wilshire in Los Angeles, at Warner West End Cinema in London two weeks later. It was accompanied by a soundtrack album of the same name; the DVD of the film was released on 31 December 1999. Promotional materials stated that the film was "the band's special way of giving their millions of friends what they had been clamouring for – a personal and private tour of Led Zeppelin. For the first time the world has a front row seat on Led Zeppelin." A reissue of the film, including unreleased footage as a bonus, was released on DVD, HD DVD, Blu-ray Disc on 20 November 2007, by Warner Home Video. Since late 1969, Led Zeppelin had been planning on filming one of their live performances for a projected movie documentary of the band.
The group's manager, Peter Grant, believed that they would be better served by the big screen than by television, because he regarded the sound quality of the latter as unsatisfactory. The first attempt was the filming of Led Zeppelin's Royal Albert Hall performance on 9 January 1970, but the band thought they appeared dated when they viewed the edited footage several months and the film was shelved. On the morning of 20 July 1973, during the band's concert tour of the US, Peter Grant made contact with American-born director Joe Massot. Massot was known to Grant as he and his wife had moved into a house in Berkshire in 1970, where they made friends with their neighbours, Led Zeppelin guitarist Jimmy Page and his girlfriend Charlotte Martin. Grant had turned down offers by Massot to make a film of the band, but with the huge success of the band's current tour, Grant changed his mind and offered him the job of director; as Grant recalled: It all started in the Sheraton Hotel, Boston. We'd talked about a film for years and Jimmy had known Joe Massot was interested – so we called them and over they came.
It was all quickly arranged. Massot hurriedly assembled a crew in time for Led Zeppelin's last leg of the tour starting on 23 July 1973, in Baltimore, he subsequently filmed the group's three concert performances at Madison Square Garden on the nights of 27, 28, 29 July 1973. The film was financed by the band and shot on 35mm with a 24-track quadraphonic sound recording; the live footage in the US alone cost $85,000. The plans to film the shows at Madison Square Garden were threatened when the local trades union tried to block the British film crew from working. After the band's attorneys negotiated with the union, the crew was allowed to film the concerts; the footage of the band arriving at the airport in their private jet airliner, The Starship, travelling in the motor cavalcade to the concert was filmed in Pittsburgh, before their show at Three Rivers Stadium on 24 July 1973. For the band's three New York performances, two band members, Robert Plant and John Bonham, wore the same clothes to facilitate seamless editing of the film, but John Paul Jones and Jimmy Page wore different sets of attire on some of the nights, which created continuity problems.
Page is seen wearing a different dragon suit in "Roll" and the "Celebration Day" remaster. In an interview from 1997, Jones said that the reason he didn't wear the same stage clothes was that he asked the crew if they would be filming on those nights and was told no. "I'd think'not to worry, I'll save the shirt I wore the previous night for the next filming'. What would happen is that I'd get onstage and see the cameras ready to roll." As Led Zeppelin's popularity soared throughout the 1970s, Peter Grant became notorious for being brutally protective of his band and their finances. When Warner Bros. approved the film they did so on the provison that expletives would be'bleeped' out. Clifton took the optical print and removed the words, the film was given an appropriate rating. However, on every other print, the words were retained and were audible. In the scene where Peter Grant is driven to the police station to be questioned about the theft from the safe deposit box at the Drake Hotel, he has his arm outside the police car.
According to an interview conducted in 1989, he explained the reason he wasn't handcuffed was that the policeman driving the car used to be a drummer in a semi-professional band which had supported the Yardbirds on one of its US college tours in the late-1960s. Grant had at the time been manager of the Yardbirds; the money stolen from the safe deposit box at the Drake Hotel was never recovered, while no one has been charged, it is alleged that a staff member of the hotel quit their job and fled to Jamaica soon after the theft. Scenes of young fans attempting to buy tickets, an unruly fan being ejected by security, Grant berating the promoter for receiving kickbacks were all shot at the Baltimore Civic Center on 23 July 1973. Grant purportedly recommended the "Dazed and Confused" sequence wherein the camera zooms into Page's eyes and cuts to the scene; some unused backstage shots filmed at Baltimore and at Pittsburgh found their way into the promotional video for "Travelling Riverside Blues", released in 1990.
Dissatisfied with the progress of the film, Grant had Massot removed from the project and Australian director Peter Clifton was hired in his place in early 1974. Massot was offered
The Italian Catholic Diocese of Cerreto Sannita-Telese-Sant'Agata de' Goti, in Campania, has existed since 1986, when the Diocese of Sant'Agata de' Goti was united into the historical Diocese of Telese-Cerreto Sannita. The diocese is a suffragan of the Archdiocese of Benevento, it has its cathedral episcopal see Cattedrale di SS. Trinità e Beata Vergine Maria Madre della Chiesa, dedicated to the Holy Trinity and to Mary Mother of the Church, in Cerreto Sannita and a Co-Cathedral: Concattedrale di S. Maria Assunta, dedicated to the Assumption of Mary, in Sant’Agata de’ Goti but the former Cathedral: Ex cattedrale Santa Croce, dedicated to the Holy Cross, in Telese, remains decommissioned There is a Minor Basilica: Basilica-Santuario di S. Maria Assunta e S. Filippo Neri, in Guardia Sanframondi; as per 2014, it pastorally served 89,753 Catholics on 583 km² in 60 parishes and 50 missions with 73 priests, 2 deacons, 98 lay religious and 6 seminarians. The first bishop of Telese mentioned is Agnellus.
Having fallen into decay, the town was rebuilt in the ninth century. From the tenth century it was subject to the Archbishop of Benevento. In 1612 Bishop Gian Francesco Leoni transferred the episcopal residence to Cerreto Sannita. In 1818 the see was united to the diocese of Alife, but it was re-established in 1852. Among its bishops were: Alberico Giacquinto. Suffragan Bishops of Telese Erected: 5th Century incomplete: first centuries missing... Luciano Rao Salerno Giacomo Giovanni Arisio Tommaso Tommaso Matteo Guiliand, O. F. M. Domenico, O. F. M. Giacomo da Cerreto Bishop of Vulturara Giacomo Bishop of Lavello. Angelo Marcuzzi... Meolo de Mascabruni, next Bishop of Muro Lucano) Matteo Giudici, next Bishop of Penne e Atri) Troilo Agnesi, next Bishop of Lavello) Pietro Palagario, O. F. M. Andrea Riccio Biagio Caropipe Giovanni Gregorio Peroschi Mauro de Pretis Sebastiano de Bonfilii Alberico Giaquinta Giovanni Beraldo, next Bishop of Sant'Agata de' Goti) Angelo Massarelli Cherubino Lavosio, O. S. A. Annibale Cattaneo Juan Esteban de Urbieta, O.
P. Cesare Bellocchio Eugenio Savino Placido Fava, O. S. B. Eugenio Cattaneo, B. Giovanni Francesco Leoni Suffragan Bishops of Cerreto Sannita or TeleseLatin Name: Thelesina et Cerretana Giovanni Francesco Leoni Sigismondo Gambacorta, C. R. S. A. Pietro Paolo de' Rustici, O. S. B. next Bishop of Isernia) Pietro Marioni Pietro Francesco Moia, C. R. S. Domenico Cito, O. P. Giovanni Battista de Belli Biagio Gambaro Francesco Baccari Antonio Falangola, next Bishop of Caserta) Filippo Gentile Filiberto Pascali Vincenzo Lupoli Raffaele Longobardi Giovanni Battista de Martino di Pietradoro Carlo Puoti Gennaro di Giacomo Luigi Sodo Angelo Michele Jannachino Giuseppe Signore Salvatore Del Bene Felice Leonardo Suffragan Bishops of Cerreto Sannita-Telese-Sant’Agata de’ GotiUnited: 30 September 1986 with Diocese of Sant’Agata de’ Goti'Latin Name: Cerretana-Thelesina-Sanctae Agathae Gothorum Mario Paciello Michele De Rosa List of Catholic dioceses in Italy GCatholic This article incorporates text from a publication now in the public domain: Herbermann, Charles, ed..
"article name needed". Catholic Encyclopedia. New York: Robert Appleton
Lepismatidae is a family of primitive wingless insects with about 190 described species. This family contains the two most familiar members of the order Zygentoma: the silverfish and the firebrat, it is one of five families in the order Zygentoma. Lepismatids are elongated, flattened insects, the majority of which are scavengers; the abdomen is clothed in tiny scales and terminates with three "tails" of equal length. The compound eyes are well separated, they live in warm, damp environments, including indoors. They avoid light; the following Strepsiptera species are known to parasitise Lepismatidae: Eoxenos laboulbenei on Lepisma aurea, L. wasmanni and L. palmonii. Parasitic Apicomplexa are found in the intestinal tract the crop, of Lepismatidae. Ctenolepisma lineata contains on average 15 parasite specimens per animal. Several species of gregarine parasites have been recorded from the intestinal tract of the gray silverfish: These genera belong to the family Lepismatidae
Charly García is an Argentine singer-songwriter and record producer. With a vast and renowned career, he formed and headlined two of the most popular bands in Argentina's rock history: Sui Generis in the 1970s and Serú Girán in the 1980s, plus cult status groups like progressive-rock act La Máquina de Hacer Pájaros and folk rock supergroup PorSuiGieco, both in the 1970s. Since the 1980s García has worked as a solo musician, his main instrument is the piano, followed by guitar and keyboards. García is considered by critics as one of the most influential rock artists in all the world, as "The Father of Argentinian Rock". García is well known for his bicolor moustache, with one side white, due to vitiligo, he is the firstborn of a Buenos Aires family of good economic position, in the neighborhood of Caballito. Son of Carmen Moreno and Carlos Jaime García-Lange, an engineer who owns the first formica factory in the country, he was a descendant of Spaniards and Germans by his father side and Spaniards and Dutch by his mother side.
He has three brothers: Enrique and Josi. Although his mother Carmen was dedicated to the care and education of her children, she wanted everyone to have a professional babysitter, for greater order and control, she arranged for everyone to sleep in a separate room. Charly began to show musical talent at an early age. At three, he received a toy piano as a gift, soon he surprised his mother with his ability to compose and play coherent melodies, leading her to enlist him in a prestigious conservatory, the Thibaud Piazzini. At age twelve, he graduated as a Music Professor. Charly developed absolute pitch as a child; the Beatles appeared in Charly's life. Having only been exposed to classical music and folk, he would describe the Beatles as "classical music from Mars". In high school he met Carlos Alberto "Nito" Mestre and the two fused their bands to give birth to Sui Generis; the band at first experimented with psychedelic rock, but its style would be established as folk-rock with a certain influence from the symphonic rock of the day.
At their first big gig, the band's bassist and drummer all failed to appear. Only Charlie and Nito showed up, playing flute respectively, they were forced to play on their own, were a hit with the audience despite the other musicians' absence. The band's strength lay in the songs' musical simplicity and romantic lyrics, which appealed to teenagers. In 1972, Sui Generis released its first LP, which became popular among Argentine teenagers. Confesiones de invierno, their second LP, was released in 1973; this album showcased higher production values and better studio equipment, was successful commercially. 1974 was a year of changes. Charlie lost interest in "the piano and flute" sound that Sui Generis had been developing, decided that Sui Generis needed a change. To that end, Rinaldo Rafanelli and Juan Rodríguez joined the band. In many live shows, Sui Generis brought in a gifted guitar player, David Lebón, whom Charly admired much. With a new line-up and style, the band was ready to launch its new album.
Titled Instituciones, its name was changed to Pequeñas anécdotas de las instituciones at the producer's suggestion. The album was intended as a reflection on the unstable nature of Argentine social and political institutions at the time. Charlie's initial concept was to write a song for every traditional institution: the Roman Catholic Church, the government, the family, the judicial system, the police, the army, so on. However, two songs, "Juan Represión", about the police, "Botas locas", about the army, were eliminated from the album by the censors. Two more, which referred to censorship itself, had to be modified. While Sui Generis achieved a different, more mature sound with Instituciones, the public did not embrace it, preferring the band's previous style, so the album sold poorly. Around this time Charlie met his future wife, María Rosa Yorio, a singer-songwriter who became the mother of his first son, Migue García. Charly García continued composing, during 1975, he prepared what would be Sui Generis's fourth album, Ha sido.
However, growing frictions between Charly and Nito and a wearying public prevented the album's release, the decision was made to dissolve the band. Many songs from that ill-fated album were included in other García's LPs, such as Bubulina and Eiti Leda. On September 9, 1975, Sui Generis scenified its farewell at the Luna Park Stadium, giving two shows for 20 thousand people — the largest audience in the history of Argentine rock at the time; the shows have been recalled as adrenaline-fueled delivery of great music. Two LPs recorded at the live shows were released that year, Adiós Sui Generis volumes I and II. In 1976, Sui Generis recorded a long player with Argentine musicians León Gieco, Raúl Porchetto, María Rosa Yorio; the LP was called Porsuigieco. After Sui Generis, certain things changed in Charly's life. From now on, he would be "Charly" instead of Charlie. Right after his son's birth, he broke up with María Rosa Yorio. Charly met Marisa Pederneiras, from Brazil, they became lovers. Charly continued working on musical projects.
Chimanlal Shivshankar Trivedi was a Gujarati critic and editor from Gujarat, India. Chimanlal Trivedi was born on 2 June 1929 at Mujpur village, he completed B. A. in 1950, M. A. in 1952 and Ph. D. in 1961. He taught Gujarati at various colleges since 1951 including Ahmedabad. Pingal Darshan is an introductory work on metres. Urmikavya is a work on lyrical poetry, its form and types, his Ph. D. thesis Kavi Nakar - Ek Adhyayan is a study of medieval Gujarati poet Nakar and his published and unpublished works. The followups to this work is included in included in Nakar of Gujarati Granthkar series as well as in Gujarati Sahityano Itihas - Volume 2. Chosathnu Granthasth Vagmay is criticism of works of various genre. Bhavlok and Bhavmudra discusses poetry and works of well known and unknown poets of medieval and modern era, his essay Gujarati Chhandorachana in Bhavmudra investigates the use of metres in Gujarati literature. He co-edited Apana Khandkavyo, Kunwarbainu Mameru, Abhimanyu Akhyan, Virat Parva, Kalelkar Granthavali.
He has co-edited Gujarati Sahityano Itihas and Granth Ane Granthkar Part 11, both published by Gujarati Sahitya Parishad. He co-edited a compilation of medieval Gujarati poems, with Chinu Modi, he was awarded Ranjitram Suvarna Chandrak in 2009. List of Gujarati-language writers Works by Chamanlal Shivshanker Trivedi at Google Books
Sheet explosives are materials formed by combining an explosive with a "rubberizer"—a flexible binding agent. The resulting compound is cast into a flat sheet, pliable and deformable over a wide range of temperature. Typical products are shock-insensitive secondary explosives, requiring a blasting cap or other detonator. Detonation velocities are very high, which can improve the detonation synchronicity across the area of a tertiary charge with a low detonation velocity; this property makes them suitable for use in detonation trains which require precise timing and homogeneous delivery of force across a complex surface. In an explosively-pumped magnetic flux compression generator, explosives are used to accelerate the plates of a large capacitor at each other, while the capacitor has a charge; the result is a colossal spike in amperage that can be used, in a typical application, to fire a railgun for kinetic effects or a transient electromagnetic munition for electronic warfare applications.
For maximum amperage, the plates must remain parallel. In typical designs, the capacitor is not made from two flat plates, but from two concentric cylinders. Therefore, sheet explosives simplify construction; the reference cited for this section demonstrates a railgun design using Detasheet C as the sheet explosive. Explosive welding Explosive forming Rocket engines have been created out of a large number of sequentially fired "stages" of sheet explosive discs. Note that this differs from a pulsed detonation rocket because the fuel consists of pre-positioned solid explosives; the primary advantages of the technique are reliability, stable long-term storage, the complete absence of any moving parts or pumps for fuel delivery—the design is a set of alternating disks of explosives and delayed primers. Detasheet Primasheet