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Roadrunner Records is a Dutch―American record label focused on heavy metal and hard rock music. Founded in the Netherlands in 1980, it is now a division of Warner Music Group and is based in New York City .
Roadrunner was a supercomputer built by IBM for the Los Alamos National Laboratory in New Mexico, USA. The US$100-million Roadrunner was designed for a peak performance of 1.7 petaflops . It achieved 1.026 petaflops on May 25, 2008, to become the world's first TOP500 LINPACK sustained 1.0 petaflops system.
Founded in 1989 Hidden Creek Partners was an industrial management company specializing in the automotive sector based in Minneapolis, Minnesota. In 2003 Hidden Creek co-founder Scott Rued joined Thayer as a Managing Partner. In 2004 Hidden Creek became intimately involved in Thayer's operations. [6] Hidden Creek was acquired by Thayer Capital ...
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The bank was established on 23 June 1817 [11] when a group of merchants signed the Articles of Association, formally creating the "Montreal Bank". [5] The signors of the document include Robert Armour, John C. Bush, Austin Cuvillier, George Garden, Horatio Gates, James Leslie, George Moffatt, John Richardson, and Thomas A. Turner.
Shatter. Monte Conner is an American music executive and artists and repertoire (A&R) representative. He was the former senior vice president of A&R for Roadrunner Records from 1988 until 2012, and is currently the head of A&R at Nuclear Blast Records. [1][2][3] MetalSucks has called him "the most successful A&R dude in the history of metal." [4]
Roadrunner United was a project organized by American heavy metal record label Roadrunner Records to celebrate its 25th anniversary. It culminated in an album released worldwide on October 11, 2005, [1] entitled The All-Star Sessions. Four "team captains" were chosen to lead 57 artists from 45 past and present Roadrunner bands, and produce and ...
Roadrunner articles tend to be rough-edged and experimental, with a minimum of editorial intervention. The approach is personal and highly committed and the magazine was the first to treat Australian music as a force with its own history, geography and ideologies, although the other major rock papers quickly followed suit.’