Massive Attack - Sly (CD)
These currents eroded the underside of the planet's crust and caused the formation of Utapau's many sinkholes and chasms, which, when combined with numerous storms, served to make the planet's surface inhospitable.
One of Utapau's "continents" was more stable that the rest; for that reason, most Utapauns lived on that stabilized continent. Because of the lack of timber on the planet, Utapaun architecture was primarily constructed out of the bones of deceased animals. The bones of nearly all of the planet's fauna were used in construction, which later developed into a unique form of architecture known as ossic architecture.
The skeletons of the huge animals that roamed the lower sinkholes and ocean had huge enough bones to be used as beams; other fossil bones were mined in caves. At least 57, years before the Battle of YavinUtapau was colonized by a race of humanoidswho eventually evolved into Massive Attack - Sly (CD) sentient species. Hundreds of years before the Clone Wars, the native Pau'ans lived on Utapau's surface while the Utai colonists lived underground.
Eventually, worsening hyperwind storms and extreme weather forced the Pau'ans to move underground with the Utai, building combined cities into the ledges of giant sinkholes. Stripped of trees by the violent winds of the surface, the new cities were built with numerous animal bones, eventually resembling giant animal skeletons to the casual observer. Additionally, the planet's formerly extensive oceans had long been draining underground, forming the sub-crustal world-ocean.
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Retrieved 4 May The Irish Times. Los Angeles Times. Archived from the original on 10 March Retrieved 18 October Rolling Stone. Archived from the Massive Attack - Sly (CD) on 26 February The Skinny. It was our total admiration for Burial, that's what it was; it sort of spilled into enthusiasm about him doing something for us.
Retrieved 2 February Retrieved 6 November — via Myspace. Retrieved 6 November United States. Archived from the original on 27 April Retrieved 29 May United Kingdom. Archived from the original on 31 March To backlot workers, it was known as the video vault.
Shortly after the fire broke out, a year-old man named Randy Aronson was awakened by a ringing phone at his home in Canyon Country, Calif. Aronson had worked on the Universal lot for 25 years. In practice, this meant he spent his days overseeing an archive housed in the video vault. Aronson dressed and steered his car to Interstate 5.
A few minutes later, the air picked up a harsh scent: the acrid odor of the fire, riding the early-morning breeze into Santa Clarita, roughly 20 miles from the backlot. Aronson sped south. When he turned onto the Hollywood Freeway, he saw clouds of greenish-black smoke pouring into the sky.
It was a. There, he found an inferno. Fire was blasting out of the building as if shot from giant flamethrowers. The heat was extraordinary. There were at least a dozen fire engines ringing the vault, and as Aronson looked around he noticed one truck whose parking lights seemed to be melting.
They rained water from the tops of Massive Attack - Sly (CD) they doused the building with foam fire retardant. These efforts proved futile. Before long, firefighters switched tactics, using bulldozers to knock down the burning warehouse and clear away barriers to extinguishing the fire, including the remains of the UMG archive: rows of metal shelving and reels of tape, reduced to heaps of ash and twisted steel. Heavy machinery was still at work dismantling the building as night fell.
The job was finished in the early morning of June 2, nearly 24 hours after the first flames appeared. The fire made news around the world, and the destruction of the video vault featured prominently in the coverage. But nearly all news outlets characterized the vault fire as a close call, Massive Attack - Sly (CD) which worst cases were averted.
But journalists moved on from the story, and there has never been a full accounting of film and video losses in the fire. The confusion was understandable. Universal Studios Hollywood was a movie backlot, not a record-company headquarters.
One of the few journalists to note the existence of the UMG archive was Nikki Finke, the entertainment-industry blogger and gadfly. In a Deadline. A majority of what was formerly stored there was moved earlier this year to our other facilities. Of the small amount that was still there and waiting to be moved, it had already been digitized so the music will still be around for many years to come.
These reassuring pronouncements concealed a catastrophe. When Randy Aronson stood outside the burning warehouse on June 1, he knew he was witnessing a historic event. A master is a one-of-a-kind artifact, the irreplaceable primary source of a piece of recorded music. According Massive Attack - Sly (CD) UMG documents, the vault held analog tape masters dating back as far as the late s, as well as digital masters of more recent vintage. And it held session masters, recordings that were never commercially released.
UMG maintained additional tape libraries across the United States and around the world. There were recordings from dozens of record companies that had been absorbed by Universal over the years, including several of the most important labels of all time.
The vault housed tape masters for Decca, the pop, jazz and classical powerhouse; it housed master tapes for the storied blues label Chess; it housed masters for Impulse, the groundbreaking jazz label. And it held masters for a host of smaller subsidiary labels. Nearly all of these masters — in some cases, the complete discographies of entire record labels — were wiped out in the fire.
The scope of this calamity is laid out in litigation and company documents, thousands of pages of depositions and internal UMG files that I obtained while researching this article. The monetary value of this loss is difficult to calculate.
But in historical terms, the dimension of the catastrophe is staggering. It cannot be said exactly how many recordings were original masters or what type of master each recording was. Also very likely lost were master tapes of the first commercially released material by Aretha Franklin, recorded when she was a young teenager performing in the church services of her father, the Rev. Franklin, who made dozens of albums for Chess and its sublabels. Then there are masters for largely forgotten artists that were stored in the vault: tens of thousands of gospel, blues, jazz, country, soul, disco, pop, easy listening, classical, comedy and spoken-word records that may now exist only as written entries in discographies.
Last year, Vivendi announced a plan to sell up to 50 percent of UMG. The sale is the talk of the music business; rumored potential buyers include Apple, Amazon and the Chinese conglomerate Alibaba.
The vault fire was not, as UMG suggested, a minor mishap, a matter of a few tapes stuck in a musty warehouse. It was the biggest disaster in the history of the music business. The recordings that burned up in the Universal fire — like the songs that are blasting from car windows on the street outside your home, like all the records that you or I or anyone else has ever heard — represent a wonderment that we have come to take for granted.
For most of human history, every word spoken, every song sung, was by definition ephemeral: Air vibrated and sound traveled in and out of earshot, never to be heard again.
The act of listening again has defined music culture for a century. It is also the basis of the multibillion-dollar record industry. Today a stupefying bounty of recordings is available on streaming audio services, floating free of the CDs, LPs and other delivery systems that once brought them to audiences.
The metaphors we use to describe this mass of digitized sound bespeak our almost mystical sense that recorded music has dematerialized and slipped the bonds of earth. The Cloud. The Celestial Jukebox. Something close to the entire history of music hovers in the ether, waiting to be summoned into our earbuds by a tap on a touch-screen.
This is the utopian tale we tell ourselves, at least. In fact, vast gaps remain between the historical corpus of recorded music and that which has been digitized. Gerald Seligman, executive director of the National Recording Preservation Foundation, a nonprofit organization affiliated with the Library of Congress, estimated in that less than 18 percent of commercial music archives had been transferred and made available through streaming and download services.
That figure underscores a misapprehension: the assumption that the physical relics of recorded sound are obsolete and expendable.
The objects in question are master recordings: millions of reels of magnetic tape, stored in libraries like the one that occupied the backlot vault. These archives hold other masters of various vintages: the lacquer, glass and metal masters that predated tape, and disk drives and digital tapes from the past few decades.
It is sonic fidelity, first and foremost, that defines the importance of masters. Every copy thereafter is a sonic step away. This is not an academic point. A Spotify listener who clicks on a favorite old song may hear a file in a compressed audio format called Ogg Vorbis. Hung Medien. Retrieved 10 January Library and Archives Canada. Retrieved 28 February GfK Entertainment Charts. Official Charts Company.
Retrieved 7 June Retrieved 6 March Polish Massive Attack - Sly (CD) of the Phonographic Industry. Retrieved 14 May Nederlandse Vereniging van Producenten en Importeurs van beeld- en geluidsdragers.
Retrieved 22 October
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