The cornerstone (or foundation stone) concept is derived from the first stone set in the construction of a masonry foundation, important since all other stones will be set in reference to this stone, thus determining the position of the entire structure.
Over time a cornerstone became a ceremonial masonry stone, or replica, set in a prominent location on the outside of a building, with an inscription on the stone indicating the construction dates of the building and the names of architect, builder and other significant individuals. The rite of laying a cornerstone is an important cultural component of eastern architecture and metaphorically in sacred architecture generally. There are six references to cornerstones in both the Old and New Testaments.
Some cornerstones include time capsules from, or engravings commemorating the time a particular building was built.
Often, the ceremony involved the placing of offerings of grain, wine and oil on or under the stone. These were symbolic of the produce and the people of the land and the means of their subsistence. This in turn derived from the practice in still more ancient times of making an animal or humansacrifice that was laid in the foundations.
Cornerstone is a 1987 album by Holly Dunn. Although it yielded no #1 hits, as would some of her later albums, Cornerstone would attain the highest Billboard Top Country Albums rating in her career for Holly Dunn at #22, based on three hits which made it into the Country Top Ten singles list: the #2 "Love Someone Like Me," the #4 "Only When I Love," and the #7 "Strangers Again."
Cornerstone is a New York-based creative lifestyle marketing and public relations agency with offices in New York City, Los Angeles, and London. It is helmed by co-CEOs Rob Stone and Jon Cohen. The company employs approximately 100 professionals worldwide, in addition to a network of field marketing representatives throughout the United States.
In June 1996, Rob Stone left a major record label to create Cornerstone, a Manhattan-based music promotion firm that worked primarily with record labels to promote their artists. After being joined by business partner and co-CEO Jon Cohen in 1997, the firm began to expand into a marketing and creative agency that integrated ip music names in corporate branding campaigns.
Stone and Cohen also founded The FADER, a music publication, in 1998.
In addition to strategic lifestyle marketing and creative services, the agency's practice areas include digital marketing, radio promotion, brand consulting, music supervision and Cornerstone Public Relations, a full-service PR firm.
In Greek mythology the Styx is the river that forms the boundary between the underworld and the world of the living, as well as a goddess and a nymph that represents the river.
Styx may also refer to:
Styx was originally created by Windmill Software in 1983 and released as a copy-protected, bootable 5.25" floppy disk for the IBM PC/XT.
It is a clone of the 1981 arcade game Qix. Three significant differences are: the caterpillar (that can grow in size in later rounds), the introduction of diagonal movement (in contrast to Qix allowing only four directions), and the X1/X5/X10 multiplier that would color a claimed area corresponding to the color of the multiplier (also awarding that many points).
Styx used the same game engine as two other Windmill Software games, The Exterminator and Moonbugs, and these were some of the few programs to make use of the 16-color quasi-graphics CGA mode (normally the CGA could only use 4 or 2 color graphics). However, it was possible to play on a monochrome monitor as long as the graphics card also supported color graphics (e.g. a Genoa Color Graphics Card).
Styx, The Exterminator, and Moonbugs set CGA 320x200x4 mode on the title screen by directly manipulating the video registers; this causes them to display a screen full of garbage on later video cards. The in-game graphics also will only occupy half the screen due to technical differences between CGA and EGA/VGA, however the games can be patched to work correctly on VGA.
Styx /ˈstɪks/ is an American rock band formed in 1970 from Chicago that became famous for its albums released in the mid-1970s and early 1980s. They are best known for melding the style of pop rock with the power of hard-rock guitar, strong ballads and elements of international musical theater.
Styx is best known for the hit songs "Lady" (#6, 1973), "Come Sail Away" (#8, 1977), "Babe" (#1, 1979), "The Best of Times" (#3, 1981), "Too Much Time on My Hands" (#9, 1981) and "Mr. Roboto" (#3, 1983). Other hits include "Show Me the Way" (#3, 1990), "Don't Let It End" (#6, 1983), "Renegade" (#16, 1979) and "Boat on the River", a big hit in much of Europe and Japan. The band has five consecutive albums certified multi-platinum by the RIAA as well as sixteen top 40 singles in the US.
Twin brothers Chuck (bass guitar) and John Panozzo (drums) first got together with their neighbor Dennis DeYoung (vocals and keyboards) while living on the East Side of Chicago, eventually taking the band name "The Tradewinds". Chuck Panozzo left to attend seminary school for a year but returned to the group by 1964. Tom Nardini had been brought in to replace Chuck on guitar and Chuck decided to play bass guitar when he returned to the band. John Panozzo was the drummer, while Dennis DeYoung had switched from accordion to organ and piano. In 1965, the name "Tradewinds" was changed to TW4 after another band called The Trade Winds broke through nationally. By 1966, the Panozzo brothers had joined DeYoung at Chicago State College and kept the group together doing gigs at high schools and frat parties while studying to be teachers. In 1969 they added a college friend, John Curulewski, on guitar after Tom Nardini departed. Guitarist James "J.Y." Young came aboard in 1970 making TW4 a quintet.
The time is now to take my wares to the street
And I know how, the street's been good to me
Maybe it's the sign of a wise man
Maybe it's the sign of a fool
Maybe it's the night for a rendezvous
With a woman like you
It's gone too far,
I'll take my life into the streets
I feel the need and I can't stop myself
Maybe it's time to be a strong man
maybe it's time to be cool
Maybe I'll take to the boulevard
Where there's nothing I won't do
Can you tell me where my heart is
When I'm looking for love in the midnight
There's a burning in my body
And I'm looking for love in the midnight
Better hold on tight, I'm a ravenous man
I'll tell you anything
To make you think I'm alright
You know the moonlight brings out the devil in me
For tomorrow, I'll regret it in the daylight
Can you tell me where my heart is
When I'm looking for love in the midnight
There's a burning in my body
And I'm looking for love in the midnight
Won't you tell me where my heart is
When I'm looking for love