#highbrow lo-fi

[rexandbalances]

NIMB #3

Around 2 months ago I became aware of no-input mixing board music. It is what it sounds like it is. There are no instruments in the traditional sense. This music is made from largely forcing electronics on itself in a way. The method is done with hardware but I am trying to learn more about how it works because I had an incident in software around a decade ago.

One of the songs I created in a software DAW unpredictably made itself feedback loop for about 3-4 minutes. I am not sure what caused it. It’s possible that I didn’t know enough about what I was doing. I’d say it was a happy accident. The software *is* supposed to behave in the same way that hardware does. 

[stevensavage]

In Praise of Rabbit Holes

(This column is posted at www.StevenSavage.com, Steve's Tumblr, and Pillowfort.  Find out more at my newsletter, and all my social media at my linktr.ee)

How many times have you heard someone critique people for niche interests?  Politicians and pundits will mock college students for supposed useless degrees.  Obsessive fans are targets of twisted humor.  If you haven’t experienced this kind of insult, you’re either lucky or boring.

I would like to defend this “going down a rabbit hole” intellectually, academically, and personally.  Instead of some highbrow argument, let’s talk my latest musical interest, and how it expanded my mind and made me a better person.

What kind of music?  Well those who know me would assume it’s either electronica, experimental metal, or parody.  Nope, my latest musical obsession is what's popularly called “exotica” or “space age pop.”  Yes, I got into the kind of music you associate with 50’s and 60’s cocktail lounges and kitschy bars.

This is going to be a ride.

I never thought about this style of music until I heard of a show called The Retro Cocktail Hour at http://www.retrococktail.org/.  As I’m fascinated by musical oddness, I gave this show a listen and realized I liked this style.  It had a relaxing, moody quality that reminded me of another favorite - lo-fi Jazz.  Since I’ve been trying to broaden my musical horizons by trying new things regularly, I decided to dive into exotica - and got surprised.

Exotica is alive and well these days.  There are bands of older folks who’ve done it for ages, and young bands that have taken to the style.  These performers are all over the globe - the younger performers I found were in Europe.  Exotica, which I’d associate purely with America, was global - and sometimes being made by people who could be my kids.

Exotica also wasn’t just jazz infused with a serial-numbers-removed sound-fantasy of Oceana that I thought it was.  There was South American influence.  There was some African influences.  There were also attempts to add even more sounds from all over the globe.  Over the decades exotica was more of an attempt to integrate many influences - albeit one that could be ham-handed and appropriative (more on that later).

As I learned more about the global reach of this style, I found that exotica inspired or blended into other forms of music.  I discovered “space disco” or “cosmic disco” with it’s powerful, far-out sound.  “Acid Funk” and it’s trippy beats came to my attention.  Thanks to a friend, I found exotica intersects with the music from the Tropicália art movement - an influential and at-times attacked movement I’d never heard of and clearly need to learn more about.

Musical styles weren’t the only thing that exposed me to politics and sensitive issues.  Exotica is inevitably associated with Tiki bars and the cultural appropriation they embody.  As Tiki bars have gotten a revival, there are documentaries and articles noting how these bars, and some of the music, doesn’t acknowledge its use/misuse of Polynesian/Hawaiian/Oceanic culture.  Suddenly my newfound musical interest seemed less innocent.

(And I kicked myself for not seeing it earlier.  This musical rabbit hole required me to confront the insensitivity of me and people I know.)

Now I was listening to these documentaries and reading articles on Tiki bars and their history.  First, I learned about the influences and cultural appropriation, its own rabbit hole of wartime experiences, sexual repression, wild cocktails, and repurposed Asian food.  Then I learned about the revival of the culture in America (and apparently around the world).  These cheesy bars and the culture associated with them has a long and continuing history I’d never seen before.

These issues also included serious questions of cultural appropriation, insensitivity, and acknowledgement of history.

At this point, I began noticing how some exotica bands seemed to deal with these issues.  I noticed some removed “Tiki” influence from their later albums.  Others embraced the kitsch in the first place and probably didn’t care.  Some bands seemed to treat it as an aesthetic, a fantasy world like Middle-Earth, and didn’t worry either.  Finally, some used the midcentury modern art style on their album covers, and avoided (most) inappropriate imagery.

Now our story comes to a close with me listening to a style of music that led me to ask hard questions about history, culture, appropriation, and style integration.  I put more effort into evaluating the morals of my musical purchases and stylistic choices.  A single online recording of a radio show sent me down a rabbit hole that wasn’t just fun, wasn’t just history, but required me to think about ethics.

So that’s my story.  I discovered a musical style I’d rarely thought of, found out more about it, learned about new styles, and ended up facing painful issues of cultural appropriation.   I’m still in this rabbit hole, learning about history, food, style, and historical cycles.

All because I decided to go get obsessed for awhile.

Go embrace your rabbit hole.  You don’t know where it’s going to go, but that’s the point.  Take the journey, and if you keep on it, you’ll grow as a person.

Steven Savage

www.StevenSavage.com

www.InformoTron.com

[markodragic]

do you have any hcs on what sort of music the gang would enjoy? you don’t need to list all of them of course but just if you have ideas

I’m sorry it took ages to answer this ask but I decided to do the whole gang JHKHKJK ✨ also this is set in a modern AU so that I have more genres to work with!

• dutch: he strikes me as an obnoxious elitist jazz fan. the type that will not shut up about how vinyl is superior.

• arthur: he likes acoustic folk stuff. he can and will cry on public transport listening to sufjan stevens.

• john: he only listens to speedcore and one (1) linkin park album.

• hosea: like all cool old men, he listens to 70s prog rock. he always has good album recommendations.

• sadie: she’s a big fan of death metal, industrial, and anything that sounds like a total racket. may or may not unironically listen to death grips.

• charles: he’s an ambient music kind of guy. he’s into boards of canada and aphex twin, and he also likes lo-fi hiphop stuff, j-dilla beats etc.

• sean: he only listens to terrible gamer dubstep. and the dropkick murphys.

• lenny: he likes weird nerd musicians like lemon demon and tally hall. anything that’s particularly creative and unusual is his jam.

• javier: he says his music taste is totally highbrow, but his itunes library is lowkey full of boyband music.

• strauss: exclusively listens to grimes (this one’s for u eva)

• mary-beth: she just loves cheesy pop music honestly. in her opinion if you can’t bop to it then what’s the point.

• swanson: he’s into 90s downtempo electronica stuff like underworld and moby. just chill music that he can zone out to.

• tilly: she’s a big fan of future funk stuff like night tempo. she likes the fun vintage feel of the genre.

• karen: she vibes with punk rock, especially classic mid-70s punk rock, because it appeals to her defiant nature. also she’s discovered that playing it too loud will annoy susan which is a bonus.

• abigail: she likes big band swing music - she always listens to music while she works so she prefers something high-energy and catchy to keep her motivated.

• molly: she enjoys artsy indie stuff like mitski and florence + the machine. anything that’s super cathartic basically.

• susan: she’s a wine aunt so she just loves ABBA and the whole disco genre in general.

• trelawny: he is an absolute hoe for musical theatre. don’t pass him the aux cord because he’ll just play the entire phantom of the opera soundtrack.

• kieran: he mostly listens to emotive indie music like the mountain goats, mother mother and any other band that you can have a crisis to at 4am.

• pearson: “hey kiddo let me show you this cool band from back in my day that you’ve probably never even heard of” *plays an ac/dc song*

• uncle: carameldansen (10 hour loop, bass boosted)

[disappointingyet]

Marriage Story

Director Noah Baumbach Stars Scarlett Johansson, Adam Driver, Laura Dern, Azhy Robertson USA 2019 Language English 2hrs 16mins Colour 

Not Kramer vs Kramer for the 2010s – something much better than that

We open with Nicole (Scarlett Johansson) telling us all that is great about Charlie (Adam Driver), her husband, father to their kid Henry (Azhy Robertson) and her partner in work as well as life. As this is a movie, those words are accompanied by shots of the happy family at home and out and about in New York, and Nicole performing avant-garde theatre directed by Charlie.Then Charlie tells us about Nicole, why she’s a wonderful wife and mother and also his muse. It’s as lyrical and warm a slice of post-Woody Allen cinema as you could get.

It’s also an act of misdirection by Noah Baumbach: Nicole and Charlie have written these words for an assignment given to them by the mediator they are hoping will help them to a friendly, lawyer-free divorce. Of course, if that happened, there would be no movie. 

Instead, Nicole distances herself from what she now sees as Charlie’s – rather than their – world. She swaps NYC for LA, highbrow theatre for a sci-fi TV pilot, and lightens her hair. Los Angeles is her hometown, and she and Henry move in with her actress mom (Julie Hegerty, best known for Airplane!). She also gets a high-powered lawyer, Nora (Laura Dern), who sets the tone for how the divorce will proceed and escalate. 

The story switches between Nicole and Charlie, so we get a sense of both their frustrations and pain and confusion and anger. Baumbach also seems to be warning his audience that any casual remarks you make during the divorce time span can and will be used in evidence.

Baumbach’s films always contain a mixture of comedy and drama – it would be wrong to assume that just because this contains some of the most emotionally brutal scenes he’s ever done, the comedy has gone by the wayside. On the contrary, this is often a very funny film. It’s just that it is also sometimes a film where two people who clearly care for each other are trying to inflict the maximum pain on one another, and that can be uncomfortable viewing.

In the past, I’ve suggested that there’s something about Scarlett Johansson that, post her excellent moody teen/post-teen stage, has made her a better fit for sci-fi than films in which she doesn’t play an alien or someone who has taken drugs than transform her DNA. But in Marriage Story she comprehensively proves that wrong. Yes, she’s playing an actress, yes she’s been through two divorces herself, including from the father of her son, but that never automatically makes someone fit to play a role. She’s incredibly alive here, and comfortable showing a full range of emotions.

A lot of people would instinctively assume that Baumbach, as a man, would side with Charlie here. I don’t think that’s the case – I think he shows Charlie as suffering from a tendency very common in men to confuse ‘I like’ with ‘we like’ – he’s not consciously ignored his wife’s wants and needs, he’s failed to hear them. Charlie is a decent guy in many ways – but he’s also, as Nicole says, ‘a dick’. This is a film that allows for both those things to be true.

I also like the fact that Henry is annoying, a bit bratty, and milking the situation to extract endless toys from his mother. He can be – as she says – ‘an asshole’. It’s good that she can feel that and yet we’re left with the impression that by and large she’s a pretty good mother. 

As you’d expect from a Baumbach film, there’s a very strong supporting cast. Charlie dithers between a nice guy, down-at-heel lawyer and snarling, shiny suited brute – they are played by Alan Alda and Ray Liotta, respectively. Wallace Shawn turns up as a member of Charlie’s theatre company. 

Very funny at times, with a proper emotional sock and fully developed characters, Marriage Story might just be Noah Baumbach’s best film yet. 

I saw Marriage Story at the 2019 BFI London Film Festival

I’ve written about a bunch of Noah Baumbach films before:

Kicking And Screaming

Frances Ha

While We’re Young

Mistress America

[caveartfair]

The Avant-Garde Art That Was Made for TV

Rain Inside Heart (Snow), undated. Nam June Paik Nam June Paik Art Center

In the 20th century, television became an important outlet for the boldest artists among us, who co-opted broadcast cable to experiment with new technologies, subvert the coded social messages promoted through media, and amplify their own public image—all efforts that are still top-of-mind in the 21st century.

Lucio Fontana was among the first to suggest art’s performative capabilities—and TV’s ability to magnify them. During television’s original “Golden Age” in the early 1950s, the provocative Italian-Argentine artist appeared on Italian TV with an important message for the public. Reading from his “Manifesto of the Spatial Movement for Television,” Fontana passionately advocated for TV as an artistic medium. Technologically driven artists in his short-lived Spatialist movement frequently transmitted their “new forms of art” on television, albeit to a largely unmoved audience. Still, they influenced generations of new media practitioners, many of whom found inspiration in TV—as subject, material, and medium—as it became increasingly central to our daily life and consumption of culture.

Charlotte Moorman performing on Nam June Paik’s TV Cello wearing TV Glasses, Bonino Gallery, New York City, 1971. Takahiko Iimura Grey Art Gallery

Antique TV Cello, 1975. Nam June Paik Galerie Bhak

It may not be a coincidence that the rise of avant-garde Happenings—publicly staged artworks that sought to test conventional relationships between performers and their audiences—in the 1960s was simultaneous with TV’s growing ubiquity in the American home. But unless you regularly hung out in Greenwich Village bars or unventilated SoHo artists’ lofts, boundary-pushing performances by doyennes of the downtown New York art scene like Yoko Ono, John Cage, and Nam June Paik would have been experienced almost exclusively on late-night cable.

While the fabled Happenings had an air of trendy, insider sophistication, some artists went out of their way to also reach broader audiences. In 1973, Paik collaborated with Jud Yalkut to air a “televisual realization” of one of his performances on WNET/Thirteen TV. Manipulated and synthesized by Yalkut, 26’1.1499” For A String Player features Paik and “topless cellist” Charlotte Moorman playing Cage’s score of the title on a collection of “instruments”—a pistol, a dish of mushrooms, and a phone used to call President Nixon.

While a broad audience might not have understood the conceptual implications of this experimental video work, other artists went with a more approachable model for their television debuts. The variety show proved a perfect format to capture the creative foment of downtown New York. As much as artists might feel pressured to “build their brand” today, the nonchalant, posturing creatives of the 1970s and ’80s used live television to amplify their artistic personae, disrupting the airwaves with outlandish outfits and in-your-face, rock-star antics.

26'1.1499" For A String Player, 1973. Jud Yalkut Electronic Arts Intermix (EAI)

A slew of artist-run public-access programs—part–talk show, part–live performance, part–freestyle documentary—contrasted with what was available on the day’s “Big Three” cable networks (NBC, ABC, and CBS). The late editor Glenn O’Brien hosted one of the best-known of these efforts: TV Party, which ran from 1978 to 1982. With guest stars like Debbie Harry, David Byrne, Jean-Michel Basquiat, Kraftwerk, Arthur Russell, and Robert Mapplethorpe, TV Party gave an unpredictably raucous insider’s view into the electrically integrated art, fashion, and music worlds. “It all looks glamorous now, but that’s because…television is still monitored and censored by higher powers,” O’Brien told Vice in 2014. “And even though we sort of invented reality TV, if anything, TV is less real than ever. So is reality. We still have our work cut out for us.”

As O’Brien suggested, television’s ability to mediate reality can be manipulative. In 1980, the Conceptual artist Jaime Davidovich—who put on The Live! Show (1979­­­–84), a freewheeling cable program that similarly featured celebrity interviews in addition to sardonic comedic segments—used new technologies to exploit television as an artistic medium. He would push into territory now being revived by popular choose-your-own-adventure shows, like Black Mirror: Bandersnatch (2018).

Davidovich utilized the first interactive television system for his QUBE Project (1980), a pioneering live broadcast in which he and a co-host invited call-in audiences to “direct” the show, providing instructions to the cameramen and studio operators (home viewers could additionally vote via specially-designed remote controls). This interactive tactic became widely used by reality talent shows like American Idol, and my new favorite, the utterly demented Masked Singer.

The Live! Show (January 21, 1983), 1983. Jaime Davidovich Electronic Arts Intermix (EAI)

While Davidovich envisioned a participatory, democratic kind of television, the three dominant networks of the early ’70s prompted Chris Burden to conjure “a way to break” broadcast television’s “omnipotent stranglehold of the airwaves,” as he once wrote. The artist decided to buy airtime on various channels running in New York and Los Angeles, and from 1973 to 1977, he debuted a series of four “commercials.” In one of the tamer iterations, Chris Burden Promo (1976), the names of artistic greats flash on the screen as Burden reads them in voiceover: “Leonardo da Vinci, Michelangelo, Rembrandt, Vincent van Gogh, Pablo Picasso…Chris Burden.” In a way, his ironic gambit worked; the artist became a local celebrity, often recognized on the street. (It probably didn’t hurt that audiences had also watched in amused terror when Burden performatively “hijacked” a taping of the L.A. local cable program All About Art in 1972, holding a knife to the host’s throat and demanding the show go out live.)

Such projects seek to disrupt our otherwise mindless consumption of media. In 1984, Bill Viola upended the traditional TV-viewer relationship with the broadcast of his Reverse Television — Portraits of Viewers. The series of one-minute segments, consisting of unannounced inserts in the regular programming, inverts the gaze of the television viewer: The videos feature 44 Boston locals relaxing in their living rooms, silently staring at the camera as if it were a TV.

Adopting the language—or space—of advertising helped artists subvert commercial messages or push across their own. Perhaps fed up with the proliferation of gender-stereotyped ads, various queer and feminist artists created their own commercials to social and political ends. In a live 1982 performance for Paper Tiger Television’s public-access cable program in New York, Martha Rosler flipped through issues of Vogue, viciously deconstructing the latent messages in its glossy pages, and drawing a hard line between the fashion world and its questionable ethics, such as the industry’s reliance on sweatshops. “It’s the new you,” Rosler intones, “the you you want to be, and can be. The one you wish you weren’t, you don’t have to be anymore.”

The TV Commercials, 1973-77, 1973-1977. Chris Burden Electronic Arts Intermix (EAI)

Rosler’s video is layered but decidedly lo-fi, yet the political strength of a public broadcast relies almost entirely on simple, direct messaging (a fact that became cruelly apparent during the 2016 presidential election—#MAGA, anyone?). Tom Kalin’s Kissing Doesn’t Kill, produced for the activist art collective Gran Fury, caused a sensation when it aired during the height of the AIDS crisis in 1990. Referencing Benetton’s “United Colors” ad campaign, Kissing Doesn’t Kill features kisses between interracial and same-sex couples, as well as straight ones. To forcefully draw attention to a taboo issue then commonly swept under the rug, Kalin interspersed these playful scenes with phrases like “Corporate Greed, Government Inaction and Public Indifference Make AIDS a Political Crisis” (a slogan more potent than, say, Gillette’s recent repurposing of its long-held catchphrase, “The Best a Man Can Get,” under the guise of erasing toxic masculinity.)

Still, there is but one made-for-TV art project in recent memory that can truly claim to have infiltrated the very heart of American mass culture: primetime television. A stunningly highbrow prank by the artist Mel Chin played out on Aaron Spelling’s wildly popular soap opera Melrose Place (1992–99). Beginning in 1995, Chin and a team of 100 mostly unknown artists, named the GALA Committee, cold-called the show’s producers, who allowed them to begin the covert two-year project. Entitled In the Name of the Place (1995–97), the committee supplied the soap opera–style drama with props layered with coded cultural messages on hot-button topics like reproductive rights, American foreign policy, alcoholism, and sexuality. In one memorable scene, when the character Alison Parker discovers she is pregnant, the GALA Committee made her a quilt adorned with the chemical symbol for the abortion pill. Their furtive project was only recently publicly acknowledged; I can’t help but wonder if their props had any kind of subliminal effect during Melrose Place’s initial run.

I hope artists with similarly subversive intentions have been hacking The Tonight Show, The Simpsons, or The Marvelous Mrs. Maisel, though somehow, I doubt it. “Disruption” has become a buzzword among tech firms, but to “disrupt the airwaves” now seems old-fashioned in the crowded streaming world, where choices of channel and show are plentiful but paralyzing. While we might be watching more of it than ever, television today largely encourages experimentation in dramatic storytelling, with less emphasis on revolutionary messaging; as Burden contended before he died, the media remains under corporate control. Still, although there are many net-savvy artists taking video in new directions, there’s a creeping sense that few can cut through the noise. It’s more important than ever that new strategies be created if artists are to successfully permeate the deepest layers of our cultural consciousness.

from Artsy News

[kansascityhappenings]

‘Benson,’ ‘Star Trek’ actor René Auberjonois has died at 79

LOS ANGELES — René Auberjonois, a prolific actor best known for his roles on the television shows “Benson” and “Star Trek: Deep Space Nine” and his part in the 1970 film “M.A.S.H.” playing Father Mulcahy, has died. He was 79.

The actor died Sunday at his home in Los Angeles of metastatic lung cancer, his son Rèmy-Luc Auberjonois told The Associated Press.

René Auberjonois worked constantly as a character actor in several golden ages, from the dynamic theater of the 1960s to the cinema renaissance of the 1970s to the prime period of network television in the 1980s and ’90s — and each generation knew him for something different.

For film fans of the 1970s, he was Father John Mulcahy, the military chaplain who played straight man to the doctors’ antics in “M.A.S.H.” It was his first significant film role and the first of several for director Robert Altman.

For sitcom watchers of the 1980s, he was Clayton Runnymede Endicott III, the hopelessly highbrow chief of staff at a governor’s mansion on “Benson,” the ABC series whose title character was a butler played by Robert Guillaume.

And for sci-fi fans of the 1990s and convention-goers ever since, he was Odo, the shape-shifting Changeling and head of space-station security on “Star Trek: Deep Space Nine.”

“I am all of those characters, and I love that,” Auberjonois said in a 2011 interview with the “Star Trek” website. “I also run into people, and they think I’m their cousin or their dry cleaner. I love that, too.”

Auberjonois was born in New York in 1940, the son of Fernand Auberjonois, Swiss-born foreign correspondent for U.S. newspapers, and the grandson of a Swiss post-impressionist painter also named René Auberjonois.

The younger René Auberjonois was raised in New York, Paris, and London, and for a time lived with his family in an artists’ colony in Rockland County, New York, whose residents included the actors John Houseman, Helen Hayes and Burgess Meredith.

After graduating from college at Pittsburgh’s Carnegie Institute of Technology, now Carnegie Mellon, Auberjonois hopped around the country joining theater companies, eventually landing three roles on Broadway in 1968, including playing the Fool in a long-running version of King Lear.

The following year he would play Sebastian Baye opposite Katharine Hepburn in “Coco,” a play on the life of designer Coco Chanel that would earn him a Tony for best actor in a leading role in a musical.

He would later see Tony nominations for 1973’s “The Good Doctor,” 1984’s “Big River,” and 1989’s “City of Angels.”

In 1970, Auberjonois began his run with Altman, playing Mulcahy in “M.A.S.H.”

In his most famous exchange from the movie, Sally Kellerman’s Margaret Houlihan wonders how such a degenerate doctor as Donald Sutherland’s Hawkeye Pierce could reach a position of responsibility in the U.S. Army.

A bible-reading Auberjonois responds, deadpan: “He was drafted.”

“I actually made that line up when we were rehearsing the scene,” Auberjonois said on the podcast “The Gist” in 2016. “And it became a kind of an iconic line for the whole film.”

The same year he played an off-the-wall ornithologist in Altman’s “Brewster McCloud,” played a saloonkeeper alongside Warren Beatty in the director’s western “McCabe & Mrs. Miller” in 1971 and appeared in Altman’s “Images” in 1972.

He spent much of the rest of the 1970s doing guest spots on TV shows before joining the cast of “Benson” in its second season in 1980, where he would remain for the rest of the show’s seven seasons, playing the patrician political adviser and chronic hypochondriac Endicott.

Much of his later career was spent doing voices for animation, most memorably as the French chef who sings the love song to fish-killing “Les Poissons” in Disney’s 1989 “The Little Mermaid.”

He played Odo on “Deep Space Nine” from 1993 until 1998 and became a regular at “Star Trek” conventions, where he raised money for Doctors Without Borders and signed autographs with a drawing of Odo’s bucket, where the character would store himself when he returned to his natural gelatinous state.

Auberjonois was also a regular on the ABC law-firm dramedy “Boston Legal” from 2004 to 2008.

Late in his career, Auberjonois would work with independent filmmakers including the artful director Kelly Reichardt, for whom he appeared in 2016’s “Certain Women” and 2019’s “First Cow,” his final role.

In addition to his son, he is survived by his wife of 56 years, writer Judith Auberjonois; sisters Marie-Laure Degener and Anne Auberjonois; daughter Tessa Auberjonois; son-in-law Adrian Latourelle, daughter-in-law Kate Nowlin and three grandchildren.

from FOX 4 Kansas City WDAF-TV | News, Weather, Sports https://fox4kc.com/2019/12/08/benson-star-trek-actor-rene-auberjonois-has-died-at-79/

from Kansas City Happenings https://kansascityhappenings.wordpress.com/2019/12/09/benson-star-trek-actor-rene-auberjonois-has-died-at-79/

[ananalog]

Minnesota Private Radio, Two, 9.6.18

Minnesota Private Radio, Two, 9.6.18

https://www.mixcloud.com/Ananalog/minnesota-private-radio-two-9618/

1. MF Doom (Mediavuelta remix), "Go With the Flow (12" version)", Operation: Doomsday, Foldle 'Em / Metal Face, 1999 / 2008 / 2018, USA  

June haze remix of the original version of Doom's "Go With The Flow." I have the recording as collected on the 2008 Metal Face reissue of the oft reissued Operation: Doomsday. The 12" version is sparse and easier to remix than the album version. I ambiened verse, almost reducing it to rap soundz, but no disrespect is intended. Hopefully, you have a well worn issue of the album on your shelf.

2. Moses Taiwa Molelekwa, "Rapela", Genes and Spirits, M.E.L.T., 2000, South Africa

"Rapela" means pray in Zulu. Genes and Spirits is full of genius moments in which Molelekwa and company fused S.A. jazz, hip-hop, kwaito and electronica. All innovation duly credited, the two barely syncopated notes introducing the deceptively simple first theme of "Rapela" are my favorite part of the album. The joyful canon that follows, like one of Chick Corea's children's songs, is buoyed by the rest of the band and eases into a supercrisp, 21st century jazz take on the same melody, before snapping into a breathtaking, unified turnaround. All fusion aside, "Rapela" is beautiful because of very clever writing that the listener hears as organic.

3. Sons of Kemet, "My Queen is Ada Eastman", Your Queen Is A Reptile, Impulse!, 2018, U.K.

On Your Queen Is A Reptile, Shabaka Hutchings and Sons of Kemet raise up a fist to acknowledge the power of black women and lower a withering gaze at conventional British history - embodied by the queen - that declines to recognize the impact of black women on that history. Ada Eastman was Hutchings great-grandmother, his family's matriarch from Barbados.

Hutchings, Theon Cross (tuba) and Seb Rochford (drums) cook at a FAMU drumline temperature beneath Joshua Idehen's lines. "I'm born strong, the song of an immigrant / [...] I'll be here when your cities are sediment / and only your borders and fences are left / I'll be here when your banks stop selling debt / and all your leaders stop selling death / And you've lost all relevance."

This is the most Impulse!-y music Impulse! has released since Black Unity and Magic of Ju-ju, fifty or so years ago.

4. Donald Byrd, "Places and Spaces", Places and Spaces, Blue Note, 1975, USA

I'll admit that while I have about a dozen or so Byrd, Blackbyrd and Mizell brothers recordings from this era, and "Lansana's Priestess" played a key role in ramping my wedding reception song list from stun to kill, I had never heard Places and Spaces before a few months ago. I heard a clubby remix of the title track at a pizza place, recognized the sample from Pete Rock's "All The Places" (P.R. has sampled Mizell and Byrd more than a few times), recognized the trumpet as obviously Donald Byrd and the arrangements as so perfect they must be Mizell brothers, and tracked down the album that afternoon. I'm resisting the urge to gush too much about this record.

5. Blackrock, "Yeah Yeah", 7" single, Select-O-Hits, 1969, USA

This lone release from a group of Stax and Hi session musicians in Memphis is thunder that predates the first Funkadelic album by a few months. It's an odd and effective bit of song arranging, with the first, minor key section not serving an obvious role except to amplify the overjoyed, major key guitar solo you didn't realize was going to microwave your face a few seconds later.

6. MonoNeon, "Shooting For the Stars With My Laser Beam", I Don't Care Today (Angels and Demons in Lo-Fi), self release, 2018, USA

MonoNeon is the freek funkateer handle of Memphis bass virtuoso Dwayne Thomas Jr. I Don't Care Today is some clever shit, couching MonoNeon & friends' intimidating virtuosity and avante-garde experimentation on a futon of immediately approachable pyjama funk. Like the bedroom stoner, Sonic The Hedgehog funk that Thundercat rips but doesn't pull off quite as well because his music is too high fidelity. I just really like the guitar riff after the chorus.

7. Belair, "Samba For A Cold Warrior", Relax, You're Soaking It In, Belby Wetterman, 1980, USA

I have this recording from a Kev Beadle, Private Collection compilation. (Where does he find all of this not Brazilian, jazz samba?) The original seems to be small or private press on a microscopic label. I don't know much about this group. I presume guitarist Michael Belair is the leader. Broadly, "Samba For A Cold Warrior" fits a Kev Beadle presents comp well - small combo, small press, medium edge, mild Chick Corea-esque exotica. The big surprise is the vocal chorus that emerges from seven minutes of traded solos. "With the darkness dispelled by the radiance of day, the wiles of the wicked are driven away."

8. The Grodeck Whipperjenny, "Put Your Thing On Me", The Groedeck Whipperjenny, People, 1970, USA

You read that label correctly. James Brown's People label put this megaton psych rock shit out. Keyboardist Dave Matthews arranged for Brown and Brown released Matthew's project. The star of this album is guitarist Kenny Poole. Poole is a Cincinnati legend who went on to be better known for intricate finger picked sambas than for renal liquefying fuzz devastation. Great album.

9. M.C. Mell'o', "All Terrain M.C.s", Thoughts Released, Republic Records, 1990, U.K.

Rufff bounce from the godfather U.K. rapper isn't exactly as mell'o as jell'o. I won't pretend to analyze Mell'o' rhymes, because my London accent detection is not that sharp. You can tell it is ruff albeit smooth, though. Republic was house and disco master, Joey Negro's first label.

I love this era of beatmaking. Slamming rolands atop a funk break, every bass drum sample ever on the one, monosyllabic guitar and organ stabs interjected to fake a harmonic accompaniment, unintelligible vocal scratches, a chord change to keep it fresh, the strange piano interlude whose purpose isn't clear twenty five years later. Like Mell'o' would say, there is something "dusk to dawn, dawn to dusk, no fuss" about the beat. It would have lit a fire under my five year old self when it was released just as it does today.      

10. La Mecanica Popular, "Part 4 (Visiones)", Roza Cruz, Names You Can Trust, 2018, USA

La Mecanica Popular, NYC psych salseros, push their newest release into the crawling, sinister realms of live/evil bitches Miles or Eddie Palmieri with his oxygen burning Rhodes turned to t h i c k. "Visiones" churns when the the synth bass, keys and electric guitar unite for the final head. I like that, at least for Roza Cruz, La Mecanica have shunned going somewhere for digging in and being somewhere.

11. Piero Umiliani, "Danza del fuoco", La ragazza dalla pelle di luna, Schema, 1972, Italy

Umiliani is a minor hero of mine. There is a perfect Umiliani track for every life experience. "Danza del fuoco" is a bonus recording not on the original Omicron soundtrack for La ragazza dalla pelle di luni, a 70s exploitation flick about a white European supermodel making out with a Seychellois supermodel or something similarly highbrow.

"Sdoganare" means to sanction or clear through customs. I just discovered the Schema has a Bandcamp page.

12. Leon Ware (ft. Minnie Riperton), "Instant Love", Musical Massage, Gordy, 1976, USA

The second syllable of Riperton's performance, the rising guitar note in between the verses (from either David Walker or Ray Parker), the Mizell-perfect orchestration, this song is so good. I don't know how Ware and company put together such a carefully controlled experience that is dripping with truth and soul. Maybe it is what happens when you task a room full of master craftsmen each with a small task. Parker and Walker's guitar tones on this album have haunted me. I'll accept advice on ringing that bell.

13. Sinn Sisamouth, unknown recording, Cambodian Soul Sounds, Vol. II, Cambodian Soul

Sounds, early 1970s, Cambodia

Sisamouth was a hugely popular and influential figure in Cambodian popular music for decades before his disappearance and death at the hand of the Khmer Rouge. He songs are still re-recorded today. Intellectual property debates regarding the music of Sisamouth and his contemporaries continue to the present, as while the music remains beloved, the Khmer Rouge sought to erase the careers, legacies and lives of many of the musicians who made it. The first Cambodian intellectual copyright law was passed in 2003, but bootlegs are commonly traded and the Cambodian state lays claim to Sisamouth's compositions as property of the Ministry of Culture. Richard Rossa, the Swedish DJ behind the compilations donates sales from both volumes of Cambodian Soul Sounds to charities that support Cambodian youth and the preservation of Cambodian cultural history in an effort to square the fact that the recordings were unlicensed, or possibly un-licensable in the traditional sense.

- RS, 9/6/18

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Tech era to change automobiles

Era giants and carmakers are banding together to show smart using

technology and new lighter materials that constitute “young and the future” at the automobile Shanghai 2017 show the day past.

Such technologies cover lightweight materials, in-automobile virtual leisure, and synthetic intelligence.

Chip massive Intel, Hi-Fi maker Dynaudio and seek massive Baidu partnered with automakers to highlight their “young and destiny” 5bf1289bdb38b4a57d54c435c7e4aa1c technologies.

Intel stated the day past that it’ll cooperate with home automaker Changan on the Net of things, synthetic intelligence and data center, in addition to self-using technology.

The chip massive has tied up with domestic software program vendor Neusoft to tap the smart riding marketplace to supply a gadget ready with AI that can warn drivers while they’re worn-out.

By 2030, greater than a hundred and twenty million cars with clever driving technology may be on the road, propelling the car to end up the fastest developing connected device in future, analysts stated.

Hello-Fi maker Dynaudio said it’ll offer customized Hi-Fi gadgets for in-automobile amusement for Mercedes-Benz drivers in China. Dynaudio, which boasts clients like Bugatti Veyron and Volvo, goals to make bigger in-vehicle Hello-Fi services in China, whose market become well worth a hundred and fifty billion yuan (US$22 billion) in 2016, a 30 percent annual boom.

Carbon fiber is about to emerge as an opportunity new fabric used in cars in three to 5 years, enterprise officials stated. Transformational Management Principle – The 4 Key Additives in Main Alternate & Coping with Alternate Transformational Management Principle is all approximately Leadership that creates superb Change within the followers wherein they take care of each different’s pursuits and act in the pastimes of the group as an entire. James MacGregor Burns first added the concept of transformational Management to prominence in his sizable studies into Management.

“. The chief’s essential act is to induce humans to be conscious or

conscious of what they feel – to feel their authentic desires so strongly, to outline their values so meaningfully, that they can be moved to the practical motion.”

In this Management style, the chief enhances the inducement, moral and overall performance of his follower group. So according to MacGregor – transformational Leadership is all approximate values and which means, and a cause that transcends short-time period dreams and specializes in better order needs.

At instances of organizational Trade, and massive step Change, people do feel insecure, demanding and occasional in strength – so in these situations and mainly in these hard instances, enthusiasm and strength are infectious and provoking.

And but such a lot of organizational adjustments fail because leaders take note of the adjustments they may be dealing with as opposed to the transitions human beings must make to accommodate them.

In my opinion, it is the obligation of the director Leading the Exchange to deliver an infusion of wonderful strength. The transformational approach also relies upon on winning the consider of human beings – which is made feasible By means of the unconscious assumption that they too may be modified or transformed in some manner Via following the leader.

The transformational method also relies upon on prevailing the consider of humans – which is made feasible Via the subconscious assumption that they too may be modified or converted in a few manner By means of following the leader.

This is frequently visible in army commanders and wartime political leaders. An example of this would be the way wherein Lady Thatcher – as Top Minister of the UK Authorities at some stage in the Falklands Conflict in 1982 – was capable of engendering a greater feeling of British countrywide identity among the UK population.

Seems like this Management fashion is ideally suited to Alternate control, does not it? However – this method requires absolute integrity and personal behavior that is constant and resonant with your vision and message.

I’m able to bear in mind a ridiculous state of affairs, at one United kingdom organization I used to be worried about, wherein the directors have been attempting to effect a tradition Exchange of greater inter-departmental accept as true with and verbal exchange but nonetheless retained a separate directors eating room and mainly allotted car parking locations closest to the office the front door!

Adequate right here’s the important bit – how Now not to use transformational Management Concept to Change control

– Be preoccupied with electricity, role, politics and perks – Live focused on the fast-term – Be hard information orientated – Focus on tactical issues – Paintings inside existing systems and structures – Give attention to getting the activity executed – Consciousness strategies and activities that assure brief-time period income

does not all this simply sound like an outline of a standard right mission manager with an assignment driven mentality?

And howdy, I’ve nothing against this style of Leadership and control. There are a time and location for the Attila the Hun college of Management. I’ve achieved it generally myself and really efficaciously – and not using regrets.

However, this Leadership fashion isn’t enough in a Trade control situation and particularly in the present day climate.

The four Components of the transformational Leadership fashion are:

(1) Aura or idealized have an effect on – the diploma to which the chief behaves in admirable methods and presentations convictions and takes stands that cause fans to pick out with the chief who has a clear set of values and acts as a position version for the followers.

(2) Inspirational motivation – the diploma to which the chief articulates a vision that appeals to and evokes the followers with optimism about destiny dreams, and gives meaning for the contemporary tasks in hand.

(3) Highbrow stimulation – the degree to which the leader challenges assumptions, stimulates and encourages creativity within the followers – Through providing a framework for followers to see how they join [to the leader, the organization, each other, and the goal] they could creatively overcome any limitations inside the way of the undertaking.

(4) Personal and individual attention – the diploma to which the chief attends to each person follower’s desires and acts as a mentor or teach and offers to recognize too and appreciation of the person’s contribution to the team. This fulfills and complements every man or woman crew members’ want for self-achievement, and 310eaa1671f8cdca56bbfcd482325088 – and in so doing conjures up fans to similarly fulfillment and growth.

Transformational Leadership carried out in a Trade management context, is perfectly suited to the holistic and huge view attitude of a program based method to Exchange control and as such is the fundamental detail of a hit strategies for Dealing with Alternate.

And, to make sure that you ARE using a success techniques for Managing Exchange – that are appropriate to your organization – you want to realize the way to apply: (a) those transformational Leadership talents, AND (b) the way to apply the supporting programme control based methods – to make certain that you keep away from the catastrophic 70% failure fee of ALL commercial enterprise Change initiatives.

For greater on this: ” Transformational Management Idea ”

I invite you to take gain of this Free download: Starting the Trade Manner ”

Discover the 3 fundamental reasons for the 70% failure rate of all step Exchange projects and a way to keep away from it. This Free 29-page document gives a brief introduction to a number of the important thing issues and key factors that you want to do not forget in Beginning the Exchange Manner.

Stephen Warrilow, based in Bristol, works with corporations across the United Kingdom offering professional assist to administrators transport extensive Exchange tasks. Stephen has 25 years cross sector revel in with one hundred+ groups in the mid-range company, larger SME, and corporate environments. Generation Chandhok Multi-millionaire Indoors designs your house understanding instinctively its Vaastu or chi energy. The ageless splendor of Indian design elements encases your private home right into an area of “Magnet” grandeur. To make your interiors Work in unison together with your effective energy, embolden with the “abaya” grace of historical Gods and Goddesses, or magically captivate with present day ardor MOGULINTERIOR brings those factors in effortlessly. Colleges of colors-sari tapestries, embroidered toss pillows, sari curtains, decorative mattress throws or statues of Ganesha, Shiva, Vishnu, Lakshmi located on vintage damn his, rustic doors recreate a charisma of ancient culture

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search Recent Articles With the aid of Generation Chandhok Old International High-priced Decor Home Improvement: Indoors layout and Decorating • Posted: April 26, 2017 Explore and innovate designs and thoughts to be able to provide your residing room a high-cease makeover, making the room Costly and classic. Is one manner changing your sofa and espresso desk with more fashionable portions? Or using eclectic furnishings and specific artifacts that create drama and add a distinctive measurement on your interiors.

Chakra Malas, Cosmic Focuses Of electricity Health and Fitness: Meditation • Posted: March 28, 2017 We’re all beings of power and a part of this beautiful universe. The colors of the chakras or the seven cosmic strength centers within the frame are associated with The colors of the rainbow: violet, indigo, blue, inexperienced, yellow, orange, purple. A whole lot as all colorings integrate into the purest white of the thousand-petaled lotus, so additionally the energy facilities are tuned up to get admission to our splendid consciousness. Chakras are primal cosmic focuses of electricity inside the human power discipline. Situated alongside the primary route of the frame from the base of the backbone to the best factor of the head, chakras are concentrations of essential prana that are constantly in movement, balancing the energies with the auras of the universe.

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Wanderlust Fashionista Interiors Domestic Improvement: Interior layout and Redecorating • Published: January 30, 2017 I’m an Indoors color fashionista, regularly playing with the five simple colorings of Indian layout, Vastu. pink spectrum aligns with Hearth, Earth colorations are brown, green, Steel/Air are silver, gold, and copper, Water is the blue spectrum and area is white or crystal.

Rustic Luxe Indoors layout Home Development: Indoors design and Decorating • Published: January 27, 2017 Rustic Luxe decor is a glance this is here, there and anywhere. To describe this appearance might be in which town chic and rustic barn style overlap in a cool style. Rustic woods, earth factors, antiques, diminished fabric and gentle cotton throws come collectively in Rustic Luxurious.collectively they create interiors that bring together the first-rate of both their worlds. both female and masculine, the yin and the yang, combined with a palette of warm browns, subtle taupe, white washes and multi-layered textures.

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Fall Stimulated Antique layout Domestic Improvement: Indoors design and Redecorating • Published: October 28, 2016 Convey inside the warm temperature of autumn interiors with resplendent breathtaking decor taking the notion from the earthy oranges, rusts, nd yellows of the autumn leaves. The crisp crackle of Old timber twigs, a backyard complete with tree leaves, pears and orange pumpkins, experience The colors of fall combined with golden colors. Natural timber tones of rustic Antique furnishings, ornately carved wall sculptures in sun shades of reds and veggies create the glow of autumn Indoors and produce inside the earth element rejoicing within the kaleidoscope of nature’s autumn play.

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Eclectic change  Vintageera  Stimulated Tech Interiors Domestic Improvement: Interior layout and Redecorating • Published: September 8, 2016 Eclectic interiors with Vintage architectural factors working As the framework of the modernistic mansions brings me to the Haveli style interiors of the Rajput Indian Royalty. No longer a unmarried room is described By using simplistic lines not to mention is less special, it breathes and instills in you elements of records lifestyle and Vintage Global allure. All are empowered Via a positive theme that runs it direction via the traditions of Vastu the historic textual content of Interior layout as scripted Through historical sacred scholars

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