(You will need to register / login for access)Ĭomments below may relate to previous holders of this record. In 2020, with the release of his album Music to be Murdered by, Eminem was entered into The Guinness Book of Records as having the most consecutive No.1. For a full list of record titles, please use our Record Application Search. Records change on a daily basis and are not immediately published online. Web sources are measured differently, but such minor discrepancies don’t alter the record-breaking status of “Godzilla”. Word count calculated from lyrics on, track timings taken from Spotify. Excluding the 26-second intro (spoken by an unknown vocalist) and an indeterminate. The album also includes the hits “Those Kinda Nights” (feat. 'Rap God' by Eminem (USA) packs 1,560 words into a fast and furious 6 min 4 sec thats a tongue-twisting average of 4.28 words per second In one 15-second segment alone, 'Slim Shady' spits 97 words (6.46 words per second) at 'supersonic speed'. It debuted at No.1 on the UK’s Official Singles Chart on 30 January 2020, and “Slim Shady” completed a UK chart double when the album also debuted at No.1 in the same week – his 9th consecutive studio-album to top the UK chart. “Godzilla” is taken from Eminem’s chart-topping album Music to be Murdered by (2020) and features the late rapper Juice WRLD on the chorus. It concludes with “I’ma get a special place” at 2 min 39 sec. Eminem is well-knows for his Guinness World Records for Rap God and The Marshall Mathers LP but some barely know he holds 11 world records in total You can see the list below and please note, the information below is taken from Guinness Word Records’ official website. The 12-second rap in Nicki Minaj’s “Majesty”, taken from her 2018 album Queen, starts with the line “You ain’t dealin’ with a fuckin’ featherweight” at 2 min 27 sec. In total, the 3-min 31-sec “Godzilla” contains 959 words from start to end (an average of 4.54 words per second) – considerably less than the 1,560 words that appear in the 6-min 4-sec “Rap God” (an average of 4.28 words per second), which retains the title for the most words in a hit single. Including the section of verse 3 from the line “Trigger happy, pack heat, but it’s black ink” (from 2 min 45 sec), Eminem spits out 284 words in 42 seconds for an average of 6.76 words per second – faster than “Majesty” and “Rap God”. The verse in question begins with the line “Fill ‘em with the venom and eliminate ‘em” (2 min 57 sec into the track) and finishes with the line “I’m not afraid to pull the…” (concluding at 3 min 27 sec). Marshall Mathers III) No.1 single “Godzilla”, the rapper squeezes 225 words into one 30-second segment – that’s a rapid 7.5 words per second! “Godzilla” (2020) smashed the record he set as a guest on Nicki Minaj’s “Majesty” (2018), when he spat out 78 words in 12 seconds (6.5 words per second), which in turn eclipsed his performance on the 2013 hit “Rap God” (97 words in 15 seconds 6.46 words per second).
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Weston, who went on to perform in numerous James Bond films, says: “One of the great things about Stanley was he had an incredible, tremendous artistic integrity. Tempers were soothed after the stuntman was given a swish dressing room with a fridge full of beer and a large raise in his fee. The director did not return for two or three days, Weston recalls. Having recovered from the oxygen deprivation, Weston was so outraged that he decided to confront Kubrick, only to find that he had fled the scene. So it simply built up inside, incrementally causing a heightened heart rate, rapid breathing, fatigue, clumsiness, and eventually, unconsciousness.” Even when the tank was feeding air into the suit, there was no place for the carbon dioxide Weston exhaled to go. In his book, Benson writes: “Given the complexity of the shots, and the amount of time it took simply to remove the platform used to prepare the stuntman’s wires and suspend him, 10 minutes wasn’t enough. More seriously, a small tank within Weston’s backpack contained only 10 minutes’ worth of compressed air. He insisted that Weston wore a wig that made his hermetically sealed spacesuit become all the more overheated. Photograph: Doug Trumbullīut Kubrick did not make things easy. Stuntman Bill Weston recovering from oxygen deprivation after the stunt. His stunts involved being suspended horizontally from wires connected to a drill motor against a black abyss of outer space recreated by vast curtains of black velvet. Yet the most complex shots of his film included Weston playing the dead astronaut Frank Poole, spinning lifelessly. Kubrick, like his lead actors Keir Dullea and Gary Lockwood, was afraid of flying. Kubrick was a supreme visual stylist with a perfectionist’s attention to detail.Ģ001 was so realistic that the Soviet cosmonaut Alexey Leonov, who became the world’s first spacewalker in 1965, said after seeing the film in 1968: “Now I feel I’ve been in space twice.”īenson says that, decades before digital effects, the 2001 stunts “constitute an extraordinary, largely unsung moment in film history”. It starred Kirk Douglas, who also played the hero in Kubrick’s Roman classic Spartacus. Kubrick’s masterpieces include Paths of Glory, one of the most powerful anti-war movies. Its author, Michael Benson, included in depth interviews with Weston and the visual effects supervisor Doug Trumbull, who photographed the daredevil stunts, among others. Intellectuals will take the position that you are a mentally challenged clod if you dare disagree with their elevated opinion of the movie-so be aware that this is not conventional story-telling in any sense whatsoever and only for those who admire Stanley Kubrick's way with unlikely cinematic material.Stanley Kubrick on the set of 2001: A Space Odyssey. I had the same letdown feeling when I watched THE CLOCKWORK ORANGE, so your like or dislike of this movie is purely dependent on personal taste. Beyond that, there is nothing the least bit interesting about the human characters (trite dialogue and no personality or warmth to any of the individuals), the pace is unbelievably slow (so the intellectually gifted can philosophize on the mysteries of space), and the payoff at the end leaves you either breathless with enlightenment or convinced that you have watched three hours of nothingness. The musical background is glorious, the colors are dazzling, and there's an interesting use of HAL as a villainous computer. The others, like myself, find it as absorbing as watching paint dry on woodwork. This is supported by those who claim to understand the complexities involved and leading up the Star Child ending. One, is that it is the greatest science-fiction epic ever made. There are two schools of thought about 2001: A SPACE ODYSSEY. I believe our operational agility and speed to market remain competitive advantages in serving our customers' changing needs. This marks the third consecutive quarter of total volume growth driven by continued demand for data center, healthcare and renewable product solutions, among others. By continuing to execute on our core values of providing unbeatable customer service and high order fill rates, we were able to increase both copper and aluminum volumes shipped in the third quarter and year-to-date periods in 2022 over 2021 levels.Ĭopper volumes shipped were also up over second quarter 2022 levels. Our one-location vertically-integrated business model affords us the manufacturing scale and flexibility to enhance job start efficiency. Continued persistent tightness in the availability of certain raw materials and the general inability of the sector to meet demand for the timely delivery of finished goods kept spreads strong in the third quarter of 2022. Our ability to quickly convert raw materials into complete, delivered orders continues to differentiate us in the market, resulting in exceptional earnings in the third quarter of 2022. We appreciate your continued investment, confidence and support. Good morning, everyone, and thank you for joining us on the call and for your interest in Encore Wire. I'll now turn the call over to Daniel for some opening remarks. Also, reconciliations of non-GAAP financial measures discussed during this conference call to the most directly comparable financial measures presented in accordance with GAAP and including EBITDA, which we believe to be useful supplemental information for investors, are posted on our website. I refer each of you to the company's SEC reports and news releases for a more detailed discussion of these risks and uncertainties. In order to comply with certain securities legislation and instead of attempting to identify each particular statement as forward-looking, we advise you that all such statements involve certain risks and uncertainties that could cause actual results to differ materially from those discussed today. Before we review the financials, let me indicate that throughout this conference call, we may be making certain statements that might be considered to be forward-looking. After the financial review, we will take any questions you may have. In a minute, we will review Encore's financial results for the third quarter ended September 30, 2022. With me this morning is Daniel Jones, President, CEO, and Chairman of the Board. I'm Bret Eckert, Chief Financial Officer of Encore Wire. Good morning, and welcome to the Encore Wire Corporation quarterly conference call. I will now turn the call over to Bret Eckert. My name is Vanessa, and I will be your operator for today's call. Welcome to the Encore Wire Reports Third Quarter Results Conference Call. William Baldwin - Baldwin Anthony SecuritiesĮric Marshall - Hodges Capital Management Encore Wire Corp ( NASDAQ: WIRE) Q3 2022 Earnings Conference Call Octo11:00 AM ETīret Eckert - CFO, VP, Finance, Treasurer & Secretary How often you need to water greatly depends on the humidity and temperature of the room, which we will cover next! Photo by Severin Candrian on Unsplash Humidity and TemperatureĬeropegia woodii when grown outdoors can only tolerate USDA Hardiness zones of 11 and 12, which should tell you all you need to know – don’t let this plant get cold! Ideally, you will keep it at about room temperature and never lower than 60 degrees F. This helps mimic the natural cycle that all plants go through with dry/wet rainy seasons. In general, it is best to wait until the top inch or so of the soil is completely dry to the touch before watering.Īs is the case with most houseplants, you will want to water it a bit more in the spring and summer months than you do in the fall and winter. Too much water can result in root rot, which can be devastating for plants if not caught early. Like all succulent plants, it is crucial that you don’t overwater it. When growing indoors, it’s important that they get a lot of light, but you generally won’t want to put them directly on a windowsill as the sun can be too harsh and nobody likes the sad feeling of knowing you sunburnt your plants! Photo by Severin Candrian on Unsplash Watering They do best in a shaded area that gets a lot of natural light – in the summer months, I keep my succulents on my patio table on a deck that faces North where they are covered with an umbrella to provide shade. Try to avoid direct sun as this will scorch the leaves on your plant. String of Heart plants need bright but indirect sunlight. This will help provide some drainage for the soil. If you do not have cactus potting soil, you can mix in equal parts sand with regular potting mix. 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Upbeat, aggressive styles of music are used frequently. In all, the moves are connected to one another, to the dancer’s feelings and to the music.Īlthough lyrical is stereotypically choreographed to music that is slow or downbeat, melodic and sweet-sounding, it is a very broad form of dance including many dynamic, fast-paced and sometimes strong pieces. Employing this connectivity of movement, the dancer may periodically stop or incorporate “sharp” moves (such as an abdominal contraction, a sideways glance, or a leg flick) into a fluid routine, for emphasis. A lyrical dancer holds out the move for as long as possible, and has smooth transitions between others. The dancer does not simply “finish” a move and be done. Of paramount importance in lyrical dance is the continuation of movement, flowing quite seamlessly from one move to the next. When the routine is joyful or peaceful, dancers use lighter, more flowing movements. However, a lethargic, drawn-out quality of movement may show a contemplative or hesitant feeling. In routines with a strong component of anger, it is common for the jazz portions and styles of lyrical to come out. Anger is also an emotion seen in lyrical dance. When the music’s tone is angry or frustrated, dancers use sharp, short movements. A de-emphasis may provide a more compelling window into a dancer’s emotions: a succession of quick, small leaps may be executed low, displaying the ever-evolving traces of a dancer’s internal landscape. However, in lyrical dance, sometimes less is more. Leaps are often executed high, with a soaring quality turns are airy and flowing. Movements in lyrical dance are characterized by their fluidity and grace. This may be followed, for example, by a more complex sequence, such as a triple pirouette en cou-de-pied (coupe), or a grand jete, or a series of chaine turns, followed by a cabriole, descending to the floor, only to rise again and perhaps very casually to walk downstage for a few counts before changing direction once again. Musically, the choreography accentuates and/or flows in synergy with a song’s climaxes, but the choreography will also bring out the more nuanced aspects of a song: sometimes a silence between notes in the music, or the breath between words, will be emphasized, possibly with a simple, physical gesture. Routines are based around feeling and emotion and, though technique is crucial, spirit generally tells where the dance will go. Lyrical is based around choreography and the interpretation of the music. However, lyrical choreography is often peppered with intentionally pedestrian moves to create a simultaneously organic and dramatic feel. A solid, ballet-based technique is an essential component of this style of dance, as is a facility with various other forms of jazz, some contemporary dance, and proper placement and bodily alignment. Depending on the given song and choreography, a lyrical piece may or may not be graceful, but will always be expressive and unpredictable, particularly in comparison to ballet and other jazz pieces which may have a more presentational quality. Lyrical dance is often choreographed to a song about freedom, of releasing a sad emotion, or of overcoming obstacles, but can be choreographed to any human emotion-related song. It is a combination of intricate, highly technical, and pedestrian/naturalistic moves. Lyrical dance is expressive, subtle and dynamic, expressing emotions through movement. Lyrical dance gained its name not because the lyrics of a song are sometimes highlighted over the rhythm, but because of the meaning of the word lyrical: having a poetic, expressive quality musical characterized by or expressing spontaneous, direct feeling expressing deep personal emotions or observation highly rhapsodic or enthusiastic. Choreography is often emotional, gripping, and exquisitely delicate, all at the same time. It is mainly performed to music with lyrics, and the song’s lyrics are a driving force and key inspiration for the movement. Lyrical dance has a relatively recent history and a genesis based on the coming together of ballet, rock, a variety of jazz dance and modern dance, and to a lesser degree, punk and swing. A lyrical dancer’s movements attempt to show the meaning of the music. Lyrical dance challenges choreographers and dancers to use motion to interpret music and express emotion. Lyrical dance is a fusion of ballet and jazz dance techniques. “The Packers have greatly appreciated the partnership with WTMJ over the years and will always respect the history they have with the franchise,” said Benzel. “iHeartMedia enthusiastically pursued the opportunity that being a part of the network creates, and we are looking forward to how their innovative approach will appeal to Packers fans in southeastern Wisconsin." “We are excited to welcome a new station to the Packers Radio Network in the Milwaukee area beginning in 2022,” said Craig Benzel, Packers vice president of sales and business development. The Packers said the transition in Milwaukee is with the affiliate station only, as the team has produced games and related content and also managed the Packers Radio Network in-house since 2018. The Green Bay Packers and iHeartMedia Milwaukee today announced that FM 97.3 The Game WRNW will become the Milwaukee radio broadcast station for Packers games, beginning in the 2022 season, ending the Packers longstanding relationship with AM 620 WTMJ. Read the latest issue of STUFF, a BizTimes Media publication highlighting Wisconsin careers in manufacturing, construction and the trades. “All of us at iHeartMedia are honored, excited and passionate about the future of our Milwaukee affiliation with the Green Bay Packers,” said Jeff Tyler, area president for iHeartMedia Wisconsin. “We are excited to be partnering with one of the NFL’s most iconic teams, the Green Bay Packers, and look forward to bringing all the coverage to the tremendous fans of the Packers,” said Kevin LeGrett, president of iHeartMedia Sports. The transition to 97.3 The Game WRNW expands on the existing relationship between the Packers and iHeartMedia as the station joins iHeartRadio affiliate partners in Madison (WIBA AM and WIBA FM), Eau Claire (WBIZ) and Moline, Illinois (WFXN Fox Sports). WTMJ Radio has been broadcasting Packers games since 1929. “iHeartMedia enthusiastically pursued the opportunity that being a part of the network creates, and we are looking forward to how their innovative approach will appeal to Packers fans in southeastern Wisconsin.” |
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