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

House, Disco

Listening Notes, Ultra-Brief (pt. 23)


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.  


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.   


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.

COMEDK 2015 Admit Card (UGET), Exam Pattern & Contact Details

COMEDK UGET 2015 entrance exam will be held on 10th May 2015 to intake deserving candidates into undergraduate medical and engineering courses in the state of Karnataka.All those applicants who will successfully submit the application form would be issued COMEDK 2015 Admit Card by the examination authorities. COMEDK 2015 Admit Card (UGET)

COMEDK 2015 admit card will be released by Karnataka examination authorities on 24th April 2015. This admit card/hall ticket will be hosted in online mode and candidates can download it from the official website by entering application form number and other basic details. Only those candidates will be issued admit card who have filled the application form after ensuring their eligibility.

Steps for downloading COMEDK 2015 Admit Card
1. Log on to the official website of COMEDK
2. Enter the required details in the mandatory fields in order to download admit card.
3. Check the entered information and then proceed for submission.
4. Click on the “submit” option. COMEDK admit card will be displayed.

Important- After downloading admit card, applicants should generate multiple copies of it so that if one copy is lost, another one can used to gain entry in the examination hall.

Purpose of COMEDK 2015 Admit Card

COMEDK admit card/hall ticket serves the following two purposes.

  • Admit card acts as an identity proof and validates the candidate’s entry in the exam hall.
  • Hall ticket contains all the important details such as candidate’s name, roll number, exam date and time, exam venue and exam instructions.
Preserving COMEDK Admit Card/Hall Ticket

Candidates are suggested to keep the admit card in good health till the seats are allotted to them. They should also ensure that the hall ticket is not mutilated, soiled or tampered in any way as it will be required at the time of counselling.

Incase of any errors or misprints in COMEDK admit card- Measures to be taken

It is important for the applicants to check the information mentioned in the admit card. If any errors or false information found in hall ticket, COMEDK examination authorities should be immediately informed about it.

COMEDK 2015 UGET Exam Pattern

It is important for the candidate to understand the COMEDK exam pattern before writing it.This will help them in formulating preparation plan for this competitive exam.   COMEDK exam pattern is mentioned below.

1. COMEDK paper will be divided into three sections namely- Mathematics, Physics and Chemistry.
2. Candidates will be provided OMR sheets where they will have to mark the answers by darkening the appropriate circle.
3. COMEDK question paper will contain 180 questions in total.
4. There will be 60 questions in each section.
5. Time allotted to complete the exam will be 3 hours. However, extra time will be given to physically disabled candidates.  

COMEDK 2015- Contact Information COMEDK, #132, Second Floor, Malleswaram, Bangalore- 560 055. Telephone: 080-41132810 Facsimile (Fax): 080-23568309Email-
I want an alternative program for IDM [duplicate]

I want an alternative program for IDM [duplicate]

Possible Duplicate:
Can someone recommend a download manager?

I want an alternative program for IDM ( internet download manager ) on ubuntu ??
or how can I setup idm on ubuntu ??

i want A detailed explanation ,please!


uGet seems to be in vogue at the moment.

From the website:


  • Free (as in freedom , also free of charge ) and Open Source.
  • Simple , easy-to-use and lightweight .

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