#clifton sleigh

[dontcallthedoctor]

My own take on one of my favorite character themes, the Clifton Sleigh Theme by Henry Mancini. It's a very unique, off-kilter, yet ingratiating tune that's haunted me from the moment I heard it, and I had a great time transcribing and arranging it! I'll include the original down below for those who wanna hear it, as it is somewhat hard to come by :3

That's all from me xp Workin' on more original music for ya'll so stay tuned!!!

[filmes-online-facil]

Assistir Filme A Maldição da Pantera Cor-de-Rosa Online fácil

Assistir Filme A Maldição da Pantera Cor-de-Rosa Online Fácil é só aqui: https://filmesonlinefacil.com/filme/a-maldicao-da-pantera-cor-de-rosa/

A Maldição da Pantera Cor-de-Rosa - Filmes Online Fácil

O inspetor Clouseau desaparece e o mundo exige que o segundo melhor detetive do mundo procure por ele. No entanto, o inimigo de Clouseau, Dreyfus, manipula o computador para selecionar, em vez disso, o pior detetive do mundo: O sargento da polícia de Nova York, Clifton Sleigh. Não demora para Sleigh começar a fazer trapalhadas na investigação, enquanto escapa de assassinos e policiais corruptos, fazendo-os se questionarem se ele não seria parente de Clouseau.

[healed1337]

Pink Panther series 8 - Curse of the Pink Panther

Pink Panther series 8 – Curse of the Pink Panther

Trail of the Pink Panther was inherently a terrible idea, and it didn’t turn out all that well. The movie included a bunch of link footage filmed just for the project, to help link all of the deleted scenes together. Well, that link footage was filmed simultaneously with today’s subject, Curse of the Pink Panther. Curse of the Pink Panther is the second attempt to replace Peter Sellers as the…

[art-words-magic]

Friendly Neighborhood Reindeer. #reindeer #deer #sleigh #happyholidays #holidays #merrychristmas #merryxmas #christmas #xmas #lawndecorations #lawnornaments #clifton #nj #newjersey https://www.instagram.com/p/CI1WrLtJ2Or/?igshid=p69pwc17lwtk

[handeaux]

17 Curious Facts About Cincinnati's Miami & Erie Canal

Of Course, Daniel Drake Thought Of It

Since he was behind almost every improvement ever contemplated in pioneer Cincinnati, it should surprise no one that Daniel Drake proposed a canal system in his 1815 book, “A Picture of Cincinnati.” Drake was, as usual, ten years ahead of his time, but his proposal closely matched the route ultimately selected when the canal was laid out in 1825.

Just The Facts

The Miami & Erie Canal extended 244 miles from Cincinnati to Toledo. Construction began in 1825 and was completed in 1845, at a total cost of $8,062,680.07. Along the route, the canal crossed 19 aqueducts and employed 106 locks. The last 10 of these locks carried barges from Court Street down to the Ohio River at Cincinnati along a channel now buried under Eggleston Avenue. The peak year for traffic was 1851, after which competition from railroads increased every year. The canal was abandoned in 1913 after a catastrophic flood in Dayton destroyed essential infrastructure.

Up & Down

Along its path, the canal climbed 395 feet upward from Lake Erie to reach its highest level. Known as the Loramie Summit, this plateau extended almost 20 miles between New Bremen to Lockington, north of Piqua, Ohio. From there, the canal descended 513 feet until it reached the Ohio River. The final 100-foot drop ran from Court Street to the Ohio River in Cincinnati.

From Barges To Superhighways

Long stretches of the Miami & Erie Canal are now traversed by automobiles, especially on I-75, U.S. Route 24, and Ohio Route 25. Automobiles were often the third vehicles to follow these routes. As the canal was abandoned, boats usually gave way at first to interurban rail lines in the 1920s and 1930s. Automobiles followed only after the Federal Aid Highway Act of 1956 funded the construction of interstate highways.

Cincinnati’s Rhine

Without the canal, there would be no Over-the-Rhine. The first references to Cincinnati’s “Little Deutschland” neighborhood as “Over-the-Rhine” appear around the time of the Civil War. Originally a put-down, the city’s German residents came to appreciate the idea that they felt more at home once they crossed over the Canal (the “Rhine”) into familiar territory.

The “Other” Canal

The Miami & Erie Canal was not the only canal serving Cincinnati. The Cincinnati & Whitewater Canal was completed in 1843 and connected Cincinnati to Indiana’s Whitewater Canal near Harrison, Ohio. This short canal was in operation for only 20 years and was converted to a railroad right-of-way after 1862. A tunnel constructed for the Cincinnati & Whitewater canal can still be seen in Cleves.

The Lakes Abide

Some of Ohio’s largest lakes were originally created to ensure a consistent flow of water for the canal. Grand Lake St. Marys was one of these feeders and was the world's largest reservoir when built. Indian Lake, originally a collection of small lakes and wetlands, was converted into a large supply basin for the canal. Along the length of the canal, smaller basins – including LeSourdsville Lake – allowed barges to turn around, dry dock, or exchange cargo.

Holy Water

A couple of local African American churches dunked converts in the Canal. One Northside church performed its rites at a location known then as Baptist Hill. The other congregation baptized a half-mile south of the Bruckmann Brewery, beneath the western slopes of Clifton.

Liquid Gold

Canal transportation was appropriate if you didn’t need cargo in a hurry and if your cargo was unlikely to spoil. Whiskey, in other words, was nearly the perfect canal cargo, and a lot of liquor went up and down the canal. A single barge could carry 500 barrels of whiskey at 50 gallons each. At pre-Prohibition prices averaging $1 a quart retail, that’s a $100,000 boatload.

A Taste Of Venice

The City of Cincinnati celebrated its Centennial in 1888. As part of the festivities, an immense exhibition was staged at Music Hall. For this extravaganza, the 1,248-foot-long “Machinery Hall” was erected along the rear of Music Hall, over the flowing canal. The interior of the hall was decorated in a Venetian theme, accentuated by a fleet of gondolas poled along by singing gondoliers. The Italian boats returned every year into the early 1900s.

A Lock On A Name

Lockland, our suburban neighbor straddling the “Split” on I-75, has nothing to do with security devices requiring a key. A half-dozen Ohio towns contain “Lock” in their names, all reflecting their erstwhile position along the various canals connecting Lake Erie to the Ohio River. At Lockland, I-75 barrels right through the former canal locks.

Ice Is Nice

As an exposed and relatively shallow stream, the canal regularly froze each winter. In the sections near towns and cities, the annual freeze brought out skaters and even horse-drawn sleighs. The frozen canal also generated substantial supplies of commercial ice to icemen issued permits by the State of Ohio. One of the biggest storage facilities was located at LeSourdsville, north of Hamilton, capable of holding a two-year supply of that pre-refrigeration necessity.

Swimming Hole

Every boy in Cincinnati knew the “secret” sign: Two fingers held up in what later became the sign for “peace” meant it was time to go swimming. Every boy in Cincinnati also knew the warning shout, “Cheese it! The Cops!” – a signal to grab your clothes and scatter.

Beware The Naked Man

The canal had barely been excavated when Cincinnati City Council passed an ordinance in 1828 outlawing bathing in the waterway. The ordinance began: “Whereas much lewdness and obscenity daily occur from the public and lascivious manner in which men and boys expose themselves in bathing in the Miami canal in the city of Cincinnati . . . ” By the late 1800s, naked men were still in plain view along the local waterways. But nakedness was not the only crime. Even worse, these flagrantly unclothed males were naked on Sunday. Skinny-dippers created an offensive impediment to good folks crossing the Mill Creek bridge on their way to church:

Dangerous Waters

Charles Ludwig’s little book, “Playmates of the Towpath,” published in 1929 by the Cincinnati Times-Star, is filled with anecdotes about parents paddling their sons (and, rarely, daughters) for swimming in the canal. The book is equally packed with stories about swimmers being rescued or drowning. Although seemingly placid and tame, the canal claimed many lives over the years. Drownings were common, but infectious diseases from dysentery to cerebral meningitis spawned in the polluted waters as well.

And Gross, Too

Even those former boys who in their dotage fondly remembered swimming in the Miami & Erie Canal recalled the stench from industrial wastes including grease, acids, and chemical salts; rotting animal carcasses; the occasional corpse; and the contents of the innumerable chamber pots emptied into the stream from tenements along the banks. When a swimmer yelled “floater,” there was no telling what was on the way, but everyone scrambled out of the water.

The Last Boat

Cargo barges had disappeared from the canal by the early 1900s and long-distance passenger service vanished after the 1913 flood demolished some of the upstream locks. It is believed the final excursion boat on the Cincinnati section of the canal hosted a party of “Free Setters,” a society of men dedicated to beer drinking. Fittingly, the 27 July 1917 voyage started at the Gerke Brewery at the Plum Street bend and ended at Bruckmann’s near the Ludlow Viaduct.

[soulmusicsongs]

Christmas Soul Music

It's Christmas. Get into the holiday spirit with these Christmas songs about Santa Claus, sleigh rides and snow.

All I Want For Christmas Is Your Love -  Dee Irwin and Mamie Galore (Medley: By The Time I Get To Phoenix / I Say A Little Prayer / All I Want For Christmas Is Your Love, 1968)

Blues For Christmas - John Lee Hooker (Blues For Christmas / Big Fine Woman, 1961)

Boogie Woogie Santa Claus - Mabel Scott ( Every Little Doggie Has Its Day / Boogie Woogie Santa Claus, 1948)

Call Me For Christmas - Gary U.S.Bonds (Call Me For Christmas / Mixed Up Faculty, 1967)

The Christmas Song (Part 1) - Jimmy McKee (The Christmas Song (Part 1) / The Christmas Song (Part 2), 1977)

The Christmas Waltz - Nancy Wilson (The Capitol Disc Jockey Album, 1968)

Funky Little Drummer Boy - Bobby Holloway (Funky Little Drummer Boy / Cornbread, Hog Maw And Chitterlin’s, 1967) 

I Hear Jingle Bells - Freddy King (Christmas Tears / I Hear Jingle Bells, 1961)

It's Christmas Time - Clifton Chenier ‎(It's Christmas Time / Tired Of Crying Over You, 1968)

I've Fallen In Love With A Snowman - Millie (I've Fallen In Love With A Snowman / What Am I Living For?, 1964)

I Want To Spend Christmas With You (Part 1) - Lowell Fulson (I Wanna Spend Christmas With You (Part 1) / I Wanna Spend Christmas With You (Part 2), 1967)

It May Be Winter Outside (But In My Heart It’s Spring) - Felice Taylor (It May Be Winter Outside (But In My Heart It’s Spring) / Winter Again, 1967)

Let’s Get It Together This Christmas - The Harvey Averne Band (Christmas Song / Let’s Get It Together This Christmas, 1971)

Love For Christmas - Gems (Love For Christmas / All Of It, 1964)

Merry Christmas, Baby - The Soulful Strings (The Magic Of Christmas, 1967) 

Old Fashion Christmas - Kenny Williams (Old Fashion Christmas/ Old Fashion Christmas (Part Two), 1973)

Santa - Lightnin’ Hopkins ( Mojo Hand , 1962)

We Wish You A Merry Christmas - Harold Melvin and The Blue Notes (Christmas With Harold Melvin and The Blue Notes, 2004)

What Christmas Means To Me - Floyd Crockett (Elf Christmas Soundtrack, 2003)

Wrap Yourself In A Christmas Package - Charles Brown (Charles Brown (Charles Brown Sings Christmas Songs, 1961)

You’re All I Want For Christmas - Brook Benton ‎(You're All I Want For Christmas / This Time Of The Year, 1963)

More Christmas Soul Music  And of course the James Brown Christmas Songs are the best funky holiday tracks ever!

[dustedmagazine]

Dusted’s Decade Picks: The Lists

Protomartyr, who appear on at least three of these lists.

Of course, those picks from earlier today didn’t just manifest out of thin air; most (if not necessarily all) of us wound up coming up with some sort of decade-end list in the process of picking an album or two to ruminate upon, and a few that didn’t have specific pieces on singular works still had a little something to say about the decade just now passing away. Below the cut, then, is a more expansive but less wordy account of what various Dusted personnel found most personally essential in the 2010s. Enjoy!

Andrew Forell’s Ten Others of the Tens:

Algiers – Algiers (Matador 2015)

Burial – Rival Dealer (Hyperdub, 2013)

Deerhunter – Halcyon Days (4AD, 2010)

Goon Sax – We’re Not Talking (Chapter Music, 2018)

John Grant – Pale Green Ghosts (Bella Union, 2013)

John Murry – The Graceless Age (Evangeline, 2012)

Low – Double Negative (Sub Pop, 2018)

My Bloody Valentine – m b v (m b v, 2013)

Nick Cave & The Bad Seeds – Skeleton Tree (Bad Seed Ltd, 2016)

Tim Hecker – Rave Death, 1972 (Kranky, 2011)

Ben Donnelly’s A Decade of Albums, Alphabetical

Sina Alam – Cut Pieces (Tekehaye Borideh Shodeh) (Sina Alam, 2011)

Marisa Anderson – Traditional and Public Domain Songs (Grapefruit Records, 2013)

Shana Cleveland & The Sandcastles – Oh Man Cover the Ground (Suicide Squeeze, 2015)

Demdike Stare – Tryptych (Modern Love, 2010)

Esben and the Witch – A New Nature (Nostromo, 2014)

Fire! Orchestra – Exit! (Rune Grammofon, 2013)

A Hawk and a Hacksaw – You Have Already Gone to the Other World (LM Dupli-Cation, 2013)

Heron Oblivion – Heron Oblivion (Sub Pop, 2016)

James Holden & The Animal Spirits – The Animal Spirits (Border Community, 2017)

Kelsey Lu – Blood (Columbia, 2019)

Cate Le Bon – Cyrk, Cyrk II, Mug Museum, Reward (Turnstile, Mexican Summer; 2012, 2013, 2019)

Zabelle Panosian – I Am Servant of Your Voice (Canary, 2017)

Stara Rzeka – Cién Chmury Nad Ukrytym Polem (Instant Classic, 2013)

Ufomammut – Eve, Oro: Opus Primum, Oro: Opus Alter (Supernatural Cat, Neurot; 2010, 2012)

Ulaan Passerine – Moss Cathedral, The Landscape of Memory (Worstward; 2016, 2017)

Various Artists – Sky Girl (Efficient Space, 2016)

Derek Taylor’s Ten for the Decade

Wadada Leo Smith – Ten Freedom Summers (Cuneiform, 2012)

Joe McPhee & Paal Nilssen-Love – Candy (PNL, 2015)

Jaimie Branch – Fly or Die (International Anthem, 2017)

Evan Parker – As the Wind (Psi, 2016)

Sonny Rollins & Don Cherry – Complete Live at the Village Gate (Solar, 2015)

Ellery Eskelin – Trio New York (Prime Source, 2011)

Henry Threadgill – In for a Penny, In for a Pound (Psi, 2015)

Peter Evans – Zebulon (More is More) 2013

Various Artists – FMP In Ruckblick (In Retrospect) (FMP, 2011)

William Parker – Wooden Flute Songs (AUM Fidelity, 2013)

Ethan Milititisky’s 10 Others That Deserve More Attention:

The Whines — Hell to Play (Meds, 2010)

Terry — Terry HQ (Upset the Rhythm, 2016)

Fly Ashtray — The Eponymous Object (Self-Released, 2012)

Metal Mountains — Golden Trees (Amish, 2011)

J. McFarlane’s Reality Guest — Ta Da (Hobbies Galore, 2019)

The Coolies — Kaka (Feeding Tube, 2015)

Hidden Ritual — Zebra Bottle (Monofonus Press, 2015)

Watery Love �� Decorative Feeding (In the Red, 2014)

Uranium Orchard — Knife & Urinal (Cold Vomit, 2018)

Rose Mercie — Rose Mercie (Monofonus Press, 2018)

Ian Mathers’ Personal Top 20 of the Decade (Alphabetical)

Chelsea Jade — Personal Best (Create Music Group, 2018)

Clinic — Free Reign II (Domino, 2013)

EMA — The Future’s Void (City Slang, 2014)

Julianna Barwick — Will (Dead Oceans, 2016)

King Woman — Created in the Image of Suffering (Relapse, 2017)

Leverage Models — Leverage Models (Hometapes, 2013)

Los Campesinos! — Sick Scenes (Wichita, 2017)

loscil — Sea Island (Kranky, 2014)

Low — Double Negative (Sub Pop, 2018)

Mansions — Doom Loop (Clifton Motel, 2013)

Mesarthim — The Density Parameter (Avantgarde Music, 2018)

Mogwai — Hardcore Will Never Die, But You Will. (Rock Action, 2011)

The National — Trouble Will Find Me (4AD, 2013)

Picastro — You (Function, 2014)

Protomartyr — The Agent Intellect (Hardly Art, 2015)

Sleigh Bells — Reign of Terror (Mom + Pop, 2012)

Spoon — They Want My Soul (Loma Vista, 2014)

SubRosa — No Help for the Mighty Ones (Profound Lore, 2011)

Swervedriver — I Wasn’t Born to Lose You (Cherry Red, 2015)

Zeal and Ardor — Stranger Fruit (MVKA, 2018)

Jason Gioncontere’s 10 From the 10s

Recency biases can render exercises such as these moot; fortunately my palate continues to evolve at a glacial pace. Compounding matters is the flash-cube sized attention span the Digital Age is leaving us with in its wake. If it hasn’t honestly hasn’t affected the way you digest and connect with music one iota you are luckier than I. From the opening notes I knew all these albums below were a different beast, each and every time I am left with no choice but to go on the journey in its entirety as intended. Best efforts were made to sequence these in number of rotations:

David Nance - Calling Christine (CDR, 2016)

Helen - The Original Faces (Kranky, 2015)

Dreamdecay - N V N V N V (Iron Lung, 2013)

Uniform - Wake in Fright (Sacred Bones, 2017)

Lou Barlow -  Brace the Wave (Joyful Noise, 2015)

Protomartyr - Under Color of Official Right (Hardly Art, 2014)

Axis:Sova - Weight of a Color (Kill Shaman, 2012)

Beachglass - Clouding (Bandcamp, 2017)

Birds of Maya - Ready to Howl (Richie, 2010)

La Hell Gang - Thru Me Again (Mexican Summer, 2014)

Jennifer Kelly’s 2010s Favorites

Nick Cave & The Bad Seeds — Push the Sky Away (Bad Seed Ltd., 2013)

Protomartyr — Under Colour of Official Right (Hardly Art, 2014)

Sleaford Mods — Divide and Exit (Harbinger Sound, 2014)

Meg Baird — Don’t Weigh Down the Light (Drag City, 2015)

Heron Oblivion — Heron Oblivion (Sub Pop, 2016)

Amy Rigby — The Old Guys (Southern Domestic, 2018)

Steve Gunn — The Unseen in Between (Matador, 2019)

Patois Counselors — Proper Release (Ever/Never, 2018)

Damien Jurado — Maraqopa (Secretly Canadian, 2012)

Skull Defekts — Peer Amid (Thrill Jockey, 2011)

Jack Rose — Luck in the Valley (Thrill Jockey, 2010)

Rangda — False Flag (Drag City, 2010)

Tim Clarke’s A Baker’s Dozen From the 2010s

In a nod to The Quietus’s regular feature, here are 13 albums that have meant a lot to me in recent years. I’m sure there have been musical trends during the 2010s more worthy of coverage than a personal list of favorites, but if one thing’s clear from this list it’s that, for better or worse, my taste hasn’t changed much in the ensuing years and is rarely swayed by the flavor of the month (or year, or decade). Most of this is expansive guitar-based stuff, and they’re all albums I don’t hesitate to revisit to this day. So, if that sounds like your bag, you can’t go wrong with any of these, presented in alphabetical order:

Big Thief — U.F.O.F. (4AD, 2019)

Chris Cohen — Overgrown Path (Captured Tracks, 2012)

Loma — Loma (Sub Pop, 2018)

Sandro Perri — Impossible Spaces (Constellation, 2011)

Radiohead — A Moon Shaped Pool (XL, 2016)

Roommate — Make Like (Strange Weather, 2015)

Andy Shauf — The Party (Arts & Crafts, 2016)

Shearwater — Animal Joy (Sub Pop, 2012)

Chad VanGaalen — Light Information (Sub Pop, 2017)

Mark Van Hoen — Where is the Truth? (City Centre Offices, 2010)

The Walkmen — Lisbon (Fat Possum, 2010)

Wild Beasts — Smother (Domino, 2011)

Women — Public Strain (Jagjaguwar, 2010)

[thesinglesjukebox]

100 GECS - MONEY MACHINE

[6.75]

OK, so no-one mentioned Grimes...

Scott Mildenhall: A new version of The Game for people who used to play The Game: if you respond to this, then 100 gecs win. If you use the words Grimes or Sleigh Bells then they win forever, and if you shut your mind off to certain aspects of it, it becomes listenable. [6]

Will Adams: Wow, this Sleigh Bells remix of Farrah Abraham is a lot better than I expected. [5]

Will Rivitz: A purely hypothetical exercise: I would theorize that if a young teenager were to find electronic music through artists bridging the gap between the nu-metal they loved and uncut dancefloor shit, like -- as a general example -- Immersion-era Pendulum and Scary Monsters-era Skrillex, and that young teenager's journey through electronic music over the course of the next decade was defined at least in part by a categorical failure to distance that now-mid-20-something's musical taste from the scene shit they absolutely loved and still discuss online (say, for example, on a music blog or two) with high enough frequency that it's clear to any reader that they never really got over it and probably never will; if -- again, purely hypothetically -- if this statistically improbable person were to listen to "Money Machine" once, then listen to it thirteen times more in a row, then continue to listen to 1000 gecs for months, I would imagine they would have trouble admitting the song and corresponding album might be exactly their lane of trash, that they'd describe it semi-jokingly as "trash" but also kind of cringe internally whenever they used the word because they've listened to it way too much for it to be even a semi-joking enjoyment at this point. Something like that, anyway. Purely hypothetical. [8]

Joshua Minsoo Kim: As the 2010s draw to a close, I'm starting to believe that the second half of this decade hasn't really seen much creative advancement in the world of music (which, is fine, but it's a bit disappointing). "Money Machine" (and the rest of 1000 gecs) sort of solidified that for me: for something that sounds incredibly of the moment, a lot of its touchstones go back at least a few years -- Brokencyde, PC Music, Sleigh Bells, 2000s pop punk, turn-of-the-decade rap like Kreayshawn and Lil B and Kitty Pryde -- and the experience of listening to it recalls the internet-era genre-blending of Salem except through a "deep-fried meme" filter. It's nevertheless the most pleasant surprise of the year. The first verse's insults are flirtatious and absurd, and the transition from comparing this person's arms to cigarettes and then saying "I bet I could smoke you" is an unexpectedly sublime tsundere moment. The rap-borrowed boasts could have easily felt out of place (think: Falling in Reverse's "Alone") but the song's archness and the hook's immediacy turn the clatter into joyous, blissful reverie. How are you feeling in 2019? Burnt out? Pissed off? Desperate for intimacy? Eager to splurge what little money you have? Simultaneously wanting to express all these things and never wanting to think about them, or anything at all? Well, have I got the song for you. [8]

Jonathan Bradley: What I love about 100 gecs is the self-erasing sense of abandon in their commitment to shittiness: their constant doubling-down on their worst instincts, their ugliest sounds, and their stupidest ideas captures a vivid nihilism that strikes awe in its ability to destroy indiscriminately. "Money Machine" is a song that attempts to conjure superiority from comparative vehicle size, but its contempt is infatuated ("Your arms look so fucking cute" is disrespect, but it stills sounds smitten) and its aggression accelerates into fantasy ("You'd text me 'I love you'/And then I'd fucking ghost you!"). The production seems to zero in on the harshest accidents of 2010s internet ephemera: the brash pretensions of Kreayshawn, which have been rediscovered half a decade later as meme fodder by TikTok teens; the ghoulish tech-shredding of Farrah Abraham's memoir-cum-pop-dalliance; the red-lined white noise compression of Sleigh Bells at their most noisome. And all of this is absorbed into punk-pop song structures and colored with capitalism's facile materialism, creating a glitch-fest of content that overwhelms while refusing to even consider meaning, let alone create it. There's something to be said for an act that, at every juncture it's given the chance to make its art better, chooses to make it worse. It's so fucked up and it's the most 2019 song I've heard all year. [9]

Jacob Sujin Kuppermann: The first 20 seconds of "Money Machine" are pure destruction, a funhouse mirror battle rap diss carried through the distorted tones of Laura Les. It's thrilling (so thrilling that they put it on a novelty t-shirt) in how it uses Navy-Seal-Copypasta voice in a way that's at once ironic and serious. Yet the thing that keeps me coming back to "Money Machine" is instead Dyln Brady's second verse, which takes the song's momentum and puts it into a holding pattern. It's tuneful and ambiguous, an ellipsis where the rest of the song is an exclamation point. But both parts are necessary for the noise of "Money Machine" to cohere. The alchemy of bravado and uncertainty, all filtered through the extremely online, is a fine art, and 100 gecs is approaching mastery of it. [9]

Alfred Soto: I was listening to Sir Babygirl most of the afternoon before playing "Money Machine," so my nervous system reacted to the attitude and boom boom bap of the beats. I especially relished the intro riff: a distorted whatever imitating a banjo played as if it were a bazooka. [7]

Alex Clifton: In early college I tried really hard to like MGMT and Animal Collective and Sleigh Bells and all the Cool Indie Bands that were critically acclaimed -- all the noise pop that felt rife with inflated egos. The good news is that now I'm not a tryhard 18-year-old wanting to impress people, I don't have to pretend to like this! [2]

[Read, comment and vote on The Singles Jukebox]

[downloadarmy]

Curse of the Pink Panther

Curse of the Pink Panther

Inspector Clouseau disappears, and the Surete wants the world’s second best detective to look for him. However, Clouseau’s enemy, Dreyfus, rigs the Surete’s computer to select, instead, the world’s WORST detective, NYPD Sgt. Clifton Sleigh. Sleigh obtusely bungles his way past assassins and corrupt officials as though he were Clouseau’s American cousin.

[ambfurniture]

Homelegance 1549BE-1 Ebern designs clifton beige tufted chenille fabric queen sleigh bed. Measures 67' x 105.5' x 52' H. Also available in Full, Cal king and Eastern King. Some assembly required.

[easytravelpw-blog]

Full text write on https://easy-travel.pw/hotel-review-number-38-clifton-bristol-england-uk/hotels/

Hotel Review: Number 38 Clifton, Bristol, England, UK

The chicest hotel in Bristol is this stylish boutique property in upmarket Clifton. Overlooking The Downs on one side and the city on the other, Number 38 is an attractive double fronted Georgian townhouse which has retained its family home feel. There are just 12 guest rooms, so you’ll need to book ahead for holiday weekends, but it’s well worth the forward planning.

lobby (c) Number 38 Clifton

The interior designers who created Number 38 have done a superb job: they’ve mixed the best of the building’s period features with contemporary artworks, dramatic colours, and some exquisite pieces of furniture. You’re scarcely aware of the presence of other guests or staff (except at check-in and breakfast time), so it’s almost as though you have the place to yourself.

Who for

Number 38 is a romantic escape for couples. Children under 12 aren’t permitted, so adults can enjoy the peace and quiet, the king and super king size beds, and, depending on which room you choose, a free-standing copper bath tub which is easily big enough for two.

Facilities

The hotel has two large reception rooms, one with an open fire place, both of which are adorned with an eclectic mix of art works antique and modern. When the weather is fine you can also sit out on the terrace, which has superb views across the rooftops of the city.

rooftop terrace (c) Number 38 Clifton

Accommodation

We climbed to the top of the house to reach our room, passing intriguing works of sculpture and brightly coloured oil paintings along the way. The West Loft Suite takes up half the floor, and it’s a room which makes you say “Wow!” as soon as you step through the door.

No 38 Bedroom

First of all, it’s a double aspect room and natural light therefore floods in all through the day. On one side you overlook the downs, and the other the coloured houses and rooftops of Clifton. The deep blue walls are striking, and perfectly offset the brilliant white linens on the super king sleigh bed. It’s a bed for long and dreamless sleeps. The furniture is retro chic, and includes leather trunks and funky Union Jack radio. A table and chairs are well positioned for you to sit at the window and have a cup of tea or coffee.

Bathroom with copper bath

The bathroom is easily as large as the bedroom, and it is dominated by a copper bath tub, itself a work of art. There’s no privacy, so you’d better be sharing the room with someone you like, but your first instinct is certainly to run the hot water and jump right in. The shower and toilet are hidden behind wooden panelling, so are rather more discrete.

Food and drink

Breakfast at Number 38 is a hearty affair, and is included in the room rate. As many ingredients as possible are locally sourced, and hot breakfasts are cooked freshly to order. The smoked salmon and scrambled eggs was particularly good.

breakfast (c) Number 38 Clifton

If you are peckish when you return to the hotel from sightseeing, they serve up a fine afternoon tea in the reception room or out on the terrace. Coffee, wines, and cocktails are always available, and especially welcome when you are sat cosily by the fire in the evening.

Staff will provide local restaurant recommendations on request. Our favourite finds were the Bravas tapas bar and the River Cottage Canteen.

Is WiFi available?

WiFi is available for free throughout the hotel.

How much

Rooms at Number 38 start from £115 and include breakfast. It’s incredibly good value for money.

What’s nearby

Bristol is buzzing, and Number 38 is only a short bus ride (or moderate, downhill walk) from the city’s museums and attractions. Culture vultures should check out temporary exhibitions at the Royal West of England Academy and the diverse collections of Bristol Museum. The Georgian House Museum and M Shed are also well worth a visit. You can walk straight out from the hotel onto The Downs, and through them to Bristol Zoo. Gin lovers should pay homage to their favourite beverage at the Psychopomp Microdistillery.

#wpdevar_comment_1 span,#wpdevar_comment_1 iframewidth:100% !important;

#travel #airlinetickets #airtickets #cheapairfare #planetickets #travelinsurance #travelquotes #travelblogger #traveller #travelling #travelocity #travelodge #vacation

[usabreakingnews-blog]

The Trump administration makes it more difficult to send Christmas trees to troops overseas Local groups are trying to send Christmas trees, stacked with handmade ornaments, gifts and letters to U.S. soldiers overseas—but the federal government won’t let them. On Nov. 27, restrictions tightened on military posts by scaling back the maximum size of packages that can be received. But the postal workers, who accepted the trees and payment, and the tree farmers, who have been coordinating these local programs for a decade, were never told, according to USA Today affiliate Democrat and Chronicle. Democratic Senator from New York, Chuck Schumer, called on United States Postal Service Postmaster General Megan Brennan to immediately waive any and all procedural changes that are preventing troops from receiving their donated Christmas trees. This comes after Schumer announced that at least 40 Christmas trees donated by community groups in his state of New York were returned to the sender by the U.S. Postal Service. “Refusing to deliver donated Christmas trees to soldiers serving abroad is straight out of the Grinch’s playbook and flies in the face of Christmas spirit,” Schumer said in a press release. “It is tragically un-American that this change was made right before Christmas, with little notice. That is why I am asking the federal bureaucracies to immediately come together to figure out how to get these trees back on Santa’s sleigh and delivered to our troops abroad before Christmas.” But Christmas is just ten days away, and it takes twice that time for trees to reach the troops, so that just won’t be possible. Dick Darling, a tree farmer in Clifton Springs New York, told a USA Today affiliate that he sent out 55 trees to soldiers—21 have already come back. "We're running out of time," Darling told the newspaper. "There is no way we can turn around and ship these and get them there by Christmas." According to the paper, the U.S. Postal Service issued a statement that apologized for the “unfortunate situation” and promised to continue to look at it, saying the specific rules and regulations were determined by the Department of defense.

[ambfurniture]

Homelegance 1549GY-1 Ebern designs clifton grey tufted chenille fabric queen sleigh bed. Measures 67' x 105.5' x 52' H. Also available in Full, Cal king and Eastern King. Some assembly required.

[thesinglesjukebox]

POPPY - BLOODMONEY

[4.27]

Is she still poppy?

Ian Mathers: I'm sorry, did we need an "edgy", pop-metal Grimes? [3]

Alex Clifton: I have never wanted to hear the Kidz Bop version of a song more in my life. [3]

Wayne Weizhen Zhang: 13 year old me would have loved "Bloodmoney" for its sheer abrasiveness, and loved Poppy for trolling everyone by making a mockery of the "robot girl" trope in pop music. (Watch this interview and tell me she's not having a hard time staying in character.) I'm in my 20s now though, and this is just grating. [4]

Kylo Nocom: The project surrounding Poppy remains as empty in subtlety as it always has been. "Bloodmoney" is, thankfully, less committed to her trite "pop chorus/scary metal verses" formula and instead finds a nice little Sleigh Bells-sized niche, a more consistent rush than what she's been delivering for years. But the clunker of "Jesus the Christ" exposes this as yet more novelty, if one that Poppy is eager to embrace with increasing sincerity. The same issue here is that of "Only Acting" from last year: once the shock wears off, where's the song? [5]

Katie Gill: This is Poppy doubling down on everything that didn't work for "Play Destroy." This is Poppy going "no guys, I'm DEEP now, I'm using cross imagery!" This is Poppy taking a look at Billie Eilish's genre shift to Hot Topic-core and going "huh, you know what, I can top that." She's certainly making a statement about something, and considering that Poppy's career has been one long shitpost, the jury's still out on if she actually believes whatever statement she's attempting to make. At least for me, that statement is 'Poppy needs to fire her sound mixer.' [2]

Natasha Genet Avery: It's hard to believe that Poppy and Sinclair have been working on a ~critique of fame in the internet age~ for 6+ years and the hottest take they can muster is "what do you believe when no one is around?" "Bloodmoney" uses metal signifiers (occult album art! Screaming! distortion! Christian symbolism!) as a smokescreen for the vacuousness of its "if a tree falls" stoner philosophizing. I'm bored. [3]

Katherine St Asaph: What, and I mean this in the most admiring way, the unadulterated fuck is this? "Bloodmoney" is crass and cringe and colossal, and sounds like nothing and everything else. Obviously in the hopper there's Sleigh Bells and Grimes and Marilyn Manson and Depeche Mode (the "grabbing hands" line), but I also hear Katie Gately (particularly "Tuck"), EMA, "Naughty Girl," Digital Daggers and everyone who sounds like Digital Daggers, rock as extrapolated from "Stronger," rock as extrapolated from Charli XCX had she followed up "Nuclear Seasons" with more "Nuclear Seasons" rather than dancepop for hypebeasts, Stand Alone Complex, Kay Hanley (the way Poppy's voice breaks after each line of the outro) that half-a-year in 2013 where everything had dubstep breaks, Jesus Christ Superstar as adapted by 100 Gecs because why not? This is a vivid, crucial part of my musical taste, it all rules, and it rules even more when it intersects with currently popular artists. (The fact that I'm giving "Bloodmoney" an [8] despite Poppy's career growing rapidly less cosignable by the month is probably one of those things I believe when nobody is watching.) [8]

Alfred Soto: Kings of Leon, you've got competition in the riff department. As subtle as a cinder block, "Bloodmoney" squeezes and stretches the guitars and Poppy without much danger of coalescing. First impressions matter. [6]

Edward Okulicz: The first two minutes of "Bloodmoney" are, honestly, atrocious. Poppy's metal gimmick not only fails to paper over the lack of songcraft on offer, it actually exacerbates how there's nothing going on here. Yet the music is still less abrasive than her screeching vocals. Then something weird happens: the last minute has a monstrous guitar solo that is actually pretty great, and the repeated "what do you believe, when no-one is around" to close is a weird mix of mocking, accusatory and defeated that suggests Poppy might be more than a post-modern musical troll milking a bad idea. Broken clocks, you know. [3]

Will Adams: After spending the past year grinding her gimmick of "wow isn't it interesting how the chorus is all metal while the verse is twee???" six feet below the dirt, Poppy actually releases something that sounds great: grinding and shrieking and stomping industrial, something that could fit on the Year Zero remix album. The lyrics, as usual, say less than they think, asking probing questions and gesturing vaguely (it's telling that the most evocative line is a Depeche Mode quote). But the gripping arrangement says plenty by itself. [6]

Isabel Cole: Very nice to know eighth graders still have new music to score their trips to Hot Topic. For adults, there are two lines of a nice enough refrain here, a hint of menace prettily sung, and I even sort of appreciate in its dumb brashness the shouty bit, even though I have no idea what we're to make of "beg for forgiveness from Jesus to Christ." Then the squelching starts. [4]

[Read, comment and vote on The Singles Jukebox]

[thesinglesjukebox]

TESSA VIOLET - CRUSH

[5.86]

We're late! Here's a song from an evolved Youtube comedian...

Katherine St Asaph: What if you took a Carly Rae Jepsen song and removed everything that made Carly Rae Jepsen charming? What if you took a crush song (same difference) and removed everything that sounded like heightened emotion? What if you can't even get the direction of crushing right ("I could be your crush" means they have the crush, despite an entire song otherwise)? [4]

Alfred Soto: It sports the concentration of K-pop but the archness lacks the mitigating effect. The talk-singing is an active annoyance. [4]

Alex Clifton: There's something innately sugary about "Crush" in the sense that it hits all the familiar beats of having a crush: the obsessive thoughts, stumbling over words, trying to play it cool. Lyrical oddities like "you think I'm tepid but I'm misdiagnosed" sound weird, but also catch on some of the awkward phrasing you say when you're trying to impress someone. The way she keeps her voice so level during that pre-chorus, trying so hard not to sound like she's interested, is perfectly tense. Then the chorus hits: touch touch touch touch touch, I could be your crush crush crush crush crush, the words coming out in a rush, and I fall in love with her every single time. I love so many of the small details in the production, from the quiet "sorry!" (don't we all feel like apologizing whenever we're crushing because we know it's weird?) to the sigh towards the end--the knowledge that you're acting dumb and you just want to stop it, but you want to stay in it a little bit longer. It's fizzy and addictive, just like having an actual crush. [9]

Rebecca A. Gowns: Oh! It's this song! I keep running into it accidentally, and when I do, I always stay and listen to the whole song instead of just clicking away. Something about it is just so damn catchy and cute and immediate. Strong smacks of Sleigh Bells, Lorde and Kitty Pryde; kinda obnoxious, mostly endearing. This is a song truly of its time (2018) and also of its moment (crushing hard). I'm glad that it exists. [8]

Will Adams: "Crush" distills both Julia Michaels' penchant for under-breath confessions over snappy pop production with Tove Styrke's penchant for repeating words over... snappy pop production. It rides the wave, sure, and never quite reaches its influences' heights, sure, but this is what crushes feel like sometimes: simultaneously embarrassing and exhilarating. [6]

Ian Mathers: I, too, am a huge fan of Tove Styrke's Sway and wish more pop music was made along those lines. [8]

Jonathan Bradley: Tessa Violet replicates the PC Music conviction that pop music is built of contrivance and knowing artifice rather than a productive collusion between spectacle and feeling. Built with deliberate amateurism out of toybox keys and sloppy handclaps, "Crush" echoes Kitty Pryde's early girlish slacker raps, but eschews all craft in favor of practiced vocal interjections, sound effects, and #RelatableContent references to social media. It might be too cynical to believe this was created in deliberate pursuit of the virality of "Boys," but like Charli XCX's, Violet's crush is one of memes and meet-cutes. Isn't a crush supposed to be overwhelming? [2]

[Read, comment and vote on The Singles Jukebox]

[thesinglesjukebox]

TAYLOR SWIFT - ...READY FOR IT? [5.79] After the last one, sure!

Katherine St Asaph: The old Taylor's not quite dead -- that pre-chorus is pure Nashville melody, from melody to bowdlerization ("you should see the things we do" is about as explicit as someone marveling over a particularly large pumpkin harvest.) Like her former/current/who knows anymore rival, "Ready For It" pumps up Swift's numbers by sounding like interstitial music for Big Sports -- premiered for the NFL, currently being stripped for instrumental parts by NBA promos -- but also like blood sports. The track's a bombed-out, post-apocalyptic version of 1989, the Yeezus to "LWYMTD"'s 808s. Or possibly approaching NIN: the pretty date machine of "Blank Space" gone rogue, locking onto someone arbitrary (the gossip algorithms still cross-referencing it against increasingly nonentity dudes) because "I see nothing better." It's romance only in the literal sense -- the jailer/thief scenario is even pulpier than "Bad Romance" managed -- and otherwise love reduced to plan and execution. The verses are alternatively tryhard, artificial and vaguely offensive, as if it isn't Taylor on the mic but Microsoft Tay. But the all-consuming, heat-seeking mania of a certain inadvisable sort of crush is palpable as adrenaline, and stokes the all-consuming, heat-seeking maximalism of Max Martin and team throwing every resource and songwriting trick into ensuring this is a hit. Petty points for Swift saying the word "island" this many times in a track with no trop-house whatsoever, and given that she's enough of an in-joker to come up with "Nils Sjoberg," I bet it's on purpose. [9]

Ramzi Awn: The most commendable thing about "...Ready For It?" is that it completely erases any memory of the single that preceded it. A confusing, feverish dash for relevance, the song makes Katy Perry's "Swish Swish" sound even more fun, an accomplishment not to be taken lightly. [3]

Alex Clifton: The rapping is an atrocity. The production is a slicker version of Sleigh Bells with half the heart. Taylor's enunciation is bizarre: "no one has to know" is such an awkward line delivery, second only to the nasally "he can be my jailor" and "let the games begin." Her vocals are a piss-poor imitation of Rihanna; at first listen, it's hard to find a shred of the Taylor I've known and loved. It's a travesty. And yet. It's 100% a Taylor production, overdramatic, narcissistic, full of easter egg references to old songs like "Haunted" and "Wildest Dreams". It's obsessive dark love writ large: "I keep him forever / like a vendetta" marries romance and vengeance perfectly. And the sheer force of that chorus makes me want to scream "IN THE MIDDLE OF THE NIIIIIGHT" in public. I love the idea of sexy, dirty Taylor, less concerned with perfection and more with ghosts and robbers and gritty feeling, but the haphazard execution of the verses is so frustrating. Par for the course with all Max Martin creations, though, that chorus is a melodic masterpiece. I've got this on repeat and I'm upset about it. [6]

Eleanor Graham: Who would have guessed that the legacy of Taylor Swift's fifth album "reputation" would be to have production so DIABOLICAL that it makes "Welcome To New York" sound like "Heroes"? No one on pop's A, B or C list should come within 100 feet of something that sounds like this. I've seen comparisons to Yeezus, which is fair because they are comparable in terms of sheer nerve, but on tracks like "New Slaves" or "I'm In It", Kanye's sleaze is a feasible sparring partner for electro-roar. Taylor's Pennsylvania-goth-Bratz-doll-masochism-adjacent-revenge-core is not. You'd think that would be obvious! To, you know, anyone! I don't even know what's happening anymore. The 2 points are mainly for the way she says "go", which does something to me; no, I don't want to talk about it. [2]

Stephen Eisermann: Taylor's thrown caution to the wind and no longer gives any fucks. The provocative chorus and the weird, rapid-fire, off-putting rap/sing hybrid verses are the most prominent examples of her willingness to toss out all consistencies previously found in her music. None of this feels like Taylor and that's fun, but I'm not sure everything works. The verses especially, though lyrically fun, are delivered so oddly that the parts that should be "cool," instead make me cringe - the "Burton" line, specifically. I mean, I'm not sure what I was expecting based on the first single, but it certainly wasn't this, for better or worse. [6]

Ryo Miyauchi: Taylor writes her tried-and-true narrative of love as tragedy into self-parody. The bare-bones beat and the anti-chorus structure of "...Ready For It?" laughs at the many hits of 1989. Her self-satisfaction is maddening, truly: the snicker to "the Burton to my Taylor" is designed to drive everyone nuts. But I should remind: the real target is not exactly you but, as always, her exes, who she destroys without lifting her voice: "every love I've known in comparison is a failure" doesn't so much rip apart the journal pages where they're enshrined than it sets her entire bookshelf into flames like some great purge. [6]

Claire Biddles: Speculating who the 'real' Taylor Swift is is reductive and boring, but my favourite Taylor Swift is the wide-eyed, extra, romantic, saying-too-much-too-soon Taylor Swift that we get a glimpse of in the bridge, swallowed up before she even gets started by that sub-Kanye womp-womp in place of a chorus. There's a mutated version of her in the verses ("We'll move to an island/and he can be my jailer" -- I'm imagining she's just met the guy for full effect) but the self-conscious, sub-Lana Del Rey delivery dampens it. Perhaps I'm just being selfish, wanting for the Taylor who most relates to (and thus excuses) my embarrassing romantic tendencies, but Cool Girl Taylor's attempts at aloofness are unconvincing. [5]

Alfred Soto: A bad single, an uninteresting bad single. Mouthing "are you ready for it?" over synth bass farts comes off like preparing listeners for the punch line: Taylor Swift rapping with as little regard for cadence as Lou Reed in 1986. At least "The Original Wrapper" had the performer's rage as its subject, affected or not; Swift is writing bad bumper music. [3]

Will Adams: It's standard practice now for Taylor Swift to drop an incendiary lead single that gets the discourse a-churnin', only to reel in the masses for the more palatable, less batshit follow-up (and she's not the only one to do this). But for "I Knew You Were Trouble" and "Blank Space," there was still a distortion of who we thought Taylor Swift was (dubstep; dissection of public image). The distortion in "...Ready For It?" is... distortion. But it's hard to care about whether Swift is stoking more controversy when the song is so bracing. There's nowhere to run as blocks of drums stack atop the opening pounds and warped roars, all culminating in, finally, an actual chorus. Where "Look What You Made Me Do" was a firebomb kindled by thinkpieces, the fire in "...Ready For It?" comes from the song itself. [8]

Iain Mew: Like "Wildest Dreams" with the wild dreams added in. [8]

Joshua Copperman: A couple of years ago, I actually co-wrote a song where we used that phantom/ransom rhyme. Until that song actually comes out, here's Taylor being the ransom phantom instead of someone else haunting her. I wish that the opening line was "Loki was a killer/first time that I saw him," because that would be hilarious for her to bypass the "tilted stage" subtweets altogether and talk about how Hiddleston's now pining over her. These lyrics are also as good as anything she's even written, so a "Loki" joke would work better than whatever she was on about last time. What bugs me, though, is the empty space in the chorus. Taylor's best melodies are stream-of-consciousness, but "in the middle of the night/in my dreams.................... you should see the things we do" feels like something got cut out last-minute. I do love the idea though, the way it flips the narrative of Wildest Dreams in a really interesting way - now, she's seeing him in her wildest dreams. That's the kind of self-referencing and subversion I'd rather see Taylor do. [6]

Edward Okulicz: So many of the ingredients of Good Taylor Pop Songs are in this one -- dreamy and melodic chorus, don't care attitude, groan-inducing but quotable lyrics -- but the production feels really dated (to around the time of Red, in fact), stalling the track when it tries to accelerate. [6]

Sonia Yang: On one hand, this is generic pop I would have brushed off had it been any other artist. On the other, it's refreshing to see Swift step out of the zone of what I've come to expect from her in particular. I love the ominous synths and how the entire track has a spy thriller vibe. The best part is that breathy prechorus, you can really feel the "island breeze" as Swift delivers that line. The chorus, unfortunately, is a wisp of a thing that doesn't have any impact. The melody neither compels nor is purposefully anticlimactic. The lyrics, while not quite Love Story levels of awkward, are not great; the Taylor-Burton reference is campy at best and cringe at worst. [5]

Jonathan Bradley: Taylor Swift has rolled out singles from Reputation like trailers for the next release from a blockbuster film franchise: not only songs, "Look What You Made Me Do" and now "...Ready For It" (next: "Gorgeous"?) have acted as teasers for a new product launch. Unveiled during a college football broadcast, "...Ready For It" sounds like sports, like a pre-game huddle, like a highlights reel from last season building excitement to see how the new line-up will perform. "Welcome to New York" did the same for 1989 and was fine, but "...Ready For It" is better because it crams more into its pop overload: a rap that traces the "Empire State of Mind" flow, K-pop synth blasts, a gleefully audacious pun on Elizabeth Taylor and Richard Burton, and a chorus about "dreams" and doing things in the night that throws it all in for the romanticism Swift has always been so resolved to earnestly commit herself. If Reputation should turn out to be her New Jersey album, and if all the stage-setting should ultimately overshadow the show itself, I hope we'll one day rediscover how good the songs themselves were. [8]