Tyra Banks Janice Dickinson
Tyra Banks Janice Dickinson
Tyra Banks Janice Dickinson
Tyra Banks Janice Dickinson
Wednesday 31 October 2007
Tyra Banks Janice Dickinson
Tyra Banks Janice Dickinson
Tyra Banks Janice Dickinson
Tyra Banks Janice Dickinson
Tyra Banks Janice Dickinson
Happy Halloween (Random Stuff)
Not much to report, just wooooooorrrrrrkkkkkkkk! But the quarter is halfway to its end, or at least I think it is. It feels like classes have been going for four months, not one and a few weeks. Things are sort of a blur. Nevertheless, yesterday I dropped by the Dittmar Gallery at the university's Norris Center to hear Fall visiting writer in residence Ed Roberson read his work. There was supposed to be an accompanist, but s/he wasn't able to make it, so Ed created his own music, starting out with new poems before reading a series of pieces of his collection City Eclogue, which I'd read before but which felt like revelations as he read them. (He'd read before at the university, several years ago, with Cecil Giscombe, but those were earlier poems.)
Among the stalagmites of books here in Chicago I cannot locate my copy (and none were for sale), but when I do, I'll post one of the poems that most struck me this reading, about a guy in a chemistry class Ed taught years ago. He had on mismatched shoes, which signified the loss of a friend to gun violence--and what Ed does with that premise is remarkable. The thing I realized hearing him read these poems was how much life they took on through his voice; not that he performed them, per se, but his inflections and emphases made me want to return to the collection and read it more slowly, something I rarely have had time to do over the last half-decade. A colleague suggested a few years ago that everyone ought to read slowly, and I thought to myself, but how on earth then is one to keep up with the flood--literal, not figurative--of required reading, let alone everything necessary to be even passably current with contemporary literature, art, scholarship, and everything else? But back to Ed's reading, here are a few photos I took with my new phone. (I had to junk the old one, since it got to the point where my conversations with everyone were sounding--to them--like I was 20 leagues under the sea.) Aren't they much better? Maybe several years of carrying the other phone around in my pocket, with keys, coins and everything else, just scratched up its lens too badly, though I don't think it ever had a particularly great camera.
Ed reading his poems
Ed answering questions--he announced at the reading that he'd been elected to the Gwendolyn Brooks Writers Conference Hall of Fame.
***
At lunch yesterday one colleague asked another about my blog, and it was described as a spot where I posted translations of work that hasn't been translated elsewhere. In part that's true, though I haven't posted any translations in a while. But I recently mentioned to Reggie that some of my translations of stories from Brazilian writer Jean Wyllys's collection Aflitos are going to be published next year (spring?), and as I told him a while back, based in part on some of the translations of Alain Mabanckou's poems that appeared on here a while ago, I was invited to provide translations that were used, I believe, at the PEN International Writing Festival earlier this year. This got me thinking about how this great it is to have this resource to post the translations, even in their rawest form, and perhaps, when I have some free time, I can post some more. I may be wrong, but I don't think lots of people are translating a lot of the great non-English language work out there from across the Black diasporic literary world, whether creative or critical, so I feel that in addition to be an enduring interest of mine, it's also an important, necessary and vital form of intellectual engagement.
***
On Flux, a microblurb about Seismosis!
Among the stalagmites of books here in Chicago I cannot locate my copy (and none were for sale), but when I do, I'll post one of the poems that most struck me this reading, about a guy in a chemistry class Ed taught years ago. He had on mismatched shoes, which signified the loss of a friend to gun violence--and what Ed does with that premise is remarkable. The thing I realized hearing him read these poems was how much life they took on through his voice; not that he performed them, per se, but his inflections and emphases made me want to return to the collection and read it more slowly, something I rarely have had time to do over the last half-decade. A colleague suggested a few years ago that everyone ought to read slowly, and I thought to myself, but how on earth then is one to keep up with the flood--literal, not figurative--of required reading, let alone everything necessary to be even passably current with contemporary literature, art, scholarship, and everything else? But back to Ed's reading, here are a few photos I took with my new phone. (I had to junk the old one, since it got to the point where my conversations with everyone were sounding--to them--like I was 20 leagues under the sea.) Aren't they much better? Maybe several years of carrying the other phone around in my pocket, with keys, coins and everything else, just scratched up its lens too badly, though I don't think it ever had a particularly great camera.
Ed reading his poems
Ed answering questions--he announced at the reading that he'd been elected to the Gwendolyn Brooks Writers Conference Hall of Fame.
***
At lunch yesterday one colleague asked another about my blog, and it was described as a spot where I posted translations of work that hasn't been translated elsewhere. In part that's true, though I haven't posted any translations in a while. But I recently mentioned to Reggie that some of my translations of stories from Brazilian writer Jean Wyllys's collection Aflitos are going to be published next year (spring?), and as I told him a while back, based in part on some of the translations of Alain Mabanckou's poems that appeared on here a while ago, I was invited to provide translations that were used, I believe, at the PEN International Writing Festival earlier this year. This got me thinking about how this great it is to have this resource to post the translations, even in their rawest form, and perhaps, when I have some free time, I can post some more. I may be wrong, but I don't think lots of people are translating a lot of the great non-English language work out there from across the Black diasporic literary world, whether creative or critical, so I feel that in addition to be an enduring interest of mine, it's also an important, necessary and vital form of intellectual engagement.
***
On Flux, a microblurb about Seismosis!
Alphabet Soup, C
Hello, Halloween, Samhain nothing of that kind here today.I have to say after weeks of re-uploading i had some withdrawel symptons today...not . Let's C choosing this way is much quicker, the only criterium is that it would come up in one of the other formats. Cinematic Orchestra is a good example in it's genre-defying quality. Their Ninja label 'bosses' Coldcut are my next offering, this cd had a bonus multimedia added on with games and software, the album itself isnt as quick and dirty as some of their mixing Not so dead Kennedy Jello Biafra lending his voice to some of the tracks.. Finally, The Chills tried many line-ups but never broke thru maybe their warm sound didnt really connect with their name.
***** ***** ***** ***** *****
The Cinematic Orchestra - Every Day (02 ^ 99mb)
The Cinematic Orchestra is led by composer/programmer/multi-instrumentalist Jason Swinscoe, who formed his first group, Crabladder, in 1990 as an art student at Cardiff College. Crabladder's fusion of jazz and hardcore punk elements with experimental rhythms inspired Swinscoe to further explore the possibilities of sampling, and by the time of the group's demise in the mid-'90s, he was DJing at various clubs and pirate radio stations in the U.K. The music he recorded on his own at the time melded '60s and '70s jazz, orchestral soundtracks, rhythm loops, and live instrumentation into genre-defying compositions. The Cinematic Orchestra built on this musical blueprint, letting a group of live musicians improvise over sampled percussion or basslines. The Orchestra included saxophonist/pianist Tom Chant, bassist Phil France, and drummer Daniel Howard, who also recorded the Channel One Suite and Diabolus EPs for Ninja Tune with Swinscoe. The project's full-length debut, Motion, arrived in 1999 to great acclaim. After the collection Remixes 1998-2000, their second album, Every Day, followed in 2002, with vocal features for Fontella Bass and Roots Manuva. Man with a Movie Camera, a 2003 release on CD and DVD, offered a 1999 film score Cinematic Orchestra had provided for the reairing of a 1929 Soviet documentary, while four years later Ma Fleur was released.
With Every Day, Cinematic Orchestra move beyond the electro-jazz fusion of their debut to make a record more natural, more paced, and, surprisingly, better than the justly hyped Motion. J Swinscoe is more the arranger/conductor here than the producer, but of course, there's little need for samples or effects with such an accomplished band sharing the burden. Every Day is a textured, acoustic work, the sounds and styles heard may not be revolutionary, but instead of simply pushing stylistic boundaries, Cinematic Orchestra display a real gift in making emotional, artistic music.
01 - All That You Give (Voc. Fontella Bass) (6:40)
02 - Burn Out (9:30)
03 - Flite (6:30)
04 - Evolution (Voc. Fontella Bass) (6:30)
05 - Man With The Movie Camera (9:15)
06 - All Things To All Men (Voc. Roots Manuva) (11:10)
07 - Everyday (10:00)
Cinematic Orchestra @ Base
***** ***** ***** ***** *****
Coldcut - Let Us Play (96 * 113mb)
DJs Jonathan More and Matt Black, aka Coldcut, rose to acclaim in the mid-'80s through the remix production Eric B. & Rakim's Paid in Full followed up by remix work for a number of modern rock, hip-hop, and dance outfits, including Yaz, Lisa Stansfield, Junior Reid, Blondie, and Queen Latifah. While that connection has pegged them as a product of the U.K. acid house and rave scenes, the pair's larger commitment has been to urban breakbeat styles such as hip-hop, ambient dub, and jungle; the three of which have constituted the bulk of their recorded output since their first mid-'80s white-label EP, Hey Kids, What Time Is It? More and Black have assembled an empire of U.K. breakbeat and experimental hip-hop through their Ninja Tune/Ntone labels and been a unifying force in underground experimental electronic music through their eclectic radio show, Solid Steel, and club and tour dates.
Although Coldcut was their earliest nom de plume, following a befuddled contract with Arista, the name remained in legal channels for the following few years. The intervening period found the pair no less active, releasing a flood of material under different names( Hedfunk, Hex, DJ Food ) aswell as continuing to work with young groups. The Coldcut name returned to More and Black in 1995, and the pair celebrated with a mix CD as part of the Journeys by DJ series dubbed 70 Minutes of Madness. The release was credited with bringing to wider attention the sort of freestyle mixing the pair were always known for through their radio show on KISS FM, Solid Steel, and their steady club dates, a style that has since taken off through clubs like Blech and the Heavenly Sunday Social. In 1996, Coldcut finally released another full-length, Let Us Play! Two years later, the pair followed up with the remix album Let Us Replay! Numerous mix CDs appeared before they returned in 2006 with the new album Sound Mirrors.
01 - Return To Margin (8:32)
02 - Atomic Moog 2000 (Post Nuclear Afterlife Lounge Mix) (7:06)
03 - More Beats + Pieces (Daddy Rips It Up Mix) (6:08)
04 - Rubaiyat (6:42)
05 - Pan Opticon (6:59)
06 - Music 4 No Musicians (7:02)
07 - Noah's Toilet (4:33)
08 - Space Journey (4:20)
09 - Timber (4:32)
10 - Every Home A Prison (Ft Jello Biafra) (7:03)
11 - Cloned Again (4:40)
12 - I'm Wild About That Thing (The Lost Sex Tapes: Position 1) (7:24)
***** ***** ***** ***** *****
The Chills - Submarine Bells ( 90
The Chills were one of New Zealand's best and most popular bands of the '80s, making a small but consistent series of chiming, hook-laden guitar pop, interweaving guitar hooks and vocal harmonies, creating a pretty, almost lush sound without becoming sentimental. Throughout their existence, the band's personnel changed frequently -- there were more than ten different lineups -- with the only constant member being guitarist Martin Phillipps, the band's founder.
In 1982, the Chills signed with Flying Nun, the influential New Zealand independent record label, and released several singles that were never widely distributed in America and Europe. During this time, the group went through an enormous amount of members. Released on the U.K. record label Creation, the group's first album, Kaleidoscope World (1986), was a collection of their early singles.
With the lineup of Phillipps, bassist Justin Harwood, keyboardist Andrew Todd, and drummer Caroline Easther -- the group's tenth lineup -- the Chills recorded their first proper album, Brave Worlds, in 1987. produced by Mayo Thompson, the band wasn't satisfied with the final result, claiming it was too loose and under-produced. The group, particularly Phillipps, was more satisfied with their second full-length album, 1990's Submarine Bells, was recorded with yet another version of the band, with Jimmy Stephenson replacing Easther, who was suffering from tinnitus. The album was well received by critics and college radio, yet it failed to break the band into the mainstream in either America or Britain. Two years later, they released Soft Bomb, which suffered the same fate as Submarine Bells. The following year, Martin Phillipps broke up the Chills again, the group reconvened in 1996 to release Sunburnt.
01 - Heavenly Pop Hit (3:27)
02 - Tied Up In Chain (3:15)
03 - The Oncoming Day (3:06)
04 - Part Past Part Fiction (2:55)
05 - Singing In My Sleep (2:39)
06 - I SOAR (3:04)
07 - Dead Web (2:15)
08 - Familiarity Breeds Contempt (3:20)
09 - Don't Be - Memory (4:45)
10 - Effloresce And Deliquesce (2:45)
11 - Sweet Times (0:40)
12 - Submarine Bells (3:41)
***** ***** ***** ***** *****
All downloads are in * ogg-7 (224k) or ^ ogg-9(320k), artwork is included , if in need get the nifty ogg encoder/decoder here !
***** ***** ***** ***** *****
The Cinematic Orchestra - Every Day (02 ^ 99mb)
The Cinematic Orchestra is led by composer/programmer/multi-instrumentalist Jason Swinscoe, who formed his first group, Crabladder, in 1990 as an art student at Cardiff College. Crabladder's fusion of jazz and hardcore punk elements with experimental rhythms inspired Swinscoe to further explore the possibilities of sampling, and by the time of the group's demise in the mid-'90s, he was DJing at various clubs and pirate radio stations in the U.K. The music he recorded on his own at the time melded '60s and '70s jazz, orchestral soundtracks, rhythm loops, and live instrumentation into genre-defying compositions. The Cinematic Orchestra built on this musical blueprint, letting a group of live musicians improvise over sampled percussion or basslines. The Orchestra included saxophonist/pianist Tom Chant, bassist Phil France, and drummer Daniel Howard, who also recorded the Channel One Suite and Diabolus EPs for Ninja Tune with Swinscoe. The project's full-length debut, Motion, arrived in 1999 to great acclaim. After the collection Remixes 1998-2000, their second album, Every Day, followed in 2002, with vocal features for Fontella Bass and Roots Manuva. Man with a Movie Camera, a 2003 release on CD and DVD, offered a 1999 film score Cinematic Orchestra had provided for the reairing of a 1929 Soviet documentary, while four years later Ma Fleur was released.
With Every Day, Cinematic Orchestra move beyond the electro-jazz fusion of their debut to make a record more natural, more paced, and, surprisingly, better than the justly hyped Motion. J Swinscoe is more the arranger/conductor here than the producer, but of course, there's little need for samples or effects with such an accomplished band sharing the burden. Every Day is a textured, acoustic work, the sounds and styles heard may not be revolutionary, but instead of simply pushing stylistic boundaries, Cinematic Orchestra display a real gift in making emotional, artistic music.
01 - All That You Give (Voc. Fontella Bass) (6:40)
02 - Burn Out (9:30)
03 - Flite (6:30)
04 - Evolution (Voc. Fontella Bass) (6:30)
05 - Man With The Movie Camera (9:15)
06 - All Things To All Men (Voc. Roots Manuva) (11:10)
07 - Everyday (10:00)
Cinematic Orchestra @ Base
***** ***** ***** ***** *****
Coldcut - Let Us Play (96 * 113mb)
DJs Jonathan More and Matt Black, aka Coldcut, rose to acclaim in the mid-'80s through the remix production Eric B. & Rakim's Paid in Full followed up by remix work for a number of modern rock, hip-hop, and dance outfits, including Yaz, Lisa Stansfield, Junior Reid, Blondie, and Queen Latifah. While that connection has pegged them as a product of the U.K. acid house and rave scenes, the pair's larger commitment has been to urban breakbeat styles such as hip-hop, ambient dub, and jungle; the three of which have constituted the bulk of their recorded output since their first mid-'80s white-label EP, Hey Kids, What Time Is It? More and Black have assembled an empire of U.K. breakbeat and experimental hip-hop through their Ninja Tune/Ntone labels and been a unifying force in underground experimental electronic music through their eclectic radio show, Solid Steel, and club and tour dates.
Although Coldcut was their earliest nom de plume, following a befuddled contract with Arista, the name remained in legal channels for the following few years. The intervening period found the pair no less active, releasing a flood of material under different names( Hedfunk, Hex, DJ Food ) aswell as continuing to work with young groups. The Coldcut name returned to More and Black in 1995, and the pair celebrated with a mix CD as part of the Journeys by DJ series dubbed 70 Minutes of Madness. The release was credited with bringing to wider attention the sort of freestyle mixing the pair were always known for through their radio show on KISS FM, Solid Steel, and their steady club dates, a style that has since taken off through clubs like Blech and the Heavenly Sunday Social. In 1996, Coldcut finally released another full-length, Let Us Play! Two years later, the pair followed up with the remix album Let Us Replay! Numerous mix CDs appeared before they returned in 2006 with the new album Sound Mirrors.
01 - Return To Margin (8:32)
02 - Atomic Moog 2000 (Post Nuclear Afterlife Lounge Mix) (7:06)
03 - More Beats + Pieces (Daddy Rips It Up Mix) (6:08)
04 - Rubaiyat (6:42)
05 - Pan Opticon (6:59)
06 - Music 4 No Musicians (7:02)
07 - Noah's Toilet (4:33)
08 - Space Journey (4:20)
09 - Timber (4:32)
10 - Every Home A Prison (Ft Jello Biafra) (7:03)
11 - Cloned Again (4:40)
12 - I'm Wild About That Thing (The Lost Sex Tapes: Position 1) (7:24)
***** ***** ***** ***** *****
The Chills - Submarine Bells ( 90
The Chills were one of New Zealand's best and most popular bands of the '80s, making a small but consistent series of chiming, hook-laden guitar pop, interweaving guitar hooks and vocal harmonies, creating a pretty, almost lush sound without becoming sentimental. Throughout their existence, the band's personnel changed frequently -- there were more than ten different lineups -- with the only constant member being guitarist Martin Phillipps, the band's founder.
In 1982, the Chills signed with Flying Nun, the influential New Zealand independent record label, and released several singles that were never widely distributed in America and Europe. During this time, the group went through an enormous amount of members. Released on the U.K. record label Creation, the group's first album, Kaleidoscope World (1986), was a collection of their early singles.
With the lineup of Phillipps, bassist Justin Harwood, keyboardist Andrew Todd, and drummer Caroline Easther -- the group's tenth lineup -- the Chills recorded their first proper album, Brave Worlds, in 1987. produced by Mayo Thompson, the band wasn't satisfied with the final result, claiming it was too loose and under-produced. The group, particularly Phillipps, was more satisfied with their second full-length album, 1990's Submarine Bells, was recorded with yet another version of the band, with Jimmy Stephenson replacing Easther, who was suffering from tinnitus. The album was well received by critics and college radio, yet it failed to break the band into the mainstream in either America or Britain. Two years later, they released Soft Bomb, which suffered the same fate as Submarine Bells. The following year, Martin Phillipps broke up the Chills again, the group reconvened in 1996 to release Sunburnt.
01 - Heavenly Pop Hit (3:27)
02 - Tied Up In Chain (3:15)
03 - The Oncoming Day (3:06)
04 - Part Past Part Fiction (2:55)
05 - Singing In My Sleep (2:39)
06 - I SOAR (3:04)
07 - Dead Web (2:15)
08 - Familiarity Breeds Contempt (3:20)
09 - Don't Be - Memory (4:45)
10 - Effloresce And Deliquesce (2:45)
11 - Sweet Times (0:40)
12 - Submarine Bells (3:41)
***** ***** ***** ***** *****
All downloads are in * ogg-7 (224k) or ^ ogg-9(320k), artwork is included , if in need get the nifty ogg encoder/decoder here !
Tuesday 30 October 2007
Vanessa Paradis Diet
Vanessa Paradis Diet
Vanessa Paradis Diet
Vanessa Paradis Diet
Vanessa Paradis Diet
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