#cole's assortment of instruments

[colosseumofblahaj]

just blasted out Dance of The Sugarplum Fairy (and various other carols) on my bass clarinet at my school's concert (I made exactly Two mistakes)

I also put a dinosaur bauble on my instrument:

(his name is Michael, and yes, he's been there the whole concert)

[howardhawkshollywoodmusic]

MY MUSIC BLOG

Starting tomorrow, I will be posting five music videos every other day, counting down the top 100 songs for each year 1964-83, the classic era of pop, rock, and soul. I'm starting with 1964, as it is the year of The Beatles and the British invasion, and the first Motown hits of The Supremes, The Temptations, and Four Tops. The top 100 hits of 1963 were still dominated by the easy listening 50s style of Andy Williams, Tony Bennett, Johnny Mathis, and Nat King Cole, with only a few rockers by America's first great rock band, The Beach Boys, and some others in their style. Soul in 1963, however, was well represented by Martha and the Vandellas, Marvin Gaye, and The Miracles at Motown, as well as Phil Spector's girl groups The Crystals and The Ronettes, plus Jackie Wilson, Sam Cooke, and Ray Charles.

The classic era ends in 1983. By 1984, MTV had revolutionized music, making it essential to have a visual image, backed by cheap drum machines and other electronics, with real musical instruments costly and unnecessary, reducing production to nothing beyond solitary knob twiddling. 1984 saw the first hits of Mudonna and Bon Jovee, acclaimed more for their videos then any musical quality.

The 100 biggest hits of 1964 still reflect easy listening pop to some degree, so a little patience is recommended with the first tunes. The older and newer styles overlap, but old fashioned vanilla pop becomes less pronounced as the decade advances and pop music gradually rocks harder and harder, and every year features an assortment of annoying ear worms and music for trendy pre-teens.

It's interesting to notice the transformation from the mostly black and white videos of 1964 to a majority of videos in color only a couple of years later.

[foxboyclit]

How about 1, 13, and 24 for Iphis!

hi uriel!! ty for the ask <3

1) Does your OC have a voice claim, if so who?

oh, i dont think i have an actual voice claim for him, at least not yet. i actually wrote out how he sounds: "deep, purring, like sweet velvet waiting to be unveiled"

(anyone who has an actor who fits the description is more than welcome to share. help me further solidify his voice)

he also has the "vague fantasy british accent" in my mind. or maybe menzoberranyr are british

13) Does your OC have a rival? How did it start?

you know i never really gave him a rival! i mean, ive talked to cole and space about him with Zeth'rinn and Valztefein which are the closest he's had to rivals but they dont fit the bill exactly. maybe one day i'll give him one

24) Can they play any instruments? If so, what do they play?

he cannot play any instruments, but he can sing! often he joins Minnie in Lolthite hymns, but with that seductive voice i see him performing something like Blue Dress

assorted oc questions!

[rapturerecords]

BioShock’s Soundtrack Timeline Quirks and Hiccups

Here’s a question customers have posed while shopping around in this record store: “Is the BioShock soundtrack historically accurate?”

The short answer is no. This is of course including a presumption of a distinct cutoff year. If on the other hand, you would consider the reverse, “Is the BioShock soundtrack historically appropriate?”, well we shall see.

So let’s briefly break down the soundtrack of each game.

-

In the first Bioshock, the game opens with the year 1960 before taking us down to the underwater city of Rapture. However, Andrew Ryan had cut off contact with the Surface some time before, coupled with the Rapture Civil War officially starting on New Year’s Day in 1959. Granted several songs in BioShock were recorded in that last decade through the 50s including “Danny Boy” (1952), “Papa Loves Mambo” (1954), “It’s Bad for Me” (1955) and so on.

Frank Fontaine’s smuggling operations could account for the fact of the very late 1959 release dates of Bobby Darin’s “Beyond the Sea” and Noël Coward’s “20th Century Blues”, however Fontaine allegedly died in September 1958 according to the newspaper article in the Rapture Standard.

Even with Fontaine’s shenanigans, it doesn’t account for the 1966 version of Patti Page’s “Doggie in the Window” or the 2004 version of Cole Porter’s “You’re the Top” as seen below. Other songs include the assorted instrumental tracks recorded in the 1990s such as “The Ballroom Waltz”, “And All the While I’m Loving You” or even the 1966 song “Academy Award”. Lastly, there is still the mystery of the numerous instrumental guitar and violin songs supposedly performed or inspired by Django Reinhardt used in BioShock.

Creative Director Ken Levine obliquely mentioned the problem of using re-recordings and alternate versions of songs in a 2007 interview with Electronic Gaming Monthly.

...Or I would research on Wikipedia or talk to my dad, and then I would go and listen to little snippets, and I'd ask myself, "Does this feel like it belongs in Rapture?" [Dealing with this era of] licensed music... is a very complicated process, because generally you're dealing with people who are dead and their lawyers are dead. The rights are often very complicated, and so a lot of times we'd want a song and we wouldn't get it. We'd have to find another person who performed it, or another version of the recording or something like that. We had to be fairly flexible.

-

Overall, BioShock 2 does have the most historically accurate soundtrack of the series, excluding the songs reprised from the first BioShock. The game ostensibly takes place in 1968, or 10 years later from 1958 according to the opening titles.

All things considered, its only soundtrack transgression is using the 1976 version of “Daddy’s Little Girl” as seen below.

Aside from that, its newest songs unique to the game are 1945′s “Dream” and “It’s Only a Paper Moon”. Many songs trend older towards the 1920s and 1930s, reflecting the older portions of Rapture seen in the game with some of the oldest tracks being 1929′s “Daddy Won’t You Please Come Home” and “Nobody Knows You When You’re Down and Out”.

-

BioShock Infinite and the floating city of Columbia introduces time as central plot point and with it some interesting soundtrack implications. Keeping in mind the setting is 1912, its soundtrack can be broadly divided into three categories

Modern covers of existing period songs were recorded especially for the game such as “After You’ve Gone”, “Will the Circle Be Unbroken”, and the Scott Joplin rags.

Deliberately anachronistic songs are provided as a plot point courtesy of Messrs. Albert Fink and Scott Bradlee rearranging modern songs to sound period such as “Girls Just Want to Have Fun”, “Fortunate Son”, “Tainted Love” and so on.

Lastly there are the period songs meant to evoke the flavor of the 1912 setting.  While some are authentically of the era including some very old Edison cylinders, quite a few bleed into the 1920s and 30s including “Ain’t She Sweet” (1927), “Button Up Your Overcoat” (1929), and “St. James Infirmary” (1930). Bessie Smith manages to crossover to both cities in both BioShock Infinite and BioShock 2 with “I’m Wild About That Thing”, “Nobody Knows You When You’re Down and Out”, and “Need a Little Sugar in My Bowl”. In addition, several recordings are presented “live” in the game, but were recorded much later such as the prison work song recorded by Alan Lomax, “Black Gal” in 1959 and “Shake Sugaree” recorded in 1967.

Lastly, Burial at Sea features a coda. Both Patsy Cline songs “She’s Got You” and “Back in Baby’s Arms” were recorded in the 1960s, well after the 1959 date of the events of the game. However in a tragic twist of fate, she would die shortly after recording the songs in a plane crash.

Creative Director Ken Levine again mentioned the problem of finding music “that sounds great to the modern ear” in a 2012 interview with Wired magazine.

But one of my favorite parts of my job is choosing the licensed music. BioShock Infinite is set in an interesting time because it’s right at the beginning of jazz and blues. Music before jazz and blues is not very listenable. I mean popular music -– it’s really kind of awful. You know, the John Philip Sousa marches and stuff. And then you get jazz and blues coming in, with the early stuff like ragtime.

It’s much more challenging to find music from that era that sounds great to a modern ear. BioShock was set in 1959, so we had this huge slate of great music to choose from. But here we don’t have all the chord progressions, and the things we like didn’t exist or had just started to exist. So finding music has been a really interesting challenge...

The most important thing is that you get people to feel things. I’ll give you a hint: There weren’t flying cities in 1912 nor were there underwater cities and genetic technology in 1959 (laughs). So, yeah, you play a little fast and loose. You could argue that this is Columbia and we do things a little differently.

You’ve already heard some of the strange musical things in the game...

-

Less discerning record customers may have grabbed the wrong discs and are surprised to find the recordings don’t match what they’ve heard.

I have taken the liberty of conducting a synchronization of a number of the more unusual re-recordings which the games use instead of the originals. These are presented in the new stereophonic sound format, be advised it is recommended to have two speakers far apart to get the full effect, or at the very least avoid having two speakers that are too close together.

The original older track is on the listener’s left while the newer one used in the games are on the listener’s right.

Some of the more fantastically-minded among us down here in Rapture might be tempted to simply blame the above on those newfangled Tears. But it is the records that speak for themselves.

Patti Page’s “The Doggie in the Window”

1952 Mercury Records version (original)

1966 Columbia Records version (used in BioShock)

Cole Porter’s “You’re the Top”

1934 Victor Records version (original)

2004 version with Vince Giordano and The Nighthawks (used in BioShock)

Mills Brothers’ “Daddy’s Little Girl”

1950 Decca Records version (original)

1976 Ranwood Records version (used in BioShock 2)

The original versions of the songs are featured occasionally here with the addendum that they were not actually used in the game. They are marked with the RRR for Rapture Records Recommendation.

There are number of other instances where an artist recorded more than one version of a song, typically well before, such as Noël Coward’s 1959 “Party’s Over Now” and his slightly longer 1932 version. But that’s left for another revolution of the record.

[hithelleth]

I was tagged by @stargazerdaisy. There are a few new questions in this one so thanks, it’s been fun!

Nicknames: Hith and diminuitives of my real name IRL.

Zodiac: Aquarius

Height: 4'10"

Last thing I googled: "detached himself from the wall” because someoftentimes I doubt whether I can English properly, but if it was good enough for Dumas, it’s good enough for me. 

Song stuck in my head: none but my brain has today definitely circulated through an interesting assortment of folk and other Slovene music.

Number of followers: 530

Amount of sleep I got: about 8 hours at last, Hallelujah! (My sleep has been awful lately.)

Lucky number: I don’t know if I have one, but I do have two favourite ones which I won’t tell because superstitious. :)

Favorite song: impossible to pick. 

Favorite instrument: I’ve never thought about it till now, but I might agree on you with cello.

Dream job: rich housewife who writes fic because she has the time and resources to focus on it.  - I’m just gonna keep your answer, but without housewife. 

Aesthetic: IDK. Leggins and turtlenecks and Christmas lights. Currently. 

Favorite author: Just one? I’ll start with Tolkien. But also Kresley Cole and Nalini Singh and...

Favorite animal noise: cat purring, no question. I’ll keep that one. 

Random: I have just had a nice chat (on the phone of course) with my cousin and maybe I’ll now go back to editing the next section of the monsterfic. Also I don’t know how to type today. (Which is not a good thing, when editing, but eh.)

Tagging: @lglorien, @wellwhataboutme, @eveningspirit, @jadedbirch, @bea2me, @totallyshelfaware, @porthos4ever, @abedsmessedupmeta and whoever else wants to do it. As always, feel free to ignore. 

[cheersnbc]

“All artists copy. We try as hard as we can to sound just like someone we admire; someone who evokes a strong feeling that we would like to emulate. The best part is, no matter how hard we try to copy, we wind up sounding like a version of ourselves. The elements of voice and style are braided together like twine, consisting of these attempts to copy other artists, or an instrument, or even the sound of a bird or passing train. Added to these characteristics are emotions and thoughts that register as various vocal quirks, like hiccups, sighs, growls, warbles — a practically limitless assortment of choices. Most of these choices are made at the speed of sound on a subconscious level, or one would be completely overwhelmed by the task.

When I bend my ear to a singer's performance, I often try to track who it was that influenced him or her. For instance, I can hear Nat "King" Cole in early Ray Charles, Lefty Frizzell in early Merle Haggard, Rosa Ponselle in Maria Callas, Fats Domino in Randy Newman. In a recent duet with Tony Bennett, the late Amy Winehouse was channeling Dinah Washington and Billie Holiday to great effect, yet she still sounded like Amy Winehouse.

The regional accent one speaks also affects rhythms and phrasing, so someone who is "copying" has to import the accent too. For me, it helps to know the vocal bloodlines in oder to decode the phrasing of a song. I once sang a Tom Petty song called "The Waiting," which has an intricate rhythm scheme for fitting lyrics into the music. Petty, an artist I admire, came along later than many classic rockers and so was able to absorb their elements into his writing and singing style. As I studied his vocal performance, it broke down something like this: Tom with his Florida accent was copying Mick Jagger with his British accent, who was copying Robert Johnson from the Mississippi Delta. And in another part of the same song, Tom was copying Roger McGuinn, who was copying Bob Dylan, who copied Woody Guthrie, who was in turn copying someone lost to our generation. These influences can show up in a whole line or just a word, or even the way that part of a word is attacked. As voices age, the vocal twine can become unraveled, and one hears the seams and joins of the laminated sound that has come to be recognized as that artist's style. It can collapse into a heap of ticks and quirks.”

Linda Ronstadt, “Simple Dreams: A Musical Memoir”

[volume11magazine]

Cassidy Jane (Artist Interview)

Josh Wickins

Cassidy Jane from Brampton, Ontario is a dedicated, versatile artist. She’s someone with a clear vision and plan for her future. Someone with a good head on her shoulders for a 20-year-old aspiring musician. She’s the newest artist of BackRow Records, and here to show us she’s the next big music business management success story.

 Being around music her whole life, having musician parents, Cassidy has been playing music since she was around 8 or 9 years old. She started to take it seriously shortly after at age 11, by practicing more and collaborating with others. Crafting her singer-songwriter folk sound over the years. She plays a wide assortment of instruments including guitar, keyboard, ukulele, bass guitar as well as being a fantastic vocalist. As of right now she only has a handful of rough, home recordings. But that will not be the case for long.

 Highly influenced by Tom Petty & The Heartbreakers, whom to her is one of the most talented musicians and personifies to her what it’s like to be a performer and touring musician. Also, a huge Bob Dylan fan and even brings it to the modern ages with her love of Black Berry Smoke and rap artist J Cole.

 Now after years of jumping between softball player and being an aspiring musician, Cassidy hung up the cleats and glove. Finding it too overwhelming to balance the two and felt that the sport was not allowing her to grow in the way she wanted. She could now put her all into her music and start to create and fulfill her dreams. The first step to that dream was Durham College’s music business management (MBM) program.

  Now to fully get her whole story, you have to know that this program was not her first choice. While still in grade 12, she originally had plans to attend school to become a nurse. But after a year off and a change of life, Cassidy knew that this industry was where she was meant to be to fully chase her dreams, her passion, and greatest joy in life. The road so far has not been an easy one though. During her first year in the program, the college went on strike. She described that time to me as “mentally frustrating and full of unknowns”. I could only imagine how tough it must have been, not just for her but for everyone. What she said next though, reiterated just how determined she was, “I’m here, so I might as well keep going”. She didn’t give up, she didn’t succumb to the pressure. She. Just. Kept. Going. I then went on to ask Cassidy what her favourite part of the program is so far, and this is what she had to say. “It’s all been great, the teachers, the people, the content. It’s refreshing to see people eager to succeed”. That answer really stuck out to me, as I feel the same way about being around people who are just as passionate as me; it helps push you to be/do your best when you see others doing the same. Not only is Cassidy here to “learn to be independent and work for me”, but she’s also here to learn from everyone else and feed off their energy to achieve her goals.

  This year has brought a lot of new and exciting opportunities for Cassidy Jane. Now managed by fellow first-year student Royce Freeburn of TakeOver Management, she got signed by BackRow Records with great enthusiasm and excitement. BackRow immediately wanted to sign her after contacting her, and it’s been straight uphill from there. Already co-writing a Christmas song for the Holiday Album due out this year with local artist Pat Canavan, which she described as “easy to write with, and felt super organic”.  She’s already planning to get into the studio and start recording song tracks in the very near future.

 It was so cool to see just how happy and passionate she was when telling me everything that has been happening in her career so far, and I can’t wait to see what comes next. I went on to ask her what she hopes to learn and achieve from working with BackRow, “I want to gain as much experience as possible, get comfortable in the studio and in songwriting in general. [To] be able to screw up and it not ruin my career”. This showed me that she really is here to not only learn about herself but from everyone around and not waste this great opportunity to work with such a great team of hard-working people.

  Confident, passionate, and beyond genuine. This interview not only showed me her drive to become successful but her awareness of everything else around her and all the intricate moving parts that go into becoming a success. You can have the voice or the technical skills of playing an instrument, but if you’re lacking in the most important part of being a musician; your passion and desire to succeed, then all those talents go to waste. Cassidy though, proved that she has all of the above. Watch out world, this is a train you want to hop on now - cause trust me, you’ll be hearing that voice and guitar soon enough. This is only the beginning of Cassidy Jane’s journey.

Find out about all of Cassidy’s upcoming content on the BackRow Records social media!

[wenickjones]

Cubitainers Market Overview, Demand, New Opportunities & SWOT Analysis by 2028

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The report investigations the market by geologies for example North America, Europe, Asia Pacific, Latin America and Middle East and Africa. Further, the regions are fragmented into the country and regional groupings:

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- Asia Pacific (China, India, Japan, South Korea, Indonesia, Taiwan, Australia, New Zealand, and Rest of Asia Pacific)

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The report includes profiles of leading companies in the global cubitainers market. Some of the key players profiled include:

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Sekisui Seikei Co., Ltd

Changshun Plastic Co. Ltd.

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Quality Environmental Containers

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Cole-Parmer Instrument Company

United States Plastic Corporation

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[mhsn033]

PC Andrew Harper: Mother backs ‘Andrew’s Law’ campaign

Media playback is unsupported to your instrument

Media captionDebbie Adlam urged the BBC: “Andrew’s Law is ready going ahead to provide protection to assorted blue light companies”

The mother of PC Andrew Harper has backed her daughter-in-law’s demand more challenging penal complex sentences for the killers of emergency provider workers.

PC Harper, 28, died when he turned into as soon as dragged for extra than a mile alongside a avenue by a getaway automobile in Berkshire.

On Wednesday his widow Lissie started a marketing campaign for “Andrew’s Law” and said offenders would possibly perhaps perhaps perchance composed would possibly perhaps perhaps perchance composed “utilize the comfort of their lives in penal complex”.

His mother Debbie Adlam said killers would possibly perhaps perhaps perchance composed relieve now no longer now no longer up to 20 years.

PC Harper’s killers were convicted of manslaughter nonetheless cleared of fracture.

Image copyright FamilyHandout

Image caption Lissie Harper has vowed to “strive in opposition to for a alternate in the law in memory of her boring husband”.

Image copyright Thames Valley Police

Image caption Jessie Cole, Henry Long and Albert Bowers (L-R) were convicted of killing PC Harper

Henry Long, who drove the getaway automobile, turned into as soon as jailed for 16 years, while his accomplices Albert Bowers and Jessie Cole were sentenced to 13 years every at the Aged Bailey on Friday.

The Licensed legitimate Popular’s Office said on Tuesday it had been requested to be taught the sentences given to the killers after claims they are too lenient.

Mrs Adlam said: “We got to the dwell of our trial and we didn’t in reality feel fancy justice had been done, we felt fancy we had been punched.

“To get the sentence come down to the amount that it did, we didn’t stroll away feeling that we had done Andrew proud.”

She added: “We’ve heard [politicians] all talking about authorized guidelines in the past, altering the authorized guidelines. It be all been said earlier than, nonetheless where’s the motion?

“We must at all times hunch past talking. We must at all times peer a consequence and get something done.

“I fabricate now no longer need any assorted families to be in the placement we’re in now.”

The Andrew’s Law marketing campaign is backed by the Police Federation.

PC Harper’s widow has vowed to strive in opposition to in memory of her boring husband “so as that someone killing a police officer, firefighter, nurse, doctor or paramedic is jailed for existence”.

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[mcfanely]

Though why stop there! We know the guy can dance because, I mean, multiple instances over multiple episodes.

And he can sing because he's Cole, and whilst it's shown that he's not very good we can establish that he just isn't trying.

But he went to a school of PERFORMING ARTS

Drama, singing, dancing, instruments, music!

Cole having the hidden talent of playing the piano? His dad is an acapella singer but we can sort of figure that he's a fairly posh and upper class guy - since Marty Oppenheimers School of Performing Arts is probably a private school.

Cole probably had his hands on a whole assortment of different instruments at one time or another.

Cole with perfect pitch, being able to listen to any note - or even anything that makes some form of sound and determine the correct note that accompanies it

Car going past? The engine is a G#

It slows gradually, the noise becomes a D flat

Cole picking up any instrument, guitar, flute, public pianos

Violins!

Sight reading sheet music!

Sure, Cole didn't like his time at Marty's, but he must have had some major talent to get accepted there, however unwilling he may have been.

Headcanon: Cole can actually sing pretty well, it’s just that he panics on stage, and when he panics he starts going wildly off tune.

[nigeiadigitalmarketingcompany]

Financial constraints and the diffusion of technology

Digital Elixir Financial constraints and the diffusion of technology

Recent debates about the global productivity slowdown point to a large and increasing productivity gap between firms operating at the global technological frontier and those trailing behind. This column analyses whether better access to bank credit can accelerate technological diffusion and narrow the productivity gap between leading and lagging firms. Using data from a large emerging market – Russia – it shows that while bank loans can encourage firms to adopt new technologies and become more productive, long-run benefits vary substantially across industries and regions.

Firm-level innovation in emerging markets often involves imitation – firms adopt ‘Western’ products and processes and adapt them to local circumstances. The speed with which technologies diffuse varies greatly from country to country and can explain up to a quarter of the total variation in national income levels (Comin and Hobijn, 2010). Despite this central role of technological diffusion in determining wealth, the mechanisms that underpin the spread of new products and production processes remain poorly understood.

In a recent paper (Bircan and De Haas 2019), we focus on one such mechanism: the role of credit constraints for technological adoption. Schumpeterian growth models predict that credit constraints can limit technological adoption because external inventions, which are typically context specific and involve tacit know-how, are costly to integrate into a firm’s production structure (Aghion et al. 2005). 

To test whether credit constraints impede firm-level absorption of foreign technologies, we employ rich data from a regionally and sectorally representative sample of 4,220 Russian firms. We know the geographical location of each firm and have detailed survey-based information on their innovation activities, including the adoption of products and technologies that are new to them. By matching this information with panel data on these firms’ performance, we can also study whether adoptive innovation goes hand-in-hand with various productivity metrics.

To analyse the link between local availability of bank credit and firm-level technological adoption, we collect information on the location of over 45,000 Russian bank branches. This gives us an extensive and granular picture of Russia’s current banking landscape. The local density of bank branches and access to credit is likely to be endogenous to credit demand and other local characteristics. Our identification strategy therefore uses spatial heterogeneity in branch density induced by the top-down Soviet approach to economic planning as a source of exogenous variation in the present-day local supply of credit. To do so, we hand-collect and digitise historical data from archives in London, Kiev, and St. Petersburg to reconstruct a detailed spatial footprint, at the local level, of Soviet-era Gosbank (state bank) branches. We have made these new data publicly available and summarise them in the left-hand side of Figure 1 (with a focus on southwestern Russia). We also create a second historical banking instrument, using data from Berkowitz et al. (2014) on historical variation in the regional presence of spetsbanks. This variation reflects bureaucratic power struggles just before the collapse of the Soviet Union and has proven unrelated to past economic conditions.

Figure 1 Gosbank branches (left) and railway networks (right) in southwestern Russia

    Note: The Gosbank data refer to 1979 and the railway data to 1989. Source: Bircan and De Haas (2019) for data on Gosbank branches and the Vernadsky State Geological Museum (Moscow) and the US Geological Survey (2001) for geographical data on railway networks. 

Banks and technological diffusion: Main findings

Our analysis provides three main insights into where and how access to credit can help facilitate technological diffusion:

Our data demonstrate that firms are more likely to use bank credit in local markets where – for historical and exogenous reasons – the number of bank branches is higher. We then show that better access to credit promotes technological upgrading as it helps firms to produce new products and implement new production processes. This increased innovation in deeper credit markets occurs through cooperation with foreign clients and suppliers (in the context of product innovation) as well as the licensing of new technologies and hiring of business consultants (in the context of process innovation). We document that firms engaging in such innovation experience higher total factor productivity (TFP) and labour productivity growth than firms unable to innovate due to financial constraints. These findings speak to recent model calibrations of how financial frictions in emerging markets distort technology adoption decisions and hamper productivity growth (Midrigan and Xu 2014, Cole et al. 2016). We provide direct micro evidence from Russia in support of such models.

We uncover substantial geographical variation in the impact of bank credit on technology adoption by firms. Russia’s geographical and institutional breadth allows us to assess under which conditions the availability of bank credit encourages firms to adopt new products and technologies. We show that firms located closer to R&D centres established during the Soviet period, and firms with easier access to foreign markets (as proxied by distance to railway networks: see right-hand panel of Figure 1), are more likely to adopt new products and technologies due to deeper credit markets. Moreover, access to credit only appears to stimulate firm innovation in regions with relatively high-quality institutions.

We also uncover substantial sectoral variation in the impact of bank credit on firm-level technology adoption. Based on recent insights from Schumpeterian growth theory, we exploit assorted important dimensions of sector heterogeneity. We find that the link between bank lending and innovation is more pronounced in industries located further from the technological frontier; are more exposed to import competition; and export a larger share of their production. That is, the effect of branch density on technological adoption and TFP growth is stronger in industries and regions where the returns on innovation are high.

Conclusions

Our findings indicate that better access to bank credit can facilitate the diffusion of new products and production methods in an emerging market. Without access to credit, firms may remain stuck in a pattern of low productivity and weak growth, even after other businesses in the same country have managed to upgrade their operations.

Our data also allow us to demarcate more precisely when bank credit can help firms move closer to the technological frontier and when it cannot: to observe the limits of lending. We find that the relationship between bank credit and adoptive innovation is neither automatic nor universal. Instead, and in line with recent Schumpeterian models, financial constraints interact with market incentives to determine technological adoption and long-run growth.

References

Aghion, P, P Howitt, and D Mayer-Foulkes (2005), “The Effect of Financial Development on Convergence: Theory and Evidence”, Quarterly Journal of Economics 120: 73–222.

Andrews, D, C Criscuolo, and PN Gal (2015), “Frontier Firms, Technology Diffusion and Public Policy: Micro Evidence from OECD Countries”, OECD Productivity Working Paper 5.

Berkowitz, D, M Hoekstra and K Schoors (2014), “Bank Privatization, Finance, and Growth”, Journal of Development Economics 114: 93–106.

Bircan, C and R De Haas (2019), “The Limits of Lending? Banks and Technology Adoption across Russia”, Review of Financial Studies, forthcoming.

Cole, H L, J Greenwood and J M Sanchez (2016), “Why Doesn’t Technology Flow from Rich to Poor Countries?”, Econometrica 84: 1477–521.

Comin, D and B Hobijn (2010), “An Exploration of Technology Diffusion”, American Economic Review 100: 2031–59.

Midrigan, V and D Y Xu (2014), “Finance and Misallocation: Evidence from Plant-Level Data”, American Economic Review 104: 422–58.

Financial constraints and the diffusion of technology

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New Post has been published on https://shovelnews.com/the-31-best-dance-scenes-in-movies/

The 31 best dance scenes in movies

Updated 4 hours ago

What do dance scenes add to a movie? Unspeakable bliss, for starters. Dancing starts when dialogue fails. When lovers need to move beyond conversation, when conflicts boil past negotiation, when joy can’t be expressed in any other way than by leaping into the air on a trumpeter’s high note.

With the rise of movie musicals in the early part of the 20th century, dancing moved easily from stage to screen, becoming bigger, more potent, ever more spectacular — and a lasting love affair with the moviegoing public was born. It’s still going on: Witness the mainstream success of “La La Land,” a film in the golden age mold.

Taking stock of film’s dance treasury to pick the paragons was an irresistible challenge. In making my choices for the best dance scenes, I looked at several factors: mastery of technique, imaginative choreography, quality of the music — this is very important — and design and storytelling. I value authentic expression more than dance doubles and tricky editing. But, in the final analysis, transcendence won out. Does the dancing carry me away, give me chills, distill some truth about the human experience? Whether it’s a masterpiece of steps and skill, or an intentionally funny, hot mess, or a dreamscape that’s intriguingly weird — dancing that moves you is great dancing.

I also had to set some rules for this list: I considered specific dance scenes, not the quality of entire movies. I didn’t include documentaries or foreign films; no “Pina,” no “Mad Hot Ballroom.” With matchless artists in movement, music and choreography, the 1940s and ’50s dominate my choices, but even those aren’t exhaustive. I settled on the era’s best and moved on. I handicapped Fred Astaire and Ginger Rogers, limiting them to just one dance (it’s my No. 1, the best of the best) from all the jewels in their 10 films together, because if I didn’t, they’d eat the list. Our vast cinematic history is studded with marvelous dancing, but one has to draw the line somewhere.

1. ‘Swing Time’ (1936), ‘Never Gonna Dance’ scene

There are no greater dance musicals than the ones Fred and Ginger made together, because they accomplished so much, so beautifully. Their dances are artistic, emotional and inventive; the music is superb (Cole Porter, Irving Berlin, Jerome Kern, George Gershwin); the costuming and set design create a stylistic whole. And they aren’t mere interludes. What Astaire and Rogers communicate through dance deepens the story. To pick the pinnacle among their 10 films isn’t easy, but my choice is their final waltz in “Swing Time.” Why? Because we’ll think of Astaire and Rogers forever as a unit, falling in love on the dance floor, and this dance expresses something profound about their bond. It’s about the perils of breaking it. They begin by simply walking together; their mood is blue, but the sexual tension is red hot. Through a precise mirroring of movements, Rogers shows Astaire the kind of intimate soul mate he’ll lose if he doesn’t ‘fess up about his feelings. Astaire senses this and grows desperate. He spins her around dizzily, her dress whipping like a flag at sea. Then the cliffhanger: She whirls out the door, leaving him, and us, bereft – and dying to see how the movie ends.

2. ‘Stormy Weather’ (1943), ‘Jumpin’ Jive’

Fayard and Harold Nicholas, aka the Nicholas Brothers, were a pair of miracles in tap shoes. They hoofed their way from the Cotton Club to Hollywood, where their fans included Astaire, Gene Kelly and other dance greats who marveled at their skill, daring and sheer brilliance. This scene is the consummate joy-fest: They dart through Cab Calloway’s orchestra, skate atop the drums and piano, and end it all by plunging down a flight of stairs, leapfrogging buoyantly over each other to land in the splits, and then springing up to do it all again. They shot it all in one take.

3. ‘Singin’ in the Rain’ (1952), title number

Is there any more beloved dance scene on film than Gene Kelly’s inspired splashfest? This is the dance anthem for that inescapable experience of a thorough cosmic drenching. The answer: Enjoy it! Spin through puddles, gambol in the gutters, play a brass band in your head, and soak up every drop. Kelly was constantly experimenting, and although he whipped up more technically dazzling numbers in other movies, none is more uplifting or enduring than this one.

4. ‘An American in Paris’ (1951), final ballet

Kelly lured Leslie Caron from France especially for this movie and its climactic, 17-minute dreamscape of a ballet. The scene took a month to film. Its lush, Technicolor intensity has never been matched, and the dancing, which sweeps through paintings come to life, Parisian flower markets and moonlit fountains, feels like the very embodiment of postwar optimism. But the chemistry between its stars, accompanied by Gershwin’s sexy jazz: explosif.

5. ‘Ship Ahoy’ (1942), ‘I’ll Take Tallulah’

I once asked Fayard Nicholas (see No. 2) to name his favorite female dancer. His answer: Eleanor Powell. It’s easy to see why. Powell is arguably the greatest tap dancer on film, male or female, and in this number, she has the spotlight all to herself (after Bert Lahr serenades her). Three things distinguish this scene: Powell’s punchy, rascally athleticism, the musical star power of Tommy Dorsey and his orchestra, and the imaginative way Powell taps around the poolside set. She trades drum licks with jazz virtuoso Buddy Rich, hops on tables, swan-dives into an ocean of men, swings on a rope, cartwheels and catches flying rings and, still spinning, seizes airborne drumsticks and rejoins Rich to hammer out a scintillating flourish.

6. ‘Broadway Melody of 1940’ (1940), ‘Begin the Beguine’

Cole Porter, Fred Astaire and Eleanor Powell: the holy trinity of tap. I love the full-body, freewheeling spirit of this amazing duet – it’s a marvel of precision, with hints of friendly competition. Astaire and Powell chase, tease and one-up each other, ending in a synchronized storm of turns that sends them spiraling around each other like crazy spinning nickels in a tilted universe. How can two humans move so fast, in perfect time, with such giddy ease?

7. ‘Seven Brides for Seven Brothers’ (1954), ‘Barn Dance’

Michael Kidd’s exceptional choreography is full of earthy vigor and references to reels, logging and barn-raising. High-pitched and unusually athletic, the dancing moves from an outdoor stage to picnic tables to wood beams. There are backflips and diving somersaults, along with polka steps and lifts. The dancers include Tommy Rall, one of cinema’s greats, ballet star Jacques d’Amboise and Russ Tamblyn, the former gymnast about seven years shy of stardom as Riff in the movie of “West Side Story.”

8. ‘Small Town Girl’ (1953), ‘I’ve Gotta Hear That Beat’

Ann Miller was considered the queen of Hollywood tap dancers: She was tall, gorgeous and insanely fast. Her taps were like machine-gun fire. This scene, directed by Busby Berkeley and choreographed by Willie Covan, is her most famous. Miller, sequined and sparkly, whirls through an assortment of disembodied musical instruments; violins and trumpets in the hands of unseen players pop up through the floor. Spinning madly, she somehow avoids ricocheting off the trombones. It’s a tribute to Miller as the consummate musician – her tapping is a symphony unto itself – and the scene’s ingenious design, while visually striking, allows nothing to distract from her brilliance.

9. ‘West Side Story’ (1961), ‘America’

Rita Moreno and George Chakiris are a combustible couple, taunting and teasing each other through Stephen Sondheim’s lyrics and Leonard Bernstein’s music. But once they start dancing, their sexual energy could light up the city. Great dance fills this entire movie, but this scene stands out for the neat layering of Latin motifs – bullfighting, flamenco, mambo – and the exuberant staging of a gender war. There’s also well-earned fury: In lyrics and physical expression, the characters directly engage with the clash of cultures and racism that will undo them all.

10. ‘Saturday Night Fever’ (1977), ‘More Than a Woman’

This is not the trickiest dance from a technical point of view. You and I could pick it up in a snap. (Simple is good.) But John Travolta turns it into erotic gold. This scene rates among the greats for the spell it casts, far surpassing its modest mechanics. Plenty of other movies’ dance scenes are more complicated, more expertly executed, but this one is unusually immersive ­— I’m swept into a fever dream of feeling. Strutting like a show pony in his polyester suit and platform shoes, Travolta communicates the intent behind his smoothly syncopated steps and slow dips with co-star Karen Lynn Gorney; they’re a disco-driven lead-in to lovemaking. The dynamic tension is perfect – he revels in his own charisma, she looks at him in misty disbelief, like he’s her fantasy come to life. (For many of us, he was.) Filming wasn’t easy. So much heat and smoke filled that Brooklyn nightclub that at one point, Travolta was on oxygen. Installing lights in the floor, to flash along with the Bee Gees’ music, cost a fortune. It was worth it.

11. ‘All That Jazz’ (1979), ‘Take Off With Us’

Of course, Bob Fosse’s semi-autobiographical film contains his own snappy, sultry choreography. In this scene, cast members rehearse a flight-attendant-themed number for a Broadway show. What I love about it is not only the dancing — full of Fosse hallmarks, the tight little steps, the hats, the tense sexiness and exquisite control — but also the spot-on depiction of what rehearsals are like. The nearly naked performers sing and shimmy their hearts out, while the creative team watches impassively, smoking, frowning, scribbling criticisms. It’s show business, baby.

12. ‘Gentlemen Prefer Blondes’ (1953), ‘Diamonds Are a Girl’s Best Friend’

That hot-pink dress, that cherry-red backdrop, those long, long gloves. Marilyn Monroe is glamorous perfection in this scene, choreographed by the great Jack Cole. He brilliantly played up her strengths, focusing on those beautiful bare shoulders with a shimmy here, an arm extension there, a lot of shaking and — whoopee! — a well-timed gesture to her back porch. Restrained in vocabulary and uninhibited in style and spirit, this witty dance is an exuberant celebration of the female assets, performed by one of the most vibrant bodies in cinematic history.

13. ‘The Band Wagon’ (1953), ‘Dancing in the Dark’

Cyd Charisse was tall for Fred Astaire, so she’s wearing flats here, the perfect footwear for a waltz of seduction that begins with these two extraordinary movers simply strolling through Central Park. Michael Kidd’s choreography is fascinating; it unspools in an expanding array of spirals, zigzagging lines and sharp changes of direction, sending the couple over benches, up steps and, finally, into a horse-drawn carriage. Astaire and Charisse sail through the complex geometry, each move flowing into the next, as though it were all just a walk in the park.

14. ‘Sweet Charity’ (1969), ‘The Aloof, the Heavyweight, the Big Finish’

“We don’t dance,” snarls one of the partners-for-hire in this film’s sleazy ballroom. “We defend ourselves to music.” You feel that bite in an irresistible, decadent floor-show extravaganza of ’60s go-go, choreographed by Fosse, the master of sinister sexiness. The starring attractions: dancers Suzanne Charney and a young Ben Vereen. Also, loads of eyeliner, minidresses and those Fosse-licious broken-doll struts, isolated joints and hips, hips, hips.

15. ‘The Red Shoes,’ (1948), ballet sequence

Within this masterful film, about the flaming passions of artists, lies a complete ballet that echoes the theme and foreshadows its tragic conclusion. The ballet tells the Hans Christian Andersen tale of enchanted shoes that dance their wearer to death; redhead ballerina Moira Shearer is their beguiling victim. Beautifully lighted and designed, this dark, wordless drama is by turns hallucinatory and Hitchcockian.

16. ‘Dirty Dancing’ (1987), final dance

For many of us of a certain age, this is the defining movie dance scene, as Patrick Swayze struts onto that Borscht Belt stage, and Jennifer Grey melts in his arms. It’s a singularly potent concoction: Swayze’s erotic beauty, Grey’s coming-of-age right before our eyes, the lusty grace of their moves, the crowd’s collective swoon. Because it happens in a middle-class family setting, with actors who weren’t yet icons, we can see ourselves in them, and fly along with them, at least in our minds. It’s a vicarious rush.

17. ‘Damn Yankees’ (1958), ‘Whatever Lola Wants’

Gwen Verdon as a leggy demon sent by Satan to seduce a ballplayer – OK, I’m in. Verdon, a singing, dancing, acting wizard of stage and screen, had a unique, commanding presence; although delicately built, she vibrated exactitude and authority. She’s funny, sexy and gleefully impish in this scene, choreographed by Fosse, who was soon to be her husband. Every step conveys that she’s a nonhuman in a new role and loving it. Verdon stays in this complicated character throughout her awkward-on-purpose striptease and a manic romp touched with flamenco, burlesque and quasi-Indian fillips. “I’m irresistible, you fool,” she taunts. Um, yes.

18. ‘All of Me’ (1984), closing scene

In this sparkling screwball comedy, Lily Tomlin’s soul transmigrates into Steve Martin’s body. Result: a high-pitched tug of war – she controls one side of his body, he’s got the other. (We see Tomlin’s reflection whenever Martin passes a mirror.) This internal mayhem smoothly resolves in the end, when we see the two whirling in a let-it-all-hang-out dance of pure joy, captured in a mirror, that grows goofier and giddier, accompanied by a swinging rendition of the jazz standard of the title. Before, the body had been a prison for Martin and Tomlin; here it’s a vehicle of spectacular release, and the display of rapture between well-tuned spirits is utterly contagious.

19. ‘Stepmom’ (1998), ‘Ain’t No Mountain High Enough’

This makes me cry, because it captures the very essence of living, and love. Susan Sarandon, dying of cancer, carouses in her pajamas with her kids, belting out the Marvin Gaye/Tammi Terrell anthem into a curling iron. They jump on the bed. They prance down the hallway. They give Death a big, fat, life-affirming kick in the caboose.

20. ‘La La Land’ (2016), opening sequence

The dance numbers in this loving nod to Hollywood’s musical history are so physically rapturous and vicariously thrilling that they almost lift you out of your seat. Attitude adjustment starts with the opening sequence, which turns a traffic jam on an L.A. highway into a full-throttle celebration of life, as folks sing, spin and stomp on the roofs of their cars, while a BMX biker and a freewheeling skateboarder surf the concrete barriers.

21. ‘White Nights’ (1985), the duet

Mikhail Baryshnikov and Gregory Hines, two of the greatest male dancers of the late 20th century, united on the dance floor: How can you beat that? This scene offers a side-by-side view of their styles – the tapper’s heavy-hitting power and connection to the floor, the ballet maestro’s elegance, airborne ease and elasticity. Watch how Baryshnikov sinks into his knees, while the lankier Hines stays more upright. In other ways, though, Hines is looser and jazzier, while Baryshnikov is knife-sharp.

22. ‘You Got Served’ (2004), dance battle

Dance contests come and go, but this one boasts muscular grace, jaw-dropping execution and incomparable street style. The most spectacular street moves require immense (that is, male) upper-body strength — the head-spinning and upside-down windmilling — and we get to revel in that here. But the ladies also have their moments to shine. Although the editing tends to get in the way of the best view of the dancing, the displays of raw, rhythmic power matched with impeccable precision and daring don’t get much better than this.

23. ‘Silver Linings Playbook’ (2012), dance rehearsal

Cute couple awkwardly learns to dance with the help of their cool friend. Bradley Cooper is the odd man out in this threesome, while Jennifer Lawrence and Chris Tucker offer up the dancing thrills. OK, so they’re modest — this is not showstopping material — but it’s so adorable. Tucker knows just how to womp up Lawrence’s uncooperative hips: “Girl, you gotta move your junk.”

24. ‘Center Stage’ (2000), ‘The Way You Make Me Feel’

Tutus and motorcycles: a match made in dance heaven. These white-frocked ballerinas are dutifully dull until Ethan Stiefel roars onstage on his bike. At the time, Stiefel was a star at American Ballet Theatre, and this scene offers a terrific look at his virtuosic technique (those pirouettes, those airy leaps – pure gold), as well as his heartthrob appeal. Accompanied by Michael Jackson’s bouncy pop song, this is simply tremendous fun. Classical ballet steps, beautifully performed, get funkified.

25. ‘Bye Bye Birdie’ (1963), ‘Got a Lotta Livin to Do’

Ann-Margret’s “torrid dancing almost replaces the central heating in the theater,” Life magazine declared in its cover story about “Bye Bye Birdie” and its young heroine. This is the movie that made her a star. She’s also a sensational dancer, in a vamped-up display of seduction aided by belly-baring ruffles and the sexiest pink capris you’ve ever seen. With all of her slinky allure, she also twists, hully-gullies and Watusis with the ensemble to the soundtrack’s brisk jazz. This frisky production is a great mood-booster.

26. ‘White Chicks’ (2004), dance-off

The premise: Two African-American FBI agents — Keenan Ivory Wayans and Shawn Wayans —disguise themselves as white women to lure a kidnapper out of hiding. It sounds so wrong, but it’s so funny, especially when miniskirted squads of frenemies shake off their frustrations on the dance floor. The undercover agents jump into the mix, in their low-rise jeans and pastel leathers (the girl clothes are craptastically horrendous). They’ve done such a good job of being female, and now their true, testosterone-fueled selves come out in aggressive, head-spinning moves that are just plain out of reach for most of us ladies. That should blow their cover. No one seems to notice this.

27. ‘House Party’ (1990), dance scene

Teens want to hang out together, have fun and party — this hasn’t changed since forever — but it’s the partying here that’s extraordinary. We see it on their terms, in the close, crowded quarters of a living room, with just enough space for explosive moves, sassy personal expression, all kinds of style and exhilarating, good-natured fun. It’s an instantly immersive experience; you feel like you’re on the dance floor with them, bopping along as hip-hop duo Kid n Play show off their swiveling, sliding, twisting footwork.

28. ‘Pulp Fiction’ (1994), twist contest

“I wanna dance, I wanna win, I want that trophy. So dance good.” A menacing Uma Thurman and a game John Travolta shed their shoes for an intense go-go scene that comes out of nowhere, in the middle of a bloody crime film. Director Quentin Tarantino has said he was inspired by New Wave master Jean-Luc Godard, known to drop an incongruous dance into his work. Note how the actors draw our focus to their fingers and toes. Of course, we’re also thinking back on the younger, disco-dancing Travolta, so the scene is poignant as well as darkly funny. And very, very odd.

29. ‘The Cotton Club’ (1984), ‘Crazy Rhythm’

Brothers Maurice and Gregory Hines were estranged for 10 years in real life, and this scene re-creates the emotional reunion on the dance floor of the siblings who had been childhood tap partners. Francis Ford Coppola’s film brought veteran hoofers such as Charles “Honi” Coles back to the spotlight, and these scenes are priceless. But the Hines duet is infused with palpable warmth and bone-deep sympathy.

30. ‘A Chorus Line’ (1985), ‘Next’

In some ways, the dancing life is like the military, especially here. This film about Broadway opens with auditions, where the dance captain is a drill sergeant and the chorines are uber-disciplined grunts firing off a battery of moves. A lot of movie dancing shows us the slippery ease and glory of moving to music, but here we see the opposite: the punishing work, humiliations and stoicism behind it. And after all that, the four cruelest words a dancer will ever hear: “Thank you very much.”

31. ‘Pennies From Heaven’ (1981), ‘Let’s Face the Music and Dance’

Talk about nerve: In this tribute to Depression-era musicals, Steve Martin and Bernadette Peters take on one of Astaire and Rogers’s greatest numbers. And they do it justice. They’re a well-matched pair —Martin, light-footed and quick; Peters, all soft edges. The black-and-white design, complete with a tuxedoed ensemble, is timeless.

Sarah L. Kaufman is The Washington Post’s dance critic.

Source: https://triblive.com/aande/adminpage/14292371-74/the-31-best-dance-scenes-in-movies

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A Little Layout On The Beginnings Of Copper Finials

By Joyce Cole

In south eastern Anatolia, every one of the four of these strategies seem pretty much at the same time toward the start of the Neolithic 7500 BC. Copper finials purifying were autonomously created in better places. It was likely found in China earlier 2800 BC, Focal America around 600 Promotion, and in Africa about the ninth or tenth century AD. Speculation throwing was concocted in 4500 to 4000 BC inside Southeast Asia. An example would be sterling silver utilized in gems, cupronickel used to mark marine equipment and coins, then constantan utilized in strain checks and thermocouples aimed at temperature estimation. It is solitary of only a handful couple of metals that can happen inside nature in a straightforwardly usable metallic shape in local metals. This prompted early human practice in a few areas, from 8000 BC. Be prepared for whatever may be asked. In nature, it happens in an assortment of minerals, including local copper, copper sulfides, for example, chalcopyrite, bornite, digenite, chalcocite, and covellite, copper sulfosalts, for example, tetrahedite and tennantite, and so as enargite, copper carbonates, for instance, azurite and malachite, then as 1 or 2 oxides, for example, cuprite and tenorite, correspondingly. This is after which the words determined, copper in Early English and was first utilized around 1530. The regularly exprienced mixes are 2 salts, which frequently give blue or green hues to such reserves as malachite, azurite, and also turquoise, then have been utilized generally and truly as shades. When utilized in structures, for the most part to rooftop, oxidizes to shape a green verdigris and patina. Its history has truly helped us today. It finished with the start of Iron Era, 2000 to 1000 in Close East, then 600 BC inside Northern Europe. The change between the Neolithic periods also Bronze Age was once named the Chalcolithic period which means stone, when instruments were utilized with stone devices. The term has slowly dropped out of support on the grounds that in a few sections of our planet, the Chalcolithic then Neolithic were coterminous at the two closures. A few locales in the province of Arizona are viewed as prime possibility for this method. The measure being used is expanding and the amount accessible is scarcely adequate to enable all nations to achieve created planetary levels of usage. It has been being used something like 10 thousand years, yet over 95 percent of all at any point mined and refined has been removed since 1900, and the greater part was extricated the most recent twenty four years. They are described by high pliability, and electrical and warm conductivity. The filled shells in these components donate little to interatomic communications, which are ruled via the S electrons over metallic securities. Not at all like metals with fragmented D shells, metal bonds inside them are inadequate with regards to a covalent character are moderately powerless. We should be grateful for the knowledge provided to us. Now, they are easily accessible compared to the previous age. Reusing is a noteworthy wellspring inside the cutting edge world. For these and different variables, the eventual fate of creation and source is the target of much discussion, including the idea of pinnacle, undifferentiated from top oil. The cost of this has verifiably been unstable, and its cost expanded since the 60 year short of 0.60 each pound in June to 3.75 per pound in 2006. It does not respond with water, but rather it does gradually respond with barometrical oxygen to frame a layer of dark colored dark oxide which, not at all similar the rust that structures on press in soggy air, shields the hidden metal from promote consumption or passivation. A green coating of verdigris carbonate can regularly be seen on timeworn structures, for example, the material of numerous more seasoned buildings and the one and only Statue of Liberty. Discolors when presented to some sulfur mixes, with which it responds to frame different sulfides.

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