Download Book Humans Of New York in PDF format. You can Read Online Humans Of New York here in PDF, EPUB, Mobi or Docx formats.
Now a #1 New York Times Bestseller! In the summer of 2010, photographer Brandon Stanton began an ambitious project -to single-handedly create a photographic census of New York City. The photos he took and the accompanying interviews became the blog Humans of New York. His audience steadily grew from a few hundred followers to, at present count, over eighteen million. In 2013, his book Humans of New York, based on that blog, was published and immediately catapulted to the top of the NY Times Bestseller List where it has appeared for over forty-five weeks. Now, Brandon is back with the Humans of New York book that his loyal followers have been waiting for: Humans of New York: Stories. Ever since Brandon began interviewing people on the streets of New York, the dialogue he's had with them has increasingly become as in-depth, intriguing and moving as the photos themselves. Humans of New York: Stories presents a whole new group of people in stunning photographs, with a rich design and, most importantly, longer stories that delve deeper and surprise with greater candor. Let Brandon Stanton and the Humans of New York he's photographed astonish you all over again.
In the summer of 2010, photographer Brandon Stanton began an ambitious project -to single-handedly create a photographic census of New York City. The photos he took and the accompanying interviews became the blog Humans of New York. In the first three years, his audience steadily grew from a few hundred to over one million. In 2013, his book Humans of New York, based on that blog, was published and immediately catapulted to the top of the NY Times Bestseller List. It has appeared on that list for over twenty-five weeks to date. The appeal of HONY has been so great that in the course of the next year Brandon's following increased tenfold to, now, over 12 million followers on Facebook. In the summer of 2014, the UN chose him to travel around the world on a goodwill mission that had followers meeting people from Iraq to the Ukraine to Mexico City via the photos he took. Now, Brandon is back with the follow up to Humans of New York that his loyal followers have been waiting for: Humans of New York: Stories. Ever since Brandon began interviewing people on the streets of NY, the dialogue he's had with them has increasingly become as in-depth, intriguing and moving as the photos themselves. Humans of New York: Stories presents a whole new group of humans, complete with stories that delve deeper and surprise with greater candour. Let Brandon Stanton and the people he's photographed astonish you.
In this photographic census of New York City, which is inspired by the blog of the same name, the author showcases 400 color photos, including exclusive portraits and all-new stories that capture the outsized personalities of New York and pay tribute to the human side of a great city. 100,000 first printing.
When Brandon Stanton started a photography project in 2010 to capture the extraordinary in everyday New Yorkers, he didn't realize it would take off almost overnight. He now has millions of dedicated followers from all over the world who can't get enough of Humans of New York. In this heartwarming photographic picture book, Brandon's lens is trained on the littlest humans of New York - the ones who get back up when they fall, who have an impeccable taste in fashion, and who love with all their hearts. With spare text and a mix of exclusive photos and fan favourites, Little Humans is sure to appeal to fans of HONY and those who have yet to discover it.
This thesis examines how an exhibition can be an interpretive, narrated journey where traveling visitors can learn through experimental curiousity and discovery. The exhibition design project was located in multiple installments throughout the city of New York and within the Museum of the City of New York in East Harlem, Manhattan. The exhibition activities were designed and inspired by Brandon Stanton's photographic work and his method of seeing through the city "one story at a time".
Malaysia and Indonesia are seen as bastions of liberal Islam. Is this really true or simply a widely held misconception about south-east Asian Muslims? What is the contribution of the Muslim archipelago to the world of Islam? What can we learn from Malaysian and Indonesian experiments in democracy? This issue of Critical Muslim addresses these questions by examining the politics, history, culture and religious traditions of Malaysia and Indonesia. Contributors include Merryl Wyn Davies on Malaysian multiculturalism, Luthfi Assyaukanie on Indonesia politics, Carool Kersten on the struggles of Indonesian intellectuals, Andre Vltchek on religion and tolerance in south-east Asia, Andi Achdian on Islam in Java, Ahmad Fuad Rahmat on the Malaysian intellectual guru Naguib Al-Attas, Shanon Shah on Malay Magic, Jo Kukathas on 'Malay-ness', Linda Christanty on literary stars of Indonesia, Rossie Indira on Indonesian pop music, and Nazry Bahrawi on reformist debates in south-east Asia. About Critical Muslim: A quarterly publication of ideas and issues showcasing groundbreaking thinking on Islam and what it means to be a Muslim in a rapidly changing, interconnected world. Each edition centers on a discrete theme, and contributions include reportage, academic analysis, cultural commentary, photography, poetry, and book reviews.
Along with the movement Humans of New York, a project to share the stories of New Yorkers, Humans of San Antonio is part of the Global Humans Project, a network of major cities around the world dedicated to capturing a glimpse into the lives of the everyday citizen. From Amsterdam to India to Rio de Janeiro, San Antonio joins the ranks of cities photographed and shown through social media to the rest of the world. Michael Cirlos is the photojournalist behind Humans of San Antonio, a social media project founded in 2012 that combines photography and storytelling to promote the spirit of San Antonio's growing downtown community. Humans of San Antonio, the book, is the culmination of more than four years of photographs that highlight the people, culture, and vibrancy of San Antonio. The city center is very important to San Antonio. It stands as the Alamo City's urban core; a hub that links the rest of the city to its heart. As a community that has weathered the national economic imbalance and proven itself a leader in urban redevelopment and 21-century innovation, San Antonio embraces change while continuing to celebrate the diversity, history, and individuality that makes it so completely unique. Humans of San Antonio reflects the heart of San Antonio and symbolizes the importance of the people who make up its melting pot of cultures. Michael Cirlos's photography captures individual storytelling images in an unassuming, unscripted way to illustrate the essence of humanity. Each photograph tells the story of a citizen of downtown, and through images and his subject's own stories, Michael is able to communicate not just the human vulnerability to fear, sadness, and anger but also its resilience, strength, hope, tolerance, and perseverance. His unobtrusive nature, compassion and warmth, show how deeply committed he is to photographing the peak moments of San Antonio real life to humanize the individual and to collect flashes of culture. Humans of San Antonio is at once uniquely individual as a photography collection while celebrating the international collaborative that forms its roots. Each personal history maps out the family, friends, and neighbors that populate a lifetime and encourages the reader to explore San Antonio's cultural differences by showcasing the diversity it honors.
Pattern Recognition by Humans and Machines, Volume 2: Visual Perception provides information pertinent to the fundamental aspects of research on perception. This book focuses on several fundamental problems of pattern recognition in speech perception and visual form perception. Organized into seven chapters, this volume begins with an overview of some of the basic theoretical questions in speech perception. This text then explores the spatiotemporal orchestration of visuosensory attentional and oculomotor processes involved in active visual exploration. Other chapters consider several basic questions concerning visual form perception, including the perception of patterns and features. This book discusses as well the role of eye movements in pattern processing and models of segmentation and pattern recognition. The final chapter describes the distinctions made in perceptual processing between model-driven and data-driven processing. This book is a valuable resource for psychologists in general and specialists in the field of perception. Computer and cognitive scientists will also find this book useful.
Considering that much of human society is structured through its interaction with non-human animals, and since human society relies heavily on the exploitation of animals to serve human needs, human–animal studies has become a rapidly expanding field of research, featuring a number of distinct positions, perspectives, and theories that require nuanced explanation and contextualization. The first book to provide a full overview of human–animal studies, this volume focuses on the conceptual construction of animals in American culture and the way in which it reinforces and perpetuates hierarchical human relationships rooted in racism, sexism, and class privilege. Margo DeMello considers interactions between humans and animals within the family, the law, the religious and political system, and other major social institutions, and she unpacks the different identities humans fashion for themselves and for others through animals. Essays also cover speciesism and evolutionary continuities; the role and preservation of animals in the wild; the debate over zoos and the use of animals in sports; domestication; agricultural practices such as factory farming; vivisection; animal cruelty; animal activism; the representation of animals in literature and film; and animal ethics. Sidebars highlight contemporary controversies and issues, with recommendations for additional reading, educational films, and related websites. DeMello concludes with an analysis of major philosophical positions on human social policy and the future of human–animal relations.


Mariah Carey's All I Want for Christmas Is You has cemented itself as a modern Christmas classic.
The 1994 single smashed Spotify's single-day record with nearly 11 million streams on December 24. The track broke the record held by the late rapper XXXTentacion, whose track Sad! drew 10,415,088 streams on June 19, the day after he died in a Florida shooting.
Carey's success underscores the enduring appeal of Christmas-themed singles, which unlike its pop counterparts, is not bound by the creative pursuit to sound current.
Instead, if done well, a great Christmas single can usually be a steady earner for the artist and songwriter throughout the decades.
Take Bing Crosby's White Christmas for example; recorded in 1942, it remains the best-selling single of all time with over 50 million copies sold.
In Carey's case, ever since All I Want for Christmas Is You's initial release 14 years ago, the track went on to reportedly sell over 16 million copies and earning up to $60 million dollars in royalties.
However, the advent of online streaming in the last few years, and the drying up of physical album sales, has radically altered the profit margin artists make from popular singles.
So how much did she actually earn?
The seven figure streaming numbers of Carey may look impressive, but the money received is paltry in comparison to the good old days of CDs sales.
With Spotify's streaming rates reportedly only going as high as $0.00084 per stream, Carey would have pocketed as much as $92,400 (Dh339,339) for her efforts. And that's before splitting the earnings; a sizable portion of that money will undoubtedly flow to the track's co-writer, the Brazilian American composer Walter Afanasieff, not to mention the record company as well.
The left-over cash would barely cover the $35,000 monthly rent (Dh128,537) Carey pays for her Mediterranean styled mansion in Beverly Hills.
It is no wonder, then, that Carey barely acknowledged this year's Christmas success and posted only a short emoji-laden tweet in response.
Here are other tracks that joins All I Want for Christmas Is You in selling over 15 million copies.


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Вом Ритчи (настоящее имя — Стивен Джордж Ритчи, ; 6 августа 1964, Биллерикей, Англия) — английский музыкант, основатель музыкального лейбла Drumming Monkey Records, с 1999 года — барабанщик немецкой панк-рок-группы Die Toten Hosen. До этого гастролировал с коллективом на протяжении нескольких лет в качестве роуди (англ. roadie) на случай обострения хронической болезни многолетнего барабанщика группы Вольфганга Родэ.

Вом Ритчи принимал участие во многих музыкальных проектах, в частности, The Boys, Doctor & the Medics, B-Bang Cider, Spittin Vicars, Wet Dog, The Corner Boys; сотрудничал на концертах и в студии с английским музыкантом ТиВи Смитом (настоящее имя Тим Смит, англ. TV Smith, Tim Smith).

В настоящее время живёт с женой Мэри и сыном Джезом в Дюссельдорфе.

Дискография

Doctor & the Medics
 1985 Happy but Twisted (EP)
 1985 The Miracle of the Age (Single)
 1986 Burn (EP)
 1986 Spirit In The Sky (Single)
 1986 Laughing at the Pieces

The Brotherland
 1994 Nightmares and Dreams

Honest John Plain
 1996 Honest John Plain & Friends

Stiv Bators
 1997 The Last Race

Armageddon Dildos
 1996 Unite (EP)
 1997 Speed

The Boys
 2001 The Worst of the Yobs
 2002 The Boys Live in Germany 2001
 2002 Svengerland (Single)
 2010 The Mattles Boys

Die Toten Hosen

 1998: Wir warten auf's Christkind
 1999: Crash-Landing
 1999: Unsterblich
 2002: Reich und sexy II
 2002: Auswärtsspiel
 2004: Zurück zum Glück
 2005: Nur zu Besuch
 2008: In aller Stille
 2009: Machmalauter Live

T. V. Smith
 2001 Useless
 2003 Not a Bad Day
 2006 Misinformation Overload
 2008 In the Arms of my Enemy

Spittin' Vicars
 2004 Oddball (Single)
 2004 The Gospel According To

Wet Dog
 2007 Heart (Single)
 2007 Perfect Crime

B-Bang Cider
 2008 Teenage Wasteland

Ссылки
 Vom Ritchie @ www.drummingmonkey.de

Примечания

Персоналии по алфавиту
Родившиеся 6 августа
Ударники Великобритании
Родившиеся в 1964 году
Панк-рок-музыканты Великобритании
Википедия:Персоналии, не категоризованные по месту рождения

redpajama_set_name: RedPajamaWikipedia


Some of you may be aware that we started a journey looking at virtual assistants, or 'chatbots,' a while ago with our LiveTiles Bots solution. Since then our team has been hard at work making sense of, and leveraging all the new and continuously evolving technology that is available. Even though we are still in the early days for these Conversational User Interfaces, especially when looking at the internal business setting, we are really excited about what is coming. It's going to be a big year for bots!
This week we are happy to announce that bots built with LiveTiles Bots can now be published to Microsoft Teams and Facebook Messenger. This allows you to take advantage of one of the core benefits of bots—to meet your users where they already are. With this, you can increase your bot user adoption across popular communication channels your team is already using, enabling you to further leverage your existing technology investments.
You now have bot freedom. With our latest LiveTiles Bots update, you can make your Bots available not only on your intranet portal, but also via Teams or Messenger, allowing your users to access your bots on their mobile devices when they are not in the office.
For more information, check out our recent knowledge base articles on how to publish a bot on Microsoft Teams and Facebook Messenger.


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Jamon is a text template engine for Java, useful for generating dynamic HTML, XML, or any text-based content. In a typical Model-View-Controller architecture, Jamon clearly is aimed at the View (or presentation) layer.
Because it is compiled to non-reflective Java code, and statically type-checked, Jamon is ideally suited to support refactoring of template-based UI applications. Using mock objects -like functionality, Jamon also facilitates unit testing of the controller and view. See the list of features for more detail.
The motivations for Jamon came from dissatisfaction with current presentation layer technologies such as JSP and Velocity. Ideas were also drawn from a surprisingly pleasant experience with Mason, which though written in and for Perl, provided inspiration both conceptual and syntactic (for better or worse).


I've been trying to lose weight on and off for years, and had always ended up losing a bit then gaining a bit more, however this time I've been determined to stick to Slimming World because I wanted the weight gone by my wedding in November. I'd ordered my wedding dress in March this year, shortly before I started going to Slimming World classes, and based on my measurements at the time, the dress was ordered two sizes smaller. I'd always planned on losing more than 2 sizes, and felt that the extra motivation of a too small dress would keep me going. Plus the more a dress needs to be altered the more difficult it would be.
Last week I found out my dress has arrived in the bridal shop and is ready to try on. So far I've lost 17lbs since ordering the dress, and in terms of the clothes I'm wearing I've probably dropped around 1.5 dress sizes, so I'm not too sure yet how the dress will fit. However, if it's still a little too small I know that I have more time to keep losing the weight before I need to have a final fitting. So, the first fitting is booked for Saturday 30th July, or just over 2 weeks time. In these two weeks I'm aiming to be 100% on plan, and really up my intake of speed and superspeed foods to try and get as much off as possible and feel as good as I can for that day.


Melbourne times are the 1st and 3rd Tuesday and Wednesday of every month.
Bendigo days are alternating Tuesday's on the 2nd, 4th and occasional 5th week of each month and every Friday. Further dates maybe available with discussion.


text:
In the early 1980s, inspired by the Velvet Underground, the Ramones, and Phil Spector's Wall of Sound, Scottish brothers Jim and William Reid quit their jobs, flipped a coin for the role of frontman, and started a band. The title of their 1985 debut, Psychocandy, aptly embodies the result, swirling together Shangri-Las-inspired bubblegum pop and lo-fi psychedelia. The Jesus and Mary Chain's means were raw and bold: The Reids' three-chord guitar melodies screeched with feedback, Bobby Gillespie thumped his two-piece drum kit with mallets, and Douglas Hart's bass lacked half its strings. What came out was equally disaffected and heartfelt, full of bad boy anthems ("Never Understand"), girl group worship (the lovesick "Just Like Honey"), and angsty romance ("Taste of Cindy"). In interviews, the Reid brothers proclaimed themselves to be the next Beatles, but in reality the duo were terribly bashful. They hid behind dischord like goth greasers, their eyes covered by puffy curls and Ray Bans. Countless subsequent musicians, from My Bloody Valentine to the Dum Dum Girls, found salvation in such shadowy forms. –Quinn Moreland
Listen: The Jesus and Mary Chain: "Never Understand"
The Jesus and Mary Chain's Video for "Just Like Honey"
The greatest trick college radio ever pulled was convincing people that R.E.M. were mostly about a jangly guitar sound. All due respect to Peter Buck's chiming guitar chords, but R.E.M.'s debut full-length is the work of a cohesive ensemble, one that knew how to deploy small, ingenious touches to get their point across. These tinier effects can also help make the songs emotionally legible—particularly when the lyrics resist easy scanning. What is a "Moral Kiosk," exactly? The song's thoughtful production provides resonant clues; as the verses' occasional dry percussive smacks give way to airier, reverb-strewn vocals, there's a sense of a world in constant flux (with values and ground rules subject to sudden revision). The quicksilver intelligence throughout these early songs helped define an approach to accessible but richly textured pop that would stand R.E.M. in good stead over the coming decades, as they became one of the biggest bands on the planet. But they were always bigger than "jangle pop." –Seth Colter Walls
Listen: R.E.M.: "Pilgrimage"
R.E.M. Perform "Radio Free Europe" Live in 1983
Hip-hop was thought to be a charming little fad until Run, D.M.C., and DJ Jam Master Jay showed naysayers that it was something more. They were the first rap group to earn a gold album, for 1984's Run-D.M.C., and be nominated for a Grammy. They were fashion icons in Fedora hats, rope chains, and shell toe Adidas, whose music blended sparse electronic drums and electric guitar riffs. Rap at the time sampled funk and soul; Run-D.M.C. were the first to push the genre to a rock-oriented sound. Powered by the massive breakthrough single "Walk This Way," which helped resurrect Aerosmith's then-languishing career, Run-D.M.C.'s third album, Raising Hell, became a major commercial hit, catapulting the group to the mainstream and making them global stars. Look past the Aerosmith collab and you'll find a handful of all-time great classics: the lightning-quick "Peter Piper," the stuttering bounce of "It's Tricky," the playful push-and-pull of "You Be Illin'," and the anthemic stomp of "My Adidas." With Raising Hell, Run-D.M.C. cemented hip-hop's long-term vitality and crossover appeal. –Marcus J. Moore
Listen: Run-D.M.C.: "Peter Piper"
Run-D.M.C.'s Video for "Walk This Way"
Stronger Than Pride
No one would ever call Sade a band with stylistic swerves, but Stronger than Pride, the first album singer Sade Adu produced herself, was a departure, at least in spirit. "I wanted a sound that was empty and hollow so that you would have the voice just coming at you," she told The New York Times in 1988. While the album hardly sounds empty—Paul Denman's bass, in particular, is front and center—you can hear it in the hushed stasis—backing vocals, pan flute effects, and only intermittently more—of "Love Is Stronger Than Pride," or the deconstructed Jackson groove of "Turn My Back on You." Even when Adu doesn't sing—as on "Siempre Hay Esperanza," flecked with Latin jazz and animated by Stuart Matthewman's sax—her longing presence is palpable.
It's hard to find a sector of music today that hasn't been touched by this album. It's been endlessly sampled by hip-hop artists, and it's found its way to house DJs and producers across the globe. Neo-soul and alt-R&B are clear and obvious successors, as is Drake, who's called Adu a defining influence. (He also got a tattoo of her. Twice.) Echoes of Adu's voice—notes piercing with perfect clarity through fog and breath—can be heard in Tracey Thorn and Sinéad O'Connor, and in modern artists like Jessie Ware or the Weeknd's Abel Tesfaye. Sometimes, "Nothing Can Come Between Us" sounds like the blueprint for half of what's on the radio. –Katherine St. Asaph
Listen: Sade: "Love Is Stronger Than Pride"
Sade's Video for "Nothing Can Come Between Us"
From the outset, Black Flag was less a band than a state of mind. For their first three years, the hardcore pioneers essentially functioned like a karaoke bar, cycling through three different vocalists who each provided their own sneering interpretations of guitarist Greg Ginn's circle-pit-stoking songbook. But with the arrival of a young, barely tattooed Henry Rollins in 1981, Black Flag found a frontman who pushed their self-immolating aggression and absurdist social satire to fearsome new extremes. (Who better to draw out the scathing critique from ostensible drinking anthems like "Six Pack" and "Thirsty and Miserable" than a straight-edge singer?) And with Rollins' predecessor Dez Cadena switching over to become Ginn's wingman on guitar, Black Flag unleashed a new double-barreled attack that was as unpredictably intricate as it was pulverizing. Factor in a growing affinity for shout-along calls-to-arms, not to mention the closest thing they ever had to a crossover hit, and Damaged is the sound of hardcore's personal catharsis catalyzing an eternal youth movement. –Stuart Berman
Listen: Black Flag: "Rise Above"
Henry Rollins on How Suicide's Alan Vega Changed His Life
Twin/Tone
"How old am I?" Paul Westerberg asks at the start of Let It Be, and then he spends the next 30 minutes artfully dodging the answer. The Replacements' third album marked both the heaving last gasp of their puerile drunk-punk past and their arrival as the preeminent barstool philosophers of American college rock. It remains a lodestar for anyone who has to reckon with the moment when the fleeting bender of youth must give way to the extended hangover that is adult life.
Let It Be is a valorous rock'n'roll record reeling from the broken promises of rock'n'roll, wrapping itself in its secondhand Beatles title like a thrift-store jean jacket, debasing KISS' arena anthem "Black Diamond" into a desperate howl from the void and flipping Mick Jagger's I-can't-get-no-satisfaction sneer into the dejected ballad "Unsatisfied." That such a bracing confessional could come from a band that had yet to completely outgrow singing about boners is startling enough. But what's most striking about Let It Be is how such a bleary-eyed album now sounds so presciently woke, with Westerberg finding common, disaffected ground alongside gender-fluid outsiders ("Androgynous") and sexually confused teens ("Sixteen Blue") at a time when such topics lay far outside the usual boys-in-da-band vernacular. And while technological advances have rendered the titular target of "Answering Machine" obsolete, its long-distance blues still feel visceral in a time when romance is coldly mediated from smartphone to smartphone. –Stuart Berman
Listen: The Replacements: "Favorite Thing"
Everybody Is a Star: How the Rock Club First Avenue Made Minneapolis the Center of Music in the '80s
Eight albums into his career, and more than 50 years into his life, Leonard Cohen settled into his sound the way a great building settles into the earth. His voice, dark from the start of his career, plunged to resonant new depths. His arrangements, long given to spare or antique instrumentation, used an array of synthesizers to discover the wonders of modernity. And his lyrics, always his ace, gained a grave new humor.
Together, the changes inspired I'm Your Man, an album spoiled with many of the bard's most quoted, hummed, and pondered creations. The Germanically stern "First We Take Manhattan" may have told a tale of political and psychic terrorism, but it also became the first Cohen song you could dance to. "Everybody Knows," a taunting oompah, confronted us with the depths of our collective cynicism, and dared to play some of it for laughs. The title track, rich in kink and sensuality, established Cohen as perhaps pop's oldest sex symbol. Things came to a head in "Tower of Song," Cohen's ultimate mission statement: Between cracking self-deprecating jokes about his "golden voice" and his inferiority to Hank Williams, Cohen positioned the creative act as both a prison and a path. –Jim Farber
Listen: Leonard Cohen: "First We Take Manhattan"
Leonard Cohen Sings "Tower of Song" Live in 1988
Maybe the most salient fact about Prince's third album is that he recorded it at home—in other words, a place where he could be whoever he wanted. Not that he bothered to define himself so rigidly. If anything, Dirty Mind marked the moment where the man who once reportedly told a Warner Bros. executive "don't make me black" (a comment that spoke less to his own identity than those corporately available to black artists in 1980) became uncategorizable. He was a yes/and instead of an either/or: rock and funk and punk and R&B, the slick hunk and trembling virgin, a man as proud to give head as to receive it. Presumably, the surfaces of the songs here—dry, plastic—only made them easier to clean. To that end, most of them are about sex. The ones that aren't are about things I'm too shy to type. At one point, he even takes it from his sister with a whip, to which he shrieks: "Oh, motherfucker sister motherfucker, can't you understand?" No. But then again, some things aren't meant to be understood. –Mike Powell
Listen: Prince: "Uptown"
Deeper Dive
The Story of Prince's Dirty Mind
Surfer Rosa
Given that so much of indie rock embraced the Pixies' second album, Doolittle, as a roadmap, it's easy to forget how their swift, vicious debut didn't sound like anything else in the American underground in 1988. Nastier than R.E.M., weirder than the Replacements, and more tuneful than Sonic Youth, Surfer Rosa traces tales of broken faces and molestation with a sinister grin. By emphasizing the band's combustive chemistry, producer Steve Albini placed each member on an equal plane: David Lovering's thunderous drums wrestle with the guitar squalls of Joey Santiago, while Kim Deal commands as much attention with her backing vocals as Black Francis does with his lead. Returning to Surfer Rosa now—years after its influence was swallowed whole by the mainstream, and the dangerous dream of "Where Is My Mind" was diluted by its omnipresence in commercials—what amazes most is how Albini captured that specific moment when Pixies seemed of another world, driven by menacing spirits that haunted nobody else in college rock. –Stephen Thomas Erlewine
Listen: Pixies: "Bone Machine"
Pixies Perform "Where Is My Mind?" Live in 1988
Reign in Blood is a totem of human cruelty, violence, and horror, but its most shocking quality is how desperately it wants to be heard. This was not Slayer's first great album, but it was their first that was impossible to ignore. The Rick Rubin-produced Reign in Blood felt rehearsed, immediate, eternal—not just an introduction to a band but to a whole new way of being. It's unclear how many kids in the '80s listened to Reign in Blood and became Satanists, but it's safe to say a lot of them decided to grow their hair long and start wearing sleeveless tees, just like their new heroes.
The album's lyrics—composed by guitarists Jeff Hanneman and Kerry King, exploring subjects like Josef Mengele ("Angel of Death"), serial killers ("Criminally Insane"), and necrophilia ("Necrophobic")—were what initially made the news. But their music is what made it stick. If you could get tattoos of guitar riffs, these ones would be omnipresent: haywire, hellbound things that dig into your subconscious like jackhammers into concrete. Lars Ulrich of Metallica, a group that would become Slayer's only true thrash metal competitor in terms of creative and commercial longevity, once questioned whether they could make such breakneck intensity last. King laughed it off: "We don't feel stuck, 'cause we like it. Once we stop liking it we'll change." Somehow, Reign in Blood was just the beginning. –Sam Sodomsky
Listen: Slayer: "Epidemic"
The End of Slayer, The Greatest Metal Band Still Going
Rhythm Nation 1814
Janet Jackson's fourth album was a political statement—for herself and the world at large. Following 1986's Control, which catapulted the singer to meteoric fame, Jackson wanted to add a more pronounced message to her music, to make art that stimulated the body and the mind. Rhythm Nation 1814 brought the news to the dance floor; as it played, one could almost see Jackson scanning CNN, her ire increasing with each headline. On "State of the World," she tells the story of a young and struggling mother, urging people around the globe to tackle civic plight together. Elsewhere, she addresses the crack epidemic, the AIDS crisis, and black men being sent to prison at alarming rates. Producers Jimmy Jam and Terry Lewis spun Jackson a dark, almost metallic blend of intense funk on which the singer forced her listeners to "give a damn." In turn, Rhythm Nation felt urgent, an album that aligned with the reality-based rap of Public Enemy and Boogie Down Productions while also asserting Jackson's stature as a pop star with meaning. –Marcus J. Moore
Listen: Janet Jackson: "Escapade"
Janet Jackson's Video for "Rhythm Nation"
Thomsun Original
Eric B. & Rakim
Eric B. & Rakim are a time capsule. They arrived with two consecutive classics in quick succession: 1987's Paid in Full and 1988's Follow the Leader. Anything after that second album doesn't seem to matter as much, because the ultimate conceit of Rakim's lyrics was that he was the best rapper that ever lived, and at that point it was true. Rakim didn't holler or posture or mug like other '80s rappers: He muttered, disdainful of anyone incapable of keeping pace. Follow the Leader extended Rakim's lead, as Eric B. exploded the beats into larger, more complicated territory. The duo were so plugged-in, so light years beyond, that when Rakim rapped, "Let's travel at magnificent speeds around the universe," it sounded, for the first time, like a reasonable end point for hip-hop. –Jay Balfour
Listen: Eric B. & Rakim: "Follow the Leader"
Eric B. & Rakim's Video for "Microphone Fiend"
There are people who can't stand Bruce Springsteen but revere Nebraska. It makes sense. If you're turned off by his famed exuberance or optimism, then Nebraska can seem like the photonegative: a solitary collection of lo-fi ballads and highway nightmares. Springsteen recorded most of these tracks in his home, in one day, in the dead of winter, with the hopes of bringing them to the E Street Band. As legend has it, while the band hammered away unsuccessfully, trying to find their place in the music, it occurred to him that the record was already done, in its sparse, embryonic form. Considering how much music got scrapped throughout Springsteen's career, the miracle of Nebraska is that these songs got released at all. The album arrived midway between commercial breakthroughs The River and Born in the U.S.A. The pain on those records could be subdued: It could be chanted away in a crowd of thousands, belted out with a fist in the air. But how exactly do you sing along to Nebraska? You do it alone. –Sam Sodomsky
Listen: Bruce Springsteen: "Atlantic City"
These Are the 8 Best Bruce Springsteen Books
While Cocteau Twins guitarist Robin Guthrie would later bemoan Treasure's "so 1984" sound of drum machine and DX7 synth, for their fans, the Scottish band's third album had little to do with the rock music of that decade. Rather, Treasure marked the point at which the Cocteau Twins floated off into their own, hugely idiosyncratic paradise, severing the post punk and gothic rock links of their first two albums in favor of a lustrous, angelic sound. Indeed, other rock music seems brutish and unnecessary when faced with the mystical drift of "Aloysius" or the choral drones of "Donimo." Best of all, though, is "Lorelei," an idiosyncratic wonder that marries the divine sound of singer Elizabeth Fraser in full, operatic swoop with Christmas bells, velvet-soft guitar walls, a muscular bass line, and oceans of reverb—creating something of such otherworldly beauty, it felt incredible that mere human beings could have been involved in its creation. –Ben Cardew
Listen: Cocteau Twins: "Ivo"
Facing the Other Way: The Story of 4AD
Audacity came naturally to Prince, yet he was particularly fearless when he made 1999. Here, he indulges in every one of his fascinations, doubling down on the carnality that fueled Dirty Mind, sharpening the funk of Controversy, modernizing the soul of Prince, and, most importantly, adding a heavy dose of rock that hadn't been heard on any of his prior records. "Little Red Corvette" may creep into view on the back of slinky synthesizers, but it achieves transcendence when Prince paints it with sheets of squalling guitar—a sound that helped him score his first crossover hit.
Elsewhere, 1999 favors the strange and funky over the bright snap of pop. Most of the record pulses to a computerized beat that's turned warm and weird by Prince's leer. Sex is always on his mind because he loves it, but it also helps keep apocalyptic fear—most notably on the deceptively joyous title track—at bay. Relentless in its sprawl, 1999 remains a high-water mark of nuclear new wave madness, a record in which pleasure and paranoia intermingle so intensely, they're impossible to separate. –Stephen Thomas Erlewine
Listen: Prince: "Little Red Corvette"
Seeing Purple: Prince in the '80s
World of Echo
World of Echo is a culmination: Using primarily amplified cello and his gentle voice, Arthur Russell finally threaded together his various interests on what would be his last release before his death from AIDS in 1992. There are echoes of avant-garde cello, faint sketches of dance beats, serene minimalism, spectral melodies, a Buddhist spirit of infinity. The whole record feels like a shadow, a whisper, an apparition, a collage—as if the sound really has no edges, no beginning or end.
When sales of World of Echo were low, Russell requested a sticker be added to each LP with a single word: "Unintelligible." But it continues to translate. World of Echo is one of the loneliest albums ever recorded, a series of deconstructions from a person who fit in nowhere, yet it is deeply comforting and self-possessed. It is as if Russell invented a whole new way of being alone. Plenty of artists have made outsider music. None have ever come so close to the feeling of being unreachable. –Jenn Pelly
Listen: Arthur Russell: "Wax the Van"
Exploring the Buddhism at the heart of Arthur Russell's catalog
Spirit of Eden
Many bands start out underground and get more mainstream over time; the opposite trajectory, not so much. Talk Talk saw early success with their slightly edgy synth pop, scoring minor hits like "It's My Life" and "Talk Talk" in the early- to mid-'80s. They were already inching toward a more dynamic and acoustic sound when they were offered an open budget and total control for their fourth album. They took this freedom in a somewhat unconventional direction, enlisting many musicians to jam in a darkened London studio for hours, over the course of months, before the tapes were put together by band leader Mark Hollis and producer Tim Friese-Greene.
The results were wholly unmarketable; however, years removed from the expectations of what this band should be, the singularity of Spirit of Eden started to emerge. Now the album, along with its even more structureless follow-up, 1991's Laughing Stock, are considered cult classics and pioneering works of post-rock. Mixing the elegance of jazz, the fire of rock, and the pace of ambient, Hollis and co. follow the lead of the instrumental improvisations. Tension builds and diffuses on a whim; songs can take five minutes to reach a point of sharp relief amid Hollis' warbled reflections on salvation. Whether it's the guttural riff that erupts amid "Desire," the closing ring of organ that would send shivers down any churchgoer's spine, or the strategic use of quietness throughout, Spirit of Eden invites the listener into private musical epiphanies. –Jillian Mapes
Listen: Talk Talk: "Eden"
Talk Talk Perform "I Believe in You"
Complete Discography
The Washington D.C. band Minor Threat's sensibly titled Complete Discography opens with a song called "Filler," but it's all substance across these 26 confrontational tracks. Focusing on staying true to yourself and to your community, the compilation—which stitches together three EPs and one-off bits—skids past in 47 minutes and iterates on the hardcore band's central thesis that they're out of step with the world and totally OK with it.
Taken as a whole, Complete Discography allows you to follow the development of a group who kept refining an already minimal sound while showing staunch allegiance to a punk ideal (for instance, they'd only play all ages shows with a $5 door fee). Minor Threat were efficient in everything they did: Over their three years as a band, they spearheaded the straightedge movement (no drinking, smoking, or promiscuous sex), created a blueprint for the thinking human's hardcore, and frontman Ian MacKaye and drummer Jeff Nelson's Discord label went on to show what can happen when you remove the middleman and decide to do it yourself. In 1983, they called it quits, splintering into other essential acts like Rites of Spring, Dag Nasty, and Fugazi, but in their short time together, Minor Threat proved you could follow you own path while creating a new one for anybody who wanted in. –Brandon Stosuy
Listen: Minor Threat: "Straight Edge"
Minor Threat Perform "In My Eyes" Live
Listening to Laurie Anderson's first album is like sitting down with a strange form of life that has been studying us for a long time. Sometimes, like on the plane-crash scenario of "From the Air," it seems to know what it's doing. Other times, like on the meditative "O Superman," it's on the verge of collapse. Its language is patched together from TV shows and public-service announcements, things it thinks actual people say. The less it knows, the more authoritatively it speaks, something Anderson, a woman in a world dominated by men, understands well.
The music is simple and spacey, filled with clacking hand drums and computerized drones, fragments of an imagined past and an eagerly projected future, which Anderson describes on "Let X=X" as "a place about 70 miles east of here, where it's lighter," either because that's how the sun moves across the sky or because that's where the new shopping center is going in. It is minimal but warm, a little bit punk (it doesn't pretend to know anything) and very beautiful (it understands a lot). If Anderson is a protest artist, the nature of her protest here is something like this: The world is filled with death machines operated by people with no special capacity to do so. Skeptical, meditative, but deeply concerned, Big Science is a picture of the man (always a man) sitting at the button reckoning not with its metaphorical power so much as how red it is, how shiny. But it also captures the feeling—the terror, the wonder, the muted mix of both—of living in such a place, where the coyotes still bay and the philosophers of violence still miss their moms, where the sweetest thing someone can say about their lovers' eyes is that it's a day's work looking into them, because work is all they know. –Mike Powell
Listen: Laurie Anderson: "Sweaters"
Laurie Anderson's Video for "O Superman"
3 Feet High and Rising
1989 was a contradictory year in hip-hop. While Public Enemy put the match to a black-power powder keg with "Fight the Power," fellow Long Islanders De La Soul inaugurated the D.A.I.S.Y. Age. The term was short for "Da Inna Sound, Y'all," but on their debut album, 3 Feet High and Rising, what would come to be known as "conscious" hip-hop took a backseat to the wonders of the subconscious, which played out in candy-colored surrealism, dizzyingly referential wordplay, and, thanks to the album's game-show conceit, some of the most engaging sketches in the rap canon.
The trio of Trugoy the Dove, Posdnuos, and Maseo carried themselves with the irrepressible energy of class clowns on a field trip, keeping up a steady stream of inside jokes, unhinged banter, and schoolyard wisdom. Aided by Prince Paul, the record's sampledelic production was nothing short of revolutionary—a crazy-quilt piecework incorporating Steely Dan, Hall and Oates, and Johnny Cash that was as kaleidoscopic as Public Enemy's It Takes a Nation of Millions to Hold Us Back or the Beastie Boys' Paul's Boutique, but also brighter and airier. Maybe it's fitting, then, that an album so evocative of flowers and rainbows should have gone the way of the unicorn: Ever since a 1991 legal ruling against Biz Markie, 3 Feet High's style of rapid-fire bricolage has become financially prohibitive and functionally verboten. Today, given lingering sample-clearance issues, there's no trace of the album on streaming services or even the iTunes download store. But in a way, maybe that's fitting, too. A collection of knowing winks and secret handshakes, 3 Feet High and Rising requires a healthy amount of work from contemporary listeners—even if the music goes down as easy as ever. –Philip Sherburne
Listen: De La Soul: "The Magic Number"
De La Soul's Video for "Me Myself and I"

redpajama_set_name: RedPajamaCommonCrawl


text:
Solid State Logic Live at Edinburgh Castle
"I actually said out loud, 'wow, this is amazing'"
EDINBURGH, SCOTLAND, U.K. – This summer's Commonwealth Games in Glasgow were preceded by Live at Edinburgh Castle, a 2.5-hour multi-act concert, televised live on the BBC from this unique location that dominates the Edinburgh skyline. The line-up for the event was extensive and included Culture Club, OneRepublic, Kaiser Chiefs, Motown legend Smokey Robinson, Jessie J, Paloma Faith and Il Divo. Various acts were backed by a 12-piece house band and the BBC Scottish Symphony Orchestra. To keep up with the fast-paced nature of the high-profile event, two SSL Live consoles were provided by Britannia Row Productions Ltd.
Though the event was headed by Brit Row Project Manager Lez Dwight, with Stefan Krista managing the inputs and cross-patch from scores of 12-way sub-snakes, Nahuel Gutierrez operated one SSL Live for the 75-member orchestra, generating group stems for FOH, monitors, BBC broadcast and 16 personal monitor stems for the orchestra. Niccolo Antonietti used the second SSL Live console to mix monitors/IEMs for the house band, along with guest vocals, guest backline and Pro Tools® tracks, totalling 60 outputs for 30 stereo mixes. Both SSL Live consoles were located remotely with only a BBC program shot to watch. As freelance engineers, rehearsal for the Edinburgh Castle concert was the first time Gutierrez and Antonietti had the opportunity to use an SSL Live console.
Antonietti's console handled the house band, made up of drums, bass, guitars, two keyboards, percussion and three backing vocals, as well as director Mike Stevens' keyboard and guitars. He also controlled the handheld microphones for guests, ambient microphones, intercoms, BBC feeds and 16 channels of Pro Tools, bringing Antonietti's desk to 120 input channels. The two SSL Live consoles also had a MADI connection between them to feed stem subgroups back and forth.
"The orchestra was using personal monitors, so I sent them band stems, like guitar, rhythm section, keyboards and vocals, as well as Pro Tools stems," Antonietti explains. "I then received a premix of the orchestra and of all of the other channels that I couldn't get on my desk."
Antonietti found the stems feature extremely advantageous. "The stems are especially important when you have that much to mix, with guests coming and going that you have to mix for and keep track of in such little time," he says. "I could just mix the guest IEMs using stems, so it was really, really helpful. It was one of the best features on SSL Live for this show, because you can have a lot of channels that don't need full processing."
Over on the orchestra's SSL Live console, Gutierrez used channel delay to synchronize the orchestra's inputs. "The delays made everything sound a lot fatter and we loved it," he says. "We measured the distances on stage and then put natural time delays from back to front, so percussion had the biggest delay and the first violins and cellos up front had the shortest delay.
With just a minimal amount of time to acquaint themselves with SSL Live at southwest London's CATO Rehearsal space, Antonietti and Gutierrez had no trouble getting a feel for the console. "I felt very comfortable because SSL sent product specialists to help us out; after they showed me how to get into the system, it was really easy," explains Antonietti. "We set up on Wednesday before the show on Saturday, so we only had a few days for the guests to rehearse with the orchestra and band. The quick learning curve of the SSL helped made rehearsals simple."
Antonietti mentions SSL Live's sound quality as his favourite feature. "The sound quality on the console is amazing; its preamps and its stereo capabilities are great," he says. "I only needed to make slight gain adjustments to make it perfect and some EQ'ing to the really high and low ends to make it sound balanced for the IEMs. The console just sounded really good."
"The most amazing thing about the desk is the sound," echoes Gutierrez. "I've never played with an SSL before and the sound is crisp and very, very nice. It also has a wider stereo image than other desks. Don't ask me why; that's what I'm hearing with my ears."
Gutierrez also mentioned SSL Live's cueing. "One of the things that really amazed me was the solo feature," he adds. "Being able to route the solos on any output, once you get your head around it, is really brilliant. Not having to preset the solo is really amazing. I actually said out loud, 'Wow, this is amazing.' "
Solid State Logic is the world's leading manufacturer of analogue and digital audio consoles and provider of creative tools for music, broadcast, live and post production professionals. For more information about our award-winning products, please visit: www.solidstatelogic.com.
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Caffe Gambrinus is a Neapolitan cafe dating back to 1860. It retains a sense of grandeur, with the waiters wearing floor-skimming aprons and moving about the cafe in ever-sweeping motions. The space is very gilded and stuccoed, signifying the Belle Epoque era in which it was designed. The outside terrace overlooks the stunning Piazza Plebiscito. The glass shelves full of sweets are abundant.
wow!!!! very interesting this blog! I love to travel and coffee!!!
I only just discovered your blog and I am loving reading through the archives. I really like your writing style and it has already got me wanting to learn more about coffee! Thank you.
I was there last week, and it's a wonderful trip for two of in Naples, we did had pizza, and drink coffee at Gambrinus, it's tasty as you said, we did buy two 250g home, and we love it. If you have a chance, I suggest to visit Naples, yes it's dirty, noisy, but foods are excellent there, and of course be careful when you walk across the street.
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