![]() In The Kind Diet, actress, activist, and committed conservationist Alicia Silverstone shares the insights that encouraged her to swear off meat and dairy forever, and outlines the spectacular benefits of adopting a plant-based diet, from effortless weight loss to clear skin, off-the-chart energy, and smooth digestion. She explains how meat, fish, milk, and cheese—the very foods weve been taught to regard as the cornerstone of good nutrition—are actually the culprits behind escalating rates of disease and the cause of dire, potentially permanent damage to our ecology. Alicia Silverstone, perhaps best known for her generation-defining turn in Clueless, continues to work steadily in film, television, and theater. A dynamic fixture in the acting, political, and scientific communities, she is a dedicated advocate on behalf of the planet and its animals, and was voted 'Sexiest Vegetarian Alive' in 2004. She lives in Los Angeles with her husband, Christopher, and their four rescued dogs. Alicia Silverstone visits Google's Mountain View, CA headquarters as part of the Authors@Google series. Alicia Silverstone has been an outspoken advocate for for years, even writing a book in 2011 called The Kind Diet that explains why she chose a plant-based way of eating that doesn’t include meat, fish, seafood, poultry, dairy, or eggs. Now, the Clueless actress is discussing her decision to feed her 6-year-old son, Bear Blu, a vegan diet, too. “Knowing the truth about where our food comes from is just so disturbing to me,” she says in a video for the nonprofit Farm Sanctuary’s program, as she and Bear eat veggie burgers and kale salad. “Once you see it, there’s no way to go back from that for me.” Bear is also asked what his favorite thing about being a vegan is. His response: “That you don’t have to eat yucky meat.” Silverstone says it’s easy for her to feed Bear foods, and she regularly makes easy-to-assemble meals like tacos and stir-fries. “I can make all those things based on what’s in the fridge,” she says. “You always have a bean, you always have a whole grain.” Silverstone says being vegan has “turned me into a health nut because you feel so good, you feel so different,” adding, “being able to do something that is good for the earth, good for the animals, and good for you all at the same time seems like such a no-brainer. It’s like the biggest ‘Duh!' ” Although veganism is popular, feeding children a vegan diet is a controversial move. ![]() The Kind Diet: A Simple Guide to Feeling Great, Losing Weight, and Saving the Planet by Silverstone, Alicia and a great selection of similar Used, New and Collectible. Actress, committed animal advocate, and joyful vegan, Alicia Silverstone has just released her new book, The Kind Diet. In her popular guide, Alicia promotes a diet without meat, dairy, and eggs and provides many delicious recipes. Alicia addresses nutritional needs and explains how to cover all dietary. Rodale Store - thekinddietbook.com. Ebook (ePUB), by Silverstone, Alicia. In The Kind Diet, actress, activist, and committed conservationist Alicia Silverstone shares the. According to a 2016 Harris Interactive Poll commissioned by the about 3.7 million American adults. But the decision to put children on a vegan diet frequently comes under fire. A law proposed in Italy in 2016 would make it illegal for parents to put their children on a vegan diet, which lawmakers referred to as 'a diet devoid of elements essential for healthy and balanced growth,' per. The proposed law came after several in the country involving undernourished children on vegan diets. In one case, a 1-year-old on a vegan diet only weighed as much as a 3-month-old and, in another, a father alleged that his 12-year-old son’s growth was stunted due to a vegan diet chosen by the boy’s mother. Silverstone has faced criticism in the past for feeding Bear a vegan diet, and she told in 2014 that her son “loves the food I give him. ![]() ![]() He’s not being deprived of anything. For him, having amazing fruit is like candy.” There are mixed messages out there when it comes to kids and vegan diets, and it’s understandable if you’re confused. Some people claim that children who are raised on a vegan diet won’t get enough nutrients they need to grow into strong adults, while others say it simply encourages healthy eating in children. So, is it a good idea to feed kids a vegan diet? Ashanti Woods, M.D., a pediatrician at Baltimore’s Mercy Medical Center, tells SELF that it depends. “Children who consume a vegan diet are generally as healthy, if not more healthy, than children who have a ‘normal’ diet,” he says. Woods points out that there are various lay definitions of vegetarianism and, but pediatricians pay special attention to true vegans, i.e., those who swear off all animal products. “The more restrictions on a diet, the more pediatricians become concerned because these children are at risk for nutritional deficiencies,” he says. When done properly, vegan diets can be a step up from the “standard American diet,” Dana Simpler, M.D., a primary care practitioner at Baltimore's Mercy Medical Center, tells SELF. Simpler says that people—and children—don’t need animal protein in their diet provided that they’re getting all their important minerals and nutrients. The key is having a diet that is well thought out, Lauren Fiechtner, M.D., M.P.H., director of nutrition at MassGeneral Hospital for Children in the Division of Gastroenterology and Nutrition, tells SELF. “If the diet is well-planned and monitored by a registered dietitian, this can be safe for children,” she says. Worth noting: The says that “well-planned” vegetarian and vegan diets are “healthy” for infants and toddlers. In the long term, vegetarian and vegan diets have been linked with lower cholesterol levels, a lower risk for, a lower risk for high blood pressure, and a lower risk for type 2 diabetes, Dr. Fiechtner says. They’re also a good way to promote eating enough fruits and vegetables. “In the United States, most children do not meet their goal intake of five servings of fruits or vegetables per day, and so this could also be a benefit,” she says. There are also other potential benefits. Lauren Blake, an R.D. At The Ohio State University Wexner Medical Center, tells SELF that vegetarian and vegan teens typically eat more, iron, folate, vitamin A, and vitamin C than their meat-eating counterparts. They also tend to eat fewer sweets, fast foods, and salty snacks. Of course, there’s a right and wrong way to do a vegan diet. It can even be hard for adults who are in complete control of their diets and understand potential vegan pitfalls to get all the nutrients they need, much less for kids. But creating a well-rounded vegan diet is especially important when it comes to children, who need certain nutrients to develop as best they can. This is why Dr. Woods urges parents of his patients who are on a vegan diet to be mindful that their children get enough of nutrients that are particularly easy to miss out on. One is vitamin B12. Low levels of this nutrient can lead to neurologic complications in severe cases, Dr. According to the, parents should make sure vegan children get enough via a supplement or fortified foods like soy beverages, cereals, and meat substitutes. Another important nutrient to pay attention to on a vegan diet is iron. Getting enough iron is key in warding off, and after 4 to 6 months of age, all vegan infants need an outside source of this nutrient. The Academy of Nutrition and Dietetics recommends iron-fortified cereals and supplements to meet this need. Since veganism cuts out milk and dairy foods, children on a vegan diet may also need outside supplementation for, which is essential for strong bones and teeth as they grow. Fiechtner points out that vegan diets are also low in, which are commonly found in fish or eggs. Failure to have enough of these fatty acids has been linked to poor cardiovascular health, as well as issues with eye and brain development—again, very important factors for children's healthy growth and development. To meet the potential gaps in a vegan child’s diet, Dr. Simpler recommends vitamin supplementation. Children on a vegan diet are also at risk of not taking in enough daily calories, which is why Dr. Woods recommends that vegan children eat three snacks a day in addition to three meals a day. Overall, experts say it’s fine to raise children on a vegan diet, provided you’re mindful that they’re getting everything they need and talk with an expert to make sure the diet is well-rounded. Without this important guidance, it's all too easy to feed children a vegan diet that skimps on important nutrients they need. “It just takes an effort,” Dr. If you have questions about putting your child on a vegan diet, get in touch with their pediatrician or a registered dietitian who can help steer you in the right direction. Related: • • • Almost You May Also Like: This Vegan Broccoli 'Cheese' Soup Tastes Just Like The Real Thing.
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Talk about weird - but rather well done - the Beatles songs done by other artists set to images from News Reels and WW2 themed movies. A typical bit - 'Here Comes the Sun King' playing as Zeros, Vals and Kates lift off. D: What was your creative process with regard to the archival footage? DM: I really struggled with this because the war is an important aspect of the film, but the last thing I wanted was a historical kind of documentary. I didn't want it to be an examination of history. History isn't something that was; history is. I went to the National Archives in Washington and I was so blown away by the footage I found. It really is a treasure hunt because it's not easy to find things. You're looking through cards and things are labeled strangely--if I wanted to find 'American GI torturing Japanese man,' that might come under the heading, 'What's in my duffel bag?' So you really have to get in there and look. I didn't have any money, so I just brought my camera with me and shot it right off the flatbed. I didn't change any colors or do anything to it. It was exactly that sepia tone. One of the things that was so surprising for me about it was that the footage is so cinematic. Again, getting away from that word 'document,' because these guys that were filming the war were not documenting the war. Everybody wants to tell a story. For me, it's the essence of everything that life is about: a good story. I feel like it's at the heart of who we are. These guys that went and filmed this, they wanted a story, too. They wanted to be making movies. They didn't want to document. I found stuff that was so exactly what I needed that I couldn't use it. It was so cinematic and so horrifying and too close. D: You said in your director's statement that you had these long months where you didn't think you had a movie. How did you deal with that? DM: It was a really dark process. I went through a phase where every time I entered the office, I - [laughs] I never told anyone this - I would say 'Hi' to everyone. I would walk in and say, 'Hey guys, how are ya? How is everyone? Great, good to see you. So listen people, we're gonna be working on.' And I would go through that. I did it every day for a little stretch. [laughs] It was so goddamn lonely. One of the interesting things about this process was that that moment in the field [the climax of the film] happened pretty early on in the [shooting] process. And that moment, not just when you see it in the film, but that whole experience was so profound and so unbelievable, I always knew I had to fulfill that. I had to create a movie that supported that scene. D: It seems that your film is partly about people who didn't experience the war trying to understand all the stuff that's beneath the surface that you can't directly present in your film because you didn't directly experience it. DM: Absolutely. [The war] is integral to the film itself, so I think that gave me a lot of permission to enter into it. My grandfather escaped from Austria when he was young. There was a lot of consciousness about the war from the Jewish perspective, and so I was really interested in coming at it from a completely opposite place. This was about the American experience of the war and how it is now. The document of the war is just as important as Lance's reaction to the war because he represents us--the current American mindset, which is at times apathetic. I could feel myself a part of that, not like Lance, but there's an apathy here that has to be here because we haven't been through that. And it wasn't just the war, it was the war and the Depression, and they were both wars of sorts. And this is really the last moment. Loot obviously couldn't have happened any later, even a few weeks later it wouldn't have worked because the characters were dying. But it is an amazing time to reflect on it now. Andy, one of the World War II veterans featured in Darius Marder's Loot. D: Part of the beauty of your film to me is that, while it has this kind of veneer of life unfolding and all of the banality and subtle humor that entails, there's still this symphony of coincidence going on that's exhilarating. So while these veterans have these memories and experiences that we as an audience feel the remoteness of and can't identify with, they have a connection to Lance that is totally mystifying. DM: At the risk of sounding flaky or creepy, I feel like frequently in my life I am guided by synchronicity more than anything else. So often, synchronous events show you that you're on the right path and doing something relevant. My next project is a film that follows this one guy in Vegas, a father of five beginning to prepare for the end of the world in 2012. He has these four Native American cousins whose father's in jail for murder and he's going to pick them up. They kind of revere him like Peter Pan, a savior. We're going to go on a tour to look for a Cold War era missile silo for him to purchase in order to protect those he loves from the apocalypse. It's another film of Americana and denial and all these good things. And again, it's gonna be another wonderful leap of faith. Taylor Segrest is a writer and filmmaker based in Los Angeles. He is a principal of Cinelixir, a consultancy for independent filmmakers, and co-founder of DocAngeles: The Los Angeles International Documentary Film Festival, to be launched in the Fall of 2010. Segrest is a contributing editor to Documentary. Gonzo MultimediaIn 1976, a unique film was released titled All This and World War II that featured covers of Beatles songs recorded by an amazing cast of music stars that accompanied archival World War II newsreel footage and clips from 1940s movies. Now, an updated version of the flick called The Beatles and World War II, featuring much of the same music set to a newly created movie that includes some different vintage clips, this Friday, July 15. Among the many famous musicians who contributed their talents to the project were Elton John, The Bee Gees, Rod Stewart, Frankie Valli, Tina Turner, Helen Reddy, Jeff Lynne, Keith Moon, Peter Gabriel, Leo Sayer and David Essex. The new version of the movie was edited by veteran director Tony Palmer, whose credits include 1968's Cream's Farewell Concert and the 1971 Frank Zappa cult flick 200 Motels. 'The 2016 film is a completely new experience, much of it in HD,' Palmer explains of The Beatles and World War II. 'Yes, we have used some of the original tracks, but added a lot of new archive footage, some never seen before. In addition, I have often used totally different music.' The director also points out that while the movie features footage of such World War II-era figures as Franklin Roosevelt, Winston Churchill, Neville Chamberlain, Joe Kennedy and Adolf Hitler, it also references modern events and topics such as 'war-torn Syria and the massive problem of immigration along the way.' Palmer maintains that The Beatles and World War II 'is a far more complex film than the original [that] I hope will give everyone pause for thought about the troubled world in which we live.' The Beatles and World War II features a DVD combined with a double-CD soundtrack album. Here is the full track list for the release's CDs: CD 1 'The Fool on the Hill' -- Helen Reddy 'Yesterday' -- David Essex 'The Long and Winding Road' -- Leo Sayer 'I Am the Walrus' -- Leo Sayer 'Come Together ' -- Tina Turner 'Maxwell's Silver Hammer' -- Frankie Laine 'She's Leaving Home' -- Bryan Ferry 'Let It Be' -- Leo Sayer 'Getting Better' -- Status Quo 'Help!' -- Henry Gross 'Nowhere Man' -- Jeff Lynne 'Lucy in the Sky with Diamonds' -- Elton John CD 2 'With a Little Help from My Friends' -- Jeff Lynne 'Because -- Lynsey de Paul 'Get Back' -- Rod Stewart 'We Can Work It Out' -- The Four Seasons 'A Day in the Life' -- Frankie Valli 'Michelle' -- Richard Cocciante 'When I'm Sixty-Four' -- Keith Moon 'Golden Slumbers/Carry That Weight' -- The Bee Gees 'Strawberry Fields Forever' -- Peter Gabriel 'Hey Jude' -- The Brothers Johnson 'The Fool on the Hill' -- John Williams Copyright © 2016, ABC Radio. All rights reserved. Dec 12, 2007 This video shows the full demo gameplay of Aliens Vs Predator 2. I played it on medium difficulty on the. Rebellion's Aliens vs. Predator has been downloaded four million times, making it the most successful demo in Sega's library. Along with the honor of being Sega's fastest-selling game, AvP has been an unbelievable success, especially since. Nov 09, 2001 It's better than the original Aliens vs. Predator, and it's one of the best action games released so far this year. New demo: Aliens Versus Predator 2. Released in October, 1994, after over ten months of delays, Alien vs. Predator is the most famous game for the Atari Jaguar and epitomizes both the best and the worst of the system. In certainly the most imaginative video game based on the Dark Horse comic book series, the player takes control of the Colonial Marine, the Alien, or the Predator and attempts against seemingly impossible odds to achieve his or her objective, fending off the other two species simultaneously. Foreshadowing the wildly successful Aliens vs. Predator games for the PC, Alien vs. Predator is a fantastically fun history lesson. • Best time as the Colonial Marine: Single-Segment by on 2004-08-11. • Best time as the Predator: Single-Segment by on 2004-08-12. • Best time as the Alien: by on 2005-01-29. • Best Single-segment time with deaths as the Alien: by on 2004-11-13. ![]() Return to the, the, or the. Single-segment as the Colonial Marine in by Nathan Jahnke. Author's comments. Upon inspection of, I discovered that only Security Cards 6 and 10 are required to complete the mission. I decided to pick up Security Card 1 and the Pulse Rifle, as well, due to not being able to find enough ammo for the Shotgun later on in the game, and due to potentially not being able to survive in the Alien Ship without the faster rate of fire of the Pulse Rifle. A route on which I would pick up Security Card 7 on Sublevel 1 after getting Security Card 6, then head back to Sublevel 4 and pick up the Flamethrower was abandoned when it became obvious that I could beat the game without the Flamethrower. The run was recorded over the course of a week or so. The two most difficult parts of the run were leaving the Brig (and not being so swamped by Aliens it would cost me an unreasonable amount of time) and dying in the Queen's chamber trying to pick up Security Card 10 (and leave alive). I challenge you to come up with a superior route. Special thanks go to out to Rachel Moore for calling out directions in airducts and in the Alien Ship, freeing me from having to memorize all that crap. Thanks a ton, love. Single-segment as the Predator in by Nathan Jahnke. Author's comments. ![]() Radix and I were talking and he pointed out that, because saving and reloading in AvP gives you a different enemy spawn set, it might be possible to achieve in a segmented run what I had dreamed of doing in my one-death single-segment run - going all the way to the Queen and freeing her without dying - provided that saving anywhere was allowed. Radix agreed that such a run could be submitted to the site, so I did one. It took me about four hours to put together. Single-segment as The Alien in by Nathan Jahnke. External audio commentary is available in a. Author's comments. In my previous run as the Alien, I died twice, and that was a lot of lost time, especially with the first death (as I had to wait in the airduct for nearly the entire maturation process of my first cocoon). I mentioned that my time could be decimated if someone were to do a no deaths run, but I wasn't sure at the time if it was even possible given the apparently limited number of random spawn sets in the game. This time I only die once, and even then I barely make it (check out my lifebar when the Queen breaks free). The discovery that you are forced to take damage from the forcefield generators pretty much doomed a no deaths run in my eyes, because the chances of getting to the Queen with any life left at all seemed remote enough, but getting to her with nearly half your life is just out of the question, in my opinion. And yes, I do have the airducts memorized by now.:P Return to the, the, or the. Cover art in all regions by Andrew H. Denton James 'Purple' Hampton Dan McNamee Andrew Keim Hans Jacobsen Mike Beaton Andrew Whittaker Mike Pooler Toby Harrison-Banfield Stuart Wilson Andrew H. Denton Alex Quarmby James Grunke M. Stevens Series Release •: October 20, 1994 •: October, 1994 •: December 8, 1994 Mode(s) Alien vs Predator is a developed by and published by for the in 1994. One of the earliest entries in the franchise, the game allows the player to take control of one of three playable characters: the, the, or the human Private Lance Lewis (named after one of the designers and testers of the game) of the. It received critical acclaim for its graphics, atmosphere and single-player campaign. It sold more than 50.000 copies, making it one of the best-selling games on the system. In Japan, the game was bundled with the system. Atari Corporation had opened discussions with about developing a sequel to the game, titled Alien vs Predator 2: Annihilation but negotiations were shortly dropped out before they officially discontinued the Jaguar. Contents • • • • • • Gameplay [ ] Alien vs Predator is a which takes place on a rudimentary 3D environment (similar to ) with two-dimensional. Each player character has its own scenario, objectives, weapons, and abilities. When playing as the Alien, the player's objective is to rescue the Alien queen, who is being held captive on a Predator spaceship. The player must fight numerous marines and Predators through various sublevels of the ship in order to reach the Queen. The Alien is unable to heal itself from injuries and instead 'cocoons' marines; if the Alien dies, a cocooned marine will become a new Alien, allowing the player to continue from that location. The Alien is unable to use elevators and instead travels between levels of the ship through air ducts. When playing as the Predator, the player's objective is to reach and kill the Alien queen in order to claim her skull. The Predator can use elevators to travel between levels but he cannot travel through the air ducts. He can carry medical kits and use them later to recover health, and can use a cloaking device to become invisible from the Aliens and the Marines. Weapons and scoring are based on how the Predator kills enemies. Killing an enemy while invisible results in a loss of honor points, which can in turn result in losing equipped weapons. Killing an enemy while visible result in an increase in honor points, which in turn allows access to more weapons. Available weapons in this scenario includes a combi stick, shoulder cannon, flying disk and a wrist blade. Stepping on the Alien's acid blood after being killed results in a loss of health. The Predator can get attacked by the. When playing as the marine Private Lance J. Lewis, the player's goal is to escape a military base which has been invaded by Aliens and Predators. At the start of the game, Lewis awakes in the base's after a cryosentence for strike offence at an officer and has no weapons, motion tracker, or security clearance. The player must find new weapons and security cards in order to fend off enemies and access new levels of the base, activate the base's self-destruct mechanism, and escape in the escape pod. Lewis can use medical kits and food scattered on the base to recover health, but unlike the Predator, he cannot carry them and must use them immediately. He can also use computer terminals in the medical laboratories to recover health, but the final amount of health possible depends on the grade of security card which the player possesses. Available weapons in this scenario include a shotgun, pulse rifle, flame thrower, and smart gun. As Lewis, the player can use both air ducts and elevators to access new levels of the base. Like the Predator, Lewis can get attacked by the Facehugger and lose health by stepping on acid blood. Story [ ] Taken from the game's introduction in the manual: Alien vs Predator is a tactical simulator depicting the events following the fall of the Camp Golgotha Colonial Marine Training Base to a group of xenomorphs [aliens] not yet fully classified. Limited data from the incident allow for reasonably extrapolated simulations from the viewpoint of the two alien groups believed to have participated in the incident. The data contained herein is considered top secret as of this release, and any duplication, distribution or display is punishable by court-martial with a maximum penalty not to exceed seven years imprisonment in the Yuggoth penal colony, SYS Aldeberan IV. [USCMC, 53622a] The game takes place in the Golgotha Training Base of the Colonial Marines on the Vortigern Sector Perimeter. When an unknown vessel approaches to the base, a Chatterjee Class tug is sent to retrieve it for further examination. As soon as the vessel is aboard on the base, it is quickly overrun by the aliens, leading to the ejection of many escape pods from the base. After the occupation of the training base by the aliens, a predator ship looms over the horizon from their home planet preparing for boarding the station, starting the events of the game. Development [ ] The game was programmed by Mike Beaton (3D graphics engine) and Andrew Whittaker (alien intelligence) with additional coding (including sound engine) by Mike Pooler. Initial development was in-house in Oxfordshire at Rebellion's studios. After delays, additional staff from Atari were brought on-board and development was completed at Atari's Sunnyvale offices. According to Whittaker: The creatures were. We purchased high-quality kits of the and the, them, and used and to achieve the desired animation. The Marine was the most fun - we actually got one of the Alien's movie costumes and photographed one of the gang wearing it. The wall panels were digitized from models. Toby [Banfield], Stuart [Wilson], and Justin [Rae, Rebellion's three artists] made a huge selection of panels and airbrushed them appropriately. Then we chose the best for the game. The graphics were compressed using JagPEG, an Atari adaptation of the format. Reception [ ] Reception Review score Publication Score Just Games Retro Alien vs Predator was one of Atari's most high-profile Jaguar games, and was eagerly awaited after several delays. Most reviews of the game were favorable, with reviewers commenting on the atmospheric and frightening sounds and visuals, diversity of gameplay between the different character types, and the greater reliance on strategy over the standard first-person shooter. In 2006, named the game one of the 'Top Ten Scariest Games'. The reviewer noted that while creepy on its own, the early hardware of the Atari Jaguar did not allow the player to notice an enemy sneaking up on them, and with little other noise to warn the player. References [ ]. The latest Tweets from Chris' Jazz Cafe (@ChrisJazzCafe2). Live Jazz Club located on 1421 Sansom Phone # 215-568-3131 Every Night, Something Tight! Subwise Records is an independent netlabel, based in St Petersburg, specializing in electronica from new or little-known artists in northern Russia. The label's various venues online usually contain a small paragraph in their native tongue, sketching these endeavors for the uninitiated. Turned into English. Chris' Jazz Cafe. 1421 Sansom Street. Philadelphia PA 19102 (Directions) Powered by SeatEngine. Download 'Music - alinah sipps-jazz cafe(2009)LP' torrent (Audio). Download millions of torrents with TV series, movies, music, PC/Playstation/Wii/Xbox games and more. CAFE JAZZ Salinas, Salinas, Ecuador. An error on this event page? Castro Coleman a-k-a Mr. ![]() Sipp, is called “The Mississippi Blues Child” for a good reason. Originally steeped in gospel music, he only recently switched to playing the blues full time and now counts as one of the major artists of the younger generation that is keeping the blues alive. He is picking up one award after the other, from the 2014 International Blues Challenge and Gibson Best Guitarist Award to the 2015 JMA Artist of the Year Award. He’s an infectious character, a natural entertainer, and a powerful and emotional exponent of traditional electric Mississippi blues. Saturday 7 May Miles Jazz Cafe 22:00 - 23:15 - 00:30 FREE ADMISSION. ![]() Trained as a classical pianist at the Cleveland Institute of Music, Carmen was pulled astray at 14 when he first heard The Beatles. “I said, ‘Wait a minute, they don’t have any pianos. I better learn something else, cause this is what I want to do,’” he recalls. But his classical chops would remain and would serve as the root of his first two solo hits, “All By Myself” and “Never Gonna Fall In Love Again,” both recorded on his first post-Raspberries excursion, Eric Carmen, released in November 1975 on Arista Records. “All By Myself,” like all of the songs on the album (and much of Carmen’s Raspberries’ output), was written on the Model O Steinway piano in the living room of his 19th floor apartment in The Watergate, a high-rise overlooking Lake Erie in the Cleveland suburb of Euclid. As part of his writing routine, Carmen would get inspired by listening to his favorite piece of music—Rachmaninoff’s “2nd Piano Concerto.” He recalls: “About 10:30 or 11 every night, I’d turn everything off and go sit in my living room, where there was nothing but two chairs, a big stereo system and my piano.”. A favorite theme in the 2nd adagio movement of the Rachmaninoff concerto got his attention. He remembers thinking, “‘If I can change the timing of this a little bit, I could adapt that theme, and it could be the verse of a pop song.’ That became the opening line of ‘All By Myself.’” The lyrics came months later, beginning with the title, which he wrote in just 45 minutes. He played the 7.5-minute composition—verses and choruses, plus the classical interlude—for bandmate Scott McCarl at one of Raspberries’ last gigs in April 1975, singing it in a Barry Gibb-style vocal he had originally considered. That same year, Carmen went looking for a post-Raspberries label and approached Clive Davis, who had created Arista Records the year before out of the ashes of Bell Records and several other labels. Unlike other execs, who insisted the artist submit a cassette demo, Davis, on Carmen’s invitation, flew to Cleveland, where the artist played him most of the album on his piano. “I remember him sitting on the bench next to me, singing the chorus to ‘All By Myself,’” Carmen relates. “The next day, Clive flew back to New York and offered me a deal. For a guy who couldn’t get into his office a few years earlier, to have him fly out and then sign methat was pretty cool.” To produce, Carmen stayed with legendary rock producer Jimmy Ienner, who had also helmed the four Raspberries albums. Like Davis, Ienner flew to Euclid that spring to hear the songs, which would be recorded in August and September. “I like to sit down with an artist, they give me what they’re doing and feeling or what they want to do, and we talk about it,” the producer explains. ![]() When it came to “All By Myself,” he noted, “This is a song for every kid who’s feeling insecure or lonely. That was the audience for that track. I thought [the classical interlude] was perfect for the piece. ![]() And it left room for beautiful, unique orchestration to accompany the rest of the song.”. While the Raspberries albums were recorded at Record Plant New York with engineer Shelly Yakus, for Carmen’s new disc, Ienner turned to ODO Sound Studios in Manhattan. Owner Vinnie Oddo had built the studio in 1961-62 into a former nightclub, in the basement at 254 West 54th Street, next door to what would become Studio 54. ODO had a single live room—an ample 40 by 40 feet. The floor was carpeted, save for a 10-by-10-foot parquet area in front of the control room window, allowing some amount of reflection for spot players. Burlap bags filled with Fiberglas insulation hung on the walls. ODO’s custom-made Quad-8 console, built by Studio Consultants. Buy The Essential Eric Carmen iTunes - Stream The. All by myself Chords by Eric Carmen Learn to play guitar by chord and tabs and use our crd diagrams, transpose the key and more. All by Myself This song is by Eric Carmen and appears on the album Eric Carmen (1975) on the. Find great deals on eBay for Eric Carmen All by Myself in Music Records. Shop with confidence. 2 meanings to All By Myself lyrics by Eric Carmen: When I was young / I never needed anyone / And makin' love was just for fun / Those days. ![]() ![]() Photo: Courtesy of Jack Sherdel. When staff engineer Jack Sherdel arrived on the scene, the control room featured a tube broadcast console with four outputs and no track selectors. “All of the bubblegum stuff was done on that console,” he remembers. “That was all 4-track. And we had four Pultec equalizers in a box sitting off to the side. There was no EQ on any channels. Nothing.” The desk was eventually updated to a Dynamix console, and, just prior to the Carmen recordings, ODO underwent a control room upgrade, including a custom Quad-8 desk, made by Studio Consultants. The tape machines originally consisted of a pair of mono Ampex recorders, accompanied by a 2-track. These were updated over the years to Scully 2-, 4- and 8-track machines, and, with the final upgrade, an MCI 16-track, on which Carmen’s album was recorded, running at 30 ips, with no Dolby. For reverb, ODO had an EMT plate and an Eventide reverb, supplemented, at times, by the studio’s rest room. As part of the fresh start, Carmen hired a new band, a local group called Magic that he had seen on Christmas night at a popular Cleveland venue, the Agora Club. The group—Rich Reising (guitar/keyboards), Donny Krueger (drums), Dan Hrdlicka (guitar), George Sipl (keyboards) and Steve Knill (bass)—was joined by Raspberries drummer Michael McBride and converged at Carmen’s apartment to rehearse for three months, from May to June. “We were in a new studio, with a new engineer, and I wanted to get a feel for what was going on there before we got to ‘All By Myself,’” Carmen says. “I knew that it was going to be a very, very difficult track to cut because it was just piano, bass and drums, no vocal, and it was seven-and-a-half minutes long.” There were also two drummers. While the two played in unison for most of the songs, for this one Carmen assigned tasks to each. “Mike McBride was a great timekeeper, but didn’t naturally play with the sensitivity of a drummer who plays tom fills that are kind of behind the beat,” he explains. “So I decided the way for me to approach it was to have Mike play kick drum, snare and hi-hat, and have Donny Krueger just play snare and tom fills. And they were pretty tight. Every so often, you can hear just a little flam when they both hit the snare together. But it actually makes it sound really thick.”. Eric Carmen, left, with producer Jimmy Ienner at a Raspberries session a few years earlier at Record Plant New York. Photo: Bernie Hogya While the two drummers played identical kits, and Sherdel miked them in the same manner, he varied the mics between the players, “so they wouldn’t sound exactly the same, and would help thicken them up,” he explains. One’s snare received an AKG 414, while another was miked with one of the two American Microphone D4T “Salt Shaker” microphones that were a favorite of the studio. Kicks took a Sennheiser 421 and an EV 88, with toms covered by 421s on one, and a Beyer ribbon mic on the other. With only a single 16-track machine, Sherdel first, with the band playing live, tracked the two drummers to 8 or 10 tracks, and then bounced them down to 4, to create room for overdubs. During mixing, Ienner had him apply plenty of EQ, echo and delay, particularly on the lead-ins to the choruses. “I wanted it to sound like a building fell down,” the producer states. The group tracked the song live, with Carmen playing a Baldwin piano that had “the hardest action I have ever played in my entire life,” he recalls. Sherdel close-miked it with a pair of Telefunkens. “We wanted to do it live, and weren’t going to overdub it, except Eric’s vocal,” he states. “But part of the unique sound we got was just through the leakage into those piano mics, which picked up some room ambience, which was kind of nice.”. Carmen led the group through 25 takes of the song—the group playing the rhythm section, Carmen playing his classical break, and then the band returning to close the song. “Somebody was always a little bit behind or ahead of it,” Ienner notes of the many takes. “I knew this melody was so precise, and had to hit it, knowing where the vocal needed to sit.” Finally hitting their mark on Take 25, the group went into the control room for a listen, only to find that a limiter had failed them. “The next take, Take 26,” says Carmen, “is the one you hear.”. Engineer Jack Sherdel, with assistant engineer Steve Bravin, around the time of the recording of “All By Myself.' Photo: Courtesy of Steve Bravin. Ienner’s normal methodology, Sherdel notes, was to add a reference vocal, either after completing a rhythm track or after several songs had been recorded. But no such vocal had been recorded when Carmen brought in guitarist Hugh McCracken, the only session musician (other than string players) on the album, for the song’s Harrison-esque lead guitar break. Carmen played back the rhythm track for the guitarist in the control room. “When it came to the part where the solo was going to be, we walked out to the studio to the piano, and he said, ‘What kind of thing are you thinking about?’ And I put my hands on the keyboard and started to sing, right off the top of my head.’ He loved it, and played it.”. McCracken took three passes at the solo, played with a slide on his Stratocaster while sitting in the control room, direct to the console. Sherdel produced a single-track comp, which during mixing was treated with a delay unit made by one of the staff engineers, Dale Ashby, resulting in a beautiful stereo, drawn-out sound when combined with the raw guitar track. “When he played it, it was happy sounding,” says Ienner. “I wanted it to sound a little sadder, to make it fit emotionally with the track.” For the string overdubs, Ienner brought in veteran arranger Charlie Calello, whose credits included Frank Sinatra and The Four Seasons, to work closely with Carmen. To brighten up the mostly carpeted studio, Sherdel sent out for a heap of plywood sheeting, which was laid on the floor and duct taped together. “New York studios, especially ODO, had notoriously low ceilings,” he explains. “That room was really dead, so the plywood helped liven it up. The hardest part, though, was keeping it quiet. We had 40 musicians in there—the room was full—all tapping their feet to keep time. We had to ask them to take their shoes off.” The orchestra did one pass, recorded to four tracks, which Sherdel mixed down to two. As was common then, they asked for another pass to double the sound, even though, contractually, they would normally have had to pay double. “It was kind of an unwritten rule back then,” Sherdel chuckles. “You didn’t say anything, just, ‘Can you do it again? I think we need another one.’” The strings were mixed live to stereo, with the stereo pattern reversed for the second set, creating a lush, full string sound. With the track complete, the last step was Carmen’s lead vocal, which Sherdel recalls recording with a Neumann U 47, slightly compressed. Ienner, keen to capture the emotion of the lyric, had everyone leave the control room, save Sherdel, who was asked to sit on the floor so that Carmen couldn’t see him. “The very beginning of that vocal, that first line, was so emotional,” the producer recalls. “I made everybody leave, turned all the lights off, and I made Eric think about everybody in school who had either made him lonely or who had made him feel less than himself. I knew the song had to introduce itself. He had tears in his eyes.” After 20 or 25 takes (“Eric is a perfectionist,” says Sherdel), the engineer applied a favorite effect. “I liked to delay the send to the EMT plate reverb, like a slapback delay, and then combine that with the dry vocal. It made it different; it brought the vocal close to you, but it had reverb applied to it.” The completed track, selected by the label as the first single from the album Eric Carmen, was still 7.5 minutes long. “Clive said, ‘Whoa, we can’t put out a seven-and-a-half minute single. You’ve gotta come up with an edit,’” Carmen recalls. “The problem was that the piano interlude changes keys four times. There was no logical way to cut it.”. He, Ienner and Sherdel spent a long day and night attempting a handful of edits, eventually throwing their hands up and doing what Carmen called the 4:22 “joke edit,” which was eventually released. With just a bit of the full classical interlude heard on the LP version, Ienner notes, “It gave you the story, it didn’t give you the dialog.” The single, released on December 1, 1975, reached No. 1 on the Cash Box charts (No. 2 on Billboard), selling more than a million copies and certified gold the following April. Though Carmen, when writing the song, had thought the Rachmaninoff concerto was in the public domain, the song’s success brought its presence to the attention of the composer’s family, who pointed out that that was not the case. Carmen then arranged to pay the estate a 15 percent royalty, but still considers the song a gift. “I always felt that Rachmaninoff gave me those verses, for loving that piece so much.” Special thanks: Ken Sharp, Bernie Hogya. Here are the instructions on how to disable your ad blocker: Adblock • Click the AdBlock button on the top right of your browser's toolbar and select Don't run on pages on this domain, and then hit Exclude to finish. • Refresh the page to see the result. Adblock Plus • Click the AdBlock Plus button on the top right of your browser's toolbar (addons) and click Disabled on whosampled.com in the drop down. • Refresh the page to see the result. 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