Heavenly

Heavenly (from the word heaven) may refer to:

In music:

In other contexts:

Heavenly (French band)

Heavenly, a power metal and neo-classical metal band based in Marseille, France, was formed in 1993 in Paris by vocalist Benjamin Sotto and drummer Max Pilo, originally as a cover band under the name of Satan's Lawyer. In 1994, they changed their name to "Heavenly" and evolved into a full-fledged Helloween-influenced power metal outfit. In 1998, they released a three-track demo with new guitarist Anthony Parker. However, Parker's time with the band was to be short lived, leaving before a record deal with Noise Records was clinched. Heavenly then found a replacement in Chris Savourey and completed their lineup with bassist Laurent Jean.

In 2000, Heavenly released their debut album Coming from the Sky. Although it was largely shunned by the media, the album proved a hit with metal fans and its success helped Heavenly land an appearance at the French Hard Rock Festival. With the arrival of a keyboardist, Frédéric Leclercq, and the replacement of departed bassist Laurent Jean with Piere-Emmanuel Pelisson, Heavenly underwent another lineup change shortly before they supported Stratovarius on their 'Infinite' tour. Chris Savourey left soon afterwards, and Frédéric Leclercq took on his role as the band's guitarist.

Me. I Am Mariah… The Elusive Chanteuse

Me. I Am Mariah... The Elusive Chanteuse is the fourteenth studio album by American singer-songwriter Mariah Carey. It was released on May 23, 2014, through Def Jam Recordings, her final album on the label. The record had been in development since 2011; during its production, Carey hired friend and collaborator Randy Jackson to manage her career, before replacing him with another frequent collaborator, Jermaine Dupri. The album consists of guest appearances from Nas, Miguel, Wale, and Fabolous, in addition to Carey's twins Morroccan and Monroe. On the deluxe edition of the album, R. Kelly and Mary J. Blige respectively make appearances on remixes of two songs taken from Carey's twelfth studio album Memoirs of an Imperfect Angel (2009).

Previously titled The Art of Letting Go, the album was originally scheduled for release in 2012 following the single, "Triumphant (Get 'Em)" featuring Rick Ross and Meek Mill. However, after the song's underperformance, additional songs were recorded for the album, causing the release date to be pushed back several times throughout 2013 and again in 2014. Together with Bryan Michael Cox, Carey and Dupri executively produced the album. It is named after a self-portrait that Carey drew at the age of three-years old that she captioned "Me. I Am Mariah". "The Elusive Chanteuse" part of the title is one of Carey's many monikers.

Joint

A joint or articulation (or articular surface) is the location at which bones connect. They are constructed to allow movement (except for skull, sacral, sternal, and pelvic bones) and provide mechanical support, and are classified structurally and functionally.

Classification

Joints are mainly classified structurally and functionally. Structural classification is determined by how the bones connect to each other, while functional classification is determined by the degree of movement between the articulating bones. In practice, there is significant overlap between the two types of classifications.

Terms ending in the suffix -sis are singular and refer to just one joint, while -ses is the suffix for pluralization.

An articulate facet is generally seen as a small joint, especially used when speaking of the joints of the ribs.

Structural classification (binding tissue)

Structural classification names and divides joints according to the type of binding tissue that connects the bones to each other. There are three structural classifications of joints:

Joint (building)

A building joint is a junction where building elements meet without applying a static load from one element to another. When one or more of these vertical or horizontal elements that meet are required by the local building code to have a fire-resistance rating, the resulting opening that makes up the joint must be firestopped in order to restore the required compartmentalisation.

Qualification requirements

Such joints are often subject to movement, as a function of the building's design basis. For a sample certification listing indicating fire tested motion, click here. Firestops must be able to demonstrate the ability to withstand operational movement prior to fire testing. Firestops for such building joints can be qualified to UL 2079 -- Tests for Fire Resistance of Building Joint Systems.

Whether or not the building elements forming the joint have a fire-resistance rating, the joint design must still consider the anticipated operational movement of each joint. Timing is also important, as freshly poured concrete shrinks particularly during the first few months of a new building, potentially causing joint size changes.

Joint (audio engineering)

In audio engineering, joint refers to a joining of several channels of similar information in order to obtain higher quality, a smaller file size, or both.

Joint stereo

The term joint stereo has become prominent as the Internet has allowed for the transfer of relatively low bit rate, acceptable-quality audio with modest Internet access speeds. Joint stereo refers to any number of encoding techniques used for this purpose. Two forms are described here, both of which are implemented in various ways with different codecs, such as MP3, AAC and Ogg Vorbis.

Intensity stereo coding

This form of joint stereo uses a technique known as joint frequency encoding, which functions on the principle of sound localization. Human hearing is predominantly less acute at perceiving the direction of certain audio frequencies. By exploiting this characteristic, intensity stereo coding can reduce the data rate of an audio stream with little or no perceived change in apparent quality.

More specifically, the dominance of inter-aural time differences (ITD) for sound localization by humans is only present for lower frequencies. That leaves inter-aural amplitude differences (IAD) as the dominant location indicator for higher frequencies. The idea of intensity stereo coding is to merge the lower spectrum into just one channel (thus reducing overall differences between channels) and to transmit a little side information about how to pan certain frequency regions to recover the IAD cues.