Lps Quotes

So. Avelaval. My leaves have drifted from me. All. But one clings still. I'll bear it on me. To remind me of. Lff! So soft this morning, ours. Yes. Carry me along, taddy, like you done through the toy fair! If I seen him bearing down on me now under whitespread wings like he'd come from Arkangels, I sink I'd die down over his feet, humbly dumbly, only to washup. Yes, tid. There's where. First. We pass through grass behush the bush to. Whish! A gull. Gulls. Far calls. Coming, far! End here. Us then. Finn, again! Take. Bussoftlhee, mememormee! Till thousendsthee. Lps. The keys to. Given! A way a lone a last a loved a long the—riverrun, past Eve and Adam's, from swerve of shore to bend of bay, brings us by a commodius vicus of recirculation back to Howth Castle and Environs.

He hates how innocent her face is, how her lps are twisted in a quiet smile, how her breath puffs in globes of cold white. He hates it because she is hope and tomorrow and he is goodbye and the end.

If you don’t have a sense of humour when you’re in a band, you end up like f**king Emerson, Lake and Palmer, making eight-disc LPs so you can all have your own three-hour f**king solos. And who wants to listen to that bollocks?

Elsa learned all about LPs and CDs that afternoon. That was when she worked out why old people seem to have so much free time, because in the olden days until Spotify came along they must have used up almost all their time just changing the track. She

Over a quarter of a century ago she and Vernon had made a household for almost a year, in a tiny rooftop flat on the rue de Seine. There were always damp towels on the floor then, and cataracts of her underwear tumbling from drawers she never closed, a big ironing board that was never folded away, and in the one overfilled wardrobe dresses , crushed and shouldering sideways like commuters on the metro. Magazines, makeup, bank statements, bead necklaces, flowers, knickers, ashtrays, invitations, tampons, LPs, airplane tickets, high heeled shoes- not a single surface was left uncovered by something of Molly's, so that when Vernon was meant to be working at home, he took to writing in a cafe along the street. And yet each morning she arose fresh from the shell of this girly squalor, like a Botticelli Venus, to present herself, not naked, of course, but sleekly groomed, at the offices of Paris Vogue.

Here are some lethal combinations: Bonnie and Clyde, Thelma and Louise, the gliadin protein in wheat and LPS endotoxemia.

Boxes of records made me think that LPs should be outlawed or at least limited to five per person, and I soon came to despise the type who packs even her empty shampoo bottles, figuring she’ll sort things out and throw them away once she’s settled into her new place.

I turned myself into a vinyl hawk, scouring record shops for out-of-print LPs, studying them with Talmudic intensity. The music I loved would all be dug out of studio archives and put onto CD within a few years, but then it was still scratchy and moldy and entirely my own.

formulas as easy as possible, I’ve simplified my recommendation to just five core probiotic species that are widely available: Lactobacillus plantarum, Lactobacillus acidophilus, Lactobacillus brevis, Bifidobacterium lactis, and Bifidobacterium longum. Different strains provide different benefits, but these are the ones that will, as we’ve been discussing since the beginning of the book, best support brain health in these ways: • Fortifying the intestinal lining and reducing gut permeability • Reducing LPS, the inflammatory molecule that can be dangerous if it reaches the bloodstream • Increasing BDNF, the brain’s growth hormone • Sustaining an overall balance to crowd out any

She did occasionally criticise my priorities, how could I buy three new LPs one Friday afternoon when I was walking around in shoes with the sole flapping off? They’re just material goods, I responded, objects, while music was completely different. This was the mind, for Christ’s sake. This is what we need, really, and I do mean really, and it’s important to prioritise it. Everyone prioritises. Everyone wants new jackets and new shoes and new cars and new houses and new caravans and new mountain cabins and new boats. But I don’t. I buy books and records because they say something about what life is about, what it is to be a human here on earth. Do you understand? ‘Yes, you’re probably right, in a way. But isn’t it terribly impractical to walk around with your soles coming off? And it doesn’t look very nice, either, does it.’ ‘What do you want me to do? I haven’t got any money. I prioritised music on this occasion.

But no, music lasted longer than anything it inspired. After LPs, cassettes, and CDs, when matrimony was about to decay into its component elements—alimony and acrimony—the songs startled him and regained all their previous, pre-Rachel meanings, as if they had not only conjured her but then dismissed her, as if she had been entirely their illusion. He listened to the old songs again, years later on that same dark promenade, when every CD he had ever owned sat nestled in that greatest of all human inventions, the iPod, dialed up and yielding to his fingertip’s tap. The songs now offered him, in exchange for all he had lost, the sensation that there was something still to long for, still, something still approaching, and all that had gone before was merely prologue to an unimaginably profound love yet to seize him. If there was any difference now, it was only that his hunger for music had become more urgent, less a daily pleasure than a daily craving.

The Beatles were particularly prominent examples, and Dylan’s central position in rock history is rooted in that brief period when he and the Beatles were running neck and neck. He released Bringing It All Back Home in the spring of 1965, Highway 61 Revisited that summer, and Blonde on Blonde a year later. Rubber Soul, the first Beatles album conceived as a cohesive artistic statement, was released in December 1965, followed by Revolver seven months later. In commercial terms the Beatles were in a different league: on the American market, they released four LPs of new material in 1965 and two in 1966, and each spent more than five weeks at number one on Billboard’s album chart, while Dylan would not have a number one album until the mid-1970s. But they were evolving from teen-pop hit-makers into mature, thoughtful artists, with Dylan as their acknowledged model. McCartney recalled playing him a tape of their new songs when he came through London in the spring of 1966: “He said, ‘O I get it, you don’t want to be cute anymore!’ That summed it up. . . . The cute period had ended. It started to be art.

For all their faults. I am passing out. O bitter ending! I’ll slip away before they’re up. They’ll never see. Nor know. Nor miss me. And it’s old and old it’s sad and old it’s sad and weary I go back to you, my cold father, my cold mad father, my cold mad feary father, till the near sight of the mere size of him, the moyles and moyles of it, moananoaning, makes me seasilt saltsick and I rush, my only, into your arms. I see them rising! Save me from those therrble prongs! Two more. Onetwo moremens more. So. Avelaval. My leaves have drifted from me. All. But one clings still. I’ll bear it on me. To remind me of. Lff! So soft this morning, ours. Yes. Carry me along, taddy, like you done through the toy fair! If I seen him bearing down on me now under whitespread wings like he’d come from Arkangels, I sink I’d die down over his feet, humbly dumbly, only to washup. Yes, tid. There’s where. First. We pass through grass behush the bush to. Whish! A gull. Gulls. Far calls. Coming, far! End here. Us then. Finn, again! Take. Bussoftlhee, mememormee! Till thous-endsthee. Lps. The keys to. Given! A way a lone a last a loved a long the PARIS, 1922–1939.

Still dark. The Alpine hush is miles deep. The skylight over Holly’s bed is covered with snow, but now that the blizzard’s stopped I’m guessing the stars are out. I’d like to buy her a telescope. Could I send her one? From where? My body’s aching and floaty but my mind’s flicking through the last night and day, like a record collector flicking through a file of LPs. On the clock radio, a ghostly presenter named Antoine Tanguay is working through Nocturne Hour from three till four A.M. Like all the best DJs, Antoine Tanguay says almost nothing. I kiss Holly’s hair, but to my surprise she’s awake: “When did the wind die down?” “An hour ago. Like someone unplugged it.” “You’ve been awake a whole hour?” “My arm’s dead, but I didn’t want to disturb you.” “Idiot.” She lifts her body to tell me to slide out. I loop a long strand of her hair around my thumb and rub it on my lip. “I spoke out of turn last night. About your brother. Sorry.” “You’re forgiven.” She twangs my boxer shorts’ elastic. “Obviously. Maybe I needed to hear it.” I kiss her wound-up hair bundle, then uncoil it. “You wouldn’t have any ciggies left, perchance?” In the velvet dark, I see her smile: A blade of happiness slips between my ribs. “What?” “Use a word like ‘perchance’ in Gravesend, you’d get crucified on the Ebbsfleet roundabout for being a suspected Conservative voter. No cigarettes left, I’m ’fraid. I went out to buy some yesterday, but found a semiattractive stalker, who’d cleverly made himself homeless forty minutes before a whiteout, so I had to come back without any.” I trace her cheekbones. “Semiattractive? Cheeky moo.” She yawns an octave. “Hope we can dig a way out tomorrow.” “I hope we can’t. I like being snowed in with you.” “Yeah well, some of us have these job things. Günter’s expecting a full house. Flirty-flirty tourists want to party-party-party.” I bury my head in the crook of her bare shoulder. “No.” Her hand explores my shoulder blade. “No what?” “No, you can’t go to Le Croc tomorrow. Sorry. First, because now I’m your man, I forbid it.” Her sss-sss is a sort of laugh. “Second?” “Second, if you went, I’d have to gun down every male between twelve and ninety who dared speak to you, plus any lesbians too. That’s seventy-five percent of Le Croc’s clientele. Tomorrow’s headlines would all be BLOODBATH IN THE ALPS AND LAMB THE SLAUGHTERER, and the a vegetarian-pacifist type, I know you wouldn’t want any role in a massacre so you’d better shack up”—I kiss her nose, forehead, and temple—“with me all day.” She presses her ear to my ribs. “Have you heard your heart? It’s like Keith Moon in there. Seriously. Have I got off with a mutant?” The blanket’s slipped off her shoulder: I pull it back. We say nothing for a while. Antoine whispers in his radio studio, wherever it is, and plays John Cage’s In a Landscape. It unscrolls, meanderingly. “If time had a pause button,” I tell Holly Sykes, “I’d press it. Right”—I press a spot between her eyebrows and up a bit—“there. Now.” “But if you did that, the whole universe’d be frozen, even you, so you couldn’t press play to start time again. We’d be stuck forever.” I kiss her on the mouth and blood’s rushing everywhere. She murmurs, “You only value something if you know it’ll end.

In the living room, Nate found a cabinet with an old-fashioned turntable and a stack of LPs and Dominika said, “that one” —Schubert piano waltzes—and Nate sat in the dark while Dominika stood in the moonlight, pinned her hair up, and pulled the shirt over her head. She was moon-bright naked, eyes closed, and motionless in profile, something Minoan on an amphora, listening to the music, seeing the capering stepladders of colors in the air. She started dancing, slowly at first, then with strength, up on the balls of her feet, her calf muscles bunching, hands allongé and delicate, following the colors. He watched her ribcage expand, the scars crisscrossed silver in the moonlight, marking with an X the position of her heart. The cords of her neck stood out when she bent her neck.

HTT avoids walking the same tightrope that KKR did by seeding their deals across all their funds. Assuming that their LPs are not invested in every fund the firm offers, the brunt of any losses is dispersed across the many LPs in all the firm’s offered funds.

38 Paul was still thinking of singles and albums as he did during the Beatles’ days, and as many British groups (and record labels) did in the 1960s—as separate releases, with no crossover. With few exceptions, when the Beatles released a song as a single, it was removed from consideration as an album track. They explained this as a value-for-money issue: fans who already bought a single should not have to buy those tracks again on the next LP. It was different in the United States. Singles were considered teasers for albums. Record executives like Coury considered albums more marketable when they had hits on them, and American consumers considered it a convenience to have the songs they knew as singles on albums as well. In the Beatles’ case, because Capitol LPs typically included 12 songs, compared with

The Hippie Parents weren't for all their distraction and funk, for their love triangles and LPs and antiwar demonstrations, illiterates...You'd find the books in the downstairs bathroom, or on their bedside tables, or maybe see them unwrapped at holidays as gifts, a cherished revelation passed from one to another, shared like a joint...

Now, you can think what you like about the art of jazz – quite frankly, I don’t really care what you think, because jazz is a thing so wonderful that if anybody doesn’t rave about it, all you can feel for them is pity: not that I’m making out I really understand it all – I mean, certain LPs leave me speechless.

Standard General Says Its Bid Is RadioShack’s Sole Hope of Survival By Peg Brickley | 477 words European Pressphoto Agency Standard General LP’s buyout offer for RadioShack Corp. is the retailer’s only hope of surviving bankruptcy, albeit in a much smaller form, and of staving off complete liquidation, lawyers said Thursday.

He revels in all the empowering conveniences that the iPod offers, like being able to ‘correct’ albums by removing their weak tracks (even on Beatles LPs, where he removes all the Ringo songs),

Proving that styluses never go out of fashion, sales of vinyl record albums rocketed to 9.2m in America last year, the most since 1993. Although that represented only around 4% of total albums sold, the growth of vinyl is in sharp contrast to the decline in music downloaded through various online stores, as more people switch to music-streaming services. Vinyl has increased in popularity partly as a collector’s item. Fans can keep their LPs in mint condition by listening to the music on free downloads that come with the album package.

Stanley reads The Mirror Thief. It’s a book of poems, but it tells a story: an alchemist and spy called Crivano steals an enchanted mirror, and is pursued by his enemies through the streets of a haunted city. Stanley long ago stopped paying the story any mind. He’s come to regard it as a fillip at best, at worst as a device meant to conceal the book’s true purpose, the powerful secret it contains. Nothing, he’s quite certain, could be so obscure by accident. As he reads, his eyes graze each poem’s lines like a needle over an LP’s grooves, atomizing them into letters, reassembling them into uniform arcades. What he’s looking for is a key: a gap in the book’s mask, a loose thread to unravel its veil. He tries tricks to find new openings—reading sideways, reading upsidedown, reading whitespace instead of text—but the words always close ranks like tiles in a mosaic, like crooks in a lineup, and mock him with their blithe expressions. The usual suspects.

Fortalecer el revestimiento intestinal y disminuir la permeabilidad intestinal. Disminuir los niveles de LPS, la molécula inflamatoria que puede ser peligrosa si llega al torrente sanguíneo. Aumentar el FNDC, la hormona de crecimiento cerebral. Mantener un equilibrio general para controlar cualquier posible colonia bacteriana rebelde.

I talked with Paul McCartney about this recently. We changed it: every track was a potential single; there was no filler. And if there was, it was an experiment. We’d use the extended time we had with an album just to make more of a statement. If LPs hadn’t existed, probably the Beatles and ourselves wouldn’t have lasted more than two and a half years. You had to keep condensing, reducing what it was you wanted to say, to please the distributor. Otherwise radio stations wouldn’t play it. Dylan’s “Visions of Johanna” was the breakthrough. “Goin’ Home” was eleven minutes long—“It ain’t gonna be a single. Can you extend and expand the product? Can it be done?” And that was really the main experiment. We said, you can’t edit this shit, it either goes out like it is or you’re done with it. I’ve no doubt Dylan felt the same about “Sad-Eyed Lady of the Lowlands” or “Visions of Johanna.” The record got bigger—and could anybody listen to that much? It’s over three minutes. Can you keep their attention? Can you keep your audience? But it worked. The Beatles and ourselves probably made the album the vehicle for recording and hastened the demise of the single. It didn’t go away immediately; you always needed a hit single. It just extended you without your even really knowing it.

The Blasters proved to be the most prominent and popular of these acts by far. Originally a quartet, the band was bred in Downey, just down the freeway from East L.A. In their teens, brothers Phil and Dave Alvin were bitten by the blues bug; they became habitués of the L.A. club the Ash Grove, where many of the best-known folk and electric blues performers played, and they sought out the local musicians who could teach them their craft, learning firsthand from such icons as Big Joe Turner, T-Bone Walker, and Little Richard’s saxophonist Lee Allen (who would ultimately join the band in the ’80s). But the Blasters’ style was multidimensional: they could play R&B, they loved country music, and they were also dyed-in-the-wool rockabilly fans who were initially embraced by the music’s fervent L.A. cultists. Their debut album, 1980’s American Music, was recorded in a Van Nuys garage by the Milan, Italy–born rockabilly fanatic Rockin’ Ronnie Weiser, and released on his indie label Rollin’ Rock Records, which also issued LPs by such first-generation rockabilly elders as Gene Vincent, Mac Curtis, Jackie Waukeen Cochran, and Ray Campi. By virtue of Phil Alvin’s powerful, unmannered singing and Dave Alvin’s adept guitar playing and original songwriting, the Blasters swiftly rose to the top of a pack of greasy local bands that also included Levi and the Rockats (a unit fronted by English singer Levi Dexter) and the Rockabilly Rebels (who frequently backed Ray Campi). Los Lobos were early Blasters fans, and often listened to American Music in their van on the way to their own (still acoustic) gigs. Rosas says, “We loved their first record, man. We used to play the shit out of that record. Dave [Hidalgo] was the one who got a copy of it, and he put it on cassette.

Around 1976, 12" dance and DJ singles emerged. Because the grooves on these oversize singles could be wider, and because they were spinning as fast as a 45, they were louder than LPs that spun at 33 RPM. I remember in the late seventies hearing how the low end (the sound of the kick drum and bass) could be brought forward on this format and made louder. Discos had speakers that could accommodate those frequencies, and they became a world of throbbing, pulsing low end—an experience that had to wait for the CD and digital recording to be experienced outside the club environment.

Every macrophage in your body has been highly trained by evolution, equipped with LPS barcode readers and other devices, to enable an innate immune response. That deep ancestral knowledge – expressed in the genetics and molecular machinery of the macrophage – is what protects us, makes us less naïve than we might have thought,

When I was a child and I would listen to my sister's LPs She was a huge fan and she was so in love with him that she wrote him a letter. I enjoyed seeing my sis so happy about Manilow Mania. I wrote some lyrics based on one of his songs, also thinking of those ships that pass in the night in the city where I was born. Can you guess which one? Anyway, my sister was already unconscious at the hospital when I inserted an earplug so that she could hear some of his songs. It was very low, very mild Manilow, when all of a sudden, in the second cord when he sang "I made it through the rain" in a beat a bit higher her heartbeat which was being monitored played faster. I could see that as a sign that she was listening. I stopped the song and I started Singing one of her songs that she had especially made for my birthday when I turned nine yrs old and I never forgot about that. I could see a little smile coming from the left side of her lips. It was the affirmation I needed. That she was and will always be there for me as I so admired her soul to the bones!

Getting to fifty-fifty is incredibly complex and nuanced, requiring many detailed solutions that will take decades to fully play out. To accelerate the process, change needs to start at the top. Like Stewart Butterfield, CEOs need to make hiring and retaining women an explicit priority. In addition, here is the bare minimum of what we can do at an individual and a systemic level: First of all, people, be nice to each other. Treat one another with respect and dignity, including those of the opposite sex.That should be pretty simple. Don’t enable assholes. Stop making excuses for bad behavior, or ignoring it. CEOs must embrace and champion the need to reach a fair representation of gender within their companies, and develop a comprehensive plan to get there. Be long-term focused, not short-term. It may take three weeks to find a white man for the job, but three months to find a woman. Those three months could save three years of playing catch-up in the future. Invest in not just diversity but inclusion. Even if your company is small, everything counts. And take the time to educate your employees about why this is important. Companies need to appoint more women to their boards. And boards need to hold company leadership to account to get to fifty-fifty in their employee ranks, starting with company executives. Venture capital firms need to hire more women partners, and limited partners should pressure them to do so and, at the very least, ask them what their plans around diversity are. Investors, both men and women, need to start funding more women and diverse teams, period. LPs need to fund more women VCs, who can establish new firms with new cultural norms. Stop funding partnerships that look and act the same. Most important, stop blaming everybody else for the problem or pretending that it is too hard for us to solve. It’s time to look in the mirror. This is an industry, after all, that prides itself on disruption and revolutionary new ways of thinking. Let’s put that spirit of innovation and embrace of radical change to good use. Seeing a more inclusive workforce in Silicon Valley will encourage more girls and women studying computer science now.

In small amounts, LPS may cause fever, altered resistance to bacterial infection, and leucopenia (a low white blood cell count), among other symptoms. In large quantities, the Centers for Disease Control and Prevention (CDC) tells us that it reduces bloodflow into any tissue, causing between 175,000 and 200,000 deaths annually . The CDC notes that perhaps a half-million people are affected annually by this mechanism, yet no one talks about it. 45 That’s because there is no profit in addressing LPS: There’s no drug to fix it.

When she was six, someone had explained to her that the grooves on the LPs were really little hills and valleys and that the needles made music from bouncing through them. One day when she learned that her fingerprints were little hills and valleys, she got a sewing needle and dragged it across her fingers. All it did was draw blood. Lesson learned. People weren’t records. Records were.