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Theo Parrish - Love I Lost - 2002, 2011 / Ugly Edits

House, Disco

Listening Notes, Ultra-Brief (pt. 23)

PICKS

Julius Hemphill, Dogon A.D.   (Arista-Freedom / International Phonograph, Inc.)

Talk about “seminal”– self-produced in 1972 by an unknown saxophonist in what was then a jazz backwater (St. Louis), self-released on Hemphill’s own Mbari label (500 copies printed), brought to vinyl five years later by Arista, out of print ever since and never available digitally. Hemphill would go on to a career encompassing a long tenure with Black Saint and the World Saxophone Quartet, both cut short by poor health. But here is where he began, and where a new conception of “free jazz” arose from a group of like-minded adventurers from various Midwestern locales. At the core of these performances is a recognition that the still-young avant-garde had allowed itself to be led into artistic cul-de-sacs by seeking ever-noisier avenues of expression, a concern that the New Thing’s radicalism was hermetic in a way common to nearly all forms of radicalism. Rather than seeking crossover appeal through electricity, Hemphill and his backbeat-loving cohorts created a funky, swinging, earthy, blues-drenched take on challenging post-60s jazz, with an historical palette wide enough to seize upon aspects of African-American (and, indeed, African) cultural traditions left behind. That is, Hemphill’s focus on the ritual-heavy culture of Mali’s Dogon tribe was no mere dashiki chic, but (as Robert Palmer’s original liner notes excellently outline) a specific attempt to incorporate aspects of a mystical yet cosmographically sophisticated people – people whose musical traditions, manifesting itself mainly through timbre, impacted American music. You can hear this even amid the relatively straightforward pieces, like the noisy “Rites” or flute-thing ballad “The Painter”. But it comes to the fore on 20-minute closer “Hard Blues,” featuring a young Hamiet Bluiett on baritone blowing across a loping blues beat. And the opening title track remains one of the key musical performances of 1970s jazz. Haunting, eerie, ecstatic, rocking, it sets Abdul Wadud’s minimal cello riff – a riff that encompasses both Mississippi Hill Country string bands and rock power chords - against the leader’s revival-style sax and Baikida E.J. Carroll’s buoyant trumpet, while ex-Paul Butterfield sideman Philip Wilson lays down a single-mindedly heavy beat. 1500 copies were printed this time around. Progress, huh? 

Theo Parrish, Uget (Ugly Edits)     (Ugly Edits)

While this double-disc set is pricey, the original limited-edition disco edits collected here go for even more outlandish prices online, with bootlegs commanding three digit figures from the usual suspects, and of course I’m not going to say they’re worth those sums. But Parrish’s deeply disconcerting recontexualization of supposedly passé aspects of disco/funk (namely, hooks and vocals) remains audacious, unique - dare I say, special. Radical, too, even if his radicalism is so committed to the pleasure principle that its subversive qualities sneak up unawares. Decades of sampling and extended deconstruction at the hands of the dance underground has opened our ears to the avant-garde possibilities inherent in a music once derided as mindless, but at the expense of those hooks and vocals. Thus, by crafting edits that ignore percussion breaks in favor of “random” moments taken from individual documents – moments like Harold Melvin expressing exhilaration mid-song, or the Sugar Hill Gang singing rather than rapping – Parrish can claim he’s merely redirecting our attentions to the human qualities that put these joints over in the first place. If there’s any subterfuge at work here, then, it’s in Parrish’s conceit that dance music function as dance, meaning he’s operating under the same guiding principles as both the performers he highlights and the original club tweakers who unwittingly laid the groundwork for electronica. Only he’s often better at it. If you suspect this overstates the case, I suggest playing GQ’s forgettable 1980 album track “Lies” against the nine-minute edit of same, “Party Going On,” hopefully noting that Parrish highlights the only two good things about it - the killer bass line and a throwaway whine about a party. Admittedly, if you listen to this or any other track a little too closely, your eyes might cross. So just treat it like the highbrow hedonism it is.  

NEAR PICKS

The Office Of Future Plans, The Office Of Future Plans    (Dischord)

J. Robbins moves on from his old Jawbox and more recent Burning Airlines days to supply the guitar-driven anthemic indie rock noticeably absent from the contemporary scene, with a sharper melodic sense, wider musical canvas, and better cello parts than either of his previous gigs. Sharper politics, too, even if Robbins’ tendency to over-enunciate means his metaphors register clearly the first time around. But simple though they may be, simplistic they’re not – even the seemingly bland band name references both Terry Gilliam and Dick Cheney, highlighting the way mundanity shelters monstrosities. Anybody exhausted by the prospect of tooling through the recently-uploaded Fugazi live archives may well find their earnest politically-conscious multifaceted indie fix right here in easily-digestible 40 minute form, complete with slogans both shouted and crooned – “ambition is our conviction,” “bait and switch,” “hello cryptofascists / hello wailing one percent,” “I wish all your avatars well,” “who do we pay?” But note that reference to crooning above. While he’s loads smarter and sloppier, Robbins at times brings to mind none other than Dave Grohl, which gets a little too close to mundanity (if not monstrosity) for my tastes.

Odonis Odonis, Hollandaze    (Fat Cat records)

Campy, derivative, and hardly smart, this noisy debut succeeds when it does thanks to Toronto native and sometime filmmaker Dean Tzeros’ total lack of subtlety. A recorded-in-an-aircraft-hangar mélange of Dick Dale, Pebbles, early Cabaret Voltaire, psychobilly, shoegaze, and whatever else was lying around, this drags only when things slow down or the synths talk over the guitars, which fortunately isn’t very often (although dig those punchy keyboards echoing across “New World). “Basic Training” and “White Flag Riot” supply redline extremity, while the slightly less harsh “Ledged Up” displays enough warped hooks to suggest Tzeros’ healthy pop sensibilities simply choose to bow down before his sturdier noise instincts. The kind of limited-use artifact that can briefly renew one’s faith in the younger generation’s commitment to making rude sounds.   

BOMBS

Freddie Gibbs, Cold Day In Hell    (LRG download)

As unfair as it may seem to hold free mixtapes to the same high standards as marketplace-tested official releases, you just try telling Frank Ocean downloads don’t count. And then try and convince yourself that the lack of discipline, editing, and inspiration on display here is the fault of format, not artistic vision. Listen to how Gibbs’ repetitive flow gets cold-cocked any time another rapper steps to the mic, with Young Jeezy and Freeway especially ebullient where the headliner plays uncommitted. Check out a production ethos that steadily charts mock-grandiose apart from a few welcome Bobbi Humphrey and Sade (Sade!) samples. And question whether or not somebody who still believes being “motherfuckin’ gangsta” is a conceit worth striving for deserves your time and attention. Escaping the mean streets of Gary, IN in one piece is no joke, and Gibbs’ dissection of black-on-black violence during the urban criminology report that is “Rob Me A Nigga” seems heartfelt enough. Yet his idea of a moral quandary seems to be “fuckin’ my homeboy’s girlfriend,” his notion of a perfect day involves “gettin’ my dick sucked by the neighborhood hoe,” and his grasp of democracy seems stalled at allowing as to how that afternoon dicksucking “bitch might be a hoe / but she’s my homie”. Fair enough. But when I hear a supposed wordsmith repeat the phrase “bitch-ass nigga” for three long minutes, I wonder why he can’t expand on that theme a little. 

Indignant Senility, Consecration Of The Whipstain     (Type)

 Pat Maher’s noise project garnered attention last year when his cassette-only Indignant Senility Plays Wagner saw a digital release courtesy of Type, in which a vinyl Wagner piece (“no one seems to know which one,” a booster gleefully reports) was subjected to enough distortion and manipulation to create an authenticated example of that chimera, “dark ambient”. While conceptually playing off little more than the artist’s audacity, at least that album offered an identifiable shtick, no matter that Maher was too coy or perhaps too otherwise involved to justify his “debasement” of the source material. The absurdities of Germanic mythology, Wagner’s interest in Gobineau-derived Aryanism, Das Judenthum In Der Musik – all potential jumping-off points for Wagnerian discussion, and none of which I’m willing to bet ever crossed Maher’s mind. On the other hand, he seems to have taken as read Wagner’s Schopenhauerian belief that music must defer to dramatic concerns, which is what makes this non-thematic follow-up so surprisingly limpid. Hums, shimmers, crackles, and what an admirer dubbed “opium drones” dominate four fifteen-minute settings that trudge wearily along, soothing at times if rarely as horrific as the auteur no doubt hoped. In other words, this fails to impress. Because despite his hifalutin nods to the European classical tradition and early Modernism, one look at the names he’s bestowed on both band and album suggests Maher’s spent more time studying Nurse With Wound liner notes than familiarizing himself with any artistic canon. 

Tunisie en lutte. Brisons la conspiration du silence.

Sur le fond blanc se détache un dessin  rouge : des silhouettes de manifestants arborant un drapeau, un marteau, une pioche tandis qu'une main écrase des têtes de soldats posés sur une bombe.

Cette affiche provient du fonds d'archives de Simone et Ahmed Othmani dont une partie couvre les mouvements étudiants tunisiens. Les années 70 correspondent à une période de grande mobilisation pour les libertés en Tunisie, un mouvement démocratique dans lequel s’engagent des milliers d’étudiants suivis par les lycéens et les ouvriers. 

L'Union générale des étudiants tunisiens (UGET) est fondée à Paris en 1953. Influencée par le parti destourien au pouvoir après l'indépendance, elle est victime d'ingérence et ne retrouve une véritable indépendance qu'en 1969.

meriview.in
COMEDK 2015 Answer key 2015 - COMEDK UGET exam answer key / Exam Solution available
COMEDK 2015 Answer key 2015 - COMEDK UGET exam answer key / Exam Solution - COMEDK Answer keys 2015 released: Now provisional answer key of COMEDK UGET 2015 exam had been released by comedk.org. All the COMEDK 2015 applicants can download the Exam Solutions now.

Check answer key at http://www.meriview.in/2015/05/comedk-2015-answer-key-comedk-org-uget-exam-solution.html

COMEDK UGET 2015 online test admission ticket available for download

The registrants of the Consortium of Medical, Engineering and Dental Colleges of Karnataka Under Graduate Entrance Test 2015 (COMEDK UGET 2015) can now download and print the Online Test  Admission Ticket (Online TAT) for the examination from the website.


To access the Applicant Login, please click here and enter the e-mail ID and Password. After logging in, the candidates will be able to download/print the TAT.


The Applicant Login also provides the candidates the opportunity to fill and print the Online Application Form (OAF) and offers information including the candidate’s application details, application status, etc. It also has the provision to print the online rank card, etc.


The deadline of the application procedure for Comedk UGET 2015 was earlier extended due to several requests regarding the same. The last date for Registration for Application (RFA) was extended till 10 pm on Tuesday, April 14, 2015. The last date for filling the OAF was extended till 10 pm on Wednesday, April 15, 2015. The last date for receipt of filled in Physical Application Form (PAF) along with the Demand Draft (DD) was extended till 5 pm on Saturday, April 18, 2015.


The RFA link for Comedk UGET 2015 was activated at the website on Monday, March 2, 2015. Candidates could start filling OAFs since then. Earlier, the last date for obtaining RFA was Wednesday, April 8, 2015 and the last date for filling of OAF, only for candidates who already obtained RFA, was Friday, April 10, 2015. The last date for receipt of PAF was Wednesday, April 15, 2015.


Comedk UGET 2015 will be held on Sunday, May 10, 2015 in different test centers across the Karnataka state. The provisional answer keys will be published on the same day after the completion of the test.

Tunus'ta açlık grevi 30. gününde

Tunus’ta açlık grevi 30. gününde

Açlık grevinin 29. günü rahatsızlanan eylemci.

Tunus’ta Zeynel Abidin Bin Ali dönemini bitiren olayların kıvılcımını çakan genci hatırlıyor musunuz? Muhammed Buazizi.[kutu] Tunus Diplomalı İşsizler Birliği:Fas’ta 1992’de kurulan ANDCM ( Fas Diplomalı İşsizler Ulusal Derneği) Cezayir ve Tunus’ta aynı sorunları yaşayan gençleri etkilemiş, 2006 yılında Tunus’ta ilk Diplomalı İşsizler hareketi…

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Honestly I really want to write.. something. write a book or whatever or short stories or something but I have no ideas where do yo uget them from I dont even know I am the worst

071215
yt vids in the morning / i like mornings when i can hear my family moving around the house quietly / helping mother in the kitchen / cut vegetables and speared shish kabobs / got ready / finally taming my atrocious hair into pigtails / william came but he was asleep and he curled up into a little ball on the sofa and it was the cutest thing ever i love him so much / olg came / she was writing her essay abt yosemite / I MISS YOSEMITE CANT WAIT TO BE REUNITED / HAHAHA writing olg’s essay for her: “we founded poo and den it was rlly cold and den we were lyke WAT DA HECK IT SO DA COLD JUAN~~~ and den park police wer lyke AY WAT DA HECK UGET OUTTA DEREK OHK~~~ AND WE WERE LYKE OH SHIT!!!!!!!! OHK~~~” AHHAHAHAHAAHAH / william waking up FINALLY / playing with him / he was very rambunctious and weird today i was like please / watching like 20 minutes of frozen (yes guad i stole the idea fr you sue me) / HAHAHA me and ginas favorite activity to do together is pretend to sleep whenever someone wants us to come downstairs HAHAHA / lit hurled ourselves onto the bed in the weirdest position and closed our eyes and pretended to sleep and william was like ??? / and then co ngan took him out and closed the door cause she thought we were actually sleeping HAHAHA / taking selfies on ginas macbook with the funny effects and laughing SO HARD HAHAHA / gbye everyone !! / omg i was sitting on the living room floor & william was standing at the door before he left and he was like “jessica come home with me?” AND I WAS LIKE BABY …. ,,,, ILY MORE THAN ANYONE / ate a bomb ass peach while getting mom seeds to purchase a rose on plant nanny / her plant names are: booboo, beebee and bingbing … / talking to guad / reading / erm yeh gn

How Many Downloads Should My Podcast Get?


6:30 Society of Canadian Composers?

Is this a real deal? This seems weird, some say it is (it is a legit organization) but the podcaster has no music in his show? this (if its real) is just a blanket email to every.

9:14 Prime Day at Amazon.com


Amazon had “black Friday” type deals (or so they said) for those on Amazon Prime (where yo uget free shi[[ing, videos, music, etc) for a one time fee. They had $50 off the Amazon Echo . The Audio Technica 2005 is now up to $79. The Amazon Echo has huge Wife Acceptance feature.

12:55 What Cables Do I need to Setup a Mixer to Record with a Zoom H5

To go from the mixer to the recorder use this cable from the RCA Out to line in of the mixer.

16:47 How Can I Get Rid of the Sound of the Air Conditioner?

If possible turn it off. If you cut out frequency, you will be cutting out the frequencies of the voice.

18:45 Example of a Speakpipe (not so great) Voice Message (so it depends on who is leaving the message).

Dave plays a great testimonial that unfortunately was recorded a little too loud.

20:35 Is it best to have everyone record their own side of a conversation?

Yes the best way is to have everyone recorded, but it requires more work to put it together

23:10 Whats the Next Piece of Equipment?

Dave loves his DBX 286, but its not for everyone there is no one size fits all.

25:00 How Many Downloads Should I Have?

Value multiplied by Time Spent Promoting = Number of Downloads.

33:20 Gimlet Media Has 19 Employees!

We have a general discussion on download stats.

It would be interesting to see how much some of the bigger shows are promoting their shows.

Coming from a bigger show doesn’t Guarantee you get a big audience. It’s all about the relationships.

When your audience is small, reach out to your audience (call them using a Google voice) and it will AMAZE the people you call.

47:05 How Do I Grow My Audience on Twitter?

Connect with them personally.

When was the last time you discovered a podcast via Twitter?

When was the last time you subscribed to a podcast because of Twitter?

Some shows need to grow and change to keep an audience.

Just because you interview real people doesn’t mean it is really interesting.

Cut out the chit chat.

51:05 Listen to Your Show And See How You Can Improve

Don’t obsess, but you should always have room for improvement. Try to put yourself into the shoes of a new listener.

We will talk about Voicemeter on the next show. We should also talk about Asure.

Jim is now the know it guy

Become one of our Awesome suppoters by going to www.askthepodcastcoach.com/awesome


Check out this episode!