After 's breakup in early 1977, , , and took very different paths as solo artists. became a middle of the road urban/adult contemporary superstar, recorded the occasional R&B album with little commercial success, and favored rock-minded albums that came the closest to 's free-spirited wildness. 's solo career started out on a hard rock note with her self-titled debut album of 1977, but she took a more new wave-influenced turn in the '80s, and 1985's brings together rock and synth funk with memorable results.
In the heat of the summer of 1976, keen drama teacher Vivienne fights sweltering heat and general teenage apathy to put on an end of year music version of Shakespeare's The Tempest. To engage her students, she uses hits of the time, which will be performed by a fresh young cast led by rising star Aneurin Barnard.
Dry Heat Methods: Volume 1 - Some cooking methods rely on dry heat without fats or oils. The food is cooked either by a direct application of radiant heat (grilling and broiling) or by indirect heat in the oven (roasting and baking). The result of these cooking methods is a highly flavored exterior and moist interior. Dry Heat Methods: Volume 2 - The cooking techniques presented in this DVD rely on a fat or oil as the cooking medium. Since dry heat does not have a tenderizing effect, any food prepared using these cooking methods must be naturally tender or should be prepared in a way that will introduce additional moisture. Once you have developed these skills, you can begin the process of refining and creating virtually endless variations employing dry-heat cooking methods.
The main objective of this international journal is to provide applied mathematicians, engineers and scientists engaged in computer-aided design and research in computational heat transfer and fluid dynamics, whether in academic institutions of industry, with timely and accessible information on the development, refinement and application of computer-based numerical techniques for solving problems in heat and fluid flow.
Composer Claude-Bénigne Balbastre came at the end of the French Baroque keyboard tradition that produced François Couperin and Jean-Philippe Rameau. Composed in 1759, these pieces look back toward the tradition of French harpsichord music, with its individual piece titles designating various members of the French nobility and their individual personalities. Thirty years after Couperin announced the reunification of French and Italian tastes, they show only light influence of Italian style; the clearly diatonic, periodic Allegro tune of "La Laporte," track 16, is the exception. Nor does Balbastre attempt to take after the intellectual density and harmonic complexity of Rameau's keyboard music. Instead his little musical portraits have a mostly pleasant, pastoral mien, with harmonic touches that are unusual and evocative rather than difficult.