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Philadelphia TRACON

The Philadelphia TRACON/ATCT is located at the Philadelphia International Airport and is a TRACON (Terminal Radar Approach Control) with Up-and-Down capabilities which means it includes both a TRACON and ATCT (Air Traffic Control Tower) in the same facility. The facility is “sectorized” into two sectors for the controllers. “A-side” controllers work the tower

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, and half the radar room. “B-side” controllers work the entire radar room, but not the tower.
Philadelphia International Airport is a level 12 facility and the TRACON works on an average of 2,800 daily movements

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; the ATCT handles about 1,700 operations per day.
The primary responsibility of the Philadelphia TRACON/ATCT is the safe, orderly, and expeditious flow of arrival, departure, and en route traffic. PHL TRACON’s main responsibility is obviously – Philadelphia International Airport. Additionally, they offer approach and departure services to several other satellite airports near PHL; Northeast Philadelphia Airport (PNE), New Castle Airport (ILG) in Wilmington, Delaware, Trenton Mercer Airport (TTN) in Trenton, New Jersey and several smaller General Aviation fields such as Wings Field (LOM) in Plymouth Meeting, Pennsylvania, Pottstown Limerick Airport (PTW) in Pottstown, PA and Brandywine Airport (OQN) in West Chester, Pennsylvania. The TRACON’s airspace overlies a total of four states including New Jersey, Delaware

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, Pennsylvania, and extreme north east Maryland.

With 499,653 total flight movements in 2008, Philadelphia International Airport ranks 11th in world in terms of aircraft movement. As recently as 2006, the airport ranked 9th in terms of aircraft movement, but was passed in 2007 by Paris’ Charles de Gaulle International Airport and by Charlotte/Douglas International Airport. It does not rank in the top 30 rankings for either passenger or cargo movement. In 2008 the airport handled a total of 31.8 million passengers, which for passenger movement would rank it several places behind Charlotte (#30), which handled 33.1 million passengers in 2008. The world’s busiest airport in terms of passenger movement in 2008 was Atlanta’s Hartsfield-Jackson International Airport with 90

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,039,280 passengers, nearly three times the passengers that passed through Philadelphia International Airport the same year. Statistics on passenger origination and termination (with PHL airport as an originating or final destination) are not widely available.
PHL is bordered by the following facilities:
PHL airspace lies beneath both of the following ARTCCs:

Eight Days a Week

“Eight Days a Week” is a song by The Beatles written by Paul McCartney and John Lennon based on McCartney’s original idea, The song was issued in the U.K. in December 1964 on the album Beatles for Sale. In the U.S., issued in February 1965 as a single with the B-side “I Don’t Want to Spoil the Party”

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, it went to No. 1 for two weeks on 13-20 March 1965. The song was also issued in June 1965 on the U.S. album Beatles VI and reissued worldwide in 2000 on the Beatles number one compilation album 1. WLS ranked the song at #8 for all of 1965.

Paul McCartney has attributed the inspiration of the song to at least two different sources. In a 1984 interview with Playboy, he credited the title to Ringo Starr, who was noted for his malapropisms, which are credited as the source of other song titles (such as “A Hard Day’s Night” and “Tomorrow Never Knows”):
LINDA: Ringo also said, ‘Eight days a week.’ PAUL: Yeah, he said it as though he were an overworked chauffeur

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. (in heavy accent) ‘Eight days a week.’ (laughter) When we heard it, we said, ‘Really? Bing! Got it!’
However, he has also credited the title to an actual chauffeur who once drove him to Lennon’s house in Weybridge:
I usually drove myself there, but the chauffeur drove me out that day and I said, ‘How’ve you been?’ – ‘Oh working hard

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,’ he said, ‘working eight days a week.’
“Eight Days a Week” is the first song which the Beatles took into the studio unfinished to work on the arrangement during the session, a practice which would later become common for the band. The song was mainly recorded in two recording sessions on 6 October devoted exclusively to this song, which lasted nearly seven hours with a fifteen-minute break in between. Lennon and McCartney tried several ideas for the intro and outro of the song. The first take featured a simple acoustic guitar introduction. The second take introduced an “oo”-ing vocal that was experimented with until the sixth take, when it was abandoned in favour of the final guitar intro. The final outro (along with unused intro takes) was recorded separately on 18 October. The final version of the song incorporated another Beatles’ first and pop music rarity: the song begins with a fade-in, as opposed to the common fade-out ending. The instrumentation includes acoustic guitar, electric guitar, drums, bass and overdubbed handclaps. The fade-in and coda both include more guitar overdubs

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.
The song, along with two others from the album (“Baby’s in Black” and “No Reply”), was planned as a single release. In the end, it was released as a single only in the United States on 15 February 1965, becoming a number-one hit (their seventh). Its B-side was “I Don’t Want to Spoil the Party”. The single release in the US was the result of DJs playing the song from imported copies of the Beatles for Sale album as an exclusive since it was not included on the album’s US counterpart Beatles ’65, nor was the B-side. Later, it and the B-side made a US album appearance on Beatles VI

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.
On the US charts, the song was the final of seven songs by the Beatles to be No. 1 in a one-year period; an all-time record. In order, these were “I Want to Hold Your Hand”, “She Loves You”, “Can’t Buy Me Love”, “Love Me Do”, “A Hard Day’s Night”, “I Feel Fine”, and “Eight Days a Week” (see List of Billboard Hot 100 chart achievements and milestones). The song was the second of six Hot 100 No. 1 chart toppers in a row (not counting the EP “4 – by the Beatles”) by one act, a record at the time. The other singles were “I Feel Fine”, “Ticket to Ride”, “Help!”, “Yesterday” and “We Can Work It Out”.
Although it was a huge American hit, the group did not think highly of the song (Lennon called it “lousy”) and they never performed it live or at any of their radio sessions for the BBC.
Paul McCartney performed the song live for the first time by any Beatle on 4 May 2013 at the Estádio Mineirão, Belo Horizonte, Brazil and throughout his 2013–2015 Out There! Tour (but not at all shows).
The song has been covered by:

György Szabados

György Szabados (13 July 1939 – 10 June 2011) was a Hungarian jazz pianist, and is sometimes referred to as the “father” or “unofficial king” of the Hungarian free jazz movement since the 1960s.

Szabados was born in Budapest. Even though he started performing in 1962, his rise to fame is generally considered to have started with his quintet winning the renowned San Sebastian Jazz Festival Grand Prize in the free jazz category in 1972. His first album that was recorded with a quartet in 1975 was entitled Wedding. Despite the abstraction of the music

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, the record was well received in Hungary and abroad, thereby setting the scene for his subsequent albums. International recognition is probably noted by including the album in The Essential Jazz Records compiled by Max Harrison, Eric Thacker and Stuart Nicholson (Volume 2: Modernism to Postmodernism). Even though he could not record again until 1983, he maintained his status by establishing the Kassák Workshop for Contemporary Music, in which a new generation of musicians acquired a free and intuitive manner of playing jazz, with a distinct Hungarian sound. Generally, his collaborators would make up the next generation of Hungarian jazz, including acclaimed saxophone player Mihály Dresch

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. Further international recognition followed in the 1980s, through his collaboration with Anthony Braxton on their duo record Szabraxtondos. In Hungary, he proceeded to form MAKUZ, or the Royal Hungarian Court Orchestra, which membership varied, but always consisted of at least nine musicians that were committed to free, improvised music. Subsequently, he still collaborated with Roscoe Mitchell on their 1998 record Jelenés (Revelation) and again with Braxton and Vladimir Tarasov this time for the live recording Triotone. He was awarded the Kossuth Prize, the most prestigious cultural award in Hungary, in 2011 by the President of Hungary. He died in Nagymaros on 10 June 2011.
Szabados’ work and thinking is distinctly placed in Hungarian culture. Most importantly, a good deal of his music is influenced by Hungarian folk music

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, mainly from Transylvania. Apart from direct folk associations, this influenced on Szabados’ work was to a great extent mediated through the work of Hungarian composer Béla Bartók (1881–1945), who pioneered the reintegration of folk tradition in classical by his numerous field recordings. As he formulated it himself:
‘Apart from the occasional moments, it is difficult to find traces of Bartók’s music in our music. Hungarian music has such characteristic features that, when they appear, they are immediately linked to Bartók, whereas the real kinship is not with Bartók but, on a much deeper level, with Hungarian music, a world view, and a special taste’
Apart from folk influences in his work, Szabados always gave clear references to other key instances of Hungarian culture. His 1983 record Adyton, for instance, is partially a reference to Hungarian poet Endre Ady, whereas his 1989 album A szarvassá vált fiak (Sons that became deer) was inspired by the Hungarian Revolution of 1956. Choosing the word Adyton as a title for his record also shows the Szabados’ philosophical thinking about his music. A documentary film about his work was issued by Duna TV.