text:
Shaking The Habitual thread
I know there's a couple of single threads but thought collective opinions could go here seeing as the DiS review is up and its available to stream below:
a bit of a cop out
but I think it's going to be one of those records that takes a long time to really digest, it seems pointedly resistant to the idea of first impressions. And that cuts both ways - as you point out in your review, I think it's equally as vulnerable to instant hyperbole as instant dismissal, just because it's so enormous and WTF.lobotomypop this'd this
that was huge
I think i'm still going to be digesting this thing when i'm bloody 70.
I enjoyed your review btw, although I hated the excerpt which was used to accompany it on Facebook.
^this times a LOAD
clicked on the review because the link had such a hateful tagline
was disappointed when i saw it was by hayden cos he's normally great
got through the review and by the end i realised that it was a really well balanced, strong reviewpichaelmarker this'd this
I think that mostly Sean trolling for clicks
though probably somewhat informed by the fact he's not a fan of the record.
I think in context the point Hayden makes is very fair, because I've felt that urge to just glibly write the record off as a masterpiece myself, just because I'm finding it so hard to process.
oh completely agree
very good review, all in, and yeah, in context that line looks completely different
Within the context of the review it did make more sense and came off as much less dickish.
And i'd imagined it would have been Sean ;)
Although it's an odd move for a guy that is always quick to point out that the reviews and scores on DiS are absolutely the opinion of the writer and not done by committee.
I'm confused as to why this was an 'odd move'? Because I didn't say who said it? I was trying to keep the character limit down.
Fair enough, that's true.
And I bet it did get more views than if you'd not put anything. Everyone loves a bit of controversy etc.
Eh, I guarantee it got more clicks this way
light trolling, maybe, but I think luring people in was more the point than offering an expression of personal prejudice (he used a nicer quote on twitter, I guess for teh retweets – Evil Sean Adams knows what he's doing)
Ha. Sorry!
I've been trying to figure out what makes people click through or not.
Based on our stats, people like to read negative reviews a lot more than positive ones, so I was trying to draw people in expecting one thing, and then them getting quite another.
It's impossible to know how to share things - and Facebook will bury a post if there aren't a great deal of quick click throughs within the first few minutes of sharing it.
p.s. I still haven't heard the record as I wasn't sent a promo, but will have a listen at some point tomorrow - although, yes, I didn't like the tracks that have been online so far, but whether I'm a fan of the record or not is still "up for grabs".
This one was really difficult to get a promo of, wasn't it?
I sent off a few emails to Mute to try and get a promo for review, and nobody ever got back to me. I have a feeling this is one that they wanted controlled.
pleasantly surprised overall after some of the comments I'd seen
Still lots of nice 'The Knife' moments in there, and the longer pieces all worked well I thought. Wonder how it will translate to their live show?
I like it a lot,
but I can see why it might disappoint those who were expecting something from the poppy-techno end of the Knife's sound. Parts of it even stray into something akin to Japanese noise-improv.
It manages to be very driven and meandering at the same time, which is what I like about it - it often sounds as though it's going to collapse inwards or outwards before pulling itself back on track.
Bewildering, antagonistic, sometimes beautiful, sometimes ugly.
Having listened once to an album containing over 90 mins of music I've had no chance to really digest into a coherent opinion at all. My immediate instinct was that about a third of the way through I thought I hated it but by the end I had U-turned. Gonna be one to relish this year methinks.
something I'd expect a couple of art students to knock up one night after picking up a copy of audacity
it's brilliant
shut up, guys, srsly.
. . .
it's nigh-on indescribeable... it's like the essence of some spiritual dub track chemically stripped away from its physical form, hanging and shifting disembodied, sense utterly contorted flushing as liquid through jagged rocks, or something similarly alien and eerie.
'Fracking Fluid Injection' is pretty good too.
At what point does it stop being music?
You're a very, very eloquent guy Matt. I bet I could stand in back garden and bang two bin lids together for ten minutes and you could find deeper meaning or resonance in it. But the reality would be that I was just being a bit of a dick to take the piss out of Wire readers (sorry) who will manage to read something into even the most obtuse 'music' around.
Does anything stop being music, ever?
Does it matter how seriously the musician is taking the music they're writing (as to the audience's enjoyment)? If The Beatles said all their albums were shit, does that make them shit? Can you not be a bit of a dick and (even inadvertently) do something which has meaning to another person? Are you afraid of indirect art? Does meaning have to be deep? Are all audience members the same? Does not understanding things make you insecure? Are you bothered by other people enjoying things you don't? Do you feel superior to other people, inferior, or the same? What parameters define obtuseness? Is there something wrong with obtuseness? Does obtuseness affront you aesthetically? Do you believe yourself untalented? Do you believe yourself incapable of expression? Do you believe that art is essentially just technical mechanical ability? Are you confused by a system without boundaries?TheWza this'd this
I don't even...
yeah, I do that quite a bit.
it's really quite musical, but I swear I found the heater on the bus musical the other day.
not like bish bosch
hits all over that thingno-class, johnwiddop, EndlessWindow, furio, and caseyry this'd this
This one's listenable is it?
Might have to give it a try then.
That last effort was one hell of a racket.
It is the most mind-numbingly boring thing to say about a record like this but...
There's a fantastic 45 minute album in this somewhere.
As it is, it's flecked with moments of absolute brilliance and lots more which will probably 'click' with future listens, but it's wildly over-extravagant and doesn't really justify it's length.
not a wasted second, mate
it's sprawling, but it's an intense sprawl.
I know it's early days (hours)
...But I think Raging Lung might be one of the best things they've ever done. Stunning.
I remember that one stood out to me as being sublime
Although I couldn't back and listen again as my review copy only allowed me a certain amount of plays - its got a repeated line like 'and that's when it hurts / the difference' in it right?
Yeah that's the one
Absolutely unbelievably powerful. Massively enjoying the album in general but that one really floored me.
jfc r u 4real?
your review copy had limited listens???? since when was this a thing? that's insane
Yeah, weird eh?
I also had their PR send me three seperate emails asking me whether or not I was going to give the album a positive review
there are sublime moments
the song with shannon funchess is great.
wrap your arms around me was my highlight on my first listen, but again there is almost TOO much to digest, and time will tell whether this record is a throwaway artistic statement or 'genius'
Berluuudy hell!
This may be brilliant, disturbing, chaotic, innovative and ridiculous, all rolled into one.
At 90 minutes long it'll take a while before I can really digest it.
Err, yeah - like the soundtrack to some really unsettling and dark Scandinavian horror film with goblins, wolves, a dark forest and some woman being treated inappropriately. Lots of blood too, probably. ('Fracking Fluid Injection' is a case in point)
My God, it appears this album was made to spite everyone who listens to it. It's a really antagonistic piece of work - it screams at you and twists your arm and shoves things in orifices right to the last track. It's probably not an album to love because if you loved it, it would just disembowel you.
This music seems like it hates you sometimes. Wow - never heard anything that made me feel this intimidated before. Must listen again...
Antagonistic is definetely the word here
Trying to make much of a judgement on this on initial listens is probably a fool's game, but so far - there's a lot of absolute brilliance here, but they certainly make you work for it. Old Dreams Waiting To Be Realised actually works as a kind of intermission half-way through the album, but good lord is Fracking Fluid Injection tough to get through. It certainly doesn't seem to be a Silent Shout style bulletproof stunner, and I guess The Knife didn't intend it to be. It's difficult, baffling and hugely creative, and while not every track is going to get that many repeated spins, the ratio of great to WTF is positive enough for me to feel excited about trying to get to the heart of this one in the weeks, months and years to follow.
It is going to take a few listens for me to grab onto this record.
I love a lot of it, but there are parts that, while they don't feel excessive, feel somewhat trying. The pace of some of the songs is almost glacial, and it can be really hard to hold onto. "Fracking Fluid Injection" is a really, really hard song, especially at nearly 10 minutes.
What is odd is that, some time ago, I downloaded a snippet of "Old Dreams Waiting To Be Realized" that had been floating around. It is very clearly The Knife, and it is 6 minutes long. However, it is NOT on the actual record. I don't know what this song is, but I'm almost disappointed at its absence, because the song I have is fucking incredible.
they've definitely gone all out on this, doing nothing with restraint
the problem is you end up with 19 minute interlude tracks that are unbearable
but the flipside of that approach is you also get some of the most out-there, fun and innovate music of their career. wish it was trimmed, but i think you probably wouldn't have A) without B) in this case, so i don't mind too much.
147,000 streamed the first song
5,400 got to the end to stream the last one (as it stands).
I won't bother saying anything about the album itself, as one half-distracted listen isn't enough.
i was having issues buffering and had to get on with my evening so stopped at track 4
after starting at track 3.
This album will take time and effort.
'Kill for Love' taught me that a BIG album is never finished with you - you'll need absolutely loads of time to get into it.
This is a challenging listen though. Even on the more accessible tracks things seem to outstay their welcome. Hopefully repeated listens will get me more acquainted with them.
Early impression
So far I think this album is wholly unfocused and not in a very good way either, the are some moments where this album sores to the sky with everything you'd want from The Knife and more then all of the sudden you find them stuck in a holding pattern and yourself listening to a song desperate to find an ending that never comes. The final insult to injury could be the fact they throw a 20 minute ambient track from absolutely nowhere to troll a large majority of their audience & whilst hypnotic it seems totally out of place. And that the albums major flaw a lot of ideas seem totally out of place or misdirected and I find myself anxiously looking at the timer rather then getting engrossed in the music.
OBVIOUSLY this is not the album you'd form a solid opinion on first listen but I don't really have the urge to return to it other then for a handful of songs & at this point I feel it's in serious need of editing. So far a 6/10
i think your idea of what an album "should be" is a bit conventional and narrowing
They seem more focused than ever on their vision here and just because they decided to include "ambient" tracks on an album that isn't entirely an "ambient album" doesn't mean they don't know what they're doing.
I can assure you
I don't listen to exclusively conventional albums, this is the sort of response that I don't like.
BASICALLY I think a lot of the ideas are stretched far too thin and the ambient track just simply doesn't do anything in terms of keeping momentum or even achieves as a mood setting piece. It sort of comes out left field and has no bearing on the album.... it comes & goes and never feels like it should be there... they may have known what they were doing but it doesn't mean it was right & that I should have to accept it.
The 20 minute ambient track is my favourite bit
It absolutely works as a pause for reflection in the midst of the assault of the rest of the record.
So I am listening to it for the first time right now.
The idea of a 20 minute ambient track excites me a lot. This is coming from someone who listens to ambient stuff day in day out. So yeah.
this is a mess. And I usually love the Knife when they get weird.
Interesting that loads of people are saying 'oh, just wait, it'll take time to get used to this one before it clicks'. How many would dismiss this album as total shit and chuck it after one play if it were some other less famous European electronic band?
it's more about getting one's head around it as a whole
obviously if you just hate everything you hear straight away it's probably a bit masochistic to stick with it.
But if another elelctronic band came out with a record this sort of confidently fucked up I'm sure they'd find fans - the issue, I guess, is whether they'd be the same fans who were into Silent Shout and Fever Rayjustanothersheeldz and jigglypuff this'd this
Surely the point there is that if a group has proven itself capable of brilliance (as many believe The Knife have)
then people will give their music more of a chance to prove itself. I don't think that's a bad or disingenuous thing to do - there's loads of music I'd have never given another chance to but for who made it, that I've subsequently gone on to love.
Well, they are called The Knife.
I'd say it's fitting that their music should be abrasive stuff.
Compared to this, 'Silent Shout' was a cheeky spank on the rear.
Perhaps that's why we all liked it so much. :0)
Don't see them getting the chance to stick their finders up at the music industry with this though.
The Grammis probably won't be calling.
It's a strange thing to say but I'm not sure you're supposed to 'enjoy' it.
It hardly sounds like an album put together by people who wanted you to feel anything positive wile listening, or indeed after.
This is an album that doesn't invite you to join them in protest or share their anger - it almost seems like you're being reprimanded, if nothing else.
I'll throw you a PM when I make my mind up
Pretty sure I won't go but I'm not sure whether I'll have a pair to sell or just a single
It is
quite a fitting listen while reading articles about budget cuts, homelessness, overseas wars etc.
It's also one of those records where once you've given it a few listens it's quite hard to go back to anything 'easier' to listen to.
If anyone's interested in some more 'poppy' electronic music 'cause this doesn't fit the bill...
New OMD album 'English Electric' is streaming on Pitchfork:
S'alright. Bit patchy. *shrug*
I really like it.
And to be honest, I'm a bit surprised. While it is certainly abrasive and not an easy listen, after Tomorrow In a Year I has expecting something much harder to digest. But the songs have melodies and the experimental parts are quite interesting. It's a bit early I guess, but I would dare to say that it's probably my favourite The Knife album.
I will admit two things though:
(a)I usually skip 'Dreams Waiting To Be Realised'. I find the sheer duration of it daunting, even though I love the last part.
(b)I find the whole album difficult to take in a single listening session. I do that sometimes but others I just break it into two.shrewbie this'd this
Listened through once...
wont be bothered to listen again. Cut through all the manifestos and politics and it's just an overly long dull listen.
Silent Shout is one of my favorite albums of all time too. What a disappointment.
On my first listen
Full of Fire sounds more amazing than ever.jigglypuff this'd this
first listen
I think perpetua was quite right about it being a record that's far more physical/emotional than it is cerebral. Enjoying it so far though.
after 3 listens I find mysel liking the first half more and more
but the back end less and less, the last 3 tracks are pretty Shit.
The Guardian review is spot on in my humble opinion.
Sums up my mixed feelings about this album. I've listened to it six times fully all the way through (I did try to do it a seventh but I'm afraid I fell asleep). Even a heavily edited version I've put together is a challenge.
I suppose my feelings about this album at the moment is "it's something I need to get through" and I find I don't necessarily relish the challenge either.
I respect the fact that they've produced an album that's got people talking - that takes guts. I like the fact that there's this is an intellectually muscular approach to this album but I don't feel like I'm receiving a lesson or having my eyes being opened by something inspirational but instead being shouted at like some animal rights activist or placard holding evangelist - the album seems to be looking down its nose at me and I resent that.
Yes, I know that's an utterly stupid thing to say but it's a reservation I have, so there you are.
This review seems typical of people coming to the record expecting Silent Shout part 2
and getting all butthurt that it isn't.
See also: EvilSeanAdams
^ find it a bit weird that with albums like this, Bish Bosch etc pop and rock journalists suddenly become an expect on 20th century avant garde music.
no that review actually dislikes the record on its own terms
because it's a largely boring, indulgent album
words that mean nothing:
It's actually a word that means two completely contradictory things
Yielding to someone else's demands
Gratifying one's own desires.
So it's a pretty slippery term to use in criticism.
also, as though all art isn't indulgent
Actually I think the best art embodies both senses of the word
Being a genuine and uncompromising self expression but also reaching out to communicate to others. The criticism of this record (which I'm not sure I agree with - I've only listened to it once) is that there is too much of the former and not enough of the latter.
It's a criticism I made of Bish Bosch elsewhere on DIS recently, but I wouldn't do so lightly. Generally I think artists are not required to make things easy for us.
just downloaded it
due to the adamant reviews. I remember so many other records that pissed people off (metal machine music - hell, berlin!), so it can't be any worse than the friendly crap being played on the radio. we'll see...
I have an hour and a half set aside tomorrow to listen to this
The Wire bloody loved it, but then they loved Lulu so I'm never sure with them.
Course they bloody did.
It's a hundred minutes long and actively tries to keep the listener at arms length rewarding only those with the patience of saints or minor deities.
I cannot help but feel some people are being hyperbolic
Express a negative opinion and people will immediately say 'you don't get avant garde music' or 'too deep for you' or 'you were expecting silent shout part 2' when in actuality I think this album is rightly criticised by some people. I DO NOT think everyone should criticise the album & it's obvious a lot of people really like it but I think a lot of people are forcing the love not only onto others but themselves.
I honestly do not see this album having nearly the same amount of staying power as their previous records and think it stands a strong chance of being forgotten about. But thats just my opinion and I'm often wrong when calling out shit like this.CrispinAlexander this'd this
the fact that the p4k score was 8.4 but the review read like a social studies essay
tells you a lot about this album
All complaints aside
Raging Lung is an amazing song
``Express a negative opinion and people will immediately say 'you don't get avant garde music' or 'too deep for you' or 'you were expecting silent shout part 2' when in actuality I think this album is rightly criticised by some people.``
yeah, by people who don' get avant garde music or were expecting silent shout 2
it's cute that you genuinely believe those words
shame it's bullshitNestor this'd this
I don't really (it's not avant garde music for a start)
I'm just laughing at yesiamaduck not being able to understand that just because s/he doesn't like it, that other people still can
I think I explicitly said that I understand other people like it
but I think some people are not being 100% sincere and having read some reviews and feedback it occasionally doesn't read sincere. And usually when people are overly defensive over critical responses it's because the is a shade of doubt in the back of the persons mind.
And I don't even dislike it
I just don't think it's amazing
``but I think some people are not being 100% sincere ``
ah the old pretending to like things chestnut
Look, just because you mis interpret things I say doesn't mean you have to get overly defensive
if I have to explain every single line of my paragraph to make it clearer for you then I will, but I fear I might be wasting my time with a stubborn wanker. *I think I'm not being 100% sincere*
hey, if I misinterpreted your meaning, I'm sorry - I don't want to argue points you aren't making
it just sounded like you were saying that some people just pretend to like stuff (i.e. typically less straightforward music), as I've heard online many times before, and I was just calling bullshit on that idea.
I could't stick a few tracks so I've changed the tracklisting to suit me...
1. Wrap Your Arms Around Me
2. Without You My Life Would Be Boring
3. Full of Fire
4. Tooth for a Eye
5. A Cherry on Top
6. Raging Lung
7. Oryx
8. Stay Out Here
9. The Height of Summer (from Tomorrow, in a Year)
10. Ready to Lose
Makes it a lot easer to digest at just over an hour.
It's one thing to take out shit songs that you don't like.
It's quite another to insert songs from other albums!the-breacher and EndlessWindow this'd this
It does my head in a bit.
3 or 4 minutes of it would have been fine.
Not sure why I gave this a listen, seeing as I have only a passing interest in The knife
Comes across as a mix of down-tempo industrial and modernist classical. As someone who likes a bit of industrial but has no time for modernist classical, I unsurprisingly liked about half of it.
Lots of it sounds like Coil
I think its pretty amazing at the moment. I think I'm going to love it. I also don't have much problem listening all the way through. It's not that difficult.
- brian_international this'd this
yeah. i had a listen to it for the first time earlier and most of them are pretty much just weird pop songs, with a few bits and pieces of standard Boomkat fare in between.
I loved Silent Shout but this is hard to listen to. I'll persevere
with it as I have tickets for their Roundhouse gig.
you got a spare by any chance, mate?
I'm afraid not sorry. They all went pretty quickly I remember.
Keep an eye out on The Roundhouse website though. On occasions they release the odd ticket for otherwise sold out gigs.
i think it's pretty great
not as keen on the hooty trumpet fart tune near the end, although it made for interesting listening in a busy supermarket the other day.I like most of the rest of it a lot of a lot.
seriously though
full of fire is fucking amazing
gets better each time
it's taken at least 4 days for me to get my head wrapped around this
and i don't think i've got it wrapped around fully.
However, i think it's brilliant.justanothersheeldz this'd this
Remember being a kid and trying beer / coffee / wine for the first time
and you'd keep drinking it even though it tasted revolting? And in time you came to enjoy the revoltingness? Then you just started flat out enjoying it? That's me and this album
beer / coffee / wine is already my thing
it's like going into a fancy pub / coffee shop / bar with all kinds of exotic, challenging flavours and ploughing through the drinks list.
Are people listening to this in one sitting?
Seems like this is how it should be listened to and is one of the reasons I haven't got it yet (I don't often have a spare 90 minutes these days.)
I'm not really getting that it is some mountain that need be climbed
Granted it's long and no doubt abrassive in places, I just can't quite see the fuss being stirred up. I think it's a great record.
If anyone would be up for swapping their two Thursday Roundhouse tickets
for my two Wednesday ones, they would make me very happy.
then i can see My Vitriol on the Wednesday.. let me know if any of you are kind and lovely enough to do so..
im potientially up for this - want to see Why? on the thursday
need to check with the guy i'm going with tho
oh sweet
well. let me know if your mate is game
he's into it!
presume you have paper tickets to swap yes?
why are people crying about it?
it's stunning
I have only listened to the album once and I'm immediately in love.
the weird(er) drone pieces are masterful. so much shit, uninspired ambient/drone around that it should be easy to know brilliance when you hear it.
Listened twicd today
S'alright, feel it tails off towards the end though. Without meaning to directly disagree with the above post Fracking The Fluid is the only song I really didn't like; it sounds like the kind of thing the Melvins used to do when they really couldn't be bothered.
haven't read the thread, but anyone who doesn't think this is perfect can
shit right off.
if I were an arbitrary numbers site, I would give it *all the numbers* out of *the numbers*.
it's just on a different level altogther than anything else I've hear in a long while
if people can't appreciate that, I'm staggered - again, I haven't read the thread.
and I only know the p4k review, which now seems laughably low.
I rarely find myself so enchanted with records right off the bat these days, and I know I'm only going to find myself even more bewitched as I spend more time with this one.
just read the thread
I don't get some of you. I guess you just want different things from your music.
I hope people persevere and have a few epiphanies.
I like the influence of African music on parts the record. it's as if they yanked the skeletons out of a few Fela Kuti tunes and used them in some freakish rituals.
do you like jenny hval? if not already i think probably would, doesn't sound like the knife though.
I did like that one of hers from... two years ago?
haven't listened to it since, which is a bit wrong. she has a new one out, right?
Revised conclusion:
Scrap Fracking Fluid Injection because it's absolutely fracking awful.
Then you'd have an excellent 80 minute album.
Other than that every other tune (sic) on it has its own rewards and compliments the tracks around it.
not this you wet sponge
FFI is great.
It really isn't.
I'd even go as far as saying that it shouldn't even be up for debate.
It's the kind of thing that in 30/40 years time when they're being interviewed by VH1 or Mojo or whatever that they'll admit 'was just a bit of a piss take.'
At 2 minutes long it would have been unwelcome. At 10 minutes long it's a fucking travesty on an otherwise excellent, if slightly austere album.
it's my favourite track on the album tbh
you seem a bit insecure about itincandenza_ and ambigyouus this'd this
a lot of it is very great. some of it, if it wasn't in the context of a the knife record,
probably not so much, but that's ok. context is a real thing. i'll probably listen to this lots.theShipment and sunstroke_house this'd this
didn't realise they were only playing those two London shows
anyone got a spare?? PM me, let me know.
I sat down to write a review of the record tonight.
I wasn't sure how much I was going to be able to say about it. It's one of those albums that feels indescribable.
FEELS, being the word, because I churned out 1600 words. I'm pleased.
willfully contrarian...
...at times, but i have a skip button, so all good.
its an assault on the cerebral cortex and i've always been partial to the occasional cranial bombardment; something to either lose my mind too or suffer a mild panic attack from.
no idea what i'll make of it in the long run, but i can see it hanging around.
Now that i've edited it a bit...
...I enjoy it a lot more.
Removed Oryx, Crake and Fracking Fluid Injection entirely. Moved Old Dreams to the end. Much better.
can someone who finds this album too 'weird' flog me their ticket for the roundhouse show face value please?
PLEASEincandenza_ and WhiteLightWhiteCity this'd this
Has anyone else dared trying listening to this back-to-back with The Seer?
I'm sorely tempted to do so right now. I think they're both incredible works which bear a lot of similarities, not just in length and scope, but also structurally (relatively accessible 6-minute opener leading into nasty-but-cathartic 10-minute bruiser, the titanic two-finger salutes of 19+ minute tracks halfway through). Heck, replace Karin Dreijer Andersson's vocal with one from Michael Gira on A Cherry On Top and I wouldn't bat an eyelid. Furthermore, they're both double-albums truly meant for the digital age, meant as a single body of music with not so much as a swapping of cds for interruption.
I did exactly this at work the other day. I felt a bit funny by the end, though it's easy to forget that The Seer's a relatively forgiving record in comparison to the live shows
I'd just like to give a specific mention to the track Without You My Life Would Be Boring
Love it. We Share Out Mothers Health mk. II.
Cannot stop listening to this album
A cherry on top possibly my favourite track right now, sort of like the directionless ramblings of fuck buttons that for a track amongst some 4:4 beats makes total sense rather than an hour of tracks that never go anywhere.
A nice video to go with it:
http://www.youtube.com/watch?feature=player_embedded&v=TD3NygpaWq0#!cosk this'd this
So I've listened to this a lot now
Easily AOTY for me so far. I'm very interested to see how it comes across live.
I've ignored this so far...I'm not sure why
The reactions itlt has got is very reminiscent of Age of Adz...I got into that 6 months late and now it's an all time favourite. Need to get on this now
Whats with all the reverence at this album?
They still put stupid masks on and get cheesy band photos taken like everyone else.
And yeah I don't think this album is an "entirely new musical landscape" or whatever, but really good (for an indie band).
...Possibly the worst use of 'indie band' ever
The Knife have never and will never be an indie band.
if they are a band on an independent label, they are technically an indie band.
They have shared some details of their upcoming live shows.
P4k call it "insane".
Insane? It will be the best aerobics class ever.
been out a few months now and still listening to it pretty much twice a week minimum. find it such an inspiring and powerful listen. haven't felt about an album like this in years
^_^lobotomypop this'd this
totally agree with you
it's incredible.


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subset: commoncrawl


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South Park is an award winning television animated comedy, aimed at adults, that uses the premise of 4 friends, now aged 9 and in Grade 4, and the town they live in, South Park, Colorado, with all its inhabitants and their imaginations, to teach moral lessons through social satire. Most episodes contain large doses of vulgarity, satire, parody, fantasy, dark humour, and the carnivalesque to comment on recent events or hot topics in American culture. The originators and writers, Trey Parker and Matt Stone, are friends and serve as the models for 2 of the main characters, Stan Marsh and Kyle Broflovski, respectively.Stan Marsh is the Everyman of the series, while Kyle Broflovski is the lone ethnic Jew. 2 other friends, Eric Cartman, the antagonist, and Kenny McCormick, the poor boy, complete the group.
Along with its many awards and accolades, the series, now in its 14th season on Comedy Central, has also drawn criticism and controversy. Notably, the politically incorrect, bigoted, anti-semitic, overweight bully (with a soft core) Cartman has offended many. Also, among the offended are the celebrities, ethnic, interest and activist groups who have been ridiculed, as part of an "equal opportunity offensive" policy. However, I am not so sure how equal it all is, as I shall elaborate below.
South Park, of which I have seen 1 episode in the interest of writing this post, came to my attention first because of the success of the song "Blame Canada", from the highly successful film, South Park: Bigger, Longer & Uncut, AKA, South Park: The Movie (1999).
The song, with its mockery of all things Canadian, was taken in good fun by all Canadians named in it, and by the then Canadian Ambassador to the US, and former Prime Minister, Kim Campbell. Partly it was because the satire focussed on well known and relatively harmless stereotypes, and partly it was because the final couplet makes it clear that the ones really being spoofed are the Americans who will not take responsibility for themselves:
We must blame them and cause a fuss
Before somebody thinks of blaming us!
As most readers here will know, South Park has recently been in the news to celebrate its 200th episode, which first aired April 14, and more so because of the content of that episode, and the response to it. That is the episode I watched online, in preparation for this post. It can be seen uncensored by Canadians on Comedy Central's Canadian site, here, and hopefully by Americans on South Park Studios' own site, here.
Although Trey Parker and Matt Stone usually write and produce the episodes on a weekly basis to stay topical and fresh, this anniversary episode was planned well ahead to incorporate old themes, running gags, characters, and topics in a new plot line. They achieved this goal admirably by the device of having all the celebrities they had satirized in the past reappear as a group launching a class action suit against the town of South Park. Along with the celebrities, religious figures were included. In particular, Tom Cruise as the leader of the celebrity suit offers to spare South Park if they are willing to hand over the Prophet Mohamed, so that Tom can get some of his "goo"--the protection that the Prophet and Islam have from criticism and lampooning.
As part of the episode, the characters Stan and Kyle convince the other religious leaders, all of whom along with the Prophet Mohamed are part of the "Super Best Friends", to let them take the Prophet Mohamed to their town as long as they keep him unseen in a windowless U-Haul; but to hand him over to Tom Cruise in his limosine, the Prophet, who mustn't be seen, is disguised with a mascot costume in the form of a teddy bear. However their plans to hand him over to the celebrities is thwarted when the Ginger Separatist Movement (made up of digruntled red-heads) threatens to bomb the town unless the Prophet is handed to them, so that they too may benefit from the "goo" that protects him from ridicule. The episode ends on a cliffhanger about the paternal identity of Cartman, the bully.
After the 200th episode aired, Abu Talhah al Amrikee, writing on the site of Revolution Muslim, a small Islamist group in New York, based in the Islamic Cultural Center of New York, issued a warning to Trey Parker and Matt Stone about the offensiveness of the episode, which some have taken as a threat. Al-Amrikee suggested they risked the same fate as Theo van Gogh, the slain Dutch filmmaker who with Ayaan Hirsi Ali, created Submission, a film about the abuse of women in the name of Islam, and with verses of the Quran written on a woman's body. Al-Amrikee provided addresses for the New York offices of Comedy Central, the studio address in Los Angeles, and a home address in Colorado. He also prayed via Twitter that Allah kill the creators of the episode.
Indeed the perception of a threat was great enough that the follow-up episode, which included the creators' response, the 201st episode, was censored by Comedy Central, and is not available online. This was beyond the self-censorship which the writers had included, by beeping out the name of the Prophet Mohamed, and representing him only as a sign saying "Censored". Comedy Central itself beeped out the final speeches of the regular characters, the moral of the story, which was a defense of freedom of speech and an argument against intimidation and fear. Comedy Central also retrospective removed an episode done in 2001, The Super Best Friends, which was a send up of all major religious leaders, including the Prophet Mohamed. In 2006 Comedy Central had already forbidden showing the Prophet in the 2 part episode of South Park which addressed "The Cartoon Wars", the Danish cartoons and the responses to them.
Trey Parker, Matt Stone, and South Park Studios have noted, with an announcement on the website, that Comedy Central censored their episode after they thought it was finalized; and, that they will not show a censored version of their work:
This episode opens with the resumption of the story of the character Cartman's paternity, but soon resumes the plot about Tom Cruise's demand for the Prophet Mohamed and the Ginger Separtist Movement's plan to steal the Prophet's "goo". These 2 main subplots eventually join when there is a fight among the Super Best Friends, the Ginger Separatists, and the celebrities fighting for the Prophet Mohamed's "goo". The episode ends with a moral summation by Kyle that there is no "goo", no one is immune from satire, ridicule, and lampooning. Due to the censorship by Comedy Central this is basically heard as one long beep, as are the supportive comments by Jesus and Santa (Santa was used to further camouflage the Prophet Mohamed, earlier in the episode) that all should be ridiculed in the name of freedom of speech.
Of course, I have emphasized here the subplot over the 2 episodes which focuses on the Prophet Mohamed. There are many others and there are a number of other targets of mockery: Tom Cruise primarily, other celebrities, homosexuality, reverse racism (using black face to induce white guilt and get one's way), stigma against red-heads, and the Oedipal myth, to mention some.
Why did I say above that I am not so sure that South Park is "equal opportunity offensive"? I say that for a number of reasons. First, usually equality is not perfect, or as George Orwell famously wrote in his allegorical novel Animal Farm, "Some are more equal than others". Second, after reading in a number of sources about the various controversies of South Park episodes, summarized here, it strikes me that the one group who is best defended, within the series itself, are the Jews, as they themselves agree, even while deploring some of the anti-semitic speeches in episodes. Although the bully character Cartman is anti-semitic, his anti-semitism is a way of showing the plight of the lone Jew, Kyle, growing up or living in American society.
Third, Kyle is Matt Stone's reincarnation in cartoon form, one of the characters he voices, and allows the creator to redress the wrongs of his own childhood. Moreover, in a number of otherwise offensive, or anti-semitic episodes, Kyle often delivers the moral of the episode, and is ultimately, despite the vulgarity he shares with the other characters, the voice of compassion, reason, and the socially conservative messaging of the program. He has his own featured episode, The Passion of the Jew, one heralded by the Jewish community, and the Anti-Defamation League as being a definitive rebuttal to the perceived anti-semitism of Mel Gibson's film The Passion of the Christ.
What is your impression of the South Park controversy over its depiction of the Prophet Mohamed?
To the best of your knowledge is any one group particularly reviled or spared by South Park's creators?
What is the best response to this type of coarse satire, especially given that any response is given a response in a more flagrant episode?
Was Comedy Central right to censor the program as they did?
Should they have censored the other episodes featuring the Prophet Mohamed long ago?
Should all groups be better protected within the episodes themselves?
How true is it to say, as the creators do, that the characters are normal children, their language typical, and their views standard for American children?
Does satire often get misinterpreted as "reality"?
What are the dangers of satire?
How free should freedom of speech be?
Is ridicule the best way to bring a group into the cultural fold?
Any other comments, thoughts, experiences?


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Iveco Daily 45c17 Ute
Year: 2018
Cost: $61,000
Since its establishment in 1995, Emanuele Bros has excelled in customer service, satisfaction and dealer excellence throughout South Australia. Emanuele Bros is a family business privately owned by two brothers, Charlie & Peter Emanuele. Both have now worked in the automotive industry for over 35 years, and have worked hard to achieve what is now essentially the largest truck dealership in South Australia.
3 Footner Road,
Port Augusta SA 5700
We offer 24 hour break down & parts for Isuzu and Iveco trucks.
Please call 08 8643 6233 or 0409 724 371
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One mission. Several goals. That's what Operation: Flags of Freedom represents to the Perry Township community. "For the first time in my life, the meaning of Memorial Day was brought home a few years ago," said Steve Toohey, chairman of the program that will raise funds for upkeep of the Perry Veterans Memorial, as well as other veterans' issues.
One mission. Several goals. That's what Operation: Flags of Freedom represents to the Perry Township community.
"For the first time in my life, the meaning of Memorial Day was brought home a few years ago," said Steve Toohey, chairman of the program that will raise funds for upkeep of the Perry Veterans Memorial, as well as other veterans' issues.
It was Aug. 11, 2011, when Sgt. Daniel Patron from Perry Township, an explosive ordnance disposal officer, was killed in Iraq while disarming a bomb.
"It doesn't matter how long it's been," said Kathy Patron, Sgt. Patron's mother. "I don't feel better, I learn how to deal with the hole in my heart."
On Feb. 8, 2004,, another Perry soldier, Sgt. Richard Ramey, also an explosive ordnance disposal officer, was killed while disarming a bomb in Afghanistan.
When Toohey approached the Patrons about doing something to honor local fallen soldier, Kathy Patron said she immediately wanted to get on board.
"We think of him every second," Patron said. "It is very difficult. So my first thought was that we lost Danny and that we didn't want him to be forgotten."
To remember Patron, Ramey and other Perry soldiers, the community is putting together a Memorial Day celebration to display flags to honor fallen men and women.
Participating in the program is simple. Residents just have to purchase a flag, which will be for sale soon at selected Perry Township businesses.
The American made flags will cost $50 each. They are 3 feet by 8 feet with embroidered stars and come with an 8-foot gold pole.
All proceeds from the sales of the flags go to maintenance of the memorial, scholarships on behalf of Patron and Ramey, and to assist local veterans in the community.
"You take people for granted until you lose a loved one," Toohey said. "We needed to do something to honor those fellows so you never forget what Memorial Day is about. So this whole project came after that."
Toohey said he has been approaching business owners about the project for weeks now. So, starting March 1, Perry Township business will be offering purchase orders for flags.
Toohey said that businesses taking in the purchase orders will be given a flag on a pole and a merchandising kit to show customers that they are participating in the event.
"We are going to allow (businesses) the opportunity to become corporate sponsors without spending a penny," Toohey said.
The more flags a business sells, the better is the sponsor package it gets. Perks in the package include the business logo on banners, event T-shirts and ads in the program.
To celebrate Memorial Day, a March of the Flags Parade will take place beginning at 9:30 a.m. on May 27, stepping off from Central Catholic High School, proceeding west on Tuscarawas to Genoa Avenue.
All the flags purchased for the event will be arranged in sections circling the Perry Veterans Memorial at Perry High School on May 24.
Toohey said the idea is to have gold section for fallen heroes, red for veterans, blue for men and women currently serving and white for all others who family and friends want to honor.
Different color ribbons attached in every pole will distinguish the sections. A message can also be attached to the poles.
The flags will remain displayed for viewing until May 27, Memorial Day, when they can be picked up from 1 to 5 p.m.
For more information on Operation: Flags of Freedom, contact Steve Toohey at 330-904-3651.


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SOURCE: Chainformation
January 28, 2013 14:16 ET
Leading Franchise Consultant to Carry CCM Franchise Software for Moroccan Clients
Leading Franchise Consultant to Carry CCM Franchise Software for Moroccan Clients
MALMO, SWEDEN--(Marketwire - Jan 28, 2013) - Chainformation, a leading provider of software for retail, franchise and chain businesses, today announced it has entered an agreement with BeOne Consulting, a consulting and training corporation based in Morocco.
Under the agreement, BeOne Consulting will carry the CCM franchise software platform, providing Moroccan business owners with an Intranet platform that supports internal communications, quality assurance, governance and expansion.
Launching in Morocco also means that the CCM franchise software suite has been completely translated to French, allowing rapid implementation with French speaking franchise- and retail-chains.
"We are tremendously excited to partner with BeOne Consulting, and bringing CCM franchise software to Morocco. Our turn-key solution continues to capture the attention of franchise- and retail-operations around the world, enhancing daily operations by providing relevant and critical information directly to the store level," says Anders Hall, Sales and Marketing Manager at Chainformation.
The CCM franchise software platform by Chainformation is cloud based and ready to be used out of the box for franchise, retail and chains. It can be implemented in just 2-4 weeks with some of the following key features:
In partnering with Chainformation, BeOne Consulting will leverage a franchise software solution based on proven technologies used by some of the most demanding customers in franchising, including Wayne's Coffee, O'Learys and ICEBAR by ICEHOTEL.
"Morocco is a fast growing economy and we need to be able to equip our existing and new customer base with solutions that support growth. We have been looking for a software platform that makes daily operations easier, improves daily communications, and encourages collaboration. For us, CCM franchise software by Chainformation met all these requirements," says Fatima Zahra, CEO of BeOne Consulting.
For more information, please visit www.chainformation.com
About Chainformation
Chainformation is a developer of franchise and retail specific software that helps equip work forces with timely, relevant and critical know-how. Clients include franchise and retail chains such as ICEBAR by ICEHOTEL, Wayne's Coffee, O'Learys, and Akzo Nobel. The company is headquartered in Malmö, Sweden.
Media Contact:Anders HallEmail Contact
Media Contact:Anders HallEmail Contact
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Dr. Hunter Rawlings III President Cornell University 300 Day Hall Ithaca, New York 14853
Complaint No. XXXX Family Educational Rights and Privacy Act
Dear Dr. Rawlings:
This is in regard to the complaint filed by [Student] against Cornell University (University) under the Family Educational Rights and Privacy Act (FERPA). By letter dated February 28, 2000, this Office informed you of our finding that the University violated FERPA when it provided [the Student's] education records to an emeritus professor who had not been appropriately designated in the University's annual notification as a school official with legitimate educational interest. We requested written assurance that appropriate officials have been informed of FERPA as it relates to the disclosure of education records to "school officials" with "legitimate educational interest." By letter dated April 10, 2000, Wendy Tarlow, Associate University Counsel provided the requested assurance. Ms. Tarlow also indicated in her response that the University will amend its annual notification to include emeritus professors as school officials with legitimate educational interest. However, the University has also asked that we reconsider our finding.
In brief, this Office set forth [the Student's] allegation in a letter dated July 13, 1999, as follows:
. . . [the Student] has alleged that the University disclosed, without her consent, information regarding her specific problems at the School of Veterinary Medicine to
Dr. Wolfgang O. Sack, a retired professor. [The Student] states that she contacted
Dr. Sack for "his assistance in reviewing [her] disputed exam." However, she further alleges that
[I] did not mention the grade I received I could have received a grade of B, C, D, or F and been dissatisfied because I believed a higher grade was earned/deserved. His letter of [January 22, 1999,] indicates/states college personnel told him I had failed and then was given a second chance. Repeating Block I is only permitted/required if you receive a grade of "F" . . . .
In her letter requesting assistance from Dr. Sack, dated January 2, 1999, [the Student] asked: "I have been unsuccessful in my attempt to have my Block I Assessment = Anatomy Exam reviewed by any member of the Cornell faculty. . . . could you sir please meet with me and review the exam."
In his January 22, 1999, response to [the Student], Dr. Sack stated:
I . . . learned of your problems with [the 1st year curriculum] including that you had a chance to try the anatomy part a second time. Seeing that your efforts have already been evaluated by a team of faculty, I feel that . . . I do neither have the desire nor the prerogative to interfere with the academic activities of the present faculty of the College. [Emphasis provided.]
In Ms. Tarlow's August 27, 1999, response, she did not refute the fact that Dr. Sack gained access to [the Student's] exam grade or to additional information from her education records relative to the fact that she was given an opportunity to try the exam a second time and that her efforts had already been reviewed by University staff. Rather the University believed that no violation of FERPA occurred because on one hand the information that Dr. Sack obtained from the University was already a matter of public record stemming from [the Student's] May 15, 1998, lawsuit against the University and that furthermore, Dr. Sack has access on a regular basis to student education records due to his status as an emeritus professor and the fact that he is invited in that capacity to attend all faculty meetings. With regard to Ms. Tarlow's assertion that [the Student] herself made the details regarding her problems public information when she filed the suit in court, this Office explained that FERPA prohibits the disclosure of personally identifiable information derived from education records, whether or not that information is available from another source. As for the University's argument that Dr. Sack had a legitimate educational interest, we explained that while FERPA does not prevent the University from designating emeritus professors as school officials with legitimate educational interest, Professor Sack did not meet the definition of a school official with legitimate educational interest because the University did not define emeritus professors as school officials with legitimate educational interest in its annual notification.
In the University's Arpril 10 letter requesting that we reconsider our finding, Ms. Tarlow writes:
- [the Student] failed the "Block I" exam twice. First, in November 1997, she scored only 427 of a possible 1,000 points on the exam and received a grade of "F" for the course. She (and her lawyer) repeatedly contacted school officials and demanded that her exam be regraded. However, [the Student] never turned in the original exam for regrading as required by College policy. The following year, in November 1998,
[the Student] left blank essentially the entire exam and again received a failing grade.
- On May 15, 1998, [the Student] filed a lawsuit in New York Supreme Court contesting her grade on the exam. Both the verified complaint filed by [the Student] and the Court's decision dismissing the lawsuit indicate [the Student's] failing grade. Both the complaint and the Court's decision are a matter of public record.
- In a letter dated January 2, 2000, [the Student] wrote to an emeritus professor in the Cornell Veterinary College, Dr. Wolfgang Sack, and asked him to review her exam. Her letter indicates that she has been "unsuccessful in [her] attempt to have [her] Block I Assessment = Anatomy Exam reviewed by any member of the Cornell faculty." In other words, [the Student] sought out Dr. Sack and involved him in the issue of her examination grade.
In the University's response, Ms. Tarlow continues:
The Department of Education has previously ruled that "if a student has taken an adversarial position against an institution, made written allegations of wrongdoing against the institution and shared this information with third parties, the institution must be able to defend itself. In order to defend itself, it would be difficult for an institution to provide a response without referring to the student's education records." National Association of College and University Attorneys, The Family Educational Rights and Privacy Act: A Legal Compendium 205, 206 (Steven J. McDonald, ed., 1999)(Department of Education Letter to John Hopkins University, Feb. 19, 1997).
As indicated in Cornell's response to these allegations dated August 27, 1999, Cornell believes that disclosure of [the Student's] failing grade to Dr. Sack was appropriate
. . . because Dr. Sack had a "legitimate educational interest" in knowing this information. As an emeritus faculty member of the College of Veterinary Medicine, Dr. Sack was invited to attend all faculty meetings and could receive minutes of those meetings, either of which would have disclosed the names of failing students (including the Student). The fact that [the Student] would seek out Dr. Sack for assistance in challenging her grade supports the position that Dr. Sack had a legitimate educational interest in knowing of her failing grade.
Given the Department's ruling that Dr. Sack was not covered by that exception, however, Cornell submits that the rationale cited above, in the ruling in favor of Johns Hopkins, applies in this case. If Dr. Sack is not an "insider" with a legitimate educational interest, it follows that Dr. Sack was a third party. [The Student's] written complaint to Dr. Sack about her exam was essentially a complaint that the College had acted wrongfully in assessing her exam. In order for the College to defend its assessment of her exam, the College would necessarily have to explain its evaluation that she had failed.
In fact, Dr. Sack's initial letter of response to [the Student](dated January 16, 2000) indicates that he knows little about the current curriculum's "scope, what was taught, and its exams." He further states that he will need to "familiarize" himself with the curriculum's structure and functioning before he can decide if he can assist her.
The Student, then, was on notice that Dr. Sack would be contacting the College regarding the complaint over her grade. To the extent that [the Student] was effectively asking
Dr. Sack to serve as an impartial arbiter, it was essential that the College release information about her failing grade in order to defend its assessment.
As an additional reason for reconsideration, Cornell believes that the standard set forth in your February 28, 2000 letter imposes an unrealistic and unnecessary burden on educational institutions that are served by students (and former students). [The Student] published her own failing grade in a public forum, Cornell did not. [The Student] made clear by publicly publishing her failing grade that she did not consider it to be confidential (wholly apart from the implied waiver inherent in suing Cornell over the grade, as discussed above). School officials were, of course, aware of [the Student's] failing grade both from her educational records and because they reviewed [the Student's] complaint and the court's decision after [the Student]sued the University. Your letter appears to prohibit further disclosure of the grade notwithstanding the fact that knowledge of the grade was based upon review of public records solely because the grade was also contained in an educational record as well, suggesting that it would not have violated FERPA if Professor Sack had gone to the courthouse himself and reviewed [the Student's] public filing. If Professor Sack could have obtained the information from public records filed by the Student, certainly disclosure by the dean's office of the same widely-publicized information from the same legal documents already in the possession of the dean's office would not appear to intrude on any interest protected by FERPA. [Emphasis provided.]
Following is this Office's response to the University's above statements and request for reconsideration of our finding.
This Office did not determine that Professor Sack could not meet the definition of a school official with legitimate educational interest. Rather, this Office determined that the annual notification must indicate that emeritus professors are school officials with legitimate educational interest in order for them to meet the definition under FERPA. Thus, the University can release to an emeritus professor information from student education records as long as the University appropriately designates emeritus professor as a school official with legitimate educational interest in its notification of rights under FERPA to students.
Having, therefore, reiterated our position on the appropriate designation of school official with legitimate educational interest, we will now address FERPA and "implied consent." As an initial matter, after issuing the finding dated February 19, 1997, in Johns Hopkins case (referenced above by the University,) some confusion developed over the exact conditions that apply when the implied waiver of consent may be used by schools in order to disclose education records absent prior written consent of the student. Therefore, we clarified the conditions for an implied waiver of consent waiver in a letter dated June 22, 1998, to Towson State University (copy enclosed).
We explained in that letter that neither the FERPA statute nor the FERPA regulations specifically permit an educational agency or institution to infer an implied waiver of the right to consent to disclosures of information from education records. However, this Office has a policy of permitting a school to infer an implied waiver of consent to such disclosures if the parent or student has sued the institution. The rationale for this policy is based on the belief that a student or parent should not be permitted to use rights afforded them under FERPA to prevent an educational agency or institution from defending itself in a court of law when the parent or student has initiated legal action and seeks damages against the agency or institution. In such circumstances, the educational agency or institution must be able to defend itself. The Department has maintained a consistent position on this issue, and advises educational institutions that any disclosure of personally identifiable information from a student's education records to a court of law in response to a lawsuit filed against the institution by the student must be limited to that information necessary to defend itself against the specific charges made.
In our February 19, 1997, finding in the Johns Hopkins letter we stated:
Based on the additional information provided by the University in its July 10 letter, we have determined that this complaint is analogous to an educational institution inferring a student's implied waiver of the right to consent to the release of information from his or her education records when the student has sued the institution. In both instances, the student had requested the involvement of an entity outside of the institution, and it is logical and appropriate that the institution would respond on the record.
Therefore, we believe that if a student has taken an adversarial position against an institution, made written allegations of wrongdoing against the institution, and shared this information with third parties, the institution must be able to defend itself. In order to defend itself, it would be difficult for an institution to provide a response without referring to the student's education records.
While the policy statement made in the Johns Hopkins finding was general and suited toward a broad application, the extension of the policy on implied waiver of the right to consent was based on a narrow set of facts. In retrospect, this Office believed that it should have more clearly delineated guidelines in the Johns Hopkins ruling that would have better clarified those situations, other than those in which the student has sued the agency or institution, where it is appropriate for an educational agency or institution to infer an implied waiver of the right to consent.
We, therefore, set forth the following guidelines on permitting an educational agency or institution to infer an implied waiver of the right to consent to disclosure of personally identifiable information from a student's education records in a non-litigation context in our June 22 letter to Towson State University:
The Department will support an educational agency or institution that has inferred an implied waiver of the student's right to consent to disclosure when:
- the student has taken an adversarial position against the educational agency or institution;
- the student has initiated the involvement of the third party by contacting that party in writing, and, in so doing:
- the third party's special relationship with the educational agency or institution:
- the disclosure is as limited as is necessary for the educational agency or institution adequately to defend itself from the student's charges or complaint. The third party should follow the procedures set forth in 34 CFR § 99.33 on limitations that apply to the redisclosure of information derived from education records.
a) set forth specific allegations against the educational agency or institution; and,
b) requested that action be taken against the educational agency or institution or that the third party assist the student in circumventing decisions made about the student by the educational agency or institution;
a) gives the third party authority to take specific action against the educational agency or institution; or,
b) reasonably could be significantly adversely affected if the educational agency or institution cannot refute the allegations; and
In formulating and establishing a policy that is not directly addressed by FERPA and is being implied, the Department seeks to ensure that the basis for such policy is strong enough to outweigh the potential harm. In this circumstance, the strong policy consideration behind the waiver of the right to consent doctrine is that an educational agency or institution should be able to defend itself against an adversarial position that has been taken against it by a student where the student has shared this information in writing with a third party that has a special relationship with the educational agency or institution in a way that could significantly adversely affect the educational agency or institution. The potential harm is the dissemination of personally identifiable information from education records without the appropriate written consent. The above guidelines are our effort to clarify for the institution the circumstances under which implied consent is appropriate.
In this complaint, while some of the guidelines invoking implied consent may apply, all of the guidelines do not. More importantly, we do not believe that FERPA's implied consent could be read to cover routine requests like this one where a student asks a professor for a meeting in order to review an exam. Rather, when a student asks a professor in writing to meet to review an exam, this Office would first consider whether the request to the professor meets FERPA's prior written consent requirement outlined under § 99.30 of the regulations. That section states that the student should provide a signed and dated written consent before a school discloses information from their education records. The signed consent must 1) specify the records that may be disclosed; 2) state the purpose of the disclosure; and 3) identify the party or class of parties to whom the disclosure may be made. Even if it could be argued that [the Student's] January 2 letter to Dr. Sack (asking for a meeting to review her exam grade) was in fact written consent from [the Student] allowing the University to disclose her exam grade to him, Dr. Sack gained access to more information from [the Student's] education records than just the exam grade.
In light of the above, this Office has determined that the implied waiver of consent does not apply in this situation. We wish to emphasize that before an educational agency or institution releases any education records conditions on an implied waiver of the right to consent, the educational agency or institution should contact this Office for guidance based on the details of the particular situation.
While the University believes that [the Student's] records could have been disclosed to Professor Sack in compliance with FERPA based on the fact that her education records were already a matter of public record because of her lawsuit, this Office considers the source of an alleged disclosure of information from education records. The definition of education records under FERPA includes information directly related to a student that is maintained by an educational agency or institution or by a party acting for the agency or institution. See 34 CFR § 99.3 "Education records." A record does not lose its status as an education record because the information contained therein appears in a public record. Furthermore, there is no exception in FERPA that exempts information in public records from the definition of education records. In
this case, Professor Sack gained access to [the Student's] education records from the University, not from the court. Therefore, notwithstanding the fact that the records were available to the public at the court, we find that a disclosure of information from [the Student's] education records by the University occurred.
In conclusion, based on our above analysis, the implied waiver to consent to the release of [the Student's] education records would not apply in her case nor would the argument that her education records could be disclosed by the University to Dr. Sack because they were already a matter of public record. Therefore, our original finding stands. However, because
Ms. Tarlow provided the requested assurances to this Office as requested in our February 28 letter, we are closing this complaint. We will so inform [the Student] by copy of this letter. Thank you for your cooperation with regard to this matter.
LeRoy S. Rooker Director Family Policy Compliance Office
cc: Student
Ms. Wendy Tarlow


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Intelligence Official Says He Was Fired For Not Lying To Congress; Says Rogers & Feinstein Don't Know What's Happening
from the more-whistleblowing dept
A veteran intelligence official with decades of experience at various agencies identified to me what he sees as the real problem with the current NSA: "It's increasingly become a culture of arrogance. They tell Congress what they want to tell them. Mike Rogers and Dianne Feinstein at the Intelligence Committees don't know what they don't know about the programs." He himself was asked to skew the data an intelligence agency submitted to Congress, in an effort to get a bigger piece of the intelligence budget. He refused and was promptly replaced in his job, presumably by someone who would do as told.Yes, it's an unsourced quote, so you can take it with whatever grains of salt you'd like. However, given the various revelations over the past few weeks and months, it's becoming increasingly clear that Congress does not, in fact, know what the NSA is up to, despite the claims by Rogers and Feinstein that there's strong oversight. Given that we've already seen how NSA agents are told to withhold certain info from those in charge of oversight, combined with the use of a loophole to avoid reporting details of its activities to Congress, the statement above certainly is supported by the various leaks to date.
Fund also highlights how the claim that Rogers' strong defense of the NSA appears to be out of ignorance of what's going on is based on Rogers' own quotes:
Back in July, House Intelligence Committee chair Mike Rogers claimed that there have been "zero privacy violations" on the part of NSA. After the leaked audit made news on Friday, he retreated to saying that "there was no intentional and willful violation of the law."A person who was really in charge of oversight would be demanding more information, public hearings and changes. But Rogers is doing none of that. How is he still in that job?


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my heart says Pink
but my head says Blue
- Gorkys_Forever, labmonkeya529, andyvine, badgertastic, and furio this'd this
- thewarn and Gorkys_Forever this'd this
- Gorkys_Forever this'd this
Blue 10.0
Pinkerton 9.9SCROTUM, badmanreturns, hermano, JaguarPirate, skellywager, and bornin69 this'd this
Its a tough call
Id probably pick Blue, but pinkerton has tired of sex probably one of the best opening songs ever.
Pinkerton just behind. It's a close call.
pinkerton has the good life which is awful
blue has only in dreams which is a work of genius
- chickenbones, badmanreturns, bowiecokemirror, and JaguarPirate this'd this
Good Life is an awful song
the video is even worse
I bought Pinkerton. I think I played it once then I went back to the Blue album.
oh god i don't know i can never settle on one over the other
only in dreams > everything else though.
blue may just edge it.
both wonderful.
unless we're talking about sending the master tapes into a black hole.OvertakenByTractors this'd this
Rivers would just get the songs from the black hole
Weezer fans will get this.
- Severed799, JaguarPirate, and OvertakenByTractors this'd this
Pretty unappealing choice
May I choose something not by Weezer?
my heart says Difficult
but my head says Parody
It's got a harder edge and is a little more wired and unglued than the debut...unfortunately, they went back the other direction after it...cherrycola this'd this
durrGorkys_Forever this'd this
dirtier and more screaming JUST HOW I LIKE IT URGH PERV CHECK YOUR PRIVILEGE etc. Only In Dreams and Say it Aint So in particular are incredible songs however, but the holy trinity of Across The Sea, The Good Life and El Scorcho outdoes any 3 song run on Blue. Tired Of Sex is a better opener as well.
I do really love Blue though, Pinkerton is just that much rawer and better.
- Gorkys_Forever and thewarn this'd this
just, yeah
they're are basically equal though, obviously
- badcustard and plasticniki this'd this
Apart from blue
Everything they've ever released has been fucking shit, so that one
Yeah, I suppose you could move Blue
into the same category as the rest.
has to be blue
p4k said pinkerton has more of a cult appeal so blue gets forgotten but this shouldn't be the case blue is just better and more consistent. it's not leagues better but it is, as chickenbones mentioned it has only in dreams on. also say it aint so tips the balance.
The Blue album is my favourite album of all time I think
Pinkerton is also a top album but all this guff about it being better because it has more lyrical depth and feeling ... its Weezer for fucks sake, not Nick Drake. The songs are just all perfect on the Blue album, Pinkerton always seems a bit undercooked in terms of song construction and playing - if anything the emotion gets in the way of the songs being as good as they might have been. Still, like I say, I love both, but judge Weezer on the tunes, not some nebulous idea of soul or whatever. Saying that, Only In Dreams kicks all the Pinkerton stuff into touch in that respect anyway.
Blue perfect songs: Jonas, The World Has Turned, Say It Ain't So, Only In Dreams
Blue weak songs: Holiday
Pinkerton perfect songs: Tired Of Sex, The Good Life, El Schorcho, Pink Triangle
Pinkerton weak songs: Getchoo, Butterfly
Gotta just give it to Blue based on ^that then. Would say that Blue is more consistent song-wise, but I prefer the style and sound of Pink better, even if a few of the songs aren't so strong. Tired of Sex is probably the best song by them though
yeah, it's not actively bad at all
just weaker, all the others have a bit more to them
Holiday is great
currently my fave off blue
If there's a weak song on Pinkerton
it's No Other One.
in the garage?
surely that's perfect. and butterfly is perfect too, come on - surely! unlike el schorcho weakest on the record.
yeah it is basically, I just prefer the more emotional songs
so gave them preference. Add Garage to the list in your head though
also I think Schorcho is the soul of Pink
you either get it or you don't, and that seem to match up with how people think of the album as a whole
haha i saw that
fame at last!
Pinkerton > Green Album > Blue Album
*sits back & awaits ban requests*
*sigh* Time to have another go at Pinkerton I guess
I've never been able to like it, but every now & then I'll have another listen because everybody raves about it so much.
Blue is great but I don't like Only In Dreams.
you dont like only in dreams?!badgertastic, theonlyindiegolfer, Phil_Insane, spiritofjazz, and JaguarPirate this'd this
Don't like it at all
Basically it's The World Has Turned > Undone = Buddy Holly = No One Else > Say It Ain't So > Jonas = In the Garage > Surf Wax America > Holiday = Only in Dreams
agree that world has turned is best
so so good
Blue is more consistent.
But Pinkerton is better. Its highs (Across the Sea, El Scorcho, Pink Triangle, Falling for You) are higher (other than OID) and enough to offset the Getchoo-No Other One-Why Bother? run.
Not that the Blue high points aren't high. But the Pinkerton high points are fucking magic.
Oh, and regarding Pinkerton
Those who don't "get it" yet and aren't particularly socially awkward at this point in their life should just give up.
At which point in their life?
The album's already 17 years old.
Ah, that explains it
I was cool, popular, talented at sport and already a legendary swordsman when Pinkerton was released.
can you
think of any other bands who slumped so awfully? The Fall are pretty shoddy these days but even they haven't reached a nadir quite like Raditude ...
The only good thing about Raditude
is that it makes Make Believe seem slightly less shit.
the FALL
you're in for a world of hurt
so lets rank the tracks then
My Name Is Jonas = Only In Dreams > The World Has Turned = Say It Ain't So > Surf Wax America = In The Garage > Buddy Holly > Undone > No One Else >>> Holiday
Tired Of Sex > The Good Life > El Schorcho > Across The Sea > Pink Triangle > Why Bother? > No Other One > Falling For You > Butterfly > Getchoo
doing this, I realised Blue is definitely the stronger album
guess I just really like the atmosphere and style of Pinkerton, even if it's a weaker set of songs


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Irv Gotti Has No Love For Lloyd & Goes Off On Him! "You Went Platinum With Irv Gotti. What You Doing Now"
Irv Gotti on Rap Fix
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When the Trail Blazers go through their final dress rehearsal Thursday at Golden State before the Oct. 30 regular-season opener at Phoenix, Terry Stotts should have a full complement of players on hand for the first time in the preseason.
That makes the last exhibition game against the Warriors an important one for the second-year Portland coach, who must decide on the rotation he'll use in the opener versus the Suns.
"I'm not sure who I'm going to use off the bench," Stotts said after his team's 109-105 victory over Sacramento Sunday night at the Moda Center. "It looks like we'll have everybody available (against Golden State). It will be good to have everybody together so we can see what we have."
The starting five -- LaMarcus Aldridge and Nicolas Batum at forward, Robin Lopez at center and Damian Lillard and Wesley Matthews at guard -- is no mystery. Lopez might have played his best game of the preseason against the Kings, sinking 7 of 11 shots from the field and contributing 14 points, seven rebounds and two blocked shots in 31 minutes.
That's about the playing time Stotts envisions the 7-foot Lopez to command in the early regular season.
"He's going to have a real impact for us," Stotts said, "and I want to see if I can get him about 30 minutes a game."
Aldridge, who has played only three preseason games due to a sore knee, told me after Thursday's game he intends to play at Golden State. That's a good thing. And Batum -- while too reluctant to shoot at times Sunday night -- nevertheless displayed his value, going for 14 points, 11 rebounds and five assists while sinking 5 of 8 shots, including 3 of 6 from 3-point range.
"Nic plays the game easy," Stotts said. "He did a lot of good things tonight. That's what we need from Nic at the offensive end, though he could have been a little more aggressive at times. We have a lot of playmakers. We need him to continue to be one and not just rely on Mo (Williams) and Damian."
After a slow start -- he missed his first five shots -- Lillard was effective, scoring a game-high 28 points to go with four rebounds and three assists in 34 minutes. The second-year point guard made 4 of 9 3-pointers and 8 of 9 at the foul line.
"I was glad to see Damian make some 3's," Stotts said. "Our 3-point shooters haven't really had a night yet."
Lillard, Mathews and Williams -- who had 17 points, five rebounds and five assists in 28 minutes off the bench -- will eat up most of the minutes in the backcourt once the regular season begins. The real question is how Stotts will divide minutes in the frontcourt.
Behind the starting trio, power forward Thomas Robinson -- who came through with his best performance of the preseason with 14 points (6-of-8 shooting) and eight boards in 24 minutes -- and volume shooter Dorell Wright are assured of minutes. Meyers Leonard and Joel Freeland will probably battle for the remaining time.
"Joel has been really good," Stotts said of the second-year center/forward, who contributed seven points and nine rebounds in 18 minutes. "Nic called him the MVP of training camp."
The preseason has been a mixed bag for the Blazers.
Among the good:
The team defense has been excellent for the most part. Opponents are shooting .395 from the field and averaging 93.3 points.
"We're a lot better than we were last year, that's for sure," Matthews said. "I feel like we're stepping up to the challenge."
Portland held Sacramento to .412 shooting -- .348 in the first half.
"We were aggressive," Wright said. "We made the game ugly. We got stops in a row. That's what it's all about, making it hard for (opponents)."
"We're doing a good job defending," Lillard said. "We're making some mistakes, but we continue to play every possession. We're contesting shots and fighting for rebounds. As long as we keep doing that, we'll be ready for opening night."
"We're probably ahead of where I anticipated," Stotts said. "In terms of protecting the rim, forcing mid-range jump shots, defensive field goal percentage and rebounding, it's been good. The players have executed what we've changed, particularly in defending the pick-and-roll. If you look at the whole preseason, we're going in the right direction."
The Blazers should be an improved rebounding team. In six exhibitions, they're outboarding opponents by an average of 10.5 per game. Lopez and Robinson, in particular, will help there.
"We're a better rebounding team because we're a better defensive team," Matthews contended. "If we keep forcing shots that we want (opponents to take), we'll be in better position to rebound and to prevent them from getting into transition."
The bench will be much stronger, even with rookie guard C.J. McCollum starting the season on the injured list. Veterans Williams and Wright will be counted upon for big things, and Robinson, Leonard and Freeland will get their chances up front.
"We have a lot of good young talent coming off the bench, plus some guys who have been around," Wright said.
"All those guys are really going to help us," Aldridge said. "Our depth should be good."
The Blazers have showed a competitive spirit in winning four of six preseason games. On Sunday night, they lost all of a 19-point third-quarter lead, falling behind 92-90 with four minutes to play. They made enough plays down the stretch to win.
"That was a good sign," Stotts said. "I know it wasn't a regular-season game, but it had a kind of regular-season feel to it. Both teams were trying to win."
There seems to be a team-first attitude on offense. The Blazers had 14 assists on 22 baskets in the first half against Sacramento.
"That's when we're at our best, when we're moving the ball," Lillard said. "We have a lot of guys who can make plays, a lot of guys who can shoot. We should get quality shots, and that could limit (opponents') transition."
Among the bad:
The Blazers are averaging 21.8 turnovers a game. They had 19 giveaways Sunday night, though only seven in the first half. Stotts doesn't seem overly concerned.
"Part of it is it's the (nature of the) preseason," he said. "There are a lot of turnovers around the league. The first half tonight was encouraging. We were very efficient with our offense. Having LaMarcus out there will help as well."
Portland is shooting only .313 from 3-point range. Some of that is Matthews and Wright have missed games due to minor injuries. The Blazers shot .353 from beyond the stripe last season, and the hope is they will be even better this season.
It's 10 days until the regular-season opener and counting.
"We're getting there," Stotts said. "We'll be ready. I had a meeting with my staff today to talk about things we need to accomplish the last week (of the preseason), both offensively and defensively. We'll tinker with the offense a little bit, put in some defensive coverages we need to have in our pocket, and (implement) our zone. We're on track to being where we need to be."
The players are anxious for Thursday's date with the Warriors.
"We need to play a complete game with everybody," Batum said. "It will be good to play one game where everybody's in the lineup."
"Once we all get together and play," Wright offered, "we'll be good. Sky's the limit for this team."
"We're right there," Aldridge said. "We'll play it Thursday like it's a real game and go from there."
Twitter: @kerryeggers


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text:
Linked by Thom Holwerda on Thu 27th Jan 2011 22:28 UTC
"Sony has won its request for a temporary restraining order in its PS3 jailbreak case against Geohot and fail0verflow, despite a jurisdictional technicality. At the same time, the judge at the US District Court for the Northern District of California has allowed Sony to keep the lawsuit in San Francisco. The restraining order forbids the jailbreak team from distributing or linking the jailbreak procedure, or encouraging others to jailbreak or hack their PS3 or PSN. They've also been ordered to turn over any computers or storage media used to create the jailbreak to Sony's lawyers." Land of the free fail.
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RE[2]: Wiat, what?!
by brewmastre on Fri 28th Jan 2011 00:26 UTC in reply to "RE: Wiat, what?!"


text:
To compare the mother sea against a bubble and against all of her foam. To even talk about the sand and ice of the dark seas of nebulae. To confess the curative effects of beer on my feelings about my reasons to be. If there is one, and about my performance or my lack of. To tell my love I'm still in love and always will be, normal interruptions in between. This blog is for
miércoles, 8 de abril de 2009
You, that one
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Just when you thought Korean dramas were the biggest waste of your time, a little nugget of cultural idiosyncrasy presents itself and you learn something.
I was watching Moraeshigae (Sandglass) with my parents the other day, and there was a curious scene. The show follows the lives of two good friends, whose paths in life diverge. Tae Soo, one of the friends, is eagerly approaching the prison that houses his friend, Woo Suk, the day that he is to be released from jail. As he approaches the prison, he sees Woo Suk emerging and joyfully reuniting with and then being taken away by his ggangpae (gangster) crew. Tae Soo stops in his tracks and turns around before Woo Suk sees him. (This is because Tae Soo is good, Woo Suk is bad and is generally a very long story, but this is besides the point).
Tae Soo was carrying something on this way to visit his friend – something block-like in a semi-transparent plastic bag. What do you think that was? That's right – dooboo, what else? Now if my Appa hadn't pointed that out to me, I doubt I would have noticed. And of course my next question was, why tofu?
A poll of several Korean people yielded a few results – some didn't quite know why, but that it was just an old custom. Some had this explanation: in the old days, it was the only cheap, nutritious source of protein. And prison, presumably, wasn't cushy – these people were in need of immediate nutrition, and it was certainly an inexpensive source of this. Now Google turns up a Yahoo Answers post which in turns cites several sources, some of which also cite nutrition, and others that see symbolism in the whiteness of tofu. In particular, a Slant Magazine writer has this take on another jail-tofu scene in Sympathy for Lady Vengeance: "Leaving prison, Geum-ja is confronted with a plate of lily-white tofu—a symbol of a new life without crime." Now I haven't seen the movie, but it seems that this interpretation may be related to this movie in particular, as there is another scene at the end of the movie where the Geum-ja character then eats the tofu.
And just to get even a little more abstract, there's a book called Dooboo and in the synopsis of the book, this explanation is given: "A life behind the bars is said to be 'eating boiled beans.' A tofu has been released from beans but can never return to beans. Thus a feeding a tofu might mean a wish that the person would never go back to prison." To which all I can say is "Wow." So for now, I'm inclined to say it was protein related. And in the meantime, here are a few favorite tofu (dooboo or dubu) recipes.
- Dubu Jorim -- glazed, fried tofu
- Doenjang jigae - fermented bean stew with tofu
- Soondubu Jjigae - spicy, super soft tofu stew
- Mabo tofu - a Korean version of a Chinese, spicy tofu dish
Readers, chime in with your favorite tofu dishes...


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General Services Administration
GSA Awards
Government-wide Smart Card Solutions Contracts to 5 Prime Companies
Washington, DC-The U.S. General Services Administration today awarded its government-wide Smart Access Common ID contracts to five prime companies all located in Northern Virginia. The contracts are worth a maximum value of $1.5 billion over 10 years and have a base period of two years, with two, four-year option periods. These multiple award, indefinite delivery, indefinite quantity (IDIQ) contracts were awarded to: KPMG Consulting LLC of McLean, VA PRC, Inc. of Reston, VA Electronic Data Systems Corporation (EDS) of Herndon, VA 3-G International, Inc. (3GI) of Springfield, VA Logicon, Inc. of Falls Church, VA
"These contracts will provide our government partners with a wide range of smart card applications and functionality," said Sandra N. Bates, Commissioner of GSA's Federal Technology Services. "They will greatly enhance the security of government facilities and systems on a worldwide basis and have the potential of providing millions of federal employees with a smart card. They will use chip card technology and support many important applications such as electronic signature, training certification, and e-commerce."
Designed to support the requirements of any federal government agency, these contracts will provide interoperable, multi-application smart cards that will set the standards for smart card technology and enable government and industry to grow with electronic commerce.
The contracts provide for a smart card that can be used to provide basic visual identification and authentication, physical and logical access control, and other value-added features. The information carried on the chip, Bates said, can be used commonly across multiple applications. The program is a co-operative effort under GSA's leadership with a steering committee composed of representatives from the federal civilian, defense and intelligence communities.
Task Orders issued under these contracts will allow the prime contractors a fair opportunity to bid on each agency's requirements. The contracts include provisions for firm fixed price, time and materials and labor-hour task orders. All GSA regional offices and other federal agencies will be able to use the contracts.
For additional contract information please contact Stephen Berg at (202) 501-1568, Mickey Femino at (202) 501-1619, or visit the following web site


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Serge vs Rival Freestyle Batte [Grind Time Florida]
"Two of Grind Time's newer editions put there talent to the test and see who can rise to the next leve. Dope battle from the Broward Beatdown 2. " - Grind Time
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text: This post was created by intern Alison Dundy. The illustrated letters of Salvator Cillis are a highlight of the New-York Historical Society's World War I Collection (MS 671). Cillis was an artist with an edgy sense of humor. His humorous letters and drawings trace the arc of this soldier's war experience, from enthusiastic patriotism at…Read More