To contact us Click HERE DALE CITYVA Nov 23 2012 Virginia State Police have charged a New Jersey man with threatening to bomb aGreyhound bus on which he was traveling. Twenty-three-year-old David Servais of Millville, N.J.,was also charged with being drunk in public, abduction, possessing a syntheticmarijuana substitute and being a fugitive from justice. Police say they received a 911 call about 3:30 a.m.Wednesday from a passenger on the bus, which was traveling on Interstate 95from Richmond to New York. Police say Servais was threatening other passengers and atone point barricaded himself in the bathroom at the back of the bus. The bus was evacuated, and all 38 passengers got out safely. Servais eventually was arrested without incident, but policewere forced to close the HOV lanes on I-95 for about three hours. Source:Pilotonline.com
To contact us Click HERE ChesterCountyPANov 23 2012 Firefighters in Chester County, Pa.are facing Thanksgiving with heavy hearts as they mourn the loss of a brother. Good Will Fire Company Capt. Chris Good, 36, was found incardiac arrest at his home on Wednesday, according to the Daily Local.com. Good had helped at a working fire on Tuesday. On Wednesday,he went to his job as a firefighter Arcelor Mittal Steel Fire Company. After attending a pre-plan exercise, he returned home. Hiswife later found him unresponsive. He is survived by his wife and three children.
To contact us Click HERE It's easy to believe there's no grocery stores in downtown Cleveland if you don't know what you're looking for, but Constantino's Market is definitely there, at 1278 W 9th St. On the plus side, they have a lot of local grocery, they're family owned, and the quality of the food is very good. The downside is the price- but what would you expect from a grocery store with no competition? If you want groceries without having to drive out of downtown, you probably have to hit Constantino's. The popular consensus is that it's good for the prepared foods, but the staples just aren't worth it to buy there.
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People in Cleveland think that the Little Italy area is lovely and romantic, but having lived there for three years, I think it's kind of overpriced and bigoted. There's definitely a dark side to Little Italy, including but not limited to a racist mob and some super gentrification going on.
Most of the restaurants in Little Italy are overpriced and vermin-infested. One of the cheaper places to get something to eat is Mama Santa's; and it's where we got pizza from while we were in college.
I went with my friend to Mama Santa's for a walk down memory lane, and both of us being visibly queer, we were treated with some condescension (weird looks, snippy remarks) from the waitress. The food was the same ordinary food we enjoyed during college; nothing special.
Note well that they don't serve pineapple on pizzas here... the waitress made it clear to us that we'd need to go up to Hippie Coventry to get something so outlandish as that.
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Daniel loves to eat lunch at school So far, mom packed his lunches, he only bought chocolate or strawberry milks sometimes whenever we want it He finishes his lunch everyday Day 1 Chocolate chip waffle Day 2 Buttered Pasta Day 3 Ham & mayo sandwich Day 4 Ham & mayo sandwich again (his request) Day 5 Hamburger bun with....another ham and mayo...haha Day 6 Jelly sandwich and Cream cheese sandwich
Until day 5 he always ate it up, he is also finished his snack Looks like he is always hungry Note: Now he can eat more than Clarissa, who is 4 1/2 years older
Mom is happy that he can eat all of it . So far he doesnt want to buy lunch at school, he still enjoy homemade lunch. These days he is memorizing his pupil number ( which is also like a pin number for buying lunch) Maybe next week or week after that he can buy lunch. NOT everyday hopefully. Mom will go bankrupt if he buys everyday :) (Note: we dont have to order at the beggining of the month, he can just order if he wants)
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I was under the impression that John Oswald's Plexure, released in 1993, was the first entire album to depend solely on other musicians' work. Plexure is about 20 minutes of mixed and mashed snippets of pop songs released between, I think, 1980-1990, or at least somewhere in that span of years. It’s pretty disorienting, but also extremely interesting, if you can stand what essentially sounds like somebody fiddling with a radio tuning knob, constantly cycling through radio stations for 20 minutes.
However, I think Oswald has been quick to distance himself from "sampling" in the traditional sense, like what is done in hip-hop. Oswald labels what he does as Plunderphonics (essay: Plunderphonics or Audio Piracy as a Compositional Prerogative) and seems to draw the distinction between Plunderphonics and sampling in that hip-hop and other sample-heavy genres, e.g. glitch, normally attempt to fit their samples into an existing peice, or a peice which will exist; either way, the sample is merely a layer among layers. To "plunder" is instead to make music exclusively out of samples, to use the sampling machine as a musical instrument in itself. To create plunderphonic music is then to use such an instrument to recreate "noise" (what we hear around us, natural or unnatural) the same way that composers (Oswald dwells on Ives in particular) create melody out of existing tone scales and public domain pieces (since many of those older composers were creating in a copyright-free era).
It seems that Oswald is aligning himself with Futurist composer Luigi Russolo, who created “music” out of assembled devices which would recreate noises such as whistling, thundering, creaking, etc, and John Cage, whose compositions using radios in the 40s and 50s (I think that’s right) preface Oswald’s own radio-derived pieces. Essentially, Oswald provides an avenue out of the copyright dilemma by asserting that A. “plundering” has been a musical tradition stretching from Bach to jazz to contemporary pop music, and B. the sampler is a unique instrument, just as are pianos, trumpets, guitars, capable of producing music that, though it may be derived entirely from other pieces, is wholly unique on its own and is thus a creation equal to any other musical or artistic creation.
I have Plexure if anybody is interested in hearing any of it, but I won’t post anything from it since I don’t want anybody unwillingly bombarded by such abrasive dissonance. I will, however, post a Girl Talk song; Girl Talk is the pseudonym for DJ Gregg Gillis, who is a contemporary mash-up artist. Mash-up, as a genre, I believe probably comes closest genre-wise to reproducing Oswald’s aims in Plunderphonics, except that mash-up, generally speaking, is party music.
The song is track number 10, I think, from Gillis' 3rd album, Night Ripper (Warning: Explicit language). The video was created by Concordia University professor Matthew Soar, for the Open Cinema Source Project.
Part of the fun of mash-up music, and Girl Talk's in particular, is also being to recognize all the samples (there's something like 200 or so,maybe more, samples spread out over 16 songs) which relates to a buzzword thats been circulating recently about the "pleasure of the known," in which culture has become so reflexive and referential that part of the cultural experience, and part of participating in society, is being able to place references (think of such fare as Mystery Science Theater 3000, Family Guy, the Simpsons, not to mention tons of poetry, etc). To be a participant and to derive pleasure from participation seems increasingly tethered to knowing sources, and being appreciate the layering of sources (a source referencing a source refering a source). Of course, this is incredibly off topic and deserves a different post entirely.
As for what David said about subdivision, I like the application to text poetry and I agree that prosody seems to be the replacement for the music that would accompany a video poem (I guess that should be reversed: music is the replacement for prosody). Or even for a video poem without music, video itself has a rhythm to it, as Russian director Andrei Tarkovsky noted in his book Sculpture in Time: "The dominant, all powerful factor of the film image is rhythm, expressing the course of time within the frame....[The expression of time]...is the very foundation of cinema...Rhythm...is not the metrical sequence of peices; what makes it is the time-thrust within the frames. Rhythm...is the main formative element of cinema....Rhythm in cinema is conveyed by the life of the object visibly recorded in the frame." (Sculpting in Time, pgs 113-120).
Anyway, I agree that sampling, or plundering involves the subdividing of ideas in a LFT kind of way; the only quibble I have, David, is your statement that "[DJ Shadow] unit[es] others' fragments". Isnt it the other way around, though? Don't his sources, and the sources for most other musical sampling/plundering begin as united, and then the artist/sampler/Dj/plunderer fragments those compositions? At least, that really only applies to music-- not that a DJ couldnt unite out of fragments, I just dont know of any case where a DJ has done so. I think the point you made is still relevant for poets though, and maybe this is where the alikeness between a DJ and a poet ends: a poet can unite fragments or fragment unities and create poetry out of either. We're lucky to have it both ways.
As for what I was supposed to post, about the supposedly French Oulipian idea about how any word has the potential and the weight of all other words (which I think I now actually picked up from Derrida, not Oulipo) I'll get to that this weekend, since what began as a simple "Hey, here's the link" has turned into something else.
While at Beachwood Place Mall, looking, as usual, for evidence of interaction (such as shadows and reflections), I came upon DJ Adio in a shop window, positioned where both he and his reflection could be seen on two glass planes on which reflections from passersby also temporarily converged, diverged, then converged again on the second plane. A sampling, if you will, of space, of occupancy; a sharing of moment as he spun red discs of music I could not hear.
The sharing of space as reflections converged seemed to be a visual aspect of what the DJ was mixing; persons he did not know, could not see were becoming part of him, walking through his image, enlarging what his image could contain, just as he was enlarging sonic space and sonic meanings.
DJ Adio was functioning as a door, as a bifurcation point, as an entrance and exit point, an access point —and his gestures seemed to be shuffling what was converging, configuring the sonic and visual geometries of the connections. A fantastic door system that I wanted to highlight and explore further with Philip Bimstein's Door music and added vocal tracks expressing and exploring some gist of my observations that were part of the convergence, part of the collaboration.
DJ Adio Door Ways Ghost Relay: an adventure in vibration studies was a poam outcome of an unplanned investigation of a convergence of DJ, reflection, observation, meaning as transit system, the mixing of elements by a DJ in the configuration of a moment.
In this investigation, the movements and gestures took on more context as ripples of experience, shockwaves fanning out from a central event: the DJ's role as an assembler of realities within realities; DJ Adio was acting as a hub into which realities fed, a hub of convergence where he reassembled what converged and transmitted alternate versions, more of the other possibilities for the information that converged in his hub. DJ Adio as relay station, as transformer.
Note well that they don't serve pineapple on pizzas here... the waitress made it clear to us that we'd need to go up to Hippie Coventry to get something so outlandish as that.