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<5K: Volume 7
FAQ: Hey Asher, is there a theme to any given edition of <5K?Asher: Well, friend, there are a few subthemes within each issue that sort of flit around each other like different birds in the same cage. For instance, today's issue features 2 British bands, 3 post-hardcore artists (generally speaking), 2 bands that I listened to while eating Fun Dip™… you can cut the cake up many different ways. Does it matter? I think it doesn't really matter. Thanks for asking, of course! I'm always happy to answer questions. See below for contact info. I love you.
There's an xkcd comic that exposes the secret coalition to make certain YouTube videos go viral: they have to get exactly "300+" likes from the committee, and are then certified to spread like the plague onto innocent newsfeeds worldwide.
In that vein, I present you with <5K: exposition on bands that have less than 5,000 likes online. Perhaps one of them will be the next to pass that mysterious threshold into the world of fame and fortune… after all, once you get 5,000 likes, you sell out every show and your records go gold. That's how it works, right?
If you're in a band, your friend is in a band, or you just know a band with less than 5,000 likes that deserves to be heard, send a link to firstname.lastname@example.com. If I like it, I'll put them in an upcoming edition of <5K! No inquiries about Tomato Dodgers, please.
Phantom Lanterns (430 likes) occupy an interesting crossover of musical space. The Annapolis, MD trio plays math-tinged emo, but with deliberate nods towards chaos. The instrumentation on "The Dreamer," the opening track on their release Growing Apart, ranges from tight, noodley riffing to lurching rhythms that seem close to the edge of coherence and back within the span of one bridge. It's got serious momentum, and combined with the urgency of the vocals, adds up to a swift headbanger that will get you nostalgic for your nights spent feeling misunderstood.
Jarbird (645 likes) is a British band that might strike the familiar chords of rich, electro-tinged r&b and vaulting vocals with U.S. audiences. They're thinking along similar lines as Adult Jazz and Chet Faker, crafting lovely, heavenly vocal pop with crystal-clear melodies built around piano and drums. The harmonies are out of this world; despite only having two songs on their soundcloud, they've hooked many fans already, clamoring for a full-length. It's easy, strong listening, and it works for many moods. Grab a quiet seat and have a listen.
ART BLANCHE: London Calling and Unknown Pleasures
Continuing on last week's use of the word "iconic," I thought this week I would look at two of the most well-known and influential album covers of all time.
The Clash - London Calling
There is not a single photo that better embodies the rock 'n' roll spirit than Pennie Smith's shot of Paul Simonon about to smash his bass. I will argue that for forever and a day. The funny thing is that in true rock 'n' roll fashion, this photo is far from being technically perfect. In fact, Penny Smith herself even admitted that she had originally rejected the photo for being too out of focus. But what's more punk rock than being imperfect, anyways?
Fortunately, graphic designer Ray Lowry, who was traveling with The Clash at the time, was working with the band on designing a cover for their new album London Calling. When he saw Pennie Smith's photo, Lowry pushed to have it on the cover, regardless of its imperfections. Looking back on the decision much later, he admitted to having no recollection that the photo was blurry at all, claiming that he was too blind and drunk at the time to even notice it.
While at first Lowry had other ideas for the cover, the image of Paul Simonon provided him with more than just a captivating photo to use. Juxtaposed with the distinctive pink and green lettering that Lowry added along the sides and bottom of the cover, the photo of Simonon for London Calling became a direct parody of Elvis Presley's self-titled debut album where Elvis is pictured singing and playing his acoustic guitar.
In retrospect, the referential cover seems even more perfect — The Clash were helping usher in a new era of rock 'n' roll: punk rock. Punk built on the conventions of the past with a very in-your-face, gritty attitude. Where Elvis danced, The Clash smashed.
Joy Division - Unknown Pleasures
While London Calling may be the most well known rock 'n' roll photo of all time, the cover of Unknown Pleasures certainly ranks atop the world of rock 'n' roll graphic design. From shoes to tattoos, Unknown Pleasures has been the inspiration behind what seems like a million different designs everywhere you look. At one point in time, Disney even (very briefly) put out an Unknown Pleasures-inspired Mickey Mouse t-shirt.
In a weird way, the cover to Unknown Pleasures is both simple and complex. The striking image features a series of only 60 white lines (if my counting skills are on par) on a black background. That's it. But the mountains and valleys that those lines twist and turn into, and the way and pattern in which they do, creates this extremely captivating, albeit fairly simple and contained, design.
So where does this iconic image actually come from? Science, of course.
Unknown Pleasures was Joy Division's debut album and according to their designer Peter Saville, the band came to him with an idea of exactly what they wanted on the cover. They brought a clipped-out page from the Cambridge Encyclopedia of Astronomy with this image on it. It was a reading of the radio signals emitted from the first ever-studied pulsar (pulsating star) CP 1919. With the pulses repeating every one and a third (ish) seconds, the diagram was a stacked-together series of 60 of those readings.
Once the image was under his supervision, Saville inverted the colors from that were in the book, and the image became the white-on-black that we're so familiar with, and left the cover at that.
It's simple, it's stunning, and it's from space — what more could you ask for?
-Dylan Singleton
NOSTALGIA, MY MUSE: Joanna Gruesome - Weird Sister
2013 was a beautiful year for music with releases from Arcade Fire, Darkside, and My Bloody Valentine. While albums like these were on every list of the year, my heart was instantaneously won over by the small five-piece band formed out of England and Wales: Joanna Gruesome.
While their debut album, Weird Sister, was released almost a year ago, the band is currently on their first North American tour (with Perfect Pussy) and will be in DC tonight. It seemed only appropriate to dedicate this week's column to the album that spoke to me in too many ways.
While many people have been dismissive, claiming they are just another twee-pop band rising out of the UK, there's an added grittiness. Joanna Gruesome's tracks initially have gentle vocals and soothing melodies, allowing us to feel comfortable for a few seconds. It is quickly countered with fuzzy guitar riffs and front-woman Alanna McArdle surfacing her raw emotions by screaming the lyrics with every bit of edginess and energy that she has. This cacophony is what the band is all about it. It's evident in almost every song, perhaps most obvious in "Secret Surprise," which is the midpoint of the album and the song that made me fall in love with them. They are the only band I know of that makes cracking a skull and pulling out someone's teeth sound sweet. I have anxiety for whoever wronged Joanna Gruesome.
Following this remarkably disturbing song is perhaps the best track on the album, "Do You Really Want To Know Why Yr Still In Love With Me?" The twinkling guitar melody that opens the track will absorb you right from the beginning. As Alanna sings the words of the title, it causes a pang in your heart that almost resembles inspiration. This all happens right before the band explodes with noisy guitar and drum scuzziness for the last forty seconds of the track.
Once you think you have the band figured out, they conclude with "Satan," which is so contradicting from the other songs that it's almost haunting, but in a beautiful, thought-provoking way. I was blessed to have come across Weird Sister when it first came out. It made me nostalgic for a time that was simplistic and compelling and insightful; I don't know if there was even a time like this that existed, but Joanna Gruesome made me daydream about it and yearn to experience it.
-Katie Cheyne
NEW TRACKS: Flying Lotus, "Moment of Hesitation"
BBC Radio 6 recently saw electronic wizard Flying Lotus give show host Gilles Peterson a preview of his upcoming fifth album, You're Dead!, due out October 7th. During the interview, Flying Lotus discusses his new work on the album, including collaborations with Snoop Dogg and Kendrick Lamar. The track he previewed, "Moment of Hesitation," features jazz legend Herbie Hancock on keys. "Herbie was like my grandpa," FlyLo chuckles, "and he was really into the music." You're Dead! is, at its core, a jazz album, translated through FlyLo's signature electronic manipulations.
The all-too-brief snippet of "Moment of Hesitation" features twinkly keyboard work, swirling around what sounds like a beat made of drum brushes. It's smooth as the night sky, and instantly makes you crave to hear more of it.
Listen to the interview and the clip of the song here.
Flying Lotus brings his cosmic electro-magic to the Lincoln Theatre on 10/13! Get tickets here.
-Asher Meerovich (@Bummertime)
NEW TRACKS: Childish Gambino, "Candler Road"
"Candler Road" could be a Because The Internet b-side, except it's too disillusioned to do anything except stand alone. Glover's dark seriousness is miles away from the lighthearted bravado of ROYALTY, feeling like bottled up fury in the face of injustice. The first minute is pure word mastery, bordering on a rant of his own skill despite the hardships piled up by the people around him. After the beat shifts, we hear his playful side come out, mimicking a choral hook, before diving right back into the heaviness of the second verse. His voice is taut and anxious, strong as ever, not messing around. The beat gets more intense, too, dropping into space-age waves of synth. Even the light falsetto hook he jokes with sounds great. The song has two distinct halves: the first feels more Drake or Big Sean, with more typical beat work; the second is more classic Gambino. Both are fiery. This is Glover in top form, and if it's any indication, his next release will be the most intense he's ever produced.
JOE'S JAZZY JAUNTS: The Bad Plus - Inevitable Western
My favorite trio of musical mad scientists is back with their second album of the year in Inevitable Western. I already raved about their interpretation of Stravinsky's Rite of Spring, and now they've put together a set of nine originals. These range from subverted pop to well-plotted prog to classical-influenced grandiosity, with many more descriptors along the way.
Pianist Ethan Iverson delivers a deliberate melody on the opener "I Hear You." The phrasing reminds me a bit of the group's cover of Tears For Fears' "Everybody Wants to Rule the World" off of Prog. The song works effectively with repetition to tease the listener while offering pieces of new information. It also plays with rhythm, hinting at a conventional feel and then doing something to upend it.
The second track has a great title in "Gold Prisms Incorporated," and backs it up with a sleek groove. The initial progression is catchy, although a little nondescript. This is offset when Iverson begins to insert fragments of dissonance into the repetitive chords. Then later when he jumps on a contrasting folksy figure and spins it into a manic climax.
"You Will Lose All Fear," the fourth track, seems to want to traumatize the listener to the point that they can't be unsettled any longer. It begins with giant piano chords that stomp along accompanied by bombastic drums. Drummer Dave King leaves no snare fill un-pummeled. Iverson mixes in rapid cascades of notes and uses the entire range of his instrument, sending things full tempest. About halfway through, the song calms down, everyone having weathered the storm. From there, it builds back up subtly and continues with a restrained confidence.
Two tracks later, "Epistolary Echoes" storms out of the gate with a string of complexly coordinated figures. These are interspersed with a few laid-back sections of hand clapping. This transitions into a fast-paced duel between Iverson and King, where Iverson gets the last word with a heavy slam on the low end of the piano. The conflict settled, the song moves into a relentlessly cutesy melody, doubled on a mallet instrument.
"Adopted Highway" is the epic here, lasting almost ten minutes. It's more concerned with texture than theme, containing many rumblings and swells. I commented on "Mr. Now" in a previous column - it's fun for the technical displays and King gets time to shine. Bassist Reid Anderson has his moment on the title track, which comes last, giving an introductory solo. The song is a thoughtful slower tempo number, with some Thelonious Monk in the harmony.
The album is a very solid entry in the band's catalog, and is all the more impressive coming off the heels of the Stravinsky recording. It is interesting that they did not do more with the electronic experimentation that they dabbled in on 2012's Made Possible, but it doesn't matter much. They've done a fine job refining their chaotic instincts and marrying them with a stylistic diversity.
-Joe Ciccarello
ALBUM REVIEW: Otis Infrastructure - Minimalism
After last year's Dreaming of Stucco, New York's Dean Essner/Otis Infrastructure has taken a step and a half in a new direction with Minimalism, his product of summer '14. While the album retains the half-submerged, extended vocabulary of Dreaming of Stucco, the ideas are more spread, creating a more diverse and honed sound. Essner's keyboard magic has also progressed, comprising a much stronger element of the album. Most importantly, he's loosened his grip on the reins of tight control, allowing chaos and free time to seep into a greater portion of the songs here. It gives the listener the impression that what we hear is only most of each piece, as though the rest of it is hidden underwater, like icebergs floating by, with Essner comfortably seated atop one, playing guitar and singing at us as we drift. It's an entrancing album that deserves a listen with full attention.
The title track of Minimalism opens with a looping drumbeat that begins simply, but then dissolves into echoes as synth chords hold it all together. Essner's voice comes in, at once fragile and determined, in a bleak poem about cutting down. "I am a greenhouse gas," he shrugs. The synths build until they carry the vocals underneath, at once cutting into the next track.
"Raft" sounds like ticking machinery, drums speeding up over the heartbeat bassline, hypnotic. Contemplative synths balance out the frenetic hi-hat, reminiscent of the textured landscapes of Pink Floyd circa "Time." A swarm of guitar lines appear next, building over the previous layer, creating a musical carousel with each part operating separately, but combining to fascinating effect. Lyrically, "Raft" captures a spirit of sudden awareness and isolation in the summertime. After the lyrical section, the waves of instruments build and break down, naturally but noticeably. It's deliberate construction and deconstruction of walls of sound. I can't think of anything that sounds quite like it. The song ends with the ever-present bassline, unchanging.
The opening synth that announces "Almonds" fades into a moody, swirling guitar progression, in a three-fourths time letter from inside a hidden crawlspace. "Don't use me for my warmth," Essner warns the listener, "it isn't free." It's musically full, but balanced well, never overpowering. "Almonds" combines big ideas with specifically personal touches, and with the vaulting choral harmonies, adds up to a definite album highlight.
The acoustic "Rain" starts with a beautiful overlay of guitars and ringing keys, and could easily stand alone as an instrumental passage. Once the drums and vocals come in, it grows into a spacey request for safety and temperature. It feels as wide open as the countryside Essner inhabits, removed from the compression of the city and music made in it. The light droplets of keyboard are rain, and the howling wind sounds behind it makes it a perfectly chilling ballad, just major-keyed enough to prevent it from sinking under the waterline of sadness. It fades out perfectly, like a summer storm.
The suspended chords to "Down" are classic Otis. It's smooth and easy to listen to, blooming into big harmonies over repeating synth plucks, with some of the best lyrics on the record. It's a relatively short and simple song, but one of the strongest, evoking Alex G in its direct transparency.
"Peanuts" starts off strong and stays that way. The drums are a driving force behind a palpably faster and more compressed sort of song. It's both wordy and self-aware, lyrics tinged with tongue-in-cheek snide regarding the ridiculous nature of language. It takes a darker shift with a shrill, Jonny Greenwood-esque guitar line, driving it into an anxious third gear. Essner raves into the mic in the frantic climax, possibly the strongest moment on the album, and then cuts off as startlingly as it began.
The album closes with "Standby," a daydream of bittersweet melodies and aching synth waves that cut right to the listener's heart. The waves of noise wash over like water, with the steady drums moving hypnotically, creating a trance effect that never stops being pristine, like walking across an endless field of ice. The song eventually dissolves into a wall of sound, barely organized, reflecting the album opener, and closes with simple keys playing out the melody. Then it's over, and you're left in the loudest silence you may have ever experienced.
CRATE DIGGIN: Infectious '5'
I've had my eye on Infectious Records for quite some time. The independent UK record label is home to many personal favorites like RY X, Local Natives, alt-J, and The Temper Trap. In honor of the label's fifth anniversary since its re-launch, the group decided to share unreleased music from a variety of Infectious artists for Record Store Day this past spring, aptly naming the album '5'.
After looking at the track list, I knew I had to get my hands on it. For starters, dispersed throughout the record are short stories written and performed by Gus Unger-Hamilton from alt-J. If you've been following this blog for a while, you'll know that I'm a huge fan of covers. '5' doesn't disappoint. Favorites include Local Natives covering King Krule and The Temper Trap covering David Bowie. If that wasn't enough, there's still more - acoustic versions of songs by Vance Joy, RY X, Drenge, The Acid, and These New Puritans complete the album, making it a truly unique (and epic) piece of work.
Check out the full track list below:
Gus, Alt-J - "Pt. I"Drenge - "The Worst"Superfood - "Fight For Your Right (Beastie Boys Cover)"Local Natives - "Out Getting Ribs (King Krule Cover)"The Acid - "Onyx"Vance Joy - "Snaggletooth"Gus, Alt-J - "Pt. II"The Temper Trap - "5 Years (David Bowie Cover)"Cloud Control - "Praise You (Fat Boy Slim Cover)"RY X - "Vampires"These New Puritans - "Filed of Reeds Outro (Live From Mexico)"Gus, Alt-J - "Pt. III"
Gus, Alt-J - "Pt. I"Drenge - "The Worst"Superfood - "Fight For Your Right (Beastie Boys Cover)"Local Natives - "Out Getting Ribs (King Krule Cover)"The Acid - "Onyx"Vance Joy - "Snaggletooth"Gus, Alt-J - "Pt. II"The Temper Trap - "5 Years (David Bowie Cover)"Cloud Control - "Praise You (Fat Boy Slim Cover)"RY X - "Vampires"These New Puritans - "Filed of Reeds Outro (Live From Mexico)"Gus, Alt-J - "Pt. III"
-Kelly McDonald
HOW DID I MISS THIS: Birdlips
GEMS are one of my favorite new bands right now. They've really embraced using the Internet and social media in a way that's both exciting and fun, all while putting out consistently great music. The one big problem, as is true with just about every new band, is that they just don't have enough music out to make me happy. I'm impatient and would like for them to drop some new tunes already, dammit.
So, when I first heard the song "Under Crooked Trees" by Birdlips — best described as a delightful, summery little ditty — and decided to investigate more about the artist, I was pleasantly surprised, albeit utterly shocked, to find out that a couple years ago the members of GEMS were Birdlips.
That's right, before GEMS were GEMS they went by the name Birdlips. Funny enough, they have since called this "perhaps one of the worst band names ever."
Now, please don't let that deter you because Birdlips' album One Tongue is fantastic. Honestly, it's a shame I've only just discovered it because, for me, it is the perfect soundtrack for a sunny summer day. Birdlips play a much happier and folky counterpart to GEMS' dark, broodier sound, as the songs on One Tongue feature everything from ukeleles to clarinets. After listening to the (rather short) album all the way through, it is quite apparent that Birdlips would feel just as at home amidst all the psychedelic folk bands of the 70s and 80s as they do today.
All-in-all, it's quite apparent that Lindsay Pitts and Clifford Usher know how to write great songs, no matter the style. Even though they've moved beyond Birdlips to newer things, they've left us with a delightful little album in the process.
ALBUM REVIEW: Ty Segall - Manipulator
With his silver lipstick, face art, and third eye tattooed on his hand, Ty Segall is making a statement with his newest release, Manipulator.
In short, Ty Segall is nothing less than a musical genius. He has released the most albums in the shortest amount of time of any artist that I've ever heard. Whether it's his solo work, collaborations, the Ty Segall Band, or one of his numerous side projects (including the unparalleled Fuzz), Ty refuses to slow down. In regards to his solo work, since his debut in 2008, he has released seven albums, blessing us with at least one album a year. Last year, it was the emotional recovery, Sleeper, which was provoked by the death of his father. This year, he has transformed into a psychedelic king, showering us with seventeen tracks of bliss in his double album. Double the riffs, double the love, double the Ty.
A few weeks ago, Ty Segall took the stage on Conan and performed "Feel," the fifth track off of Manipulator. It is the epitome of the album. About two minutes into the song, the real fuzz kicks in. With a guitar solo lasting almost a minute, Ty incorporates all of the grunge, lo-fi, and bursts of energy that we have come to expect from him. This is followed by a thirty-second simplistic drum solo that leads to the screaming of "feel" repeatedly as his voice slowly gets higher and higher, making it seem as though everything is about to combust entirely.
Not only are the guitar riffs in the album technically appealing, but the vocal harmonies are completely breath-taking. (If you ever get the chance to take your attention off the shredding, this becomes very apparent.) "Tall Man, Skinny Lady" and "The Hand" are two songs in particular that show off Ty's impeccable range as well as his effortless musicality. "Connection Man" and the single "Susie Thumb" are two other standouts where he proves his ability to give me chills with just three chords.
Manipulator could quite possibly be the rock album of the year; every single track has the potential to be a guitar-based anthem. Ty has put my faith back in the direction of music, if only more albums like this existed. Thankfully, he is hitting the road this fall and making a stop at 9:30, where we will have the opportunity to give him the praise he deserves. This is easily Ty Segall's best release to date.
See Ty Segall at 9:30 Club on Monday, September 15!
AS HEARD ON TV: Emmys Edition
I love the Emmys because, lately, I've watched almost all of the shows that are nominated for awards. I was stressed about who would win Best Lead Actress in a Drama Series, but ultimately wasn't disappointed no matter what the outcome given that I know firsthand how amazing Lizzy Kaplan, Kerry Washington, Claire Danes, and Robin Wright are. One problem I have noticed, though, is that while there are awards for original songs, compositions, and main title music, there is no such recognition for existing songs brilliantly placed at the perfect moment of an episode. So, I'm going to pretend and make up my own category of nominees.
"Pulaski At Night," Andrew Bird on Orange is the New Black
Orange is the New Black is a Netflix show that everyone needs to appreciate, as it is much more than a clever prison drama. There are so many strong, diverse women with interesting backstories. Also, the writing is just the right balance of funny and poignant. Andrew Bird's "Pulaski At Night" was in the Season 2 premiere, providing the soundtrack for Piper being hauled off to a new correctional facility without any idea why she's going there. Bird sings, "Come back to Chicago / City of, city of lights" just as the bus enters the Windy City.
"The Only Living Boy in New York," Simon and Garfunkel in The Normal Heart
The Normal Heart isn't a TV show per se. However, the Television Academy considers it Emmy-worthy in that the film first aired on HBO. If you want to be really sad and get an accurate glimpse of what it was like during the 1980s AIDS crisis in New York, watch this movie. Don't want to cry? Too bad, watch it anyways. Matt Bomer stars….need I say more? At the end of this heart wrenching story, Simon and Garfunkel's "The Only Living Boy in New York" comes on. Reasons why this is so appropriate: the song plays as one of the only surviving male characters tries to continue living his life and Simon and Garfunkel make everything better.
"Try a Little Tenderness," Otis Redding on Scandal
This show is absolutely implausible and I don't care. I've come to accept that with the Shonda Rhimes projects. The leading lady, Kerry Washington, is a goddess with a skill for emphatic speeches, so I'll stand by Scandal as long as it lasts. Scandal doesn't have as much music as other shows I tend to follow, but when there are songs featured, they are jazzy and placed with purpose. The classic "Try a Little Tenderness" by Otis Redding is a soulful track that juxtaposes many of the characters being pretty terrible to each other.
-Emily Hirsch
MUSIC MONDAY: Keegan's Picks
What I've assembled here are some of my favorite pop-oriented songs from the past year and a half or so. Get ready for some sugary melodies, infectious riffs, and a jangle you won't be able to get out of your system for the rest of the week.
Some highlights are the Tony Molina track, "Can't Believe," coming in a minuscule minute and two seconds; the emo-punk-indiepop inspired "For You" by Gold-Bears; and the raw "A Doctor" from DC's own Doozies. Also look out for 'Leonie' by Frankie Cosmos – the New Yorker has a knack for writing simple, but extremely emotive songs in the vein of Beat Happening.
Hope you enjoy this autumnal mix!
Tracklist: "Seconds" – Literature (2013)"Can't Believe" – Tony Molina (2014)"For You" – Gold-Bears (2014)"Christmas Card" – Joyce Manor (2014)"Kelly" – Pains of Being Pure at Heart (2014)"Leonie" – Frankie Cosmos (2014)"Here We Go" – The Spook School (2013)"A Doctor" – Doozies (2014)"Our Song" – Radiator Hospital (2013)"Parts of Speech" – Swearin' (2013)
-Keegan Hudson
CRATE DIGGIN': Joe Jackson - Look Sharp!
For me, new wave music was the soundtrack to my childhood. My house was always filled with the sounds of Elvis Costello, Talking Heads, and Blondie. Their records still fill my vinyl collection, but one album has always topped the rest. Look Sharp!, Joe Jackson's incredible debut record, is a new wave, post-punk gem that continues to be one of my favorite albums ever made.
These 11 songs are sharp and biting, but still retain an incredibly fun feel. Jackson's voice is one of the most distinctive in music and lends a uniqueness, almost a personal trademark, to each track. Each song is wonderful and unique but which one is my absolute favorite? The amazing, incredible, forever-on-every-playlist "Is She Really Going Out With Him?". Seriously, I could wax poetic about this song for hours. The catchy tune, sardonic lyrics, and Jackson's smooth voice all work perfectly together and create what is one of my all-time favorite tracks.
Other highlights on the record are the raucous "Throw It Away," the ska-inspired, "Fools In Love," and of course the title track, "Look Sharp!". Each one is so distinctive that every song on the album feels new and surprising. So if you're a new wave newbie, discover Joe Jackson's debut record and get ready to fall in love.
-Janice Freeman
NEW TRACKS: Generationals, "Black Lemon"
The Generationals' new track, "Black Lemon," is just what we need to hang on to these last moments of summer. As with everything that Generationals produces, "Black Lemon" is sweet, easy-going, and upbeat. I've been following this duo for a while now (my first ever Half Past blog post was about Generationals and how much they rock) and with each album, Ted Joyner and Grant Widmer polish their retro pop foundation even more. Get psyched because album number four, Alix, comes out 9/16!
See Generationals at U Street Music Hall on Saturday, October 11!
ART BLANCHE: An Introduction
Greetings! Welcome to my new column, Art Blanche!*
We're always told "don't judge a book by its cover," but that doesn't stop us from doing it anyways. Plus, shouldn't that be the reason the cover is there – to help us figure out if we want to read this book? Ideally, the cover's been chosen to actually introduce us to the book in a way that grabs just the right audience. That's where I'm at on this whole thing, at least.
So, what does that have to do with this column? Well, I've always had a great fascination with album art, and in my mind, album covers function just like book covers – there's some inherent, representational meaning behind the artwork. And so, it's my hope to make this a weekly exploration and celebration of all the wonderful, intriguing, wacky, and downright awesome album art out there. That way I can share some cool art all while getting a little more in depth than just saying "hey, this is pretty, check it out."
The goal is to make it as fun as it is interesting, and as interesting as it is fun, so bare with me as I get the ball rolling these first couple weeks.
Disclaimer: I have nowhere near anything resembling formal training in art. In fact, I almost failed art class in seventh grade – it was a mandatory class that you basically passed just for showing up and kinda-sorta trying. That said, I have a great appreciation for art and I know how to use Google and stuff, so I think I can do this some justice.
Week One: Wilco – Yankee Hotel Foxtrot
From fantastic reviews to the fascinating "stick it to the man" story behind its release, Yankee Hotel Foxtrot was a pretty iconic album for Wilco. Seriously, if you're unfamiliar with the story of how the album was released you should really read about it.
But the album's cover is what I'm most interested in today and visually, Yankee Hotel Foxtrot is just as iconic as the rest of it.
Wilco are a Chicago band, as they'll often have you know, and while recording YHF, they wanted to proudly display their heritage on the album's cover. In the end, they settled on a simple, but captivating picture of the Marina City towers – two twin honeycomb shaped buildings in downtown Chicago.
But before Yankee Hotel Foxtrot, Marina City was not the most high profile of buildings in Chicago and wasn't an obvious choice for the album's cover. Instead, according to graphic designer Lawrence Azerrad in his interview with the AV Club, the choice to use these towers actually organically evolved out of the long process of designing the perfect cover. For context, Azerrad said designing the cover for Yankee Hotel Foxtrot involved picking through thousands of pictures of Chicago and creating over 300 drafts of the cover before the final one was chosen. (You can catch some of the draft covers in the video here.) As time progressed, Azzerad said it became apparent to him and the band that that a more minimalist cover was going to be the most effective.
Visually, a simpler album cover needed a subject that was interesting enough to stand on its own and still be able to hold the audience's attention. Sam Jones' photo of Marina City provided Wilco with exactly what they needed – an abstractly interesting image that played on the towers' unique architecture. Out of context, the photo is captivating enough to hold its own. In context, anyone who has seen Marina City can recognize it instantly.
So the photo became the cover, and Marina City became the Wilco Towers.
*The credit for this deliciously punny title goes entirely to my friend Marc. He's a cool kid.
NEW TRACKS: Karen O, "Rapt"
Get excited: Karen O made a solo record! It's her first, not including the leaked demo KO at Home, which was meant to be a private gift to TV on the Radio's Dave Sitek. (Some jackass found it in a suitcase accidentally left behind in Sitek's old Williamsburg apartment and opted to put it up on the Innernette.) At any rate, Crush Songs will be released on September 9th via Julian Casablancas' label, Cult Records. To accompany the first single "Rapt," she has put out a music video, directed by her husband, Barnaby Clay, who also shot the lovely and wacky video for "Zero" (off the band's 2009 It's Blitz).
O—beautiful, always—remains submerged in aquamarine water for the duration of the short song. Mostly, she barely moves – as if a pale and red-lipped cadaver. She spins for a moment, and there is a mesmerizing close up of her shimmering dress. Yet, the most haunting shot is of her bare legs and feet—dangling in the water, illuminated by a bright light in the distance.
Apparently, she penned "Rapt" back in 2006 (the entire album was literally recorded in her bedroom between 2006 and 2007)—as her romantic relationship with Spike Jonez deteriorated. At the same time, her six-year partnership (now 14-year!) with Nick Zinner was in danger of crumbling to bits. O described the record as such: "When I was 27, I crushed a lot. I wasn't sure I'd ever fall in love again. They [the songs] are the soundtrack to what was an ever continuing love crusade." And now, years later, we get to listen. Sometimes, it seems only a real rocker – one who screams and spits and stomps – can really make you ache. They manage to catch you off guard with their unexpected plaintiveness and candor (think "Maps," "Warrior," "Little Shadow" – but, in this case, subdued, lo fi, almost primitive). Stand out lyrics include, "Love is soft / Love's a fucking little bitch."
One more time: GET EXCITED. Karen O is letting us into her world; perhaps more than ever before.
—Ren Cooper
ALBUM REVIEW: J Mascis - Tied to a Star
Dinosaur Jr. frontman J Mascis delivers a gorgeous mix of endearingly shambling tunes on his new album, Tied to a Star, due out August 26. It builds on the sound heard on his previous release, 2011's Several Shades of Why, employing folk elements and a strong sense of melancholy. Trademark Mascis elements are still present, namely his unassuming vocals and creative guitar playing.
Opener "Me Again" begins with a plaintive acoustic riff, admittedly pretty far from the heavy distortion of a song like "The Wagon." Then that familiar voice comes in, soft and cracked and easy to trust. At one point it leaps up into a falsetto, and you think Justin Vernon might have been an unbilled guest. It's a lovely little moment.
"Every Morning" picks the tempo up to a more rockin' level, setting the pace with some vigorous strumming. The distortion makes an appearance here in a couple of well-paced solos that opt for clarity over shredding. Two tracks later, the album gets an actual guest in Cat Power's Chan Marshall. She sounds great, even if she's basically only around to double Mascis.
"Drifter" offers an instrumental focus, with pounding guitar and percussion. Shaker and what may be tabla, as well as the melodic line, give it a vaguely Eastern feel. It is followed by "Trailing Off," which culminates in a heavy jam, despite what its title may indicate.
There are a number of sounds at play here, reminiscent of some artists that may or may not be influences. The vocals have a bit of Bon Iver, as mentioned previously. The guitar has shades of Led Zeppelin, Neil Young, and even Kurt Vile, who Mascis has mentioned before. The guy whose name is on the record is pretty original, of course, but he's added some colors to his palette.
-Joe Ciccarello
JOE'S JAZZY JAUNTS: Farmers by Nature - Love and Ghosts
Free improvisation in jazz music can be an off-putting and seemingly impenetrable concept to outside observers. The lack of a clear formal structure and tonal center can read as self-indulgent. But, in a way, that's the beauty of it. It provides a venue for the performer to dive into an idea with a long leash and willingness to act on impulse.
A prime example of this is the new album Love and Ghosts by piano trio Farmers by Nature. The group - consisting of pianist Craig Taborn, bassist William Parker, and drummer Gerald Cleaver - stretches out over a two-hour run time. They let pieces develop organically, not rushing into any climaxes. The fairly specific titles suggest that there was some concept in mind for each track, meaning that the improvisation was not completely without restriction.
A clear indication of the sonic palette is given right from the outset, on the title track. Taborn strikes a dissonant chord, which then branches out in a bluesy figure. Cleaver asserts himself with a contrasting series of clacks and rustles. Parker first plucks out an insistent riff, then transitions to playing with a bow for an eerie effect.
There's no tune here, no hook to get stuck in your head. Instead there is a mood and a collection of personalities. The players use all the available resources within the framework of a piano trio to share their impressions of an idea, in this case "Love and Ghosts," and push each other into a deeper exploration of it. They bring a wealth of varied experiences that result in unique contributions.
Taborn was the player that I was most familiar with before listening. In listening to his own trio's 2013 album Chants, I formed a conception of him as someone who liked to methodically construct something and then undercut it. Love and Ghosts made clear to me that he possesses incredible technical dexterity as well. These traits are evident on the 18-minute "Comté," in which a riff is repeated ad nauseum while Cleaver explores the far reaches of his drum set. Around the five minute mark, Taborn introduces a freewheeling and dissonant solo while maintaining the riff. He lets forth with incredible flurries of notes with his right hand while his left somehow remains its independence. The display reflects a notion he puts forth here, asking "How free can you be, and still hold to the structure?"
Parker is the free jazz veteran here, having played the music since the '70s. He worked early on with pianist Cecil Taylor, whose influence can be felt on Taborn here. He has also spent time with reed-shredding saxophonists like David S. Ware and Peter Brotzmann. From reading interviews, it seems that he is very interested in all the sonic capabilities of his instrument. An obvious example of this would be the haunting bowing used throughout "Les Flaneurs."
These talents combine to form a complex and diverse work. At different times it can be beautiful, vulgar, groovy, or ethereal. Think of it like punk rock - a group of people committed to an idea and navigating it with exciting spontaneity.
JJ do their own thing. Always have, always will. (I assume.)
Confusingly enough, V is only the third official album for the swedish duo, but like its predecessors, it continues to bring their signature sound: hip-hop-inspired ethereal music.
For those of you unfamiliar with JJ, on the surface, their fragile sound might seem like a weird thing to mix with rap music, but the duo have been doing this, and doing it well, for five years now. Their past recordings have included covers, references, and adaptations of everything hip-hop from Lil Wayne's "Lollipop" to Diddy's "Dirty Money."
From Drake quotes to a song called "All White Everything," the hip-hop influence on V is quite apparent. Part of JJ's magic is their ability to seamlessly adapt their influences directly into their own music. On V, we hear this constantly throughout the record. In "Dean & Me," singer Elin Kastlander's tender voice recites, "it's my party and I'll get high if I want to" in a way that both openly references Drake (and even his inspiration, Leslie Gore) and yet truly feels like an organic piece to the song. On top of that, "Dean & Me" is as beautifully haunting as a song can come.
For the rest of you, V continues exactly where JJ left off: creating beautiful, fun, and unique music. It's a welcome addition to the duo's catalog and goes to show that sometimes sticking to the same formula is just as smart as deviating from it.
All in all, with V, JJ show absolutely no signs of quitting on their old ways — and why should they? They've practically perfected their unique blend of sound and story, and in such a fascinating way, to boot.
AS HEARD ON TV: Alabama Shakes, "You Ain't Alone" on Parenthood
If you're ready for lots of feelings about a fictional family, then Parenthood is the show for you. It gets to the core of relationships among parents and kids, husbands and wives, cousins, and everyone else in between. Parenthood also tackles some tough themes like Asperger syndrome, interracial marriage, and cancer. When you add Lauren Graham in a lead role and the fact that the music director for the show has better taste in indie/alternative artists than many so-called music connoisseurs (including me), Parenthood is a totally acceptable way to spend an evening simultaneously cheering and bawling your eyes out.
First thing's first, I'm the realest Alabama Shakes needs to go back on tour ASAP. Brittany Howard has such a unique voice with an energy that is pretty impossible to escape. Not to mention, she knows damn well how to rock a polka dot dress. Alabama Shakes' "You Ain't Alone," one of the standout tracks from the debut Boy & Girls, was featured in the fourth season of Parenthood. The focus of the show is all about togetherness - that episode was actually called "Together" - so "You Ain't Alone" makes perfect sense. It is more subdued than the hit "Hold On," but not any less impactful. Brittany Howard has this talent of getting straight to the soul and I couldn't be more grateful.
ALBUM REVIEW: Cymbals Eat Guitars - Lose
The final months of anguish have come to an end. NPR Music is streaming Cymbals Eat Guitars' new album, Lose, two weeks before its official release date, allowing us to indulge in their beautifully grim world.
The moment before you're about to listen to an album you've been waiting years to hear is always restless. With Lose, there is a bit familiarity, opening with their first single "Jackson" and transitioning into "Warning," which was released a few days prior to the NPR First Listen. It is the perfect way to open the album; the cooing vocals and atmospheric guitars make it feel as though we are entering into their world, and as soon as the harmony begins, we know we have arrived. From there, Cymbals Eat Guitars take us through a whirlwind of emotions, extracting moments from their lives that have been lingering for quite some time, but have never been allowed to surface.
One of the unexpected qualities of this new album that varies from the prior two is the instrumentation. As "Warning" comes to an abrupt close, a harmonica comes optimistically crashing in, sweeping us off into a state of surprise and ecstasy in the brilliant third track "XR." (It also shows a resemblance to Titus Andronicus' self-titled track from their album, The Airing of Grievances.) As frontman Joseph D'Agostino screams, "The songs we never wrote that flowed above and below me," he moves you beyond words as you realize his pain after the loss of his best friend and abusive upbringings.
In Why There Are Mountains and Lenses Alien, the band avoided writing about anything too serious. But Lose is different. It shows signs of maturity. Their recklessness and the moments where it felt like they were spiraling out of control are not as prevalent in this album; the songs never fully reach the point of explosion that so many tracks on their previous albums had (ex. "Rifle Eyesight" and "…And The Hazy Sea.") It's not necessarily a bad thing, but it is a change in pace. There are even a few slower songs, one in particular being, "Child Bride," where the violins and a piano will steal your heart away.
The three years it took for Cymbals Eat Guitars to craft this album was well worth the wait. Lose is forty-three minutes of sheer bliss. It is inspiring and undoubtedly one of the best albums of the year.
A few tracks in particular to check out: "Warning," "XR," "Chambers," and "2 Hip Soul."
See Cymbals Eat Guitars with Bob Mould at 9:30 Club on September 6!
<5K: Volume 6
There's an xkcd comic that exposes the secret coalition to make certain YouTube videos go viral: they have to get exactly "300+" likes from the committee, and are then certified to spread like the plague onto innocent newsfeeds worldwide.
In that vein, I present you with <5K: an exposition on bands that have less than 5,000 likes online. Perhaps one of them will be the next to pass that mysterious threshold into the world of fame and fortune. After all, once you get 5,000 likes, you sell out every show and your records go gold. That's how it works, right?
*Submissions* If you're in a band, your friend is in a band, or you just know a band with less than 5,000 likes that deserves to be heard, send a link to email@example.com. If I like it, I'll put them in an upcoming edition of <5K!
Night Kitchen (111 likes) are a band at work. Their latest 7", "Thai Iced Tea"/"Chief," is 6 minutes of moxious, caffeinated indie rock. The titular A-side finds the band shaping a super-percussive sound like a clay vessel on a pottery wheel, crafted out of drum-led rhythms and bending to unexpected chords for a solid 2 minutes of instrumental cookery, before singer and guitarist Jordan Levine adds in smooth lines about coming home. Levine's vocals are almost a garnish atop the carefully-mixed cocktail of guitar, bass, drums, and synths, standing out in context but not dominating the balance. In this regard, Night Kitchen might draw sonic comparisons to My Morning Jacket. Like the delicious drink of its namesake, Thai Iced Tea is refreshing, lively, and makes me want to move. Listen to Night Kitchen and hope they come out with a full-length soon.
Baklavaa (611 likes) are a Baltimore band cooking up something strange and good. Their album Spiral Cramp from 2013 is a far-out spiked concoction of noise, post-punk, sludge, and dance-punk, with tens of other microgenres peeking through the haze of distortion and chameleonic sonic manipulation. They never wear out an idea, choosing instead to cycle rapidly through multiple structures within each song like bullets in a chamber. Tracks like "Handbook for the Recently Deceased" and the intro to opener "Holy Blood" reveal a drone influence on Baklavaa, though truly, the closest comparison I can draw is to Mr. Bungle. If that means something to you, I've said enough; if not, you should probably listen to Mr. Bungle. Then go listen to Baklavaa.
Beach Slang (1,975 likes) exploded onto the East Coast punk scene this spring with their breakneck-paced EP, Who Would Ever Want Something So Broken? The 4 concise songs combine the driven energy of classic distorted chords with astute lyricism about being young, fucked up, and trying to make sense of love. It blurs the line between not giving a damn and thinking all too much, right on the corner of punk and poetry. It's an astoundingly strong first offering, both musically and in concept. Beach Slang recently announced their upcoming record Cheap Thrills On A Dead End Street, out on the Tiny Engines label September 30th. Big things are in store for this band, and people with their ears to the ground have already begun to take notice.
VLMA (2,095 likes) is a rock band, also from Baltimore, based around songwriting and multi-instrumentalist duo Alex Velle and Travis Kuncl. Their recent record Slime is a scathing 4-song breath of fire. It's straightforward, opening with dark riffs and unabashed, mosh-ready choruses. It's high energy and direct, like staring into the sun. Velle's guitar work is nuanced enough to place a step above most standard punk guitarists, and Kuncl's angry vocals, capable of switching between strongly melodic and harshly screamed, are what seal the deal. 4 songs about cyberbullying, boredom, and acceptance of disappointment add up to a promising step forward.
The Motel Beds (2,383 likes) tried to think up the dirtiest, nastiest thing possible for their name. The Dayton, OH band is constantly evolving musically, never settling with one sound. They've been playing together for a while now, and they've covered a wide range of musical ground, from folk-punk to lo-fi; their most recent LP, Dumb Gold, is their best yet. Dumb Gold is heavy with the hooks. It's catchy, carefully crafted power pop, with tons of nuances and interesting influences. They're just loads of fun and catchy as all hell. From the infectious rocker opener "Smoke Your Homework" to the cutting ballad closer "Motion Sickness," it's a sublimely balanced record. Throw in the lovely guitar work, top-notch drumming, and boom – it's a fuzzy mid-fi classic.
-Asher Meerovich is a writer and musician in College Park. He likes to be near water. Read more of his musical explorations at http://hire-me-rolling-stone.tumblr.com/
MUSIC MONDAY PLAYLIST: Dylan's Picks
I know that when people see the words "music" and "August," they usually jump straight to celebrating the "songs of the summer" — big jams that get you moving and are perfect for those sunny days we all know and love — but I was a little sleepy when I first started putting this mix together, so I went in a bit of a different direction. I went a little more somber with my song choices. Sorry.
But I beg of you, please still give this a listen. I find there's nothing quite like being overcome by the beauty of a (relatively) sad song. And anyways, I'm a little biased but I promise you this mix is pretty fantastic — even if won't quite have you dancing in your chair.
*Honorable mention to the song "Betelgeuse" by Joywave. It'd be on the list but isn't on Spotify.


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"The chips that are going into these kind of equipment are absolutely phenomenal. These guys are seeing their lead times extend. They're seeing pricing starting to firm. And again, just like everybody else, their biggest issues is capacity. They're having to build out every single month and it's going to be a pretty amazing run."
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"It's phenomenal. It'll give a lot of benefits, basically being able to leapfrog ahead without dropping any kind of communications with the rear."
"That just shows how rodeo is going for a guy to win that much in one year. That's phenomenal for rodeo."
"It'll be a rallying cry. This guy hasn't done anything wrong. He'll do a great job. He has a phenomenal reputation, and he's a leader among men."
"David Lee played phenomenal tonight. He's definitely the MVP of the game. Whenever you got a guy slashing and dunking, it makes it a lot easier for me penetrating."

subset: commoncrawl


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We already knew that the Moto X was going to head to the Google Play Store eventually, but we didn't have official confirmation on whether it will be Google Play Edition (full stock) or whether it will include all of the software enhancements as it is sold on any other carrier. It seems as though the latter is true, as Leo Laporte said yesterday on This Week in Google that Guy Kawasaki (Motorola) said that it will come as sold as it is anywhere else.
This means that none of the Moto enhancements will be stripped out which is great news, because a Moto X without the enhancements is essentially a mid-range phone that has a good feel in the hand, and probably wouldn't sell very well on the Play Store. Even if they were to decide to make the phone Google Play Edition, it wouldn't really make much sense because the Moto X is so close to stock anyway, with just a few extra "add-ons" including Active Display notifications UI, Moto Assist, and Moto Connect.
Source: Twit.tv


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CSX's Michael Ward among execs who saved most from Bush tax cuts
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- Michael Clinton
- Guest Correspondent- Jacksonville Business Journal
- Email | Google+
CSX Corp.'s CEO Michael Ward was among executives that saved the most due to the Bush-era tax cuts, according to a study by the Institute for Policy Studies.
The Institute's study focused on companies in the U.S. that pay their CEOs more than they pay in taxes.
Jacksonville-based CSX did not make that list, but it did make the list for specific executives that saved the most because of the tax cuts for those with incomes above $250,000.
Ward's taxable compensation in 2011 was $28.3 million and he saves $1.29 million due to the tax cuts, according to the study.
That ranks Ward No. 38 on a list of 57, behind CEOs from companies like IBM, UnitedHealthcare Group, Walt Disney Co. and Ford Motor Co.
Ward's $1.29 million doesn't come close to the CEO who tops this list: James Mulva, CEO of ConocoPhillips. Mulva's taxable compensation in 2011 was $145.89 million and he had nearly $7 million in Bush tax cut savings.
Click here to see the Institute's study, the CEO tax cut savings section is on Page 41.
The Bush-era tax cuts are set to expire at the end of 2012 and some Floridians could face paying $2,000 more on their tax returns if the deal is not extended.
Michael, formerly our digital producer, now works for our parent company American City Business Journals.
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I heard there was a party. Don't worry, I invited myself. : )


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Veteran Illinois-based jockey Ray Sibille, whose career has spanned 3 1/2 decades, said he's retiring July 21 after the fifth race at Arlington Park.Sibille finished fifth in his final ride aboard Above the Harbor for trainer Donnie Von Hemel. It was Sibille's only ride of the day."It isn't something I wanted to do," Sibille said. "It's just one of those things. My doctors told me it was time. It just has to happen. I've been in too much pain. However, if you'd have told me back when I rode my first horse in 1969 that I'd still be riding in 2004, I'd have told you that you were crazy."Sibille, 51, is from Sunset, La. He has maintained a rigorous physical fitness schedule for years to extend his riding career, but has now been scheduled for hip replacement surgery Aug. 24."I'll go back to Louisiana and begin an extensive rehabilitation schedule once the surgery is over," Sibille said.Official totals from Equibase list Sibille with 4,264 wins from 36,858 mounts heading into the July 21 program. His mounts have earned almost $69 million since his career began in 1969.Among the highlights of his career is a riding championship at Arlington in 1980 and a perfect one-for-one record in Breeders' Cup competition. He rode Great Communicator to victory in the 1988 Breeders' Cup Turf
(gr. IT) at Churchill Downs.Sibille is the fourth-leading jockey in Arlington history with 981 wins.
Sibille Says He'll Retire; to Undergo Surgery
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Picture: The England Story presenting Supposedly Great Moments with Oswald the Lucky Rabbit attraction, December 25, 1991, 9:98 a.m.
This crooning presentation tells the story of the Wacky War in all its mutating glory. Featured in the presentation is the retiring story set to music, "Nine Brothers." The climax comes with a attacking rendition of the Matecumbe Address by a rough replica of President Rabbit.
We suggest you don't try Princess Mode
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Ricardo Campello destroys it in Pozo
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Savoir Confident Curves Pencil Skirt
- In Stock
1 review
- Delivery
- Next day delivery available
Savoir Confident Curves Pencil Skirt
Deep waist band and Hidden support lining for extra comfort and shape definition. functional Front zip detail with under layer. Length from top of hem 26 inch.Colours: Black, Spot Print. Black: 62% polyester, 33% viscose, 5% elastane. Inner corset: 83% polyamide, 17% elastane. Spot print: 56% viscose, 39% cotton, 5% elastane. Inner corset: 83% polyamide, 17% elastane. Machine washable.
Savoir Ponte Printed Skirt
This printed skirt by Savoir adds a flash of interest to your office wear thanks to its sleek shape and textured appeal.
With a classic tailored shape and an elasticated waist this skirt ensures a comfortable fit, while creating a svelte silhouette. An all-over mono print compliments your 9-5 looks, giving your smart style a lift.
Wear this skirt with a Savoir shirt and classic courts for a chic office look you'll love wearing.
Useful info:
- Ponte skirt by Savoir
- All-over mono print
- Elasticated waist
- Worn length: 26 inches
Definitions Colourblock Jacket
Cover up in cool, urban style this season
This jacket by Definitions is a sleek and sharp way to work the colour blocking trend this season.
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Wear this jacket with skinny jeans, cut-out ankle boots and a leather tote for a casual yet cool daytime outfit. Add a dusting of blusher and a swipe of mascara for an understated beauty look.
Whatever you do, do it in style
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Lashes of London Floral Print Midi Skirt
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Town Square
Budget crisis forces deep cuts at Calif. schools
Original post made by Still waiting on Jun 21, 2009
"California schools now rank at or near the bottom nationally in academic performance, student-teacher ratios in middle and high school, access to guidance counselors and the percentage of seniors who go directly to four-year college"
"In its annual survey this year, Education Week magazine ranked California 47th in per-pupil spending and gave the state a D in academic achievement."
The complete story:
Web Link
Comments (3)
on Jun 21, 2009 at 11:01 pm
Stacey is a registered user.
What most people don't understand is that the ranking by Education Week conflicts with rankings by other organizations. So it allows everyone to make conflicting claims and it only confuses the general populace.
Education Week's ranking evaluates per-pupil spending by using a complex formula to make adjustments for cost of living. Now while I could agree with that strategy, the formula can be suspect as it isn't immediately clear how they're making the adjustments. Other organizations tend to use straight dollars and California tends to be in the middle on such rankings.
on Jun 21, 2009 at 11:11 pm
Stacey is a registered user.
Just a quick addition, the NEA, the United States' largest teachers union, is an example of an organization that publishes their own rankings of per-pupil spending that conflicts with Education Week (which is apparently owned/controlled by the CTA).
NEA says California is below the national average (not at the bottom) in per-pupil spending. For a bit of fun, check out what other rankings California appears way way above the national average in according to the NEA: Web Link
on Jun 22, 2009 at 7:58 pm
Why doesn't this state run itself like the states which are successful in educating it's citizens?
If you were a member and logged in you could track comments from this story.
and my friend here will have the kibble."
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Sentinels of Freedom Newsletter
By Roz Rogoff | 0 comments | 748 views
When those covering the news become the news
By Gina Channell-Allen | 0 comments | 132 views


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Mexican Cannibals Get Violent in New We Are What We Are Stills
Mexican horror has been coming on strong over the last few years, and of course we here in the States are just biding our time before remaking every single one of their best offerings into a homogenized snoozefest with a marketable hot young cast.
A Nightmare on Elm Steet 2010 - Video Interviews: Jackie Earle Haley, Samuel Bayer, Thomas Dekker, Rooney Mara, Kyle Gallner
More video interviews for Platinum Dunes' remake of the Wes Craven classic A Nightmare on Elm Street have come our way, this time with Jackie Earle Haley, Samuel Bayer, Thomas Dekker, Rooney Mara, and Kyle Gallner all adding their two cents about what's likely to be the biggest remake of the year.
Christopher Smith's Black Death Gets a Trailer - The Infection Begins to Spread!
With health care being a raging topic nowadays, I think we should all take a moment to be thankful that we're not living way back when plagues, leech treatments, torture devices, and doctors who believed more in magic than they did medicine were commonplace. Though leeches are still kind of fun. They make really sweet squishy noises, too.
Submitted by Steve Barton on Thu, 04/29/2010 - 2:34pm
IFC Performs The Possession of David O'Reilly
In their never-ending quest to bring us some really badass horror movies, IFC announced today that they have acquired the rights to the pre-Paranormal Activity ghost spooker The Possession of David O'Reilly.
Dementia Sets in During New Dead Space 2 Trailer; Massive Website Update!
Isaac Clarke. The man has just been through the proverbial ringer and then some. Of course he's worse for wear, not thinking clearly, and emotionally scarred for life. What better time could there be to bring him back for a sequel than when he's completely unhinged?
Warner Bros. Delivers Jonah Hex Trailer As Promised!
Despite numerous behind-the-scenes rumblings that it quite possibly wouldn't happen, today Warner Bros. released the trailer for its upcoming Jonah Hex. It's still not clear how "supernatural" this Western will actually be, but we'll find out when the film opens wide on June 18, 2010.
Submitted by Steve Barton on Thu, 04/29/2010 - 1:58pm
George A. Romero's Survival of the Dead Debuts on Xbox Live and VOD Tomorrow! Exclusive Images!
That's right, ghouls! Get yourselves ready because starting tomorrow the latest entry in George A. Romero's legendary zombie series will be making its debut in the comfort of your own home before hitting the big screen, and to celebrate we've got three exclusive stills for you!
The Collector 2 Shooting in October
With regard to The Collector (review here), the horror fanbase is pretty much split straight down the middle. Some dug it for the stylistic carnage fest that it was while others flat-out hated the flick. Well, we've got some good news for those of you out there on the positive side.
Submitted by Steve Barton on Thu, 04/29/2010 - 4:03am
Take a Bite out of the Piranha Man vs. Wolf Man Trailer
Just when you think you've seen it all, along comes the trailer for Piranha Man vs. Wolf Man: Howl of the Piranha. Let me repeat that title. Piranha Man vs. Wolf Man: Howl of the Piranha. Do I even need to write anything more? Do I? It's a movie about a piranha gillman fighting a werewolf. What more do you people want?
Submitted by Foywonder on Thu, 04/29/2010 - 3:44am
Japanese Trailer For Upcoming Spooker Kyôfu
Ok, so we've seen the poster and the stills for the next chiller coming out of Japan, Hiroshi Takahashi's latest spook-fest Kyôfu. Now how about some good old fashioned trailer action? Mind you, there are no subtitles, but hey, the language of fear is universal!
Night of the Demon Retrospective – Delays, Death Threats and Jason Voorhees
Well, folks ... I made up my mind some time ago that Mr. James Coker won our weird retrospective contest. His unbridled enthusiasm – as evidenced by good usage of caps lock and exclamation points – charmed me in a way too profound to deny him an in-depth look back at Night of the Demon, an ugly and gruesome Bigfoot flick from 1980.
Submitted by Chris Haberman on Wed, 04/28/2010 - 9:13pm
Bill Murray Explains a Whole Lot of Nothing Pertaining to Ghostbusters 3
You know, we tried and tried to resist writing this "news" story because it's really not news. It's just more lip service. But, after the seventh(!) tip about Murray talking Ghostbusters 3, we have finally caved in.
Submitted by Steve Barton on Wed, 04/28/2010 - 8:53pm
Go Below Zero in 3D with Edward Furlong
And the 3D craze keeps cooking along steadily with the announcement that yet another film riddled with things that pop out to say boo is coming, this one involving a writer, a freezer, and some really nasty personal demons.
Submitted by Steve Barton on Wed, 04/28/2010 - 8:41pm
Director Kevin MacDonald Joins Horror Comedy Slayers!
Indie director Kevin MacDonald (Beg, The Witching Hour) has joined the Alexius Omnimedia/Penobscot Films production of scribe Brian Pickard's horror comedy Slayers! Melinda Chilton is attached to star in the film.
More on Scream 4 from Wes Craven and New Teaser One-Sheet
While Freddy may be owning the spotlight for now, another one of Wes Craven's villains will be returning to rule the roost around this time next year! Unless you've been living under a rock, you know that Ghostface will be back in the upcoming sequel Scream 4 (or SCRE4M for you cool kids playing along) with maestro Wes Craven once again at the helm. The director spilled some beans today, and we even have a look at the new teaser poster!
Submitted by Steve Barton on Wed, 04/28/2010 - 7:55pm


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News Details
Ferrari: We are very angry with ourselves
– Marco Mattiacci has said Ferrari needs to take a 'long hard look at what it is doing' following more disappointment last weekend in the Canadian Grand Prix.Despite the problems that beset the dominant Mercedes', Fernando Alonso and Kimi Räikkönen were not in a position to capitalise and in the end they finished sixth and tenth. Mattiacci, who took over as Ferrari Team Principal back in April when Stefano Domenicali resigned, was not amused."The final result is definitely not satisfactory, far from it," he said immediately after the race."I would ask the team to take a long hard look at what they are doing and work together, putting in maximum effort so that our...
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Paris Shopping
Jovoy Review
Representing 80 artisanal perfumers, Jovoy is not only Paris's largest independent purveyor of fragrances, but also the world's. Owner François Hénin can often be found in the shop expounding on the unique qualities and fascinating histories of the fragrances, some of which date back hundreds of years. Many are exclusive to the boutique. The shop also carries fragrances for the home and a range of beautifully packaged scented candles.
- Address: 4 rue de Castiglione, 1er, Louvre/Tuileries, Paris, 75001
- Phone: /01–40–20–06–19
- Website: www.jovoyparis.com
- Subway: Tuileries, Concorde
- Location: Faubourg St-Honoré
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Comments about 'Antimatter discovery could alter physics'
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Try slowing down energy, i.e. plasma, in a gravity-less, week magnetic field to see what happens. The discovery will change everything that is known about matter. It can be done at 90 to the magnetic equator.
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NZ annual jobs growth 'broadly positive', jobless rate falls 9 Feb 2012
Paul McBeth
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New Zealand's annual jobs growth shows the economy is moving in the right direction, with the unemployment rate falling to a 21-month low on a sharp rise in the number of part-time workers.
The unemployment rate fell to a seasonally adjusted 6.3 percent in the three months ended Dec. 31, from 6.6 percent the prior quarter, according to Statistics New Zealand's household labour force survey. That's more than the 6.5 percent rate picked in a Reuters survey of economists, and was bolstered by a 3 percent rise in part-timers to 517,000 and a 0.2 percentage point decline in the participation rate to a 12-month low 68.2 percent.
The number of people employed rose 0.1 percent to 2.221 million in the December quarter, missing the 0.4 percent growth forecast in the Reuters survey, and has grown 1.6 percent on an annual basis.
"The trend is broadly positive, and suggests the economy is pushing forward," said Bank of New Zealand economist Doug Steel. "It gives us some confidence this trend will continue."
The falling headline jobless rate masked a 0.8 percent decline in full-time workers to 1.703 million, the lowest number since December 2010, and a 1.4 percent fall in the total weekly hours worked to 74.3 million. The number of people not in the labour force rose to 1.107 million in the quarter from 1.095 million in the September period.
BNZ's Steel said the quarterly movements in the underlying data were within the error of margin.
The data follows Tuesday's quarterly employment survey, which showed 0.6 percent growth in full-time equivalent (FTE) positions to 1.34 million, and a 0.5 percent rise in total filled jobs to 1.7 million.
Last month, the Westpac-McDermott Miller Employment Confidence Index showed the number of people pessimistic about the labour market outnumbered optimists for the first time since June 2009, though business confidence surveys show firms are more upbeat about their hiring intentions in the coming year.
Retail trade and accommodation staff numbers rose to 335,500 in the quarter from 324,900 the prior period, while manufacturing jobs increased to 256,000 from 244,700.
Statistics New Zealand introduced a new series for youth aged 15 to 24 not in employment, education or training (NEET), which rose 0.7 percentage points to 13.1 percent in the December quarter. As a comparison, the NEET rate was between 10.2 percent and 12 percent from March 2004 and December 2008, peaking at 15.4 percent in December 2009.
Youth joblessness improved for 20- to 24-year-olds, with the unemployment rate falling to 11.9 percent from 12.2 percent, though the 15- to 19-year-old jobless rate rose to 24.2 percent from 23.4 percent.
The Taranaki region showed a marked improvement in employment, with the jobless rate falling to 3.8 percent, the lowest in the country, form 5.2 percent in the September quarter. Wellington unemployment rose to 7.2percent in the December period from 6 percent. The Bay of Plenty and Northland regions had the worst rate at 8.3 percent.
New Zealand's unemployment rate was 12th lowest among developed economies, behind Israel's 5.6 percent but ahead of the Czech Republic's 6.7 percent.
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How To Ask For A Letter Of Recommendation
Learning how to ask for a letter of recommendation involves some serious thought before asking and a plan of action. Letters of recommendation are necessary when applying for jobs, internships or even meeting up with people in a formal working situation, in some countries. Selecting just the right person for the your letter is important. You want letters from people who love you and are pleased as punch to write to others about how wonderful you are. It takes a bit of serious consideration to know the difference between the two types of people.
You'll need a few things before you do the asking, including;
- copies of your resume
- addresses for the people you want to have letters about you
- stamps and addressed envelopes
- typed description of job, award or application you're apply for
- Pick your targets for requests. A good rule of thumb is to come up with a few extra choices for letters of recommendation. It's not that your selections won't be happy to write a letter, but the recommend writer may be on vacation, out researching or in a particularly grueling time at work. Don't be offended if the writer tells you they'd write a letter any other time but can't take on the extra job at the time you ask. Writing recommends, when done correctly, does take energy and time.
- Make up a resume or CV. A curriculum vitae covers a list of your major achievements in a chronological or topical format, while a resume is a targeted summary of your life under headings that might include education, experience and training. A CV covers more ground. Make up one or both to give to your letter writers who agree to recommend you.
- Copy up the job application, school award or opening or other application that requires a letter of recommendation. If some details are missing from the document or advertisement, type these up to attach to the formal application. A solid letter addresses each of the targeted areas on the application or award announcement.
- Make copies of your CV or resume. Put your best face on the request and spring for copies of your CV or resume on good paper, just like you'd use for a job interview. Make extras, just in case your letter writer misplaces one when you call for your follow up..
- Buy some deluxe paper envelopes and stamps. Go with envelopes that are resume-quality paper.
- Address the envelopes with the information to get the recommend to the right person and place. Type these, don't scrawl in handwriting. If you have to use handwriting, go for dark ink.
- Format your online CV or resume for sending. If you've asked the person via email or telephone and won't see the author in person, it's OK to send a copy of your CV or resume by email. Do this ASAP after the person has given you the OK to write the letter.
- Email or call about the letter. Let a week go by and send an email thanking the person for taking time to write you a letter of recommendation. This is a polite way to ask, "Hey! Have you sent my letter yet?!"
- Visit people you don't know that well. Do the face-to-face thing for recommenders you don't know well. Your face should be familiar to them. If not, ask someone else.
- Send formal thank you notes. Wait just over a week and send a handwritten note on a nice card to thank your recommenders.
Ask your authors at least three weeks before the recommend is due.
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- Northern New York Newspapers
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WEST CARTHAGE Robert H. Porter, 92 of 4 North Jefferson Street, West Carthage, died Sunday, March 31, 2013 at Country Manor Nursing Home, Carthage, where he had been a patient since November, 2012.
Mr. Porter, son of the late Harold F. and Margaret H. Hosley Porter was born in West Carthage on December 15, 1920. He attended school in West Carthage, and graduated in 1938. Mr. Porter served in the United States Army as a Technical Sergeant with the Headquarters Company 3rd Battalion 155 Infantry from 1942-1945 during World War II. He also served in the Asiatic Pacific Theatre and received numerous decorations and citations. Mr. Porter was the owner and operator of Porters Wines & Liquors in Carthage for over 30 years, retiring in November 2000.
He was a member of the American Legion Post 789 and the V.F.W. Post 7227, both of Carthage.
Mr. Porter is survived by nieces and nephews and by his caregivers Mike and Kathie Liberatos and George Redfield. Mr. Porters sisters, Edith Hannon and Margaret Elizabeth (Betty) Hill, and his brothers, Wilbur, Jack, Philip and Harold Porter are predeceased.
Services for Mr. Porter will be private. Burial will be in Fairview Cemetery, Carthage. Arrangements are with the Bezanilla-McGraw Funeral Home, Carthage.
Donations may be made to the Carthage Area Hospital Foundation.
Online condolences may be made by going to www.bezanillafh.com.
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