Biometric Fingerprint Reader is a plug-in that allows for fast identification and secure verification capabilities which enable FileMaker Pro scripts to recognize individual users without requiring passwords or card swipes. This technology can be used to recognize and authenticate individuals based on who they are, instead of what they know (passwords or PINs) or what they possess (keys or swipe cards). Biometric authentication solutions include: • Accountability: Fingerprints can link actions to specific individuals, deterring inappropriate behavior and eliminating fraudulent activity. • Workforce Management: Fingerprints provide accurate time and attendance tracking, reduce waste and ensure accuracy. • Loss Prevention: Supervisors’ fingerprints can be required for special actions, facilitating adherence to corporate policies. • Compliance: Fingerprints can be used to provide an audit trail identifying who came in contact with sensitive data. Biometric Fingerprint Reader can be used in a variety of ways; from sign-on and confirmation of important actions to special approvals by other users. Most popular device drivers for your fingerprint readers / sensors. Download latest versions of fingerprint drivers for free. 100% safe and virus free. The plugin has been designed to help combat fraud and boost customer efficiency.
0 Comments
Our goal is to provide you with a quick access to the content of the user manual for Garmin nuvi 1490. Using the online preview, you can quickly view the contents and go to the page where you will find the solution to your problem with Garmin nuvi 1490. For your convenience If looking through the Garmin nuvi 1490 user manual directly on this website is not convenient for you, there are two possible solutions: • Full Screen Viewing - to easily view the user manual (without downloading it to your computer), you can use full-screen viewing mode. To start viewing the user manual Garmin nuvi 1490 on full screen, use the button Fullscreen. • Downloading to your computer - You can also download the user manual Garmin nuvi 1490 to your computer and keep it in your files. We provide free online pdf manuals for GPS Navigators: Garmin Nuvi: xx 1xx 2xx 3xx 4xx 5xx 6xx 7xx 8xx 1xxx 2xxx 3xxx 5xxx series. Options: PDF: For printing. Web: For viewing online and on mobile devices. Site Map Terms of Use Privacy Security; Copyright © 1996-2017 Garmin Ltd. Or its subsidiaries. However, if you do not want to take up too much of your disk space, you can always download it in the future from ManualsBase. Advertisement Print version Many people prefer to read the documents not on the screen, but in the printed version. The option to print the manual has also been provided, and you can use it by clicking the link above - Print the manual. You do not have to print the entire manual Garmin nuvi 1490 but the selected pages only. Summaries Below you will find previews of the content of the user manuals presented on the following pages to Garmin nuvi 1490. If you want to quickly view the content of pages found on the following pages of the manual, you can use them. An item that has been professionally restored to working order by a manufacturer or manufacturer-approved vendor. This means the product has been inspected, cleaned, and repaired to meet manufacturer specifications and is in excellent condition. This item may or may not be in the original packaging. See the seller’s listing for full details. Seller Notes: “ Includes all original accessories as the brand new version and comes with a Garmin 1-year manufacturer warranty. ” Brand: Garmin Screen Size: 5' MPN: 010-01187-01 Type: Automotive Mountable Unit Size: Not Applicable UPC: 364. All returns are inspected and tested for damage and to verify defect(s). • ALL accessories that came with your purchase must be returned, missing accessories will result in GPS City not accepting your return or the cost of accessories will be deducted from your refund. • All return shipping costs are the buyers responsibility. We suggest you purchase insurance and ship with a trackable method back to GPS City. GPS City is not responsible for lost or stolen shipments. • Merchandise should be packed carefully and securely in a return shipping box. No returns will be accepted if the packaging is damaged or items are missing. • Original shipping costs are non-refundable. • RMA numbers are valid for 20 days from the issue date. To request a return authorization (RMA number) please message GPS City. Once one is provided please ensure this is written clearly on the outside packaging of your return. Any return received without the RMA number clearly written on the box/package may be refused and sent back to sender. If you have any questions on this policy, or any other GPS City policy please do not hesitate to contact us, we are here to help. You may also call us at 1-866-477-2489 with any questions you may have. Ere will be no refund applied. All returns are inspected and tested for damage and to verify defect(s). • ALL accessories that came with your purchase must be returned, missing accessories will result in GPS City not accepting your return or the cost of accessories will be deducted from your refund. • All return shipping costs are the buyers responsibility. We suggest you purchase insurance and ship with a trackable method back to GPS City. GPS City is not responsible for lost or stolen shipments. • Merchandise should be packed carefully and securely in a return shipping box. No returns will be accepted if the packaging is damaged or items are missing. • Original shipping costs are non-refundable. • RMA numbers are valid for 20 days from the issue date. To request a return authorization (RMA number) please message GPS City. Once one is provided please ensure this is written clearly on the outside packaging of your return. Any return received without the RMA number clearly written on the box/package may be refused and sent back to sender. If you have any questions on this policy, or any other GPS City policy please do not hesitate to contact us, we are here to help. You may also call us at 1-866-477-2489 with any questions you may have. Ere will be no refund applied. All returns are inspected and tested for damage and to verify defect(s). • ALL accessories that came with your purchase must be returned, missing accessories will result in GPS City not accepting your return or the cost of accessories will be deducted from your refund. • All return shipping costs are the buyers responsibility. We suggest you purchase insurance and ship with a trackable method back to GPS City. GPS City is not responsible for lost or stolen shipments. • Merchandise should be packed carefully and securely in a return shipping box. No returns will be accepted if the packaging is damaged or items are missing. • Original shipping costs are non-refundable. • RMA numbers are valid for 20 days from the issue date. To request a return authorization (RMA number) please message GPS City. Once one is provided please ensure this is written clearly on the outside packaging of your return. Any return received without the RMA number clearly written on the box/package may be refused and sent back to sender. If you have any questions on this policy, or any other GPS City policy please do not hesitate to contact us, we are here to help. You may also call us at 1-866-477-2489 with any questions you may have. Lightweight with good features Have had a TomTom in the past and need a new gps for a trip because I must leave the TomTom at home for daughter. I decided to try Garmin this time. This product has some better features than my old one. It has traffic updates, sticks to the windshield better, is easier to read in bright sunlight, and is lightweight. The things I don't like are that divided roads don't show, the car on the screen doesn't show which way you are pointing until you are moving, and it's a little harder to figure out programming. But I have only had this for a couple of weeks and may just need to get used to it. Most people I talked with seemed to like theirs. Nice GPS but not able to use given features with power cable Product came in as the date indicated. Works very well for the most part however I am a bit confused about the consistant message that pops up on the screen everytime I use the power cable car charger that came with it. Message states: 'The connected power cable is not compatable with traffic for this device. Traffic service is disabled. Connect the correct power cable to receive traffic service.' Now I get that this is a refurbished device but I was under the impression that all of the parts that comes with this device would've all have been compatible to use such features of this device. Excellent GPS with some gimmick features Just like any Garmin, works really well for mapping and navigation. The FOURSQUARE app is a total waste of time. Adding a well known restaurant that's been in the same place for 20 years had me driving around Portsmouth NH till I eventually added the address manually and the GPS took me straight to the venue. I've yet to see the traffic avoidance solution. I thought this would be similar to (obviously not as good as) Waze. Frankly, I think the thing looks for traffic and drives you straight into it. Main reason for purchase is to use on my motorcycle by connecting my Bluetooth helmet communicator to the GPS via Bluetooth. Bodybuilding Anatomy - Nick Evans.pdf - Ebook download as PDF File (.pdf), Text File (.txt) or read book online. Kelly Hendren; Associate Art Manager: Alan L. Wilborn; Printer: Versa Press We thank TrulyFit in Urbana, Illinois, and The Fitness Center in Champaign, Illinois, for assistance in providing the locations for the. Library of Congress Cataloging-in-Publication Data Evans, Nick, 1964- Bodybuilding anatomy / Nick Evans. Graphic Artist: Francine Hamerski; Cover Designer: Keith Blomberg; Art Manager: Kelly Hendren; Illustrator (cover and interior): William P. Hamilton; Printer: United Graphics Human Kinetics. You confused overcome spare time wanted for what? Well, now you do not confuse the issue of the answer is to read the book CATIA V5R21 for Designers Online besides, increase the knowledge of reading CATIA V5R21 for Designers Kindle can also improve the creativity of our brains what books we offer very special book CATIA V5R21 for Designers ePub has been recognized by the readers are very useful so you do not forget to read CATIA V5R21 for Designers Download yes book PDF book readers. Free download or read online Outliers, CATIA V5R21 for Designers PDF ePub a statistics related pdf book authored. Online CATIA V5R21 for Designers PDF| Pdf Books Free. Downloads Best Book Outliers: Read CATIA V5R21 for Designers PDF, PDF Downloads Outliers: CATIA V5R21 for Designers PDF Free Collections, PDF Download PDF CATIA V5R21 for Designers Online of. Outliers: CATIA V5R21 for Designers PDF Download Book PDF is available on our online library. Download: Outliers: Free CATIA V5R21 for Designers PDF Download Book PDF Full Version PDF File. Free CATIA V5R21 for Designers PDF ebook free. Eye-opening expose that makes the convincing case that sugar is the tobacco of the new millennium: backed. CLICK TO DOWNLOAD. PDF DownloadCATIA V5R21 for Designers Full Ebook. Book Synopsis. The essential universe, from our most celebrated and beloved astrophysicist. Free Download Ebooks PDF CATIA V5R21 for Designers Kindle Evolution Connecting Numerical. PDF CATIA V5R21 for Designers Download - gfqv - place Read CATIA V5R21 for Designers PDF. The 2014.2.2 version of Adobe Photoshop CC is provided as a free download on our website. This software is an intellectual property of Adobe Systems Incorporated. This PC program is suitable for 32-bit and 64-bit versions of Windows XP/Vista/7/8/10. The most frequent installation filenames for the program include: Photoshop.exe, Adobe DNG Converter.exe, PhotoshopLitePortable.exe, PhotoshopCC-64.exe, Photoshop-32.exe, FormsCentralForAcrobat.exe, ExtendScript Toolkit.exe, Droplet Template.exe, Bridge.exe, AdobePhotoshopCC.exe, Adobe potoshop cc.exe, Adobe Photoshop CC.exe, Adobe OnLocation.exe and Adobe Media Encoder.exe etc. Oct 19, 2017 Free Download Adobe Photoshop CC 2018 19.0 - The professional image-editing standard and leader of the Photoshop digital imaging line, which feature. Adobe Photoshop CC lies within Photo & Graphics Tools, more precisely Viewers & Editors. Our built-in antivirus scanned this download and rated it as 100% safe. The most popular versions of the software 2014.2, 2014.1 and 15.0. This application helps you process and edit your digital images. The program allows you to refine, preview and print your 3D designs. Adobe Photoshop 7.0 Free Download windows XP/7/8/10. Download Adobe Photoshop 7 windows 32/64 bit PC. Photoshop 7 download. Adobe Photoshop Express for Windows 10 (Windows), free and safe download. Adobe Photoshop Express for Windows 10 latest version: Light Photoshop version for Windows 10. Adobe Photoshop Express for Windows 10 is a light and free version of the renowned image editor. Jun 21, 2011. Adobe Photoshop Free, free download. Adobe Photoshop is a powerful photo editing suite. Review of Adobe Photoshop Free with a star rating, 6 screenshots along with a virus/malware test and a free download link. There are filters for enhancing, distorting, deforming, adding light or darkness, creating a texture, rendering, and more. You may want to check out more software, such as Adobe Edge Reflow CC, Adobe Configurator 4 or Adobe Dreamweaver CC, which might be to Adobe Photoshop CC. This is a new driver release for the Sound Blaster PCI 128, model numbers CT4750 and CT4751. This installation does not support CT4700 and 1370-based card. Drivers Sound cards; Creative Labs CT-4750. USER REVIEWS. No user reviews were found. QUESTIONS AND ANSWERS. What similar programs have you used? I use the amd catalyst file drivers for my graphic video card display support and your images videos sounds conectors ports extensions and all. ファイル名: epw9xup.exe: ENSONIQ Audio PCI Driver for Windows 9x. This is the latest standalone driver for Creative ENSONIQ AudioPCI on Windows 95/98. Creative Labs Sound Card Drivers - 2212 drivers found Filter: • • • • • • • • • Driver File Name / More Info Operating System Sound Blaster Live24-Bit driver SB24_WEB64_LB_1_04_0055.exe Windows XP Sound Blaster Live24-Bit driver SB24_PCDRV_LB_WIN8_1_04_0090.exe Windows Vista Sound Blaster Live24-Bit driver SB24_PCDRV_WIN8_BETA.090.exe Windows 8 Sound Blaster Live! The best way to fix your PC to run at peak performance is to update your drivers. Below is a list of our most popular Creative Labs support software and device drivers. First select the Model Name or Number of your device. Next click the Download button. If you do not find the right match, type the model in the search box below to. You may see different versions. Choose the best match for your PC. Need more help? Discuss driver problems and ask for help from our community on our. Or you can and we will find it for you. We employ a team from around the world. They add hundreds of new drivers to our site every day. • ' Released: March 21, 1966 • '/ ' Released: July 18, 1966 Pet Sounds is the eleventh studio album by American band, released on May 16, 1966. It initially met with a lukewarm critical and commercial response in the United States, peaking at number 10 in the, a significantly lower placement than the band's preceding albums. In the United Kingdom, the album was hailed by its music press and was an immediate commercial success, peaking at number 2 in the and remaining among the top ten positions for six months. Originally promoted as 'the most progressive pop album ever', Pet Sounds attracted recognition for its ambitious recording and unusually sophisticated music, and is widely considered to be one of the most influential albums in music history. Get Jungle Animal Sounds Sound Effect royalty-free stock music clips, sound effects, and loops with your Audioblocks by Storyblocks membership. Tabtight professional, free when you need it, VPN service. Sound clips of Deer, an animal of incredible beauty and power. They can leap in tall fences in a single bound. Male deer have antlers sometimes female will have a. The album was produced and by, who also wrote and composed almost all of its music. Most of the recording sessions were conducted between January and April 1966, a year after he had quit with the Beach Boys in order to focus more attention on writing and recording. For Pet Sounds, Wilson's goal was to create 'the greatest rock album ever made'—a personalized work with no. It is sometimes considered a Wilson solo album, repeating the themes and ideas he had introduced with one year earlier. The album's, ', was issued as his official solo debut. It was followed by two singles credited to the group: ' (backed with ') and '. Collaborating with lyricist, Wilson's mixed with elaborate layers of,, and instruments never before associated with rock, such as,,,,, Hawaiian-sounding, cans, and barking. Unified by a -style production, the album comprised Wilson's ' sounds, consisting mainly of introspective songs like ', about, ', a critique of users, and ', an autobiographical statement on (as well as the first use of a -like instrument on a rock record). Recording was completed on April 13, 1966, with an unprecedented total production cost that exceeded $70,000 (equivalent to $520,000 in 2016). There are more than 1900 sound effects to choose from grouped in several categories with unique sound effects from animals to aircraft and cartoon to horror. These sound effects are available in both WAV and MP3 formats. SoundBible provides thousands of free sound effects, downloadable in either. A follow-up album,, was immediately planned, but left unfinished. In 1997, a ' version of Pet Sounds was overseen by Wilson and released as, containing the album's first. Pet Sounds is regarded by musicologists as an early that advanced the field of, introducing non-standard harmonies and, and incorporating elements of,,,, and the. A heralding work of, the album furthered an aesthetic trend within rock by helping it transform from into music that was made for listening to, elevating itself to the level of. Academic said that Pet Sounds represents a turning point where the Beach Boys 'brought expansions in harmony, instrumentation (and therefore timbre),,, and the use of. Of these elements, the first and last were the most important in clearing a pathway toward the development of.' In 2004, Pet Sounds was preserved in the by the for being 'culturally, historically, or aesthetically significant.' One year earlier, ranked it second on its list of the '. As of 2017, lists Pet Sounds as the statistically most acclaimed album of all time. The Beach Boys performing ' on in September 1964, three months before Wilson's resignation from touring The July 1964 release of the Beach Boys' sixth marked an end to the group's beach-themed period. From there on, their recorded material took a significantly different stylistic and lyrical path. While on a December 23 flight from Los Angeles to Houston, the band's songwriter and producer suffered a only hours after performing with the group on the The 22-year-old Wilson had already skipped several by then, but the airplane episode proved devastating to his psyche. In order to focus his efforts on writing and recording, Wilson indefinitely resigned from live performances. Freed from the burden, he immediately showcased great artistic leaps in his musical development evident within the albums and, released in the first half of 1965. With the July 1965 single ', Wilson began experimenting with song composition while under the influence of, a factor that yielded a great effect on the group's musical conceptions. At the suggestion of bandmate, Wilson began working on ', a traditional folk song that Jardine had learned from listening to. Wilson recorded a backing track on July 12, 1965, but after laying down a rough lead vocal, he set the song aside for some time, concentrating on the recording of what became their next LP, the informal studio jam, in response to their record company's request for a Beach Boys album for the Christmas 1965 market. Wilson devoted the last three months of 1965 to polishing the vocals of 'Sloop John B' and recording six new original compositions. In November 1965, ' was released as a non-album single. A section of the song features total silence, leading to poor airplay where radio stations preferred not to have moments of dead air in the middle of a song. It would be the last original Beach Boys song issued before any Pet Sounds tracks. Writing partnership [ ] In 1965, Wilson met at a recording studio in Los Angeles. Asher was at the time a 26-year-old lyricist and copywriter working in for an. The two exchanged ideas for songs, and soon after, Wilson heard of Asher's writing abilities from mutual friends. In December 1965, he contacted Asher about a possible lyric collaboration, wanting to do something 'completely different' with someone he had never written with before. Asher accepted the offer, and within ten days, they were writing together. Wilson played some of the music he had recently recorded and gave a cassette to Asher containing the backing track to a piece called 'In My Childhood'. The result of Asher's tryout was eventually retitled ', and the success of the piece convinced Wilson that Asher was the wordsmith he had been looking for. When Wilson was asked why he felt Asher was the right collaborator: 'Oh, a lot of reasons. One, I thought he was a cool person. Two, anybody that hung out with [my friend] Loren Schwartz was a very brainy guy, a real verbal type person. I just felt that there was something there that had to be, you know, that really had to be.' It felt like we were writing an autobiography, but oddly enough, I wouldn't limit it to Brian's autobiography. We were working in a somewhat intimate relationship, and I didn't know him at all, so he was finding out who I was, and I was finding out who he was. —Tony Asher Asher explains that he and Wilson had many lengthy, intimate discussions centered around their 'experiences and feelings about women and the various stages of relationships and so forth'. He maintains that his contribution to the music itself was minimal, serving mainly as a source of second opinion for Wilson as he worked out possible melodies and chord progressions, although the two did trade ideas as the songs evolved. On his role as co-lyricist, Asher clarified, 'The general tenor of the lyrics was always his. And the actual choice of words was usually mine. I was really just his interpreter.' While speaking about ', Wilson reflected: 'I think Tony had a musical influence on me somehow. After about ten years, I started thinking about it deeper. Because I had never written that kind of song. And I remember him talking about ' and he had a certain love for classic songs.' A typical writing session would either start with Wilson playing melody or chord patterns that he'd been working on, by discussing a recent record that Wilson liked the feel of, or by discussing a subject that Wilson had always wanted to write a song about. Asher looked back on his interactions with Wilson and the Beach Boys as an 'embarrassing' experience, remembering that Wilson 'exhibit[ed] this awful taste. His choice of movies, say, was invariably terrible. Every four hours we'd spend writing songs, there'd be about 48 hours of these dopey conversations about some dumb book [about mysticism] he'd just read. Or else he'd just go on and on about girls.' While most of the album's songs derived from the Wilson–Asher partnership, ' was co-written by Wilson with another new associate, the Beach Boys' road manager Terry Sachen. In 1994, was awarded co-writing credits on ' and 'I Know There's an Answer', but with the exception of his co-credit on ', a song which had been written some two years earlier, his songwriting contributions are thought to have been minimal. Concept and inspiration [ ]. (center) at, where he developed his methods, 1965 Commentators and historians frequently cite Pet Sounds as a —the first of rock music. Author Carys Wyn Jones attribute this to the album's 'uniform excellence' rather than a lyrical theme or musical motif. Even though Pet Sounds has a somewhat unified theme in its emotional content, there was not a predetermined narrative. Asher said that there were no conversations between him and Wilson that pertained to any specific album 'concept', however, 'that's not to say that he didn't have the capacity to steer it in that direction, even unconsciously'. Wilson stated: 'If you take the Pet Sounds album as a collection of art pieces, each designed to stand alone, yet which belong together, you'll see what I was aiming at.. It wasn't really a song concept album, or lyrically a concept album; it was really a production concept album.' He added that the album may be considered an 'interpretation' of 's recording methods. For Pet Sounds, Wilson desired to make 'a complete statement', similar to what he believed had done with their newest album, released in December 1965. Wilson was immediately enamored with the album, given the impression that it had no, a feature that was mostly unheard of at a time when were considered more noteworthy than full-length. Many albums up until the mid-1960s lacked a cohesive artistic goal and were largely used to sell singles at a higher price point. Wilson found that Rubber Soul subverted this by having a wholly consistent thread of music. Inspired, he rushed to his wife and proclaimed, ', I'm gonna make the greatest album! The greatest rock album ever made!' He would say of his reaction to Rubber Soul: 'I liked the way it all went together, the way it was all one thing. It was a challenge to me. It didn't make me want to copy them but to be as good as them. I didn't want to do the same kind of music, but on the same level.' Author wrote that Pet Sounds resembles Spector's productions more than it does Rubber Soul, and that it recycles many of Spector's Wall of Sound production watermarks. Wilson talked of Spector's influence on his work, having learned how to produce records through attending his sessions, and in a 1988 interview, Wilson asserted that the album aspired to 'extend' Spector's music, that 'in one sense of the word, we [the Beach Boys] were his messengers.' In Pet Sounds, Wilson sought to emulate Spector's Wall of Sound, driven by his fascination with 'combining one [sound] to make another. It's amazing'. Shortly before the album's release, Wilson spoke of recent popular music trends, saying '[They] helped the Beach Boys evolve. We listen to what's happening and it affects what we do too. The trends have influenced my work, but so has my own scene.' In 1996, Wilson said of his partnership with Asher: 'none of us looked back. We went forward, kind of like on our own little wavelength. It wasn't like we were thinking, 'Okay, let's beat Spector,' let's out-do.' It was more what I would call exclusive collaboration not to specifically try to kick somebody's butt, but just to do it the way you really want it to be. That's what I thought we did.' Group infighting [ ]. See also: Pet Sounds is sometimes considered a Brian Wilson solo album in all but name. He explained: ' Pet Sounds was something that was absolutely different. Something I personally felt. That one album that was really more me than Mike Love and the surf records and all that, and '. That's all their kind of stuff, you know?' When the other Beach Boys returned from a three-week tour of and Hawaii, they were presented with a substantial portion of a new album, with music that was in many ways a jarring departure from their earlier style. According to various reports, the group fought over the new direction. Denied that the band disagreed with Brian's direction on Pet Sounds, calling the rumors 'interesting,' that there was 'not one person in the group that could come close to Brian's talent,' and that he 'couldn't imagine who' would have resisted Brian's leadership. ' One of the issues was the album's complexity and how the touring Beach Boys would be able to perform its music live. Wilson said that the band 'didn't like the idea of growing musically. They wanted to keep making and I said 'No, we've gotta grow, guys'.' On another occasion, he recalled: 'They liked [the new album] but they said it was too arty. I said, 'No, it is not!' Marilyn said: 'When Brian was writing Pet Sounds, it was difficult for the guys to understand what he was going through emotionally and what he wanted to create.. They didn't feel what he was going through and what direction he was trying to go in.' Tony Asher remembered: 'All those guys in the band, certainly Al, Dennis, and Mike, were constantly saying, 'What the fuck do these words mean?' Or 'This isn't our kind of shit!' Brian had comebacks, though. He'd say, 'Oh, you guys can't hack this.' . But I remember thinking that those were tense sessions.' Love dismissed claims that he disliked the album. Mike Love said 'some of the words were so totally offensive to me that I wouldn't even sing 'em because I thought it was too nauseating.' The original lyrics of ', known as 'Hang On to Your Ego', created a stir within the group. He opposed the song's original message, though Jardine recalled that the decision to change the lyrics was ultimately Brian's: 'Brian was very concerned. He wanted to know what we thought about it. To be honest, I don't think we even knew what an ego was. Finally Brian decided, 'Forget it. I'm changing the lyrics. There's too much controversy.' ' On Love's reaction to the album, Jardine commented: 'Mike was very confused. Mike's a formula hound – if it doesn't have a hook in it, if he can't hear a hook in it, he doesn't want to know about it.. I wasn't exactly thrilled with the change, but I grew to really appreciate it as soon as we started to work on it. It wasn't like anything we'd heard before.' Said: 'I loved every minute of it. He [Brian] could do no wrong. He could play me anything, and I would love it.' Brian remembers that Carl was enthused with the album, but not Dennis and Mike. Author John Tobler wrote that Dennis and loved the album, but that Jardine felt 'It sure doesn't sound like the old stuff.' Brian believed the band was worried about him separating from the group, elaborating that 'it was generally considered that the Beach Boys were the main thing. With Pet Sounds, there was a resistance in that I was doing most of the artistic work on it vocally'. Love wrote: 'I also would have liked to have had a greater hand in some of the songs and been able to incorporate more often my 'lead voice,' which we'd had so much success with.' The conflicts were resolved, according to Brian, '[when] they figured that it was a showcase for Brian Wilson, but it's still the Beach Boys. In other words, they gave in. They let me have my little stint.' Music and lyrics [ ]. ' introduces the album with a sound described by as 'limpid harps imitating a teenage heartstrings in a tug of love' with it followed by 'growling horns. [and] harmonies so complex they seemed to have more in common with a than any cocktail lounge acappella.' Problems playing this file? The album's incorporates elements of,,,, and. According to biographer, 'Brian defies any notion of genre safety. There isn't much rocking here, and even less rolling. Pet Sounds is at times futuristic, progressive, and experimental.. There's, and the only are in the themes and in Brian's voice.' Genres attributed to the album include,,,,,,, and. Wilson himself thought of the album as 'chapel rock. Commercial choir music. I wanted to make an album that would stand up in ten years.' For the basic rhythmic feel of ',, piano with,, and into each other to create a rich blanket of sound. Problems playing this file? Wilson conceived of experimental arrangements that combined conventional rock set-ups with various exotic instruments, producing new sounds with a rich texture reminiscent of symphonic works layered underneath meticulous vocal harmonics. In total, the number of unique instruments used for each track average to about a dozen. Many of those instruments were alien to rock music, including,,,,,,,,,, bottles, and other odd sounds such as barking,, and. This kind of selection was stylistically appropriated from a wide variety of cultures, with some relating it to exotica and its associated producers,, and. Journalist Alice Bolin writes that Pet Sounds 'repeated and perfected' the themes and ideas introduced in the Beach Boys' album Today!, released one year earlier. Author Chris Smith wrote that the complex arrangements and more developed themes of Today! Effectively foreshadowed the lush orchestration and maturity of Pet Sounds. Marshall Heiser expressed for The Journal on the Art of Record Production: ' Pet Sounds diverges from previous Beach Boys' efforts in several ways: its sound field has a greater sense of depth and 'warmth;' the songs employ even more inventive use of harmony and chord voicings; the prominent use of percussion is a key feature (as opposed to driving drum backbeats); whilst the orchestrations, at times, echo the quirkiness of 'exotica' bandleader Les Baxter, or the 'cool' of, more so than [Phil] Spector's teen fanfares.' Musicologist has written: 'In terms of the structure of the songs themselves, there is comparatively little advance from what Brian had already accomplished or shown himself capable of accomplishing. Most of the songs use unusual and unexpected disruptions of, both features that were met in ' and '.' ' Journalist felt 'Wouldn't It Be Nice' to be 'teen angst dialogue' that Wilson had already achieved with ' the year before. However: 'This time Brian Wilson was out to eclipse these previous sonic soap operas, to transform the subject's sappy sentiments with a God-like grace so that the song would become a veritable pocket symphony.' ' has been described by as one of Wilson's most ambitious arrangements, featuring 'swooping harmonies [that] duel and soar in and around a backing track full of blaring saxophones and percolating keyboards' along with 'jazzy drumming' that blends the 'complexity of an orchestral piece with the immediacy of a good pop tune'. Problems playing this file? As author James Perone explains, Wilson's compositions include tempo changes, metrical ambiguity, and unusual that, culturally speaking, separates the album from any pop music of the era. It also adds to 'the background tenderness and melancholy—as well as the increased maturity—that ebb and flow throughout Pet Sounds.' He specifically touches upon the album's closer ' and its use of wide changes, wide melodic intervals, and instrumentation which contribute to his belief; also Wilson's compositions and orchestral arrangements which experiment with and tone colors. Referring to 'Wouldn't It Be Nice', Perone recalls that the track sounds 'significantly less like a rock band supplemented with auxiliary instrumentation. Than a rock band integrated into an eclectic mix of studio instrumentation.' Arranger Paul Mertens believes that although there are string sections on Pet Sounds: '. what's special about that is not that Brian was trying to introduce classical music into rock & roll. Rather, he was trying to get classical musicians to play like rock musicians. He's using these things to make music in the way that he understood, rather than trying to appropriate the orchestra.' The album included two sophisticated tracks composed solely by Brian. One of them: the wistful '. The other instrumental is the title track, '. Both titles had been recorded as backing tracks for existing songs, but by the time the album neared completion Wilson had decided that the tracks worked better without vocals. Of 'Let's Go Away for Awhile', Perone observes, 'There are melodic features but no tune to speak of. As an instrumental composition, this gives the piece an atmospheric feel; however, the exact mood is difficult to define.' Of 'Pet Sounds', the piece represents the Beach Boys' surf heritage more than any other track on the album with its emphasis on lead guitar, although Perone maintains that it is not really a surf composition, citing its elaborate arrangement involving countless auxiliary percussion parts, abruptly changing textures, and de-emphasis of a traditional rock band drum set. Original handwritten manuscript for the lyrics to 'God Only Knows' For much of Pet Sounds lyrical content, Brian turned inward and probed his deep-seated self-doubts and emotional longings. However, as journalist writes, the resulting album 'wasn't Wilson's autobiography or Asher's but rather a collective autobiography of everything we all feel when we. Try and reach out to another human being'. Tony Asher explains: Brian was constantly looking for topics that kids could relate to. Even though he was dealing in the most advanced score-charts and arrangements, he was still incredibly conscious of this commercial thing. This absolute need to relate. According to reviewer Jim Esch, the opener 'Wouldn't It Be Nice' inaugurates and suggests the album's pervasive theme: 'fragile lovers buckling under the pressure of external forces they can't control, self-imposed romantic expectations and personal limitations, while simultaneously trying to maintain faith in one other. It is a theme that keeps reverberating sweetly, and hauntingly, throughout Pet Sounds.' Carl said: 'The disappointment and the loss of innocence that everyone had to go through when they grow up and find everything's not Hollywood are the recurrent themes on that album.' Critics and noted incongruity between the album's music and lyrics, where the latter suggested the work to be 'sad songs about happiness' while also celebrating loneliness and heartache. In the opinion of Perone, it is the next track, 'You Still Believe in Me', which features the first expression of introspective themes that pervade the rest of the album. Responding to the songwriters' denials of a conscious lyric theme, Nick Kent observed: '[The] album documents the male participant's attempts at coming to terms with himself and the world about him. Each song pinpoints a crisis of faith in love and life: confusion ('), disorientation (the staggeringly beautiful '), recognition of love's capricious impermanence (') and finally, the grand betrayal of innocence featured in 'Caroline, No'.' From another viewpoint, author Scott Schinder has written that Wilson and Asher crafted an 'emotion-charge that surveyed the emotional challenges accompanying the transition from youth to adulthood.' Schinder continues: 'Lyrically, Pet Sounds encompassed the loss of innocent idealism ('Caroline, No'), the transient nature of love ('Here Today'), faith in the face of heartbreak ('I'm Waiting for the Day'), the demands and disappointments of independence ('That's Not Me'), the feeling of being out of step with the modern world ('I Just Wasn't Made for These Times'), and the longing for a happy, loving future ('Wouldn't It Be Nice'). The album also featured a series of intimate, -like love songs, 'You Still Believe in Me', ', and 'God Only Knows'.' 'Then again,' Kent says, 'bearing in mind this conceptual bent, there are certain incongruous factors about the album's construction. The main one is the inclusion of the hit single 'Sloop John B', as well as of two instrumental pieces.' Perone argues, 'To the extent that the listener hears 'Let's Go Away for Awhile' as an incomplete piece, it is possible to understand it as a reflection of the alienation—the sense of not quite fitting in—of the bulk of Tony Asher's lyrics in the songs on Pet Sounds.' Noting that a sense of self-doubt, concern for the future of a relationship, and melancholy pervades Pet Sounds, Perone claims in reference to 'Sloop John B' that the song successfully portrays a sailor who feels 'completely out of place in his situation [which] is fully in keeping with the general feeling of disorientation that runs through so many of the songs.' Fussili states that Wilson's tendency to 'wander far from the logic of his composition only to return triumphantly to confirm the emotional intent of his work' is repeated numerous times in Pet Sounds, but never to 'evoke a sense of unbridled joy' as Wilson recently had with the single 'The Little Girl I Once Knew'. In the example of 'God Only Knows', which contains an ambivalent and, musicologist Philip Lambert cites its 'choral fantasy' section to contain complex key changes that elude the listener 'for the entire experience—that in fact, the idea of 'key' has itself been challenged and subverted'. Perone's interpretation also suggests a visceral musical continuity. On the second track 'You Still Believe in Me', 'One of the high points of the composition and Brian's vocal performance. Is the snaky, though generally descending melodic line on the line 'I want to cry,' his response to the realization that his girlfriend still believes in him despite his past failures.' He describes the 'stepwise falloff of the interval of a third at the end of each verse' to be a typically 'Wilsonian' feature that recurs throughout the album in addition to a 'madrigal sigh ' that can be heard in 'That's Not Me', where the motif concludes each line of the verses. This sighing motif appears in the next track, 'Don't Talk (Put Your Head on My Shoulder)', a piece inspired by classical music, and once again in 'Caroline, No'. For the high-pitched electric bass guitar part in 'Here Today', Perone says they bring to mind similar parts in 'God Only Knows', culminating in what sounds like the vocal protagonist of 'Here Today' warning the protagonist of 'God Only Knows' that what he sings stands no chance at longevity. The protagonist's relationship then concludes shortly after 'I Just Wasn't Made for These Times', while 'Caroline, No' is a rumination in broken love. Psychedelia [ ]. 's Zach Ruskin expressed: 'while Pet Sounds offers an intimacy unlike other psychedelic pop of the time, soundscapes of whispers and reverb and sudden departures in structure and form do lend the record a somewhat trippy effect.' Problems playing this file? Wilson's response when asked about LSD and 'Hang On to Your Ego' was: 'I had taken a few drugs, and I had gotten into that kind of thing. I guess it just came up naturally.' Despite concerns over the song's drug references, the key lyric 'they trip through the day and waste all their thoughts at night' was kept for the final version. Elsewhere for 'Sloop John B', Wilson's lyric change from 'this is the worst trip since I've been born' to 'this is the worst trip I've ever been on' has also been suggested to be another subtle nod to acid culture. The album is often considered within the canon of psychedelic rock. The states that the Beach Boys introduced psychedelic elements with the album, calling it 'expansive' and 'haunting'. Writer Vernon Joyson observes flirtations with. Bret Marcus of Goldmine noted that he believes that the album is psychedelic pop, even though most people hesitate to name the Beach Boys in discussions of psychedelic music. Stebbins writes that the album is 'slightly psychedelic—or at least impressionistic.' According to academics and Martin Halliwell, Pet Sounds has a 'personal intimacy' that sets it apart from the Beach Boys' contemporaries in and the, but still retains a 'trippy feel' that resulted from Wilson's experimental use of LSD. They attribute this to Wilson's 'eclectic mixture of instruments, echo, reverb, and innovative mixing techniques learnt from Phil Spector to create a complex soundscape in which voice and music interweave tightly'. Wilson acknowledged that psychedelic elements are present in a number of the songs, but believes 'the album itself is mostly not psychedelic'. DeRogatis compared the album's repeated listening value to a heightened psychedelic awareness, that its melodies 'continue to reveal themselves after dozens of listens, just as previously unnoticed corners of the world reveal themselves during the psychedelic experience'. On the subject of psychedelic records in the 1960s, stated that 'psychedelic music is a term that pretty much refers to these sort of epic, ambitious long-form records. The reason Pet Sounds is considered a psychedelic journey or whatever is because it's like opening a door and stepping through and entering another world and you're in that other world for a period of time and then you come back.' Recording and production [ ]. A was used to filter lead guitar for the title track '. Other quirks from this recording include cans and a as percussion. Problems playing this file? Wilson produced several backing tracks over a period lasting several months, using professional Hollywood recording studios and an ensemble that included the nicknamed ', also known as the musicians frequently employed on Phil Spector's records. Most sessions were conducted at Western Studio 3 of, with few additional tracking dates at and. Surviving tapes of his recording sessions show that he was open to his musicians, often taking advice and suggestions from them and even incorporating apparent mistakes if they provided a useful or interesting alternative. Wilson said that he 'was sort of a square' with the Wrecking Crew, starting his creative process with how each instrument sounded one-by-one, moving from keyboards, drums, then violins if they were not overdubbed. Although the self-taught Wilson often had entire arrangements worked out in his head, they were usually written in a shorthand form for the other players by one of his session musicians. On notation and arranging, Wilson explained: 'Sometimes I'd just write out a chord sheet and that would be for piano, organ, or harpsichord or anything.. I wrote out all the horn charts separate from the keyboards. I wrote one basic keyboard chart, violins, horns, and basses, and percussion.' A Scully four-track 280 tape deck, similar to the 288 used for Pet Sounds Tape effects were limited to and reverb. Archivist notes: 'to my ears, it sounds more like the rather than. It should be mentioned that you get a significantly different sound from a chamber when you record it 'live' as opposed to doing it off tape, and one reason these records sound the way they do is that the reverb was being printed as part of the recording – unlike today where we'll record 'dry' and add the effects later.' Although Spector's trademark sound was aurally complex, many of the best-known Wall of Sound recordings were recorded on three-track recorders. Spector's backing tracks were recorded live, and usually in a single take. These backing tracks were mixed live, in mono, and taped directly onto one track of the three-track recorder. The lead vocal was then taped, usually (though not always) as an uninterrupted live performance, recorded direct to the second track of the recorder. The master was completed with the addition of backing vocals on the third track before the three tracks were mixed down to create the mono master tape. By comparison, Brian produced tracks that were of greater technical complexity by using state-of-the-art four-track and eight-track recorders. Most backing tracks were recorded onto a Scully four-track 288 tape recorder before being later dubbed down (in mono) onto one track of an eight-track machine. Wilson typically divided instruments by three tracks: drums–percussion–keyboard, horns, and bass–additional percussion–guitar. The fourth track usually contained a rough reference mix used during playback at the session, later to be erased for overdubs such as a string section. Discussing Spector's Wall of Sound technique, Wilson identified the and organ mix in 'I Know There's an Answer' as one example of himself applying the method. Wilson also doubled the bass (typically using an acoustic upright bass and an electric bass), guitars and keyboard parts, blending them with reverberation and adding other unusual instruments. One of Wilson's favorite techniques was to apply reverb exclusively to a timpani, as can be heard in 'Wouldn't It Be Nice', 'You Still Believe in Me', and 'Don't Talk'. Vocals and mixdown [ ]. Isolated vocals-only excerpt taken from the song's bridge and coda. Problems playing this file? According to Jardine, each member was taught their individual vocal lines by Brian at a piano. He explains, 'Every night we'd come in for a playback. We'd sit around and listen to what we did the night before. Someone might say, well, that's pretty good but we can do that better. We had somewhat photographic memory as far as the vocal parts were concerned so that never a problem for us.' This process proved to be the most exacting work the group had undertaken yet. During recording, Mike Love often called Brian ', a nickname referencing a canine's ability to detect sounds far beyond the limits of human hearing. Love later summarized: We worked and worked on the harmonies and, if there was the slightest little hint of a sharp or a flat, it wouldn't go on. We would do it over again until it was right. [Brian] was going for every subtle nuance that you could conceivably think of. Every voice had to be right, every voice and its resonance and tonality had to be right. The timing had to be right. The timbre of the voices just had to be correct, according to how he felt. And then he might, the next day, completely throw that out and we might have to do it over again. By the time of Pet Sounds, Wilson was using up to six of the eight tracks on the multitrack master so that he could record the voice of each member separately, allowing him greater control over the vocal balance in the final mix. After mixing down the four-track to mono for overdubbing via an eight-track recorder, six of the remaining seven tracks were usually dedicated to each of the Beach Boys' vocals. The last track was usually reserved for additional elements such as extra vocals or instrumentation. Vocals were recorded using two, which Dennis, Carl and Jardine would sing on, and a Shure 545 used by Brian for his leads. Love sang most of the album's bass vocals, and necessitated an extra microphone due to his low volume range. Some of the vocals were recorded at, because it was the only facility in Los Angeles with an eight-track recorder. The album's final vocal overdubbing session took place on April 13, 1966, concluding a ten-month-long recording period that had begun with 'Sloop John B' in July 1965. The album was mixed three days later in a single nine-hour session. Saxophonist recalls of the album's draft mix: 'It was full of noise. You could hear him talking in the background. It was real sloppy. He had spent all this time making the album, and zip—dubbed it down in one day or something like that. [When we said something to him about it], he took it back and mixed it properly. I think a lot of times, beautiful orchestrated stuff or parts got lost in his mixes'. A true stereophonic mix of Pet Sounds was not considered in 1966 largely because of mixing logistics. In spite of whether a true stereo mix was possible, Wilson intentionally mixed the final version of his recordings in mono (as did Spector). He did this because he felt that mono mastering provided more sonic control over the final result, irrespective of the vagaries of speaker placement and sound system quality. Another and more personal reason for Brian's preference for mono was his almost total deafness in his right ear. The total cost of production amounted to a then-unheard of $70,000 (equivalent to $520,000 in 2016). Leftover material [ ]. See also: and On October 15, 1965, Brian went to the studio with a 43-piece orchestra to record an instrumental piece entitled 'Three Blind Mice', which bore no musical connection to the. Another instrumental, called ', was recorded. According to Brian, 'I was just foolin' around one day, fuckin' around with the musicians, and I took that arrangement out of my briefcase and we did it in 20 minutes. It was nothing, there was really nothing in it.' In mid February 1966, Brian was in the studio with his session band taping the first takes of a new composition, '. On February 23, he gave Capitol a provisional track listing for the new LP, which included both 'Sloop John B' and 'Good Vibrations'. This contradicts the long-held misconception that 'Sloop John B' was a forced inclusion as the hit single at Capitol's insistence: in late February, the song was weeks away from release. Brian worked through February and into March fine-tuning the backing tracks. To the group's surprise, he also dropped 'Good Vibrations' from the running order, telling them that he wanted to spend more time on it. Al Jardine remembered: 'At the time, we all had assumed that 'Good Vibrations' was going to be on the album, but Brian decided to hold it out. It was a judgment call on his part; we felt otherwise but left the ultimate decision up to him.' Brian devoted some Pet Sounds sessions to avant-garde indulgences such as an extended a cappella run-through of the ' that exploited the song's use of. Humorous skits and sound effects were recorded in an attempt to create a psychedelic, foreshadowing much of his work on, which was set to have followed Pet Sounds. The only product of these sessions present in Pet Sounds was an excerpt of Brian's dogs barking accompanied by a recording of passing trains, which was from the 1963 sound effects LP Mister D's Machine. Brian may also have briefly considered recording other animal sounds for inclusion, as evidenced by a snippet of surviving studio chatter from a 'dog barking' session. This features Brian asking studio engineer: 'Hey, Chuck, is it possible we can bring a horse in here without. If we don't screw everything up?' , to which a clearly startled Britz responds, 'I beg your pardon?' , with Brian then pleading, 'Honest to God, now, the horse is tame and everything!' Title and artwork [ ]. Brian Wilson posing with a goat at the. The front sleeve depicts a snapshot of the band – from left, they are Carl, Brian, and Dennis Wilson; Mike Love; and Al Jardine – feeding pieces of apples to seven goats at the zoo. The photo was taken on February 10, 1966, when the group traveled to the accompanied by the photographer George Jerman. The sleeve's header, written in, displays 'The Beach Boys Pet Sounds', followed by the album's track list. Love remembers that Capitol's working title for the album was Our Freaky Friends, and that the label planned the cover shoot at the zoo, with the animals representing the group's 'freaky friends'. In May, the reported that the group 'came down from Hollywood to take a cover picture for their forthcoming album Our Freaky Friends.. Zoo officials were not keen about having their beloved beasts connected with the title of the album, but gave in when the Beach Boys explained that animals are an 'in' thing with teenagers. And that the Beach Boys were rushing to beat the rock and roll group called.' Asher remembered: '[Brian] had some proofs of the pictures they'd done at the zoo, and he told me they were thinking of calling the album Pet Sounds. I thought it was a goofy name for an album – I thought it trivialized what we had accomplished.' Until arriving to the photo shoot, Jardine thought that 'pet' referred to slang for ('petting'). Jardine also expressed disappointment with the chosen cover, believing it was 'crazy' to go to the zoo, that 'the art department screwed up pretty badly on that one. [I] wanted a more sensitive and enlightening cover.' Author writes that the design was at odds with the increasingly sophisticated cover portraits used on releases by artists such as the Beatles, and over 1965–67. He highlights it as 'a warning of what could happen when music and image parted company: songs of high romanticism, an album cover of stark banality.' The name Pet Sounds was Love's invention, according to himself, Brian, and Jardine. Brian explained that the album was named 'after the dogs. That was the whole idea', and that the title was a 'tribute' to Spector by matching his initials (PS), but could not recall who thought of going to the zoo. Love recounted: 'We were standing in the hallway in one of the recording studios, either Western or Columbia, and we didn't have a title.. We had taken pictures at the zoo and. There were animal sounds on the record, and we were thinking, well, it's our favorite music of that time, so I said, 'Why don't we call it Pet Sounds?' ' Brian has also credited Carl for the title, while Carl said with uncertainty that it might have come from Brian: 'The idea he [Brian] had was that everybody has these sounds that they love, and this was a collection of his 'pet sounds.' It was hard to think of a name for the album, because you sure couldn't call it. It was just so much more than a record; it had such a spiritual quality. It wasn't going in and doing another top ten. It had so much more meaning than that.' Personally, I think the group has evolved another 800 per cent in the last year. We have a more conscious, arty production now that's more polished. It's all been like an explosion for us.. It's like I'm in the golden age of what it's all about. —Brian Wilson to, March 1966 After the album was assembled, Brian brought a complete acetate to Marilyn, who remembers, 'It was so beautiful, one of the most spiritual times of my whole life. We both cried. Right after we listened to it, he said he was scared that nobody was going to like it. That it was too intricate.' Pet Sounds was released on May 16, debuting on the charts at 106. Compared to their previous albums in the US, Pet Sounds achieved dramatically less commercial success; it peaked at No. 10 on the Billboard LP chart, with sales estimated at around 500,000 units. Pet Sounds ' initial release was not awarded certification by the (RIAA). In February 2000, Pet Sounds was presented with gold and platinum awards based on sales that could be documented, although Capitol Records estimated it may have sold over two million copies. Brian was 'heartsick' that Pet Sounds didn't sell as highly as he expected, and interpreted the response as a rejection to his creative ideals. Some blamed Capitol Records for the album's underwhelming sales. Allegedly, they did not promote the album as heavily as previous releases. Carl stated that Capitol did not feel a need to promote the Beach Boys since they were getting so much airplay, and that they had a 'set image' for the group which even Pet Sounds could not alter. Others assumed that the label considered the album a risk, appealing more to an older demographic than the younger, female audience the Beach Boys built their commercial standing on. To Brian's dismay, within two months, Capitol assembled the group's first compilation,, which was quickly certified gold by the RIAA. Capitol executive later said: 'This is just conjecture on my part because it was so long ago. Because the marketing people didn't believe that Pet Sounds was going to do that well, they were probably looking for some additional volume in that quarter. There's a good possibility that's what happened. Anyway, my real forte was dealing with artists and producers and making them feel comfortable so they could achieve their ends. And sometimes, particularly when the label wanted something that the artist didn't, it wasn't easy. Before Pet Sounds was released, 'Caroline, No' was issued as a single; it was credited to Brian alone, leading to speculation that he was considering leaving the band. The single reached number 32 in the US. It was followed by 'Sloop John B', credited to the Beach Boys. The single reached number 3 in the US and number 2 in Britain. It had a three-week stay at number 1 in the Netherlands, making it the 'Hit of the Year'. Two months after the album's release, 'Wouldn't It Be Nice' was released, later reaching number 8 in the US, where it was treated as the A-side. Its flip side, 'God Only Knows', was featured as the A-side in Europe, peaking at number 2 in Britain. As a B-side in the US, it reached number 39. United Kingdom EMI release [ ]. Advertisement for the UK EMI release. The album's greatest success was in the UK, where it reached number 2 and stayed in the top-ten positions for six months. It was aided by support from the British music industry, who embraced the record. Bruce Johnston stated that when he was in London in May 1966, a number of musicians and other guests gathered in his hotel suite to listen to repeated playbacks of the album. This included, and. Moon himself involved Johnston by helping him gain coverage in British television circuits, and connecting him with Lennon and McCartney. Johnston claimed that Pet Sounds got so much publicity, 'it forced to put the album out sooner.' The Beach Boys became the strongest selling album act in the UK for the final quarter of 1966, dethroning the three-year reign of native bands such as the Beatles. According to author Steven Gaines,, the Beach Boys' press officer, is widely recognized as having been instrumental in this success, due to his longstanding connections with the Beatles and other industry figures in the UK. The music press there carried advertisements saying that Pet Sounds was 'The Most Progressive Pop Album Ever!' Founding editor later recalled that fans in the UK identified the Beach Boys as being 'years ahead' of the Beatles and – the latter being a description of the group's leader that Taylor had helped to establish among local music journalists. Carlin writes that, the Rolling Stones' manager, took out a full-page advertisement in in which he lauded Pet Sounds as 'the greatest album ever made'. Two music videos were filmed set to 'Sloop John B' and 'God Only Knows' for the UK's, both directed by Taylor. The first was filmed at Brian's home with Dennis acting as cameraman, the second near. While the second film, containing footage of the group minus Bruce flailing around in grotesque horror masks and playing, was intended to be accompanied by excerpts from 'Wouldn't It Be Nice', 'Here Today' and 'God Only Knows', slight edits were made by the BBC to reduce the film's length. Critical reception [ ] Contemporary reviews [ ] Early reviews for the album in the US ranged from negative to tentatively positive. 's reviewer called it an 'exciting, well-produced LP' with 'two superb instrumental cuts', and highlighted the 'strong single potential' of 'Wouldn't It Be Nice'. By contrast, the reception from music journalists in the UK was highly favourable. Of admired it as 'Thirteen tracks of Brian Wilson genius. The whole LP is far more romantic than the usual Beach Boys jollity: sad little wistful songs about lost love and found love and all-around love.' Writing in, Norman Jopling reported that the LP had been 'widely praised', yet he predicted: 'It will probably make their present fans like them even more, but it's doubtful whether it will make them any new ones.' Ran a feature in which many pop musicians were asked whether they believed that the album was truly revolutionary or progressive. The author concluded that 'the record's impact on artists and the men behind the artists has been considerable.' Among the musicians contributing to the 1966 Melody Maker survey, of said: 'Brian Wilson is a great record producer. I haven't spent much time listening to the Beach Boys before, but I'm a fan now and I just want to listen to this LP again and again.' Then a member of,, reported that everyone in his band loved the album. Andrew Oldham said: 'I think that Pet Sounds is the most progressive album of the year in as much as 's was. It's the pop equivalent of that, a complete exercise in pop music.' Three of the nine people who are quoted in the Melody Maker article (Keith Moon, 's, and ' ) did not agree that the album was revolutionary. D'Abo and Walker favored the Beach Boys' earlier work, as did journalist and television presenter, who expressed a preference for Beach Boys' Today! And stated that Pet Sounds '[is] probably revolutionary, but I'm not sure that everything that's revolutionary is necessarily good'. Of the Who opined that 'the Beach Boys new material is too remote and way out. It's written for a feminine audience.' Writing in magazine in 1968, recognized the album's debt to Rubber Soul, saying that Pet Sounds was 'revolutionary only within the confines of the Beach Boys' music', although later in the piece he commented: ' Pet Sounds was a final statement of an era and a prophecy that sweeping changes lay ahead.' Retrospective acclaim and status [ ] Professional ratings Review scores Source Rating A+ According to author Johnny Morgan, a 'process of reevaluation' of Pet Sounds was underway from the late 1960s onward, with a 1976 NME feature proving especially influential. In his 1969 series, stated that the album was almost overshadowed by the Beatles', released two months later, and that 'a lot people failed to realize that Brian Wilson's production was as unique in its own way as the Beatles'. Noel Murray of, writing in 2014, theorized that the success of 'Good Vibrations' helped turn around the perception of Pet Sounds, in that the album's 'un-hip orchestrations and pervasive sadness baffled some longtime fans, who didn't immediately get what Wilson was trying to do.' Brian Wilson, who wrote Pet Sounds, certainly anticipated the modern pop-centric era, which privileges producer over artist and blurs the line between entertainment and art.. Wilson patented a type that lives on to this day— that of the reclusive genius whose instrument is the entire studio. Pet Sounds foreshadowed the big-budget psychodramas of the future—albums by,,, and other skittish artists successful enough to find a fully-stocked studio at their ego's disposal. Anytime a band or musician disappears into a studio to contrive an album-length mystery, the ghost of Wilson is hovering near. —Jason Guriel,, May 2016 Pet Sounds is recognized as an ambitious and sophisticated work that advanced the field of music production in addition to setting numerous precedents in its recording. The album's historical distinctions include being the first piece in popular music to incorporate the Electro-Theremin, an easier-to-play version of the, as well as the first in rock music to feature a theremin-like instrument. The Electro-Theremin's inventor performs the instrument on the song 'I Just Wasn't Made for These Times'. Although not originally a big seller, the album has been enormously influential since it was released. In 1971, publication Beat Instrumental & International Recording wrote: ' Pet Sounds took everyone by surprise. In terms of musical conception, lyric content, production and performance, it stood as a landmark in a music genre whose development was about to begin snowballing.' That same year, magazine reflected that 'in the year and a half that followed Pet Sounds, the Beach Boys were among the vanguard. Anticipating changes that rock didn't accomplish until 1969–1970.' In 1995, a panel of numerous musicians, songwriters and producers assembled by MOJO voted Pet Sounds as the greatest album among them. Writer Rachael Maddux discussed the album's impact in 2011: 'These days, the legacy of Pet Sounds looms so large that you can't always be sure if what you're hearing takes a direct line from the album itself or if it pulls from a second tier one of the hundreds of thousands of its beneficiaries now trickling down their own influence.' Released on the same day as the album was 's, which Leibovitz calls 'two strands in the same conversation, the one that turned American popular music, for one fleeting moment of one year in the middle 1960s, into a religious movement'. Author Geoffrey Himes relates Wilson's achievements to Dylan's: 'The challenge for the pop songwriter is to mirror real life's conflicts in the song and still deliver the satisfying resolution pop music requires. Bob Dylan did it by introducing irony into rock'n'roll lyrics, and Brian's introduction of non-standard harmonies and timbres proved just as revolutionary. Most pop music unifies its lyric, melodic, harmonic and rhythmic devices so it can communicate one simple emotion as powerfully as possible.. This unified approach can be quite satisfying, but it can't reflect the complications of adult emotions in real life.' Paul McCartney has frequently spoken of his affinity with the album, citing 'God Only Knows' as his favorite song of all time, and crediting his melodic bass-playing style to the album. He acknowledged that Pet Sounds was the primary impetus for the Beatles' 1967 album. The interplay between the Beatles and the Beach Boys thus inextricably links the two albums together. Comparing Pet Sounds to other albums that are often labeled 'masterpieces', such as (1997), (1973) or (1972), music critic notes 'only Pet Sounds is written from the teen or adolescent point of view.' Genres and stylistic trends [ ]. It's been said that, although hardly anyone bought 's records, those who did ended up being inspired to start their own bands. In the case of the Beach Boys' 1966 opus Pet Sounds, it's likely that each of its 13 songs inspired its own subset of pop offspring. —Jeff Straton,, October 2000 The album informed the developments of genres such as rock,, jazz,,,, pop, and is often cited as one of the earliest entries in the canon of psychedelic rock. Scholar Philip Auslander explains that even though psychedelic music is not normally associated with the Beach Boys, the 'odd directions' and experiments in Pet Sounds 'put it all on the map.. Basically that sort of opened the door—not for groups to be formed or to start to make music, but certainly to become as visible as say or somebody like that.' Decider wrote that the album 'almost single-handedly created the idea of 'baroque pop'.' Many Los Angeles record producers imitated the album's orchestral style, which became a component to the acts that followed. 's argued that the Beach Boys helped develop, bridging a gap between the polished pop harmonizing of and the experimentation of, particularly with 'Sloop John B', whose 'fussy' arrangements, 'pure' harmonies, and 'childish vulnerability' he says 'come out of a tradition of pop R&B'. Wilson also became a 'godfather' to an era of who were inspired by his melodic sensibilities, studio experimentation, and orchestrations. Chamber pop itself was based on the template provided by Pet Sounds. Treblezine 's Ernest Simpson and 's characterize it as the first album. Perone's assessment of the album's composition indicates a remove from 'just about anything else that was going on in 1966 pop music'. Composer observed: 'Listening to it today, it is, perhaps, easier to see why it was one of the defining moments of its time. Its willingness to abandon formula in favor of structural innovation, the introduction of classical elements in the arrangements, production concepts in terms of overall sound which were novel at the time-all these elements give Pet Sounds a freshness that, 30 years later, is immediately there for the listener.' Strauss writes that with Pet Sounds, the Beach Boys became the first major rock group 'to look music trends firmly in the eye and declare that rock really didn't matter. Rock is supposed to be about, you know, fucking, and Brian Wilson was recording a song ('I Know There's an Answer') that was originally entitled 'Get Rid of Your Libido'.' Sommer said that the Beach Boys became the first group to make an entire album that departed from the usual small-ensemble electric rock band format: 'Of course, others had done it for a song or two, but no one had said, 'This will be a complete album that can not be performed by four or five guys plugged into amps.. Once the Beach Boys let that cat out of the bag, the whole ship of rock sailed to new ports.' ' Professor of American history stated that 'God Only Knows' remade the ideal of the popular love song, while 'Sloop John B' and 'Pet Sounds' broke new ground and took rock music away from its casual lyrics and melodic structures into what was then uncharted territory. He furthermore called it one factor which spawned the majority of trends in post-1965 rock music, the only others being the Beatles' Rubber Soul (1965) and Revolver (1966), and the 1960s folk movement. Similar to subsequent experimental rock LPs by, the Beatles, and the Who, Pet Sounds featured countertextural aspects that called attention to the very recordedness of the album. Many British groups responded to the album by making more experimental use of recording studio techniques. Progressive/art rock [ ]. While many may struggle to see the direct link between the bright, bouncy tones of Pet Sounds and bands like the Beatles, and countless prog-rock bands, there was simply no precedent for the way that notes moved and vibrated across the record. —Joel Freimark, January 2016 Composer and journalist calls Pet Sounds a 'clear precedent' to the birth of and. Author felt that the album represented a turning point for progressive rock as the Beach Boys and the Beatles transformed rock music from into music that was made for listening to, bringing 'expansions in, (and therefore ),,, and the use of '. It is viewed by David Leaf as a herald of the genre, while Jones specifically locates it to the genre's beginning. Sommer writes that ' Pet Sounds proved that a pop group could make an album-length piece comparable with the greatest long-form works of,,, and.' According to music journalists Stephen Davis and Nick Kent, Pet Sounds was the first rock concept album. Bill Holdship said that it was 'perhaps rock's first example of self-conscious art'. According to Jim Fusilli, author of the book on the album, it '[raised itself] to the level of art through its musical sophistication and the precision of its statement', while academic Michael Johnson said that the album was one of the first documented moments of ascension in rock music. Cultural references [ ]. Wilson performing Pet Sounds as a solo artist at, 2016 After its release, several selections from Pet Sounds became staples for the group's live performances, including 'Wouldn't It Be Nice', 'Sloop John B' and 'God Only Knows'. Other songs were performed, albeit sporadically and infrequently through the years, and the album was never performed in its entirety with every original group member. In the late 1990s, Carl Wilson vetoed an offer for the Beach Boys to perform Pet Sounds in full for ten shows, reasoning that the studio arrangements were too complex for the stage, and that Brian could not possibly sing his original parts. As a solo artist, Brian performed the entire album live in 2000 with a different orchestra in each venue, and on three occasions without orchestra on his 2002 tour. Recordings from Wilson's 2002 concert tour were released as. Rolling Stone 's Dorian Lynskey says that the shows helped establish the now-ubiquitous practice of artists playing 'classic albums' in their entirety. In 2013, he performed the album at two shows, unannounced, also with Jardine as well as original Beach Boys guitarist. In 2016, Wilson performed the album at several events in Australia, Japan, Europe, Canada and the United States. The tour was planned as his final performances of the album. Release history [ ]. See also: Pet Sounds has had many different reissues since its release in 1966, including remastered mono and stereo versions. Its first reissue was in 1972, packaged as a bonus LP with the Beach Boys' latest album. The first release of the album on CD came in 1990, when it was released with the addition of three previously unreleased bonus tracks: 'Unreleased Backgrounds' (an demo section of 'Don't Talk' sung by Wilson), 'Hang On to Your Ego', and 'Trombone Dixie'. This 1990 reissue was one of the first CDs to sell more than a million copies. In 1997, box set was released. It included the original mono release of Pet Sounds, the very first stereo release (created by ), and three discs of unreleased material. In 2001, Pet Sounds was re-released with the mono and improved stereo versions, plus 'Hang On to Your Ego' as a bonus track, all on one disc. On August 29, 2006, Capitol released a 40th Anniversary edition, containing a new 2006 remaster of the original mono mix, DVD mixes (stereo and Surround Sound), and a 'making of' documentary. The discs were released in a regular jewel box and a deluxe edition was released in a green fuzzy box. A two-disc colored gatefold vinyl set was released with green (stereo) and yellow (mono) discs. In 2016, a 50th anniversary edition box set presents the remastered album in both stereo and mono forms alongside studio sessions outtakes, alternate mixes, and live recordings. Of the 104 tracks, only 14 were previously unreleased. Track listing [ ] Side one No. Title Writer(s) Lead vocal(s) Length 1. • Wilson • Asher B. Wilson 2:51 Total length: 17:19 Vocals according to and Craig Slowinski. Mike Love's writing credits for 'Wouldn't It Be Nice' and 'I Know There's an Answer' were only awarded after a. Al Jardine's contribution to the arrangement of 'Sloop John B' remains uncredited. Personnel [ ] Per and Craig Slowinski, except where otherwise noted. The Beach Boys • – lead, and backing vocals • – harmony and backing vocals • – lead, harmony and backing vocals • – lead, harmony and backing vocals; bass and on 'That's Not Me'; on 'Pet Sounds' • – lead, harmony and backing vocals; and overdubbed on 'That's Not Me' • – harmony and backing vocals; on 'That's Not Me' Production • – engineer • – engineer • H. Bowen David – engineer • – engineer Guests • – plucked piano strings on 'You Still Believe in Me' Session musicians. This section needs to be updated. In particular: Pet Sounds charted in 2016. Please update this article to reflect recent events or newly available information. (February 2016) Weekly charts [ ] Year Chart Position 1966 US Albums 10 1966 2 1972 US Billboard 200 Albums 50 1990 US Billboard 200 Albums 162 1995 UK Top 40 Album Chart 17 2001 Top Internet Albums [ ] 24 Singles [ ] 'Sloop John B' Charts (1966) Peak position Australian Singles Chart 17 Austria () 1 Belgium ( Flanders) 5 Belgium ( Wallonia) 39 Canada 2 Germany () 1 Ireland () 2 Netherlands () 1 Norway () 1 2 US 3 'Wouldn't It Be Nice' Chart (1966) Peak position Australian Singles Chart 2 Canadian Singles Chart 4 New Zealand Singles Chart 12 U.S. Billboard Hot 100 8 U.S. • Badman, Keith (2004).. Backbeat Books.. •; Woodstra, Chris;, eds. Backbeat Books.. • Barger, Eric (January 1, 1990).. Huntington House. • Brend, Mark (2005). Strange Sounds: Offbeat Instruments and Sonic Experiments in Pop (1. San Francisco, Calif.: Backbeat.. Knopf Doubleday Publishing Group.. • Buckley, Peter (2003).. Rough Guides.. • Covach, John; Boone, Graeme M. Oxford University Press.. • Dillon, Mark (2012).. • Doe, Andrew; Tobler, John (2004).. Omnibus Press.. • Doe, Andrew; Tobler, John (2009).. In Charlesworth, Chris. 25 Albums that Rocked the World. Omnibus Press.. (1st Da Capo Press ed.). Cambridge, MA: Da Capo Press.. London: Fourth Estate.. Hal Leonard Corporation.. • Doggett, Peter (2015). Electric Shock: From the Gramophone to the iPhone: 125 Years of Pop Music. London: The Bodley Head.. • Edmondson, Jacqueline, ed. • Fusilli, Jim (2005).. Bloomsbury Publishing.. • Gaines, Steven (1995). Heroes and Villains: The True Story of the Beach Boys. New York, NY: Da Capo Press.. Gaines, Steven; Hajdu, David, eds. Heroes and Villains: Essays on Music, Movies, Comics, and Culture. New York: Da Capo Press.. Perseus Books Group.. Syracuse University Press.. • Granata, Charles L. Chicago Review Press.. In Covach, John; Boone, Graeme M. Understanding Rock: Essays in Musical Analysis. Oxford University Press. • Hegarty, Paul; Halliwell, Martin (2011).. Continuum International Publishing.. Backbeat Books.. • Howard, David N. Milwaukee, Wisconsin: Hal Leonard.. The Mojo Collection: 4th Edition. Canongate Books.. • Johnson, Michael (2009). Pop Music Theory: Harmony, Form, and Composition (2nd ed.). Boston, Mass.: Cinemasonique Music.. • Jones, Carys Wyn (2008).. Ashgate Publishing, Ltd.. • Joyson, Vernon (1984).. Todmorden, England: Babylon Books.. • Kent, Nick (2009). The Dark Stuff Selected Writings on Rock Music. Cambridge, MA: Da Capo Press.. • Koestler, Arthur (1989). The Act of Creation. London: Arkana [The Penguin Group].. • Lambert, Philip (2007).. Bloomsbury Publishing.. Courage Books.. Penguin Publishing Group.. • Lowe, Kelly Fisher (2007).. U of Nebraska Press.. Random House.. • Marsh, Dave; Swenson, John (eds.) (1983). The New Rolling Stone Record Guide. New York, NY: Random House/Rolling Stone Press.. CS1 maint: Extra text: authors list () • (1998), Listening to the Future: The Time of Progressive Rock, Chicago: Open Court, • Moorefield, Virgil (2010).. • Morgan, Johnny (2015). The Beach Boys: America's Band. New York: Sterling.. • Perone, James E. New York: Ballantine Books.. London: Sanctuary.. • Ryan, David Stuart (1984). John Lennon's Secret. London: Kozmik Press Centre.. • Sanchez, Luis (2014).. Bloomsbury Publishing.. • Schinder, Scott (2007).. In Schinder, Scott; Schwartz, Andy. Icons of Rock: An Encyclopedia of the Legends Who Changed Music Forever. Westport, Connecticut: Greenwood Press.. • Smith, Chris (2009).. Oxford University Press.. • Stebbins, Jon (2011).. Backbeat Books.. • Tunbridge, Laura (2010).. Cambridge University Press.. • Unterberger, Richie; Hicks, Samb (1999).. Rough Guides.. Da Capo Press.. • Zager, Michael (2012). Music Production: for Producers, Composers, Arrangers, and Students (2nd ed.). Lanham, Md.: Scarecrow Press.. • Zak, Albin (2001).. University of California Press.. Content on this page requires a newer version of Adobe Flash Player. - Games, Videos, Worksheeets FREE/Commercial ESL Downloads We provide life-saving resources for teaching English. There are powerpoint presentations & Videos that you can use on a computer or in a classroom with a projector. ESL Galaxy has over 55 state-of-the-art multimedia Powerpoint presentations & videos suitable for kids, beginners to pre intermediate ESL levels. With these tools you can teach new vocabulary, pronunciation & spelling with the greatest ease. We only put a few on the site to avoid bandwidth cost. If you want to get all our presentations please order the Grammar/Vocabulary and Pronunciation Ebooks - Don't wait! Save lesson planning time by getting our worksheets on this site as ebooks. These Ebooks have a total of over 1000 best of the best worksheets for teaching grammar and vocabulary from Beginner to intermediate level. They contain our newest worksheets all across our sites and over 500 new worksheets not already on the sites. It is what every English teacher or school should have in their resource bank. The best part of it is that you can preview all the contents before deciding to download. This way you will see if it meets your needs. Course eBooks for Kids These course ebooks for kids are the ultimate lesson planning time savers. We offer over 500 resources for teaching a variety of topics to young learners and beginners. Click on the icon to get more information on this product.You can also take a tour of the contents before downloading.There are powerpoint lessons, video slides, pdf worksheets and flashcards to enable you teach with ease. The course ebooks can be used as full term school courses or supplementary materials for schools. ESL Powerpoint Downloads-Free Samples to try • Lesson- • Lesson- • Lesson- • Lesson- • Lesson- • • • • • • • Did you like these presentations?- Remember you can have over 55 similar presentations on Autorun CD-ROM • • How do I Download All 50 Presentations?- TERMS: The downloads are available for private use only. Redistribution is strictly prohibited. • the materials may be used at educational institutions, either for individual or teacher-guided instruction; • teachers are permitted to make copies as back up or to share within an educational institution like a school. Redistributing or reselling the files on the internet or in any form other than the one mentioned above is strictly forbidden. • After payment, we will contact you any time between 30 mins to 24 hours from purchase. Wait for your link in the email you provide during payment. JavaScript is required to view this page. • • You need • How about learning how to build your own presentations? These video tutorials will teach any language teacher the essentials of PPT and beyond. The videos have audio lectures in English with screen shots of all the steps involved in doing everything you want with language lessons on Powerpoint. ESL Video Slide Shows-Free Video downloads -zip files • DOWNLOADS • • • • • • SAMPLE DOWNLOADS • • • • • • Did you like the videos? If they work for you, remember we have over 55 similar kinds of videos for teaching on computer. The Alex in Southend-on-Sea is an example of a chain pub - in this case a 'Screams ' managed pub targeted at university students. A pub chain is a group of or bars with a brand image. The brand may be owned outright by one company, or there may be multiple financiers; the chain may be a division within a larger company, or may be a single operation. Examples include,,, and. Pubs in the chain are typically branded with the same name, however the former ' pubs tended to be variations on a theme including the word Firkin in the title. Wetherspoons pubs have individual names, with the Wetherspoons brand prominently displayed. Shop new, used, rare, and out-of-print books. Powell's is an independent bookstore based in Portland, Oregon. Browse staff picks, author features, and more. Tabtight professional, free when you need it, VPN service. Can you name the Balkan leader who has been in high office longer than Alexander Lukashenko of Belarus? If not, I'll do it for you. In Montenegro, Milo Djukanovic has. Jan 25, 2015. It is revealed how profitable Greene King is as a business however none of this success is filtered down to those contributing to it's success. Minimum wage, no benefits (still having to pay for staff meal), poorly organised rota's, lack of breaks often working over 6 hours without a break, no staff room,. Contents • • • • • • Types [ ] In the, there are two types of chain, reflecting the ownership of the pub and the style of operations. Pubs are either tenanted or managed. Pub chains such as and own thousands of tenanted pubs which are not branded to retain uniqueness. They are controlled in the brands of beer, ales and lagers and sometimes other beverages that they may sell. Pub chains operating managed houses are frequently run as brands, located near a high street but rarely in predominantly residential areas. Multiple-held pubs do exist in countries other than the United Kingdom, but due to most countries having different accepted systems of ownership and supply, they do not hold anywhere near the level of control over the market as they do in the UK. Managed pub companies [ ]. This section may require to meet Wikipedia's. The specific problem is: some advertising (November 2014) () Atmosphere Bars and Clubs Ltd The 'Chicago Rock Cafe' and 'Jumpin Jaks' night-club/pub brands were created by in 1989, and the Chicago Rock Cafe concept meant the Luminar group became the most successful leisure company of the early 1990s. However, the group found the night-club/pub concept increasingly difficult to keep in profit, and in December 2006 created 3D Entertainment, in a £79m deal in which it retained a 49% share, to take over the night-club/pub brands, which were restructured into around 55 Chicago Rock Cafes with 15 other sites, including Jumpin Jaks and Mortimers pubs. 3D Entertainment could not make the brands successful, and the company went into administration in February 2010, with some of the Chicago Rock Cafe brands being taken over by Atmosphere Bars & Clubs, and other sites being bought. There are 21 Chicago Rock Cafes in locations all over England and Wales. Barracuda Group Varsity, Barracuda Bars, Juniper Inns, Cape and Smith & Jones are owned by the Barracuda Group, which is based in,. Hobgoblin The Hobgoblin pubs were owned by until 2002 and are located in London and the south of England. Laurel Pub Company Laurel (based in ) acquired several pub chains using funding arranged by, including buying Bar Med and from the administrators of SFI Group plc in June 2005 for £80m and also who were based in,, in May 2005 for £202m. Laurel owns the HogsHead chain of high street bars. In April 2007 Laurel also acquired the La Tasca chain of tapas bars for £123m. Tchenguiz bought the company through his company R20 for £151m in November 2004. Laurel were placed into administration in March 2008 and the assets were immediately purchased by Bay Restaurant Group and Town & City Pub Company in a 'pre-pack' deal. Mitchells & Butlers used to be the retail division of, which rebranded in July 2001 to become Six Continents Retail, and again in April 2003 to its current name. The company owns, Ember Inns, Edwards,, Miller & Carter, Browns Brasserie,, Nicholson's, Crown Carveries, Castle, as well as others. It is the largest UK pub and restaurant group. It is based in. Oakman Inns and Restaurants Oakman Inns (based in ) are a chain in the. Their first outlet The Akeman won Best UK Pub Design 2009 in Awards. In 2013, they won the Eat Out Award for Best Pub Company of 2013. In 2014 they won Publican Awards for Best Employer and Best Community Pubs. In 2015 they were named in achieving 3 Star accreditation from. Oakman Inns are expanding rapidly and have financed this growth via the. Pitcher and Piano Pitcher and Piano has been owned by since 1996. Slug and Lettuce is owned by the Bay Restaurants Group who are based in,. Originally part of Grosvenor Inns the chain was bought by SFI group who were based in. In June 2005 SFI Group went into administration at which point the majority of the Slug & Lettuce branded pubs were purchased by Laurel Pub Company for around £70 million. Laurel subsequently went into administration in March 2008, and the chain was acquired by Bay Restaurants Group. There are 80 pubs in the chain, predominantly situated in London, and the, but also elsewhere in England, Scotland, Wales and the. Stonegate Pub Company was established in 2010 to acquire 333 pubs from Mitchells & Butlers. Stongegate acquired a portion of the Bramwell pubs in 2013 (78 of 185). TCG In September 2005, Spirit Group sold its 'City Nights' portfolio of in excess of 180 pubs and clubs, en-bloc, to Alchemy - the financial backers behind the newly formed Tattershall Castle Group (TCG) who created the brand, 'the1440'. JD Wetherspoon run over 920 pubs across the UK. All JDW pubs serve an extensive food menu as well as drinks, and many are conversions from existing large buildings. Tenanted pub companies [ ] Enterprise Inns has around 5,500 leased and tenanted pubs in the UK. It is listed on the. Greene King have over 3,000 managed and tenanted pubs, restaurants and hotels in the UK. In 2015 they acquired Heineken acquired 1,900 UK pubs from Punch Taverns in December 2016. Punch Taverns has around 3,300 leased and tenanted pubs in the UK. It is headquartered in the traditional brewing centre of in. It is listed on the and is a constituent of the. The company's managed pub division was demerged in 2011 as a separate company,. In December 2016 it was agreed that around 1,900 pubs would be sold to. See also [ ]. • common knowledge for tied contracts •. Retrieved 2010-10-11. • The Makings of Luminar, The Luminar Staff and Shareholder Handbook, 2005, page 1 •. Retrieved 2010-10-11. Retrieved 2010-10-11. 24 January 2007. Retrieved 2007-10-21. • Thompson, James (2009-12-05).. Retrieved 2010-10-11. Retrieved 2010-10-11. Retrieved 2010-10-11. Retrieved 2010-10-11. Retrieved 2010-06-24. • • Tue, Jun 12, 2012, 22:29 BST - UK Markets closed.. Retrieved 2012-06-12. CS1 maint: Multiple names: authors list () •. Laurel Pub Co. Retrieved 2012-08-13. Retrieved 2012-06-12. Retrieved 2012-06-12. Dutch News nl. 16 December 2016. • External links [ ]. You can to make diagnostics, reset the errors and adapt the of different units and devices of your BMW. Contains everything you need for diagnostic to your BMW or Mini, as a dealer would do in the workshop, but using your laptop, saving you expensive dealer diagnostic fees. Diagnose faults and tell you how to carry out the necessary repairs, including how to get components safely off and back on again, and the exact BMW part numbers to order for your car. It tells you when to service the vehicle and how to carry out the work. It also allows programming of your vehicle. Included wiring diagrams database for BMWs and MINIs. What can this software do on your car? • Straightforward installation, copy, paste and run! • Can be run from alternative drives and locations. • Diagnose all BMW's. • Programming Fxx-/Ixx-/Gxx-series BMW's/Rolls Royce/Mini with ICOM. • No launcher required! • Hardware check disabled -can use the program on the slower laptops. • ISTA contains all the functions required for programming vehicles of the F, G and I series and Motorrad models with vehicle electrical system 2020 (BN2020). • Language: ENG, GER, RU, Pl, CZ. Configure VMware network settings. Configure Virtual Machines. Check ping to 192.168.68.1. Establishing connection between Diaghead emulator and DIS V57. Establishing connection with SSS V32 software. BMW TIS V8 Installation. Toyota TIS Techstream 12.20.024 Free Download Free Toyota Techstream 12.10.019 and Installation Install BMW INPA on WinXP Win7 Win8 Win10 Free Download BMW E. • With Technical Information (TIS) and Wiring Diagram (WDS). • Ediabas Instruction and all necessary tools included. • Added components (32-Bit & 64-Bit) • Included: ISTA User Manual EN,DE, IT,PL,RU,TR,CZ,ES,FR,JP,KR,NL,SE • NET Framework 4.6 + Updates • Java Runtime Environment 8 • DirectX 9.0c Extra files • General runtime files • Microsoft Visual C++ Runtimes (v2005 - v2015) • Microsoft Visual J# 2.0 SE • Microsoft Silverlight 5 • Adobe Flash Player (Opera, FireFox, Internet Explorer) • Shockwave Player 12 (Internet Explorer Plugin • Ediabas • Suitable for BMW Motorcycle • BMW ISPI ICOM-FW 03-15-00 • BMW ISPI ICOM-Next-FW 03-15-00. • Module (ECU) errors reading and clearing • Gearbox (transmission) and engine adaptations erasing • Fuel injectors control, correction amount real-time viewing, injector registering • Engine mountings testing • Mass air flow (MAF) testing and registering. Whole air system testing • EGR system control and testing • Turbocharger and related components control and testing • Diesel particulate filter regeneration (DPF) • Battery replacement • Oil change and service interval reset • Wiring diagrams live data, repair instructions, technical documents etc • And much more other functions. Dealership BMW ISTA-P - ISTA / P (Integrated Service Technical Application Programming) a system of integrated services and software is application software complex ISPI and replaced the old regime Progman. ISTA / P includes data for programming and coding of vehicles. Also, it provides new features that will be needed in the future.Program for diagnosis and reprogramming of electronic control units of cars BMW, MINI and Rolls-Royce.It works with E and F series. For Coding / Programming / Diagnostics on E and F-series Cars. • Tool32 • Itool Radar • NFS • WinKFP • ETK Offline/ Online • EBA Online GER/ENG • TIS Easy Install for Win 7/10 32 & 64 bit • WDS • Autodata 3.38 GER/ENG /New 3.40 ENG • VMware, WinRAR 5 • Daemon Tools, FTDI Treiber • BMW CODING TOOL • DIS V57 und DIS V44 CIP Pre-Installed • Acronis IBM T30 native Dual boot DIS V57 and SSS V41 • INPA Version 5.06 + F-SERIES • INPA EA-90X • NCS Expert Version 4.01 • Ediabas 7.3.05 2017 • NCS DUMMY • Dr.Gini - B021 - 2017 • BMW ISPI KSD 2017 • BMW AiCoder 5 for F-series • AND MUCH MORE! The 7 DVD's package comes complete with step by step easy-to-follow installation instructions. • Most people install our software and get working on their car straight away, but if you experience difficulties, we will provide technical assistance. Please contact us if you require online help. • In some cases we have recognised bits of our old software, now obsolete, poorly copied by someone else then sold on or given away 'free' but with glaring errors. • Unlike other sellers, we sell up to date complete Software not only INPA Ediabas for 20-25 € on VMware. • We will beat any genuine competitor’s advertised price! We want you to feel confident that you are getting the absolute best price for the product you are ordering. Bimmerdiag staff regularly checks our competitor's pricing to make sure you are getting the lowest price. In fact, if you find a lower advertised price on any genuine competitor’s website, we will beat it! • If you have any questions, please do not hesitate to ask. • After payment, immediate access to the server. • Important Note:A download link to the server Mega or Amazon Cloud will be sent to you shortly after purchase via e-mail. Because the e-mail contains a URL link, some spam filters will filter those e-mail wrong. So please make sure that you check all spam and junk folders in your email client, including Gmail and Hotmail addresses. • Our programs help you to understand the trouble code better and suggest the need treatment. • You will be sure exactly what kind of repair needs your car to prevent getting ripped off by Your Mechanic. • No additional costs, EVERYTHING is there. • Buy Confidentially! • Guest checkout is enabled, no registration is required. Forms of Payments. UpdateStar is compatible with Windows platforms. UpdateStar has been tested to meet all of the technical requirements to be compatible with Windows 10, 8.1, Windows 8, Windows 7, Windows Vista, Windows Server 2003, 2008, and Windows XP, 32 bit and 64 bit editions. Simply double-click the downloaded file to install it. UpdateStar Free and UpdateStar Premium come with the same installer. UpdateStar includes such as English, German, French, Italian, Hungarian, Russian and. You can choose your language settings from within the program. Nov 21, 2017. Degener Pkw Fahren Pdf Display List Of Files From Server Folder In Asp.Net Gridview Jessica Simpson Booty Game Games For Windows Live Xp Hotfix Download Bratz Make Your Own Story Game Anatomic Therapy In Tamil C Program For Ls Command In Unix Converter Currency Program. Basketball Media Guide Pdf - The best free software for your; Download Degener Pkw Fahren Pdf free; Antropologia Forense Pdf: Software Free. Free trimble dc file editor downloads - Collection of trimble dc file editor freeware, shareware download - Simple file editor, Custom STS Metadata File Editor,. Items 1 - 30 of 30. Bugge Wesseltoft - keyboards Dragon In Exile Earc| Hurts Exile Is Safe 1 Exile Golden Legends Free Full Download Sidsel Endresen - Exile (1994) Nicotine without the bad stuff is the. Installation: Once a pack has been downloaded, extract the.rar into your osu! Songs directory. All songs are still.zip'd. Sol 36 Exile Portogallo Grecia Capo Verde Giamaica Isole 31 The Dodoz Mike and the Mechanics - Silent Running Jane LAMBERT, Rebecca Dawn 21 Grand. Shunsuke Kikuchi - action 105 secondes 27 Dan Andriano In The Emergency Room 80 Fast Romantics 80 Sidsel Endresen 51 Rohff Valar - Rivendell. Fall out boy - from under the cork tree my chemical romance - three cheers for sweet revenge Newton Faulkner - Hand Built By Robots robotsbuiltbyhand Newton Faulkner-Hand Built By Robots-(Advance)-2007 Our Love To Admire (2007) Interpol - Our Love To Admire Ryan Adams - Easy Tiger Ryan Adams-Easy Tiger stealing beauty The Best Dance Album In The World.Ever! The Sunshine Underground - raise the alarm Raise The Alarm death cab der (2) James Morrison Undiscovered a DHZ.Inc Pre Release Lily Allen - Alright Still [2006][CD+Vid+Cov] (no files/folders) (no files/folders) (no files/folders) (no files/folders) (no files/folders) (no files/folders) (no files/folders) (no files/folders) (no files/folders) (no files/folders) (no files/folders) (no files/folders) (no files/folders) (no files/folders) (no files/folders) (no files/folders) (no files/folders) (no files/folders) (no files/folders) (no files/folders) (no files/folders). • Blood, C G; Pugh, W M; Gauker, E D; Pearsall, D M 1992-12-01 Disease and non-battle injury rates were computed for ships of the British Royal Navy which were deployed during wartime and peacetime operations. The wartime sick list admission rates were lower aboard carriers, battleships, and cruisers when compared with their counterparts deployed in peacetime; rate differences for battleships and cruisers were statistically significant (p. • Katayama, Mirei; Aoki, Mikako; Kawana, Seiji 2008-04-01 Anaphylaxis is a severe form of allergic disease. Royal jelly is widely consumed in Japan, but a few cases of anaphylaxis caused by royal jelly have been reported. We encountered a 26-year-old Japanese woman who developed anaphylaxis after drinking a beverage of crude royal jelly including honey. She had a history of bronchial asthma, allergic rhinitis, allergic conjunctivitis, atopic dermatitis and food allergy (abalone). Prick tests were performed with the beverage of crude royal jelly including honey and with two other beverages including honey. Only the crude royal jelly beverage showed a positive reaction. An oral challenge test with the crude royal jelly beverage was not performed, but a similar test with a beverage including honey caused no symptoms. A positive response to the beverage of crude royal jelly was not observed in normal volunteers. A positive diagnosis of anaphylaxis due to royal jelly was made based on the positive prick test, systemic clinical symptoms and the negative prick tests in healthy volunteers. Moreover, the patient had no symptoms when taking lemon and orange, which were present as essences in the crude royal jelly beverage, and also had no response to honey after anaphylaxis. Increased consumption of royal jelly in health food supplements may increase the incidence of royal jelly-related allergic reactions. Therefore, royal jelly should be considered as a causative allergen in food-induced anaphylaxis. Previant; Linda M. Nagel; Scott A. Pugh; Christopher W. Woodall 2012-01-01 This publication provides a baseline overview of forest resources for Isle Royale National Park (Isle Royale) using data from the Forest Inventory and Analysis (FIA) Program of the U.S. Department of Agriculture, Forest Service. The availability of permanent FIA plots allows for the first-ever comparison of Isle Royale's forest conditions (2006-2010) to reserved. • 1996-01-01 GMOs and UMOs) and flight surgeons, but not the interns and residents. The implicit assumption we made was that, for purposes of providing care to.than half of all of its providers being counted as providing primary care. This high value is attributable mainly to the large numbers of GMOs, UMOs.being either GMOs or contract civilians. The Navy couldn’t rely on only active-duty clinicians to provide primary care under the HMO system. The Navy • Boas Hall, Marie 2002-03-01 Henry Oldenburg, born in 1619 in Bremen, Germany, first came to England as a diplomat on a mission to see Oliver Cromwell. He stayed on in England and in 1662 became the Secretary of the Royal Society, and its best known member to the entire learned world of his time. Through his extensive correspondence, now published, he disseminated the Society's ideals and methods at home and abroad. He fostered and encouraged the talents of many scientists later to be far more famous than he, including Newton, Flamsteed, Malpighi, and Leeuwenhoek with whom, as with many others, he developed real friendship. He founded and edited the Philosophical Transactions, the world's oldest scientific journal.His career sheds new light on the intellectual world of his time, especially its scientific aspects, and on the development of the Royal Society; his private life expands our knowledge of social mobility, the urban society, and the religious views of his time. • McKim Malville, J. The royal estates lying between Cusco and Machu Picchu illustrate the remarkable variety by which the sun was honored and worshipped in the Inca Empire. The terraced basins of Moray combine the sun at both solstices and, perhaps, the zenith sun, with flowing water and offerings to Pachamama. The complex astronomy at Urubamba involves the palace of Quespiwanka, horizon pillars, solstices, and mountain worship. Ollantaytambo contains horizontal shadow-casting gnomons with a major water shrine. • Krefting, L.W.; Lee, F.B.; Shelton, P.C.; Gilbert, K.T. 1966-01-01 This report constitutes an annotated list of 197 species of birds reported from Isle Royale National Park, a 210-square-mile archipelago in northwestern Lake Superior including some 200 islets and rock outcrops. The island is 45 miles long and 8 miles wide at its widest point. Bird distribution and habitats are described, along with geography and vegetation; 62 species are known to have bred at least once, 26 are thought to be breeders, and the rest are migrants. • Lukasse, Mirjam; Pajalic, Zada 2016-03-01 Midwives are educated to care for women during pregnancy, birth and the postnatal period. For midwives to be able to fulfill their professional role they need to be empowered to do so. To investigate Norwegian midwives' perception of empowerment in practice. A cross-sectional study. In September 2014, a random sample of 1500 midwives was sent a questionnaire, which included the Perception of Empowerment in Midwifery Practice Scale (PEMS). Of 1458 eligible midwives, 595 (41%) completed the PEMS. Exploratory factor analyses and comparative analyses were done. Exploratory factor analyses identified three factors (subscales): Supportive management, Autonomous professional role, and Equipped for practice. Midwives working in a hospital setting scored significantly lower on the factors Supportive management and Autonomous professional role compared to midwives not working in a hospital setting (p. • Paola, Fantini; Pantalea, Delle Donne; Gianfranco, Calogiuri; Antonio, Ferrannini; Angelo, Vacca; Eustachio, Nettis; Elisabetta, Di Leo 2014-01-01 Royal jelly has been demonstrated to have several physiological activities. However, in the literature, different reactions induced by royal jelly are reported. We describe a case of seven-year-old child that was referred to our observation for two episodes of oral allergy syndrome (OAS) that appeared ten minutes after ingestion of royal jelly. Skin prick test with standard panel of inhalant and food allergens, a prick-to-prick test using the royal jelly's extract responsible for patient's reactions, and royal jelly patch test with extemporaneous preparation were performed. The specific IgE by ImmunoCAP System method versus Hymenoptera venom, inhalant allergens, food allergens, and lipid transfer proteins was dosed. According to the positive reactions to royal jelly both by prick-by-prick test and by a first reading patch test, royal jelly immediate hypersensitivity was diagnosed. According to the positive response for almond in both in vivo and in vitro tests we can think of the royal jelly contamination with almond pollen as possible cause of patient's reaction. Moreover, from the results of specific IgE titers versus Compositae pollens, we have argued the possibility that this case of royal jelly allergy could be explained also by the mechanism of cross-reaction with Compositae pollens. • Paola, Fantini; Pantalea, Delle Donne; Gianfranco, Calogiuri; Antonio, Ferrannini; Angelo, Vacca; Eustachio, Nettis; Elisabetta, Di Leo 2014-01-01 Royal jelly has been demonstrated to have several physiological activities. However, in the literature, different reactions induced by royal jelly are reported. We describe a case of seven-year-old child that was referred to our observation for two episodes of oral allergy syndrome (OAS) that appeared ten minutes after ingestion of royal jelly. Skin prick test with standard panel of inhalant and food allergens, a prick-to-prick test using the royal jelly's extract responsible for patient's reactions, and royal jelly patch test with extemporaneous preparation were performed. The specific IgE by ImmunoCAP System method versus Hymenoptera venom, inhalant allergens, food allergens, and lipid transfer proteins was dosed. According to the positive reactions to royal jelly both by prick-by-prick test and by a first reading patch test, royal jelly immediate hypersensitivity was diagnosed. According to the positive response for almond in both in vivo and in vitro tests we can think of the royal jelly contamination with almond pollen as possible cause of patient's reaction. Moreover, from the results of specific IgE titers versus Compositae pollens, we have argued the possibility that this case of royal jelly allergy could be explained also by the mechanism of cross-reaction with Compositae pollens. PMID:24799914 • Bureau of Naval Personnel, Washington, DC. This document is a reference for the enlisted men in the Navy whose duties require knowledge of the fundamentals of machinery. Beginning with the simplest of machines--the lever--the book proceeds with the discussion of block and tackle, wheel and axle, inclined plane, screw and gears. It explains the concepts of work and power, and differentiates • 1987-03-27 Nutrition Knovledge among Navy Recruits DTIC AELEOI7E flS SEP 2 8 1987 Terry L. Conway Linda K. Hervig D Ross R. Health Psychology Department.5 Participants........ 5 Nutrition Knowledge Questionnaire.Students.... 6 Recruits’ Nutrition Knowledge..... 8 Correlates of Nutrition Knowledge • Biasco, Frank; Redfering, David 1980-01-01 The effects of a short-term group counseling with confinees in a U.S. Navy correctional facility were determined. After 10 weeks of counseling the treatment group held significantly more positive views toward 'Persons in Authority' than did the control group. (Author) • The document is concerned with the relative worthwhileness of the Navy’s literacy training program as judged by its effectiveness in producing.status of the literacy training programs, and the present report was prepared in response to this request. (Author) • Yamaguchi, Kikuji; He, Shaoyu; Li, Zhengyue; Murata, Kiyoshi; Hitomi, Nobuyuki; Mozumi, Manaho; Ariga, Risa; Enomoto, Toshiki 2013-01-01 Rabbit polyclonal antibody produced by a major royal jelly protein 1 (MRJP1) specific peptide reacted only with a MRJP1. Indirect ELISA with the antibody revealed a MRJP1 level of 4.12-4.67 g/100 g in different company's royal jelly, which almost agreed with that of a hexametric form of MRJP1 (apisin) measured by high performance liquid chromatography. These results suggest that MRJP1 exists mainly as apisin in royal jelly. • Dahl, V; Hagen, I E; Raeder, J C 1998-04-30 We report the results of a questionnaire sent to anaesthetists and midwives on the use of obstetric analgesia and anaesthesia in Norwegian hospitals in 1996. 95% of the 49 hospitals involved responded to the questionnaire, representing a total of 56,884 births. The use of epidural analgesia in labour varied from 0 to 25% in the different hospitals with a mean value of 15%. Epidural analgesia was much more widely used in university and regional hospitals than in local hospitals (p. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |