#paul slavens

[servants-hall]

All Creatures Great and Small - 4x01 Synopsis

From Radio Times:

Episode 1: Broodiness

Summary

Return of the drama, starring Nicholas Ralph and Samuel West. It is Spring 1940, and without Tristan, Skeldale House is busier than ever. James and Helen dream about the future, hoping that he won't be called up. And a chance encounter with young lad, Wesley Binks, leaves James worrying if his dog, Duke, is being mistreated

Credits

Siegfried Farnon Samuel West Mrs Audrey Hall Anna Madeley James Herriot Nicholas Ralph Helen Herriot Rachel Shenton Richard Carmody James Anthony-Rose Mrs Pumphrey Patricia Hodge Gerald Hammond Will Thorp Richard Alderson Tony Pitts Jenny Alderson Imogen Clawson Wesley Binks Billy Hickey Clifford Slavens Paul Hilton Granny Binks Pam Shaw Miss Harbottle Neve McIntosh Mr Dakin James Bolam Joe Coney Paul Bazely Maggie Mollie Winnard Jack Dodson Mark Smalley Mrs Stokes Susan Hilton Anne Chapman Cleo Sylvestre Grace Chapman Cat Simmons Francois Joseph May Private Biggs Olly Rhodes Ned Clough Paul Copley Sid Crabtree Ryan Hawley Elsie Crabtree Chloe Harris Marie Crabtree Matilda Kent RSPCA Officer Susan-Jayne Robinson Delivery Man Keith Hyland Government Clerk Chris Coniston

Director Andy Hay Executive producer Melissa Gallant Executive producer Colin Callender Writer Jamie Crichton Executive producer Ben Vanstone Executive producer Louise Pedersen Executive producer David Swetman Producer Yvonne Francas

[cavenewstimes]

Eric Bischoff Doesn't Know Why This WWE Hall Of Famer Doesn't Work With Company

Slaven Vlasic/Getty Images Wrestling fans never would have guessed back in WWE’s historic Attitude Era that the two main members of D-Generation X would one day be leading the company and its developmental property. With Shawn Michaels and Paul “Triple H” Levesque holding down WWE, former WCW executive Eric Bischoff pondered where fellow DX member Sean Waltman, also known as X-Pac, could fit…

[yanceyaaronj]

Dream 4.24.2024 4:16 pm

Grandma asked if that was Storm Slavens Someone famous Like a news reporter I had no idea I just met her I was showing her my moisturizing routine She was scratching her dry itchy brown skin In the photo was Me Grandma Ma Pops Wayne Storm and I think Paul There were black Green Bay packer fans to my left One of them sitting down took the pic before I woke up We were at some banquet…

[jjmichie]

Interesting article Dave shared on his FB.

[dustedmagazine]

Dust, Volume 8, Number 6

The Orange Dots

As spring makes its way into summer, the Dusted crew digs in with our monthly collection of short reviews that hits on jazz reed outings, noise-encrusted drone, fuzzed out songs, blown-out garagey rock and abstracted music for film with plenty of stops in between. Contributors this time through include Tim Clarke, Justin Cober-Lake, Bryon Hayes, Mason Jones, Jennifer Kelly, Bill Meyer, Michael Rosenstein and Jonathan Shaw. Now on to Summer!

Zoh Amba — O Life, O Light Vol. 1 (577 Records)

O Life, O Light Vol. 1 by Zoh Amba featuring William Parker and Francisco Mela

Not every 21-year-old saxophonist can say that John Zorn put out their first album and William Parker plays on their second. Zoh Amba is off to a hell of a start, but it’s fair to ask, what’s going on besides a case of heavy company? On the strength of the music on O Life, O Light Vol. 1, the tenor saxophonist from Kingsport, TN has her free jazz fundamentals in order. Her broad vibrato and importuning melodies recall Albert Ayler and she stands her ground while William Parker and Francisco Mela make it move around her. If that sounds like a statement of what she thinks is right rather than what new ideas she has conceived, well, let’s see what she comes up with when she’s 22. Time is on her side.

Bill Meyer

Andrew Anderson — Vagrancies (Elevator Bath)

Vagrancies by Andrew Anderson

Between the heat and the cost of living, Austin, TX gives a body good reasons not to leave the house. Andrew Anderson has put his time behind closed doors to good use by magnifying and warping the sounds of a piano, electronics, distant wildlife and his pal Thor Harris’ piano string harp into audio environments optimally designed for wandering. Are you walking streets after dark? Taking up residence on the dial in between a couple radio stations? Putting your ear so close to your happy cat’s belly that you are picking up transmissions of dreams about birds they wish they’d eaten? Maybe you are, or maybe Vagrancies just makes you think that’s what’s happening.

Bill Meyer

Asher & Jordan — Foliage (Crash Symbols)

Foliage by Asher & Jordan

Foliage is an enticing alloy crafted by Airick Asher Woodhead, who records as Doldrums, and Jordan Christoff, half of cosmic new age unit PJS. Each artist brings their own signature flair to the party, yet as a unit the duo produces something unique. Theirs is a visceral, noise-encrusted drone that constantly searches to reveal its ever-evolving contours. Scything sawtooth waves and short, spiky loops carve their way through layers of dreamy synth ambience. Woodhead’s chosen moniker calls to mind a certain act from the 1990s that recorded for both the Kranky and VHF labels. This nicely packaged cassette displays elements associated with both imprints: imagine Stars of the Lid collaborating with Matthew Bower, covering Tangerine Dream. Woodhead and Christoff pride themselves on live recording, with no overdubs or computers involved. Pursuits this daring can lead either to happy accidents or to a muddled miasma. With Foliage, it’s the former, likely due to this pair’s long-standing partnership in sound.

Bryon Hayes

Ballister — Chrysopoeia (Not Two)

Chrysopoeia by Ballister

Ballister redefines refinement on refinement on Chrysopoeia, the trio’s tenth recording. Recorded in concert at Alchemia, an establishment in Krakow, Poland that’s hosted the combo many times since saxophonist Dave Rempis, cellist Fred Lonberg-Holm and drummer Paal Nilssen-Love first convened in 2009, it makes a virtue of familiarity. The knowledge of one another’s moves that comes from improvising complete concerts, night after night and tour after tour, results in music that feels unerringly right at the same time that it makes the listener stop and ask — what the fuck was that? Sometimes the question is inspired by some unearthly sound, or a ratcheting of tension beyond the point where the wrench ought to shatter, or a sudden moment of restraint within the full-on barrage. Or maybe it’s asked after the CD’s 51 minutes have passed, when you’re wondering what just went down. Or maybe it’s when you take the long view and consider that these guys sound as committed and exciting as they did a decade ago. But the question is always asked appreciatively. Ballister has done it again.

Bill Meyer

Kevin Drumm — !!! (JMY)

!!! by Kevin Drumm

You might not see Kevin Drumm playing concerts, not notice labels releasing new LPs of his music, but that doesn’t mean he’s unproductive. If you head over to his Bandcamp page and subscribe, you’ll enjoy a steady flow of new music, ready for you to stream or download. “!” and “!!” were first released there in August 2020, but JMY proprietor Brent Gutzeit (also of TV Pow) has brought them into the physical world, albeit as a humble CDR. Both tracks last over twenty minutes and they offer contrasting immersive experiences. The first is a big blast of noise, which feels grating and monolithic until you give it your undivided attention. Then, it differentiates into a maelstrom of not-quite-identifiable sonic detritus, an audio equivalent to the dense mess that a planet might dissolve into after the monitoring galactic cops accidentally bump the Annihilate button while reaching for the cosmic snack box’s last donut. The second is quieter, but no less quizzical. It appears to be a mix of field recordings that have been woven together like memories in an unbounded reverie.

Bill Meyer

Alexandra Grimal — refuge (Relative Pitch Records)

refuge by Alexandra Grimal

Somehow, Swiss musician Alexandra Grimal has escaped my notice up to now. This solo soprano saxophone release, recorded in the double helix staircase in the castle of Chambord, France during a residency she spent there changes all that. Working with the natural resonance of the open, central edifice, Grimal’s eight pieces, ranging from two to 16 minutes long, utilize sonorous snaking themes that hang and twist back on themselves like the circuitous setting where they were recorded. Grimal utilizes a full tone colored by multiphonics, letting notes hang, filled out by the relatively short decay of the warm reverberations of the space. Grimal lets each piece develop slowly, never rushing notes or ideas, letting densities and volume ebb and flow. Take “château,” where sections drop to a near whisper and then ultimately build to long quavering tones that mount in surging waves. On “martinets,” short notes are placed with sharp attack against silence melding seamlessly in to “vent,” which weaves a songlike line with an abstract lyricism. That sense of songlike structure appears again with ���escalier,” which builds from angular, melodic kernels that slowly accrue with a birdsong-like delicacy. A look at Grimal’s site reveals that she’s about to drop a recording of songs with electronics composed during the same residency at Chambord while working on a composition for four voices. Clearly, she’s a on a roll and worth keeping an eye on.

Michael Rosenstein

Bill Harris — Blinking Glue (Amalgam)

Blinking Glue by Bill Harris

If you attend free jazz concerts and multi-disciplinary performances in Chicago in recent times, you are likely to have shared space with Bill Harris. Sometimes he’s the guy at the drum kit, powering music made with Jake Wark, Matt Piet, Ishmael Ali, or the total improv trio of Harris, Jim Baker and Brandon Lopez (full disclosure — I wrote liner notes for that group’s forthcoming album, Dura). Other times, he’s recording the concert. On Blinking Glue, his skill sets of percussionist, sound capturer, and electronic tone manipulator converge. The 24-minute-long recording documents Harris alone, the day after Boxing Day 2021, but don’t call it a drum solo; Harris is a one-man band. The first sounds are scything feedback sweeps whose serrated edges would make many guitarists envious. But since the feedback comes not from a guitar, but from parts of Harris’ kit, it is integrated into the harsh punctuations and rushing, rhythmic forays of his drumming. If you are a fan of physical media, be aware that the compact disc, like many Amalgam releases, is a CDR; be further informed that the disc’s sleeve, which reproduces illustrations taken from a report on the condition of the Chernobyl nuclear reactor, is a thing of beauty.

Bill Meyer

Interior Geometry — Tore Through the Sky (Self-Release)

TORE THROUGH THE SKY by interior geometry

Jared Sparkes piles the fuzz onto his tuneful songs, hedging in bright, positive melodies with thickets of discordant guitar sound. Your natural inclination is to bring in the Guided by Voices comparisons, but tunes like “What Have You Done?” have more of Superchunk’s detuned vulnerability than Pollard’s teenaged kicks, and “Wet Swans Go On & On” echoes and hisses like a Pink Reason outtake or maybe a tune by the Quietus. This latest missive from Michigan’s burgeoning indie pop/punk scene bears the imprint of Fred Thomas’ influence; he produced and plays bass on two tracks. Mary Fraser of the Ypsilanti band Child Sleep sings soft, nearly twee vocals on “Tender Terrible,” musing that “you are something tender…in a terrible world.” But it’s mostly Sparkes, cranking up the noise to veil but never entirely obscure the sweetness of his songs. Buy the physical copy and you’ll get a spiral notebook full of sketches by Detroit-based artist Grace Millard, as well as photos and lyrics.

Jennifer Kelly

Masayo Koketsu — FUKIYA (Relative Pitch Records)

FUKIYA by Masayo Koketsu

Starting out with a burred surge, alto saxophonist Masayo Koketsu makes it clear that she understands the notion of tension and release. For the ensuing 46 minutes, she mines that command with an entrancing solo that draws on the vocabulary of free jazz, Japanese folk tunes, skronk overblowing and a canny balance of intensity and silence. That sense of balance defines the entire release. She embraces sections of brawny vigor, punching out squawking yelps imbued with harsh overblown multiphonics then drops to stark silence. Fifteen minutes in, she introduces a sliding theme that evokes the breathy phrasing of a shakuhachi folk theme and then decomposes it into skirling flutters which build to raw lamentations. The solo swells with a raucous astringency which carries through with chafed yawps and dark, abraded, mournful musings. But Koketsu’s underlying sense of pacing and structure hold this all together. She ties these discrete events together with resolute control and a clear sense of the trajectory of the piece, wending her way to a doleful conclusion. It is no mean feat to pull off an extended solo outing. With FUKIYA, Koketsu establishes that she is more than up to the task.

Michael Rosenstein

Bennie Maupin & Adam Rudolph — Symphonic Tone Poem for Brother Yusef (Strut)

Symphonic Tone Poem for Brother Yusef by Bennie Maupin & Adam Rudolph

Adam Rudolph played percussion alongside the great reedist Yusuf Lateef for much of his career, accompanying him in a spiritual/musical journey that touched on Eastern and African traditions as much as American jazz from 1988 until Lateef’s death in 2013. Much more than a drummer, he composed alongside Lateef on landmark albums including The World at Peace and Beyond the Sky. To celebrate Lateef’s 100th birthday, Rudolph joined with another celebrated jazz woodwindist, Bennie Maupin, to compose this tribute. Maupin is best known for his work on Miles Davis’ Bitches Brew, but like Lateef, he is a man of wide interests and skills.

Across these five movements, the two men traverse a varied, magical realist terrain, constructed from saxophone, electronics, voice and percussion. The first movement shimmers with latent energies, heated scrawls of saxophone across murmuring backgrounds of electronic tone, insistent rhythms of hand drums and tonal percussion sketching a time-path through primordial mists. The second blows a plaintive flute over humid silence, scattering xylophone notes like jewels in its wake; a steady pulse of drums, the crash of gongs, the glow of electronic keyboards, the intermittent shouts of one of the players join in an inscrutable sort of dance. Movement three wavers like a heat mirage, while number four rattles and mutters like a techno track. There is an intuitive give and take between the two players but also an ecstatic release, as mindfulness gives way to Zen-like no mind. Wonderful stuff.

Jennifer Kelly

Anthony Moore — Flying Doesn’t Help (Drag City)

Flying Doesn't Help by Anthony Moore

Having reissued 1976’s Out in 2020, Drag City continues their campaign to introduce twenty-first-century listeners to the wonders of Anthony Moore. Perhaps best known as a member of Slapp Happy and Henry Cow, Moore also released music under his own name, which has its own specific and addictive flavor. Broadly speaking, this remastered edition of 1979’s Flying Doesn’t Help belongs among the overlapping circles of a Venn diagram that includes art-rock, glam and post-punk. Though his albums flew under the radar at the time, they sit proudly alongside obvious reference points such as early Roxy Music, Eno’s Here Come the Warm Jets and Berlin-era Bowie. Opener “Judy Get Down” is an absolute cracker, crammed to the gills with sing-along hooks, while the remainder of the first side has plenty more fizzing pop gems and sneering choruses. However, Moore doesn’t let you forget his experimental credentials. “Ready Ready” opens with a glorious lattice of overlapping sheet-metal guitar waves, then its main riff is underpinned by what sounds like the pulse of a car alarm. The intimidating wall of noise that kicks off “War” goes some way towards evoking the horrors of its title. And the closing instrumental “Twilight (Uxbridge Rd)” is an uneasy send-off, pairing warbling synths with distant, eerie saxophone squeals.

Tim Clarke

Kyle Motl / Patrick Shiroishi — Apparitions (Notice)

Apparitions by Kyle Motl/Patrick Shiroishi

Who witnesses the ghostly visions referenced in this tape’s title? Might it be Patrick Shiroishi, a man of several saxophones, or double bassist Kyle Motl? Or might they be hoping to induce you, dear listener, to perceive things that type no weight on the scale? Neither player is the kind of guy who is inclined to be confined by mandates of instrumental or stylistic expectations, and both invest the music they make with a meaning beyond the undeniable impact of the raw scrapes, explosive snaps, coarse multiphonics and intricately twisted lines that they play. Since the specter that moves through walls can still stop your heart, perhaps they want to be apparitions, not see them. There is something undeniably eerie about these improvisations. Wear your garlic cloves, and keep your ears unstopped; there’s nothing going on here that you want to miss.

Bill Meyer

Nihil Nihil Nihil — Things Fall Apart As They Shall (Caligari Records)

Things Fall Apart As They Shall by NIHIL NIHIL NIHIL

That looks like a whole lot of nihilism — but what you get on Things Fall Apart As They Shall is a whole lot of death rock, heavy on the metal, partial to some post-punk. The spirit of Ian Curtis is being conjured by the unnamed vocalist (the interwebs are pretty short on info about the band), but it’s clearly schtick. Curtis came by his stilted, performative singing style honestly, as a byproduct of his anxieties and dread. Nihil Nihil Nihil do their best to summon dread and the four tunes (three originals and a cover of a Chameleons song) on this EP have a promisingly morbid sensibility. Mid-to-downtempo bummer rhythms, gits with some growl and gritty drama dominate. This reviewer responds especially well to “Further Inwards,” in which the band lets its goth thang strut. You can just about smell the mascara sizzling and it works. Just how morose, pessimistic and pissed these dudes really are remains to be seen. A full-length release would be revealing, if the world doesn’t beat them to the punch and completely fall apart. This EP isn’t quite the soundtrack for an event that doom-struck, but you can sure shake your butt to “Dance the End” while reading about the latest awfulness from Nigeria or Palestine or Ukraine. Now that’s some nihilism.

Jonathan Shaw

The Orange Dots — Nautic Girl (self-released)

Nautic Girl by The Orange Dots

This Norwegian duo present six tracks of blown-out garagey rock, with a variety of approaches making for an enjoyable ride. Tore Ljøkelsøy and Thomas Bergsten kick things off with a blast of grunge, then “Oh Lord Can You Show The Way” closes out with a gentle vocal duet. The guitar tone, buzzing and breaking apart into distortion, has an echoey, West Coast psych feel to it, while the drums fill the crevices with splashes, fills and rolls. The tick-tock drums and southern blues guitar of “Change Will Come” move from atmospheric jam into full-on heavy fuzz intensity. Amidst the distorted chaos, their intermittent dual-voiced vocals, simply chanting the title, work quite well. “Lost A Dream” alternates heavily blasted guitar and frenetic pounding drums with brief pauses for peaceful, reverbed vocals, then “Born Again” offers a break, with its quietly plucked guitar, gentle drums and airy vocals, slowly growing more tangled. After the fun instrumental jam “Duo For Mallets & Guitar,” with what seems to be xylophone and inner-space guitar noisings, the duo close out with a simple and visceral chugging rock tune. The wonderfully-named “Woke Up Dead With Nothing To Do” locomotives along nicely, with a break in the middle filled with tape delay overdrive and multi-limbed drum flailing. In its final minute the song returns to its opening chug and finishes with a strong MC5 vibe. Nicely done.

Mason Jones

R.E. Seraphin — Swingshift EP (Dandyboy/Mt. St. Mtn/Safe Suburban Homes)

"Swingshift" by R.E. Seraphin

Five originals and two covers from the Bay Area fuzz master, R.E. Seraphin thread the needle between twee pop and the melodic garage rock roar. Last time around, reviewing the Tiny Shapes disc in 2020, I likened one of his songs to “a summer radio megahit heard from several rooms away, bittersweet and slipping away even as it plays.” A year later, his tunes are similarly soft and scratchy, like a Jesus & Mary Chain song put on late at night, softly, so that you can barely hear it. So, while “Playing House” thumps and blares in an instrumental backing redolent of Exploding Hearts, its verse and chorus are murmured in your ear. Jangly “Stuck in Reno” mines the all-weather rock ’n roll topic of being out of place (in this case, in Nevada) but at a nostalgic low simmer, as if this disastrous road trip were already softened by time and memory. The two covers near the end demonstrate Seraphin’s excellent taste and bifurcated interests. “I’ll Be Around,” from the Wipers, gives him a chance to show off some lovely, driving bass and mine the power of a simple, urgent chorus. The Television Personalities “This Time There’s No Happy Ending” explores the poppier, trippier side of Seraphin’s aesthetic. If you like lo-fi pop of the Bay Area (Reds, Pinks and Purples, Umbrellas) or even New Zealand variety, check out Seraphin.

Jennifer Kelly

Paul Slavens — Alphabet Girls, Vol. II (State Fair)

Paul Slavens makes no sense. He's had some solo releases and played in some interesting Denton, TX-area indie bands. He's also been a radio host and a voice actor, though he admits to being “not too impressed” with his own vocals (maybe Fullmetal Alchemist doesn't prepare you for singing). His latest endeavor finishes a project first started over a decade ago. He now releases Alphabet Girls, Vol. II, completing a series of songs inspired by 26 abecedarian women's names. The songs provide a vehicle for the breadths of Slavens’ influences. Listeners who know him only has a member of the Travoltas or the Baptist Generals might be surprised by the jazz and stage influences.

Slavens sees himself more of a composer than a traditional songwriter and moments on the album tie in more to jazz or even cinematic scores (given a time machine, he could write for an early Bond movie). Scott Walker makes for a reasonable touchpoint, as does some of Tom Waits’ career, although Slavens’ voice is unlike either of theirs and his mania comes across more happily. “Ophelia” gives a tongue-in-cheek talk with the Hamlet character, its zaniness heightened by following the lovely “Naomi” and preceding the theatrical “Priscilla.” “Queenie” adds some bebop to the mix. The whole record precedes like this, gleefully skipping around, mixing playfulness and classiness, all developing Slavens’ strange ideas and strong compositions.

Justin Cober-Lake

Squirrel Flower — Planet EP (Polyvinyl)

Planet EP by Squirrel Flower

Squirrel Flower’s Ella Williams constructed Planet EP out of leftovers from her second, environmentally focused LP, Planet (i). Minimally produced, sparsely instrumented, these seven tracks showcase the lovely fragility of Williams’ voice, often twined around itself in translucent harmonies and agilely supported by flurries and bursts of acoustic guitar. The artist continues to make a distinctive space for herself in the crowded singer-songwriter space, breathing delicate life into knotty sentiments and leaning into the sheer beauty of her melodies. But while Planet (i) considered global, environmental catastrophe, Planet EP is far more personal, centered on the unsatisfactory dynamics of uneven love. “Open Wound” pokes at the underpinnings of a romantic relationship, the narrator seeking support and understanding, her lover unresponsive. The song builds in overlapping layers of meaning and tone, overdubbed voices swelling then fading as Williams intones “I won’t do it, I won’t do it” and a siren wails. “Your Love Is a Disaster” traverses similar emotional terrain, its plaintive request, “take me dancing,” evidently falling on unhearing ears. The Bjork cover, “Unravel,” is an unassuming triumph, Williams’ voice high and pure and echoing, making the choruses both vast and introverted. Heartbreak rarely sounds so spectrally pretty.

Jennifer Kelly

Teddy and the Rough Riders — Teddy and the Rough Riders (Appalachia Record Co.)

Teddy and the Rough Riders probably wouldn’t do so well at San Juan Hill. At least not in battle, but maybe their music would go over okay. The group doesn’t quite fit in anywhere, which means they fit in everywhere. With their self-titled debut album, the group shows its comfort blending related styles into a cohesive album. The country sound runs throughout the disc, but the band turns from 1968 San Francisco to 1972 Nashville to more modern Southern rock and country-folk with aplomb. Margo Price’s production (and a guest vocal spot) helps organize everything but never hinders the fun. Luke Schneider’s pedal steel adds plenty of flavor (even as he keeps his experimental side in check), but the songs each bring their own character. The use of the past peaks with cowboy closer “Hey, Richard,” a tribute to the mythology of Little Richard, a thought of the ghosts of both rock ‘n’ roll and country. The group might acknowledge its forebears, but it doesn't linger on these ghosts. Utilizing the best of a broadly considered country-rock aesthetic, Teddy and the Rough Riders make music more permanent than a poltergeist and more potent than pastiche, but still plenty playful.

Justin Cober-Lake

Terminal Nation / Kruelty — The Ruination of Imperialism (20 Buck Spin)

The Ruination Of Imperialism by Terminal Nation / Kruelty

With this downtuned, densely crunching and death-driven split, Terminal Nation and Kruelty seem to be militating for the accolade of heaviest record of the year. Regular listening may find you listing floor-ward, weighed down by the riffs’ irresistible gravitational pull. Terminal Nation’s side of the split is the real monster, a Boss pedal manifesto of lefty vituperation and revolutionary zeal. You usually encounter that sort of ethos on the punkier end of heavy music’s continuum, but Terminal Nation is pissed and convincing about it. Two-thirds of the way through “Curators of Brutality,” vocalist Stan Liszewski repeatedly hollers, “We have the numbers!” That’s direct action he’s demanding, folks. On the flip, Japanese hardcore freaks Kruelty do their characteristic thing: long, piledriving, midtempo beatdowns, with death metal-inspired growls aplenty. Both of their tracks are quite good. But it’s hard to match Terminal Nation’s energy and passionate political fury, which is serious stuff to shout about in Little Rock, Arkansas. Somehow, Liszewski’s vocals ride the top of Dalton Rail’s and Tommy Robinson’s amp abuse. He snarls, “There must be retribution / Before redistribution.” Right on, brother.

Jonathan Shaw

Rafael Toral — Music For Film (Noise Precision)

Music for Film by Rafael Toral

There’s no way that Rafael Toral, a rigorous student as well as a skilled shaper of evocative sound, is unaware of Brian Eno’s Music For Films. So, what gives with the absent S? The meaning turns out to be literal; this DL-only recording, which is available from Toral’s Bandcamp page, comprises music he recorded for a short film, Pedro Cabaleira’s By Flávio. If you caught it at the 72nd Berlin International Film Festival, you could let me know how the music worked in that context. But it stands quite well on its own; so well that one wonders why it’s only being released in such an ephemeral format. This is Toral’s first recording in a couple decades to put the guitar first, and if you have a hankering for his 1990s work using that instrument, and especially Sound Mind Sound Body, then it’s time for you to pop the cork on that special bottle you’ve been saving. The long, unfurling tones are very much in the spirit of that recording, although years of experience in fundamentally dissimilar musical contexts ensure that this is not simply a matter of picking up where he left off. These days, Toral’s music is, like a lot of us, a bit roughed up, with gritty, ground-down textures pushing through the fluorescent glow. Rumor has it that there’s a new, proper album on the horizon; if this is an advance trailer, then the finished feature might be quite something.

Bill Meyer

[fuckyeahbrutaljuice]

Brutal Juice is playing with Paul Slavens and Pearl Earl 10/19/17 at Dan’s Silverleaf

[odk-2]

Savoy Brown - Hellbound Train (1972) Kim Simmonds / Andy Silvester from: “Hellbound Train” (LP)

Blues | Blues/Rock | British Blues | Dirge

JukeHostUK (left click = play) (320kbps)

Album Personnel: Dave Walker: Lead Vocals Kim Simmonds: Lead Guitar / Harmonica / Backing Vocals Paul Raymond: Keyboards / Guitar / Backing Vocals Andy Silvester: Bass Dave Bidwell: Drums

Produced by Neil Slaven

Recorded: @ The Trident Studios in London, England UK 1972

Released: in February, 1972

Deram Records (UK) Parrot Records (US)

[helenjgaston]

Paul Heyman and Eric Bischoff Named Executive Directors of WWE 'Raw' and 'SmackDown Live'

Paul Heyman and Eric Bischoff Named Executive Directors of WWE 'Raw' and 'SmackDown Live'

https://www.muscleandfitness.com/athletes-celebrities/news/paul-heyman-and-eric-bischoff-named-executive-directors-wwe-raw-and

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Slaven Vlasic / Stringer

In what sounds like news straight from the Attitude Era, Paul Heyman and Eric Bischoff have been named executive directors of Raw and SmackDown Live, respectively. They will oversee the…

[homoerotisch]

i was tagged by @sheherazade and @engulfes to post my reading list for 2021, thank you 💌

i’m tagging @zonnesproetje @mirsaidsultangaliev @bloomingtrans &ofc anyone who wants to do this !

my general goals for 2021 are to read more non-fiction + poetry and to be more conscious of what i’m reading instead of tearing through without thinking too much. i’m also planning to mostly work through the books i already own instead of buying new ones every time i enter a bookstore (this will probably fail. we’ll get there eventually)

1. borrowed time: an aids memoir - paul monette

2. night sky with exit wounds - ocean vuong

3. poems 1827-1849 - edgar allan poe

4. a little life - hanya yanagihara

5. lolita - vladimir nabokov

6. maurice - e. m. forster

7. into the wild - jon krakauer

8. das kapital vol. 1 - karl marx

9. this changes everything - naomi klein

10. troy - stephen fry

11. de kapellekensbaan - louis paul boon (flemish)

12. the illiad - homer (tr. imme dros, dutch)

13. the fires of heaven - robert jordan (the wheel of time #5)

14. the secret commonwealth - philip pullman (the book of dust #2)

15. a shakespeare play; currently thinking macbeth, the tempest, or as you like it

16. radio silence - alice oseman

17. if we were villains - m. l. rio

18. stone butch blues - leslie feinberg

19. if not, winter: fragments of sappho - sappho (tr. anne carson)

20. confessions of the fox - jordy rosenberg

21. mutual aid or the conquest of bread - pyotr kropotkin

22. wij slaven van suriname / we slaves of surinam - anton de kom

23. women, race & class - angela y. davis

24. on sundays she picked flowers - yah yah scholfield @fluoresensitive

25. little weirds - jenny slate

[film-tv101]

OUTSTANDING PRODUCTION

WINNER

MUTINY ON THE BOUNTY

Metro-Goldwyn-Mayer

NOMINEES

ALICE ADAMS

RKO Radio

BROADWAY MELODY OF 1936

Metro-Goldwyn-Mayer

CAPTAIN BLOOD

Cosmopolitan

DAVID COPPERFIELD

Metro-Goldwyn-Mayer

THE INFORMER

RKO Radio

LES MISERABLES

20th Century

THE LIVES OF A BENGAL LANCER

Paramount

A MIDSUMMER NIGHT'S DREAM

Warner Bros.

NAUGHTY MARIETTA

Metro-Goldwyn-Mayer

RUGGLES OF RED GAP

Paramount

TOP HAT

RKO Radio

SHORT SUBJECT (CARTOON)

WINNER

THREE ORPHAN KITTENS

Walt Disney, Producer

NOMINEES

THE CALICO DRAGON

Harman-Ising

WHO KILLED COCK ROBIN?

Walt Disney, Producer

SHORT SUBJECT (COMEDY)

WINNER

HOW TO SLEEP

Jack Chertok, Producer

NOMINEES

OH, MY NERVES

Jules White, Producer

TIT FOR TAT

Hal Roach, Producer

DIRECTING

WINNER

THE INFORMER

John Ford

NOMINEES

CAPTAIN BLOOD

Michael Curtiz

THE LIVES OF A BENGAL LANCER

Henry Hathaway

MUTINY ON THE BOUNTY

Frank Lloyd

ASSISTANT DIRECTOR

WINNER

THE LIVES OF A BENGAL LANCER

Clem Beauchamp, Paul Wing

NOMINEES

DAVID COPPERFIELD

Joseph Newman

LES MISERABLES

Eric Stacey

A MIDSUMMER NIGHT'S DREAM

Sherry Shourds

CINEMATOGRAPHY

WINNER

A MIDSUMMER NIGHT'S DREAM

Hal Mohr

NOMINEES

BARBARY COAST

Ray June

THE CRUSADES

Victor Milner

LES MISERABLES

Gregg Toland

ACTOR

WINNER

VICTOR MCLAGLEN

The Informer

NOMINEES

CLARK GABLE

Mutiny on the Bounty

CHARLES LAUGHTON

Mutiny on the Bounty

PAUL MUNI

Black Fury

FRANCHOT TONE

Mutiny on the Bounty

ACTRESS

WINNER

BETTE DAVIS

Dangerous

NOMINEES

ELISABETH BERGNER

Escape Me Never

CLAUDETTE COLBERT

Private Worlds

KATHARINE HEPBURN

Alice Adams

MIRIAM HOPKINS

Becky Sharp

MERLE OBERON

The Dark Angel

ART DIRECTION

WINNER

THE DARK ANGEL

Richard Day

NOMINEES

THE LIVES OF A BENGAL LANCER

Hans Dreier, Roland Anderson

TOP HAT

Van Nest Polglase, Carroll Clark

DANCE DIRECTION

WINNER

BROADWAY MELODY OF 1936

"I've Got a Feeling You're Fooling" from "Broadway Melody of 1936"

FOLIES BERGERE

"Straw Hat" from "Folies Bergere"

NOMINEES

GOLD DIGGERS OF 1935

"Lullaby of Broadway" from "Gold Diggers of 1935"

GOLD DIGGERS OF 1935

"The Words Are In My Heart" from "Gold Diggers of 1935"

GO INTO YOUR DANCE

"Latin from Manhattan" from "Go into Your Dance"

BROADWAY HOSTESS

"Playboy from Paree" from "Broadway Hostess"

KING OF BURLESQUE

"Lovely Lady" from "King of Burlesque"

KING OF BURLESQUE

"Too Good To Be True" from "King of Burlesque"

TOP HAT

"Piccolino" from "Top Hat"

TOP HAT

"Top Hat, White Tie, and Tails" from "Top Hat"

BIG BROADCAST OF 1936

"It's the Animal in Me" from "Big Broadcast of 1936"

ALL THE KING'S HORSES

"Viennese Waltz" from "All the King's Horses"

SHE

"Hall of Kings" from "She"

WRITING (ORIGINAL STORY)

WINNER

THE SCOUNDREL

Ben Hecht, Charles MacArthur

NOMINEES

BROADWAY MELODY OF 1936

Moss Hart

G-MEN

Gregory Rogers

THE GAY DECEPTION

Don Hartman, Stephen Avery

WRITING (SCREENPLAY)

WINNER

THE INFORMER

Dudley Nichols

NOMINEES

CAPTAIN BLOOD

Casey Robinson

THE LIVES OF A BENGAL LANCER

Screenplay by Waldemar Young, John L. Balderston, Achmed Abdullah; Adaptation by Grover Jones, William Slavens McNutt

MUTINY ON THE BOUNTY

Talbot Jennings, Jules Furthman, Carey Wilson

MUSIC (SCORING)

WINNER

THE INFORMER

RKO Radio Studio Music Department, Max Steiner, head of department (Score by Max Steiner)

NOMINEES

CAPTAIN BLOOD

Warner Bros.-First National Studio Music Department, Leo Forbstein, head of department (Score by Erich Wolfgang Korngold)

MUTINY ON THE BOUNTY

Metro-Goldwyn-Mayer Studio Music Department, Nat W. Finston, head of department (Score by Herbert Stothart)

PETER IBBETSON

Paramount Studio Music Department, Irvin Talbot, head of department (Score by Ernst Toch)

MUSIC (SONG)

WINNER

GOLD DIGGERS OF 1935

Lullaby Of Broadway in "Gold Diggers of 1935" Music by Harry Warren; Lyrics by Al Dubin

NOMINEES

TOP HAT

Cheek To Cheek in "Top Hat" Music and Lyrics by Irving Berlin

ROBERTA

Lovely To Look At in "Roberta" Music by Jerome Kern; Lyrics by Dorothy Fields and Jimmy McHugh

[christen-hond]

ABOUT

ChristenHond (“Christian Pig”)

MEANING & DEFINITION

(sometimes preceded by mangy) derogatory name for a Christian. This swear word has caused quite a stir in recent years.

 Columnist Theodor Holman(NL), for instance, was just not convicted in 1995 for his statement that “every Christian dog is a criminal.” And in “The ironic of irony” Harry Mulisch called his colleague Gerard Reve a Christian dog. In 2000, the Hotline Discrimination Amsterdam asked the Public Prosecution Service to view a de Volkskrant column by Jan Blokker for offensive texts.

Earlier, the hotline had received a complaint about the columnist. He had written that Aad van den Heuvel had “the same type of Christian dog head” as Aart Zeeman(both Dutch christian journalists)

The complainant found that phrase offensive to all Christians. In 1998, he already complained about statements made by Paul de Leeuw(Dutch comedain), who also used the word Christian dog. De Leeuw then apologized and invited the complainant to his broadcast. Originally, this swear word is the name given to Christians by the Muslims. This is a loan translation from Turkish. In Islamic teachings, the dog is as unclean as the pig. 

You can also hurt subtly.

The film-maker and columnist Theo van Gogh, who was murdered in 2004, once had an immigrant TV channel interview him with his dog on his stomach. What seemed innocent at first glance was intended as a provocation.

A non-Mohammedan or Christian dog is called a giaur by the Turks. The word comes from the Persians, who called a devotee of Zoroaster, a fire worshiper, a gow. Dog compositions usually refer to bad men, see for example bloodhound and hellhound. Cf. the French argotterm halouf (from the Arabic word for pig), which is used in the same sentence.

This article was translated from dutch:

https://www.ensie.nl/scheldwoordenboek/christenhond

christenhond

BETEKENIS & DEFINITIE

(soms voorafgegaan door schurftige) minachtende benaming voor een christen. Dit scheldwoord heeft de afgelopen jaren voor heel wat beroering gezorgd.

Zo werd Parool-columnist Theodor Holman in 1995 net niet veroordeeld voor zijn uitspraak dat ‘iedere christenhond een misdadiger is.’ En in ‘Het ironische van de ironie’ noemde Harry Mulisch zijn collega Gerard Reve een christenhond. Het Meldpunt Discriminatie Amsterdam vroeg in 2000 het openbaar ministerie om een de Volkskrant-column van Jan Blokker te bekijken op beledigende teksten. Eerder had het meldpunt een klacht ontvangen over de columnist. Die had geschreven dat Aad van den Heuvel ‘hetzelfde type christenhondenhoofd’ had als Aart Zeeman. De klager vond die zinsnede beledigend voor alle christenen.In 1998 beklaagde hij zich al over uitlatingen van Paul de Leeuw, die ook het woord christenhond gebruikte. De Leeuw bood toen zijn excuses aan en nodigde de klager uit in zijn uitzending. Oorspronkelijk is dit scheldwoord de naam die door de mohammedanen aan de christenen werd gegeven. Het gaat om een leenvertaling uit het Turks. In de islamitische leer is de hond zo onrein als het varken. Subtiel kwetsen kan ook. De in 2004 vermoorde cineast en columnist Theo van Gogh liet zich ooit door een allochtone tv-zender interviewen met zijn hond op zijn buik. Wat op het eerste gezicht onschuldig leek, was bedoeld als een provocatie. Een niet-Mohammedaan of christenhond wordt door de Turken een giaur genoemd. Het woord komt van de Perzen, die een aanhanger van Zoroaster, een vuuraanbidder, een gow noemden. Samenstellingen met hond slaan doorgaans op slechte mannen, zie bijvoorbeeld bloedhond en helhond. Vgl. de Franse argotterm halouf (van het Arabische woord voor varken), dat in dezelfde zin wordt gebruikt. ‘Koppige christenhond,’ riep nu de Moor, ‘weet gij dan niet, dat ik uw heele schip met lading en al nemen, en jou en je volk als slaven verkoopen kan, als gij mij blijft weigeren dat laken voor den prijs, dien ik u bied af te staan?’ (Pieter Louwerse, Vlissinger Michiel, 1880) Hond als scheldwoord en belediging. Zoals Christenhond bijvoorbeeld. (Vincent Mahieu, Tjies, 1958) ‘Gore christenhond,’ zei Phileine toen ze dit hoorde. (Ronald Giphart, Ik omhels je met duizend armen, 2000)

“ Stubborn Christian dog, ” cried the Moor now, “ don’t you know that I can take your whole ship and all cargo, and sell you and your people as slaves, if you keep refusing me that sheet for the price I you bid to relinquish? ’(Pieter Louwerse, Vlissinger Michiel, 1880)

Dog as a swear word and insult. Such as Christian Dog for example. (Vincent Mahieu, Tjies, 1958)

“Gore Christian dog,” said Phileine when she heard this. (Ronald Giphart, I hug you with a thousand arms, 2000)

——————————————————————————————————

Personal view:

Like in every religion there can be real swines.. So also in the Christian religion..

Look at the huge amount of child molesters in the “christian World”..Need I say more..?

Bishop Gijsen, Child molester

READ MORE ABOUT THIS PIG-DOG HERE

https://www.omroepbrabant.nl/nieuws/1825296/oud-bisschop-jo-gijsen-betastte-geslachtsdelen-jongens

[premierleaguenewsclub-blog]

Slaven Bilic has the passion and experience to survive at West Ham says Paul Clement Swansea City manager Paul Clement has defended West Ham boss Slaven Bilic ahead of their Premier League clash at the London Stadium this weekend.

[don-lichterman]

Public Radio Host Paul Slavens Is Also A Brilliant Composer. His Intellectually Mad 'Alphabet Girls, Vol. II' (from 'Naomi' To 'Zelda'), Out June 24

Public Radio Host Paul Slavens Is Also A Brilliant Composer. His Intellectually Mad ‘Alphabet Girls, Vol. II’ (from ‘Naomi’ To ‘Zelda’), Out June 24

Queenie’ is just a blast of jazz energy. I gave four University of North Texas jazz hot shots my sheets and told them to play as fast as they could. —Paul Slavens ” data-original-title=”” title=””>Paul Slavens (June 24, State Fair Records) is the crystallization and distillation of the Nebraska born, Denton, TX-based artist’s long, varied, and accomplished career, complete with all of the…

[sachajinkenscid76]

UK’s New Science Minister George Freeman Visits Filtronic

UK’s New Science Minister George Freeman Visits Filtronic Filtronic, a designer and manufacturer of RF, microwave, and mmWave products for telecommunications infrastructure, aerospace & defence, critical communications, and space markets, last week welcomed the newly-appointed Minister for Science, Research and Innovation, George Freeman to its state-of-the-art facilities in NETPark, Sedgefield.

The visit was part of a wider initiative to showcase the North East region’s capabilities within the space sector. Mr. Freeman was joined by Paul Howell, Member of Parliament for Sedgefield, and Sarah Slaven, Managing Director of Business Durham. Filtronic impressed the contingent with its latest generation E-band transceivers, power amplifiers, and hybrid manufacturing capabilities. The technology and capabilities that Filtronic provides partner perfectly with the government's objective for the UK to be a science and innovation superpower.

Richard Gibbs, CEO of Filtronic commented that they were delighted to be able to demonstrate the technology leadership and expertise they have within Filtronic. their visitors were impressed with their team, facilities, and the products that they develop there within the North East. Having a robust innovative UK supply chain is an area of real focus for the UK government and they were glad to demonstrate their potential role.

The Minister for Science, Research and Innovation, George Freeman stated that the North East and County Durham are rapidly becoming a cluster of 21st-century science and technology, with particular expertise in advanced manufacturing. Filtronic is a vital part of this rapidly emerging cluster.

“Following the recent visit of the Secretary of State for Business Energy and Industrial Strategy, I am absolutely delighted that I have been able to encourage the Minister for Science, Research and Innovation, George Freeman MP, to follow in his steps. I am very happy that he has joined us in his first week in the post,” said Paul Howell, MP for Sedgefield. “When I visited Filtronic in July, I said that their track record is second to none within UK RF technology, and it makes me immensely proud that the North East can boast world-class manufacturers on its doorstep. The pace at which they innovate and the markets they operate in, and the opportunity to use their intergenerational skill set to help solve those problems through interesting jobs, makes organizations like Filtronic a key part of the Government’s Space strategy. A visit from the Minister for Science could not be more timely.”

Sarah Slaven, interim managing director at Business Durham said that they were delighted to welcome the minister to NETPark and to introduce him to some of the exciting and innovative companies they have at the park, like Filtronic. She further continued that the North East Satellite Applications Centre of Excellence which is based at NETPark has played an important role in the growth of the region’s space sector, championing space opportunities and connecting businesses to bring new expertise into the sector. They look forward to continuing to work with Filtronic and the other hi-tech business to build on the success they have had developing the next generation of advanced technologies.

[odk-2]

Savoy Brown - I Can't Get Next to You (1971) Barrett Strong / Norman Whitfield from: "Street Corner Talking" (LP)

Blues Rock | Brit Blues Rock | Temptations Cover

JukehostUK (left click = play) (320kbps)

Personnel: Dave Walker: Lead Vocals Kim Simmonds: Lead Guitar / Backing Vocals Paul Raymond: Keyboards Andy Silvester: Bass Dave Bidwell: Drums

Produced by Neil Slaven

Recorded: @ The Olympic Sound Studios in London, England UK during 1971

Released: in September of 1971

Decca Records (UK) Parrot Records (US)

[rulahblog]

sunday night vibes

paul slavens show