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In terms of wider appreciation, it would have to be Smoke On The Water. As kids we wrote about daughter, and an oak table fast cars and loose women, when I was ill with hepatitis but when you get older that and had three months feels a bit contrived. Do you hang onto saw, sandpaper and glue. I was 17 when I got my first apartment on my own, and I had that feeling of freedom to do whatever I thought best. I found I Want You in the bargain bin.

All of a sudden, I felt like I met him. It feels like the perfect sonic representation of an artist, of a man in love, of a man dealing, and of a man channelling frustration, love, nostalgia, and the borderline of infinite pain and pleasure into a complete thought. I can only make assumptions to how he felt, coming from church, dealing with pressures of the music industry, family, being a black man, being an artist, finding forbidden love, and feeling trapped… the only way of expressing it was through sound.

It follows his journey of the trials and tribulations of falling in love, with musical liberation. I Want You is a work of art, and best listened to in full. It puts you in a psychedelic trance of lust, haze, escapism, and freedom to feel. I love it then, now and forever.

So I thought, selfishly, The film also excels in its wider use of What an opportunity to learn about the man. A tenor saxophonist on Gerrard Street. For no apparent reason. The video features them dancing on the wet streets of Santos. It rests on our shoulders. It was a meditation, basically. A trip. Whether you make art or write or make music, everyone is feeling an injustice.

My Wanted was the most challenging. It can be a working with the banjo. It has a really quick decay, but album track. I noticed a track from Alexandra has claustrophobia of lockdown. The first of 45 — 45! More, please! Find it: YouTube. His first new song in five years finds Gilmour channelling Leonard Cohen. Find it: SoundCloud. From a new LP out in October. Empathetic co-production courtesy of Damon Albarn.

Find it: streaming services. For her second LP, the Bristolian pitches her honeyed voice low amid martial drums, pellucid guitar, driving melody. The Scritti man relives his folk revival and Morris dancing youth via an ethereal, dubby take on the Anne Briggs song. Feel the quality! Recorded in Chennai, southern India.

Free-ranging jazz pianist Keith Tippett left us on June 1 4. His piano playing unpredictably blended Bill Evans-style romanticism, jagged Jaki Byard-like flourishes, abstract Cecil Taylor-esque ferocity and in-the-moment experimentalism, often involving wooden blocks and metal bars on the strings. Of Poseidon , Lizard and Islands , but rather than join full-time, he formed Ovary Lodge with Julie, bassist Harry Miller and drummer Frank Perry, a chamber group whose unstructured, intangible sound sculptures ran the dynamic gamut from gossamer whispers to strident atonalism.

Quieter achievements include his four haunting solo Mujician recordings , his ever-fresh duets with his wife and duo collaborations with pianist Stan Tracey and saxophonist Andy Sheppard. These intang ible cloud s of sound have a naked and d reamlike intimacy that is curiously moving.

In September , peak glam times, Steve Priest gloried in the moment. But songwriting team Nicky Chinn and Mike Chapman, together with producer Phil Wainman, had other plans for the ambitious quartet. They masterminded the hits, peaking with the Number 1 Blockbuster!

And the band — seizing more control with each release — glammed up and sold them. Chapman suggested Priest deliver vocal cameos. But their earlier success haunted them, and, after singer Brian Connolly left in , the group came to an end in She continued to appear on TV and radio, recorded regularly until the early s, and famously shared a stage with Hawkwind and Spear Of Destiny at a anti-heroin benefit concert at the Crystal Palace Bowl.

Active in charity work, she sang for the last time at the VE Day commemorations in , became the oldest person to have a Number 1 album in the same year she sued the British National Party for using her music , and reached Number 3 with her LP 1 0 0 in her hundredth year. Ian Harrison. His Paris shop Open Market and his Skydog label were pivotal to making punk happen. The brutal Stooges live album Metallic K. Rock Festival in Mont de Marsan that August. Though the BBC were reluctant to air the song on grounds of taste, Radio Luxembourg gave heavy play to the sorry story of a fatal stock car crash, a wedding ring and undying love, ensuring it stayed at Number 1 for three weeks in October Later he sang in showbands in Ireland, recorded country music and played the oldies circuit.

Clive Prior. He also continued to record solo and with his Thinkman and Spin 1ne 2wo projects. The Pointers flourished through huge pop hits Automatic,. Bonnie re-joined her sisters on a number of occasions and sang in a duo with June, who died in Geoff Brown. Part of school band The Playboys, Brown was drafted into leading showband The Vikings, who brought him to.

Playing solidly with Toots And The Maytals from the recording of Was My Number in , Brown became part of the regular touring band from onwards, relocating to Oakland, California, five years later. David Katz. The famously forthright Carroll was working as a psychiatric nurse at Prestwich Mental Hospital when her workmate Una Baines introduced her to Smith, who was almost a decade her junior.

Also credited with co-writing, voice, keyboards and kazoo, she was believed to be the subject of the less-than-flattering song An Older Lover Etc. Classically trained keyboardist. His career was more accurately defined as a part of freak folk collective, Sunburned Hand Of The Man. An attitude-over-ability experience, she freed popular songs from their normal melody and lyrics, singing at guests including Liza Minnelli, Boy George and Tom Jones. Joey Poole, played with the iconic New Jersey punks.

The two founded the short-lived Dandelion label in , but were on firmer. In he put out a split single in Germany with The Vibrators. The St Albans-born artist was a childhood friend of Zombies Colin Blunstone and Chris White, sharing a flat with the latter and keyboardist Rod Argent during the recording of the album.

His stature was underlined this year, as it is most years, by creating their own history. They all come every year. Bruce Springsteen. On May career path? Was it an artist,a song,a record, an event? Carlos Santana on Clive 29, , Davis was conspicuously fired for a Davis, song diviner. That would be changing my life and history. It was a total accident. The fallout was ugly and public, albeit was Columbia Records, who after three years goes back to when I was followed by a CBS payout to secure the mail needed a lawyer to head the legal department washing dishes.

He was order and record club rights for the label he there with Bob Dylan and of Columbia Records. He was by luck, there is no way that I ever would have would soon unveil. Bill counsel to Columbia Records. I mean, it would Davis says today. MOJO First of all, I never would have discovered I had an actual gift. No, there were no labels. So I was there with my wife. You know, there were all the gowns and scarves. I was wearing khaki pants and a tennis sweater.

You see it in the pictures. And so no, not at all. It was not competitive. And after that? I was auditioning them, and I was just trusting my instinct when each of them in their own way broke through. I was meeting with them personally, connecting with them personally — and to this day, the connections are personal. I knew it was for me. On an. Columbia was pre-eminent in middle of the road music with Barbra Streisand, Andy Williams, Tony Bennett;pre-eminent in classical music, with all of the New York Philharmonic, Philadelphia Orchestra and Cleveland Orchestra;Broadway, pre-eminent in the theatre.

So we did change the whole pace of the label with the profusion of the signings that I just mentioned. How has it varied over the years? I would dispute that there is a style. I would argue that every artist is different. I would never submit material to Alicia Keys. I would never submit material to a rock artist. You just make them feel comfortable. You take each artist as you find them, and you custom-craft the most productive and comfortable way to move forward with their careers.

Such as? When I first signed Springsteen, for example — his imagery was so unique, but as a performer, he stood there. So before Greetings From Asbury Park came out, I did a closedcircuit broadcast on the Columbia distribution network, just to read some of his lyrics and discuss them. And the imagery from his songs was so unique.

A big stage, a Radio City Music Hall-sized stage. So during rehearsals, Springsteen came on-stage and he was doing the two songs on this huge stage and standing there, and, you know, it occurred to me. CBS president Goddard Lieberson is far left.

Clive with re-signed Carlos Santana and the armful of Grammys they won for the album Supernatural. And then? Two years later, when I was head of Arista and we were no longer involved, he called me. I could not believe it. I mean, he was jumping all over the stage. I was blown away. I went backstage alone. He was alone in his dressing room. We always reminisce about that when we see each other. I do know that I try to custom-craft what makes the most sense for each artist that I am involved with.

Would they take encouragement, or did you sometimes have to push to get your opinions across? Because both artists were definitely beholden to material. Meaning, both. They wanted to have hits again. Was Carlos Santana looking, in the same manner as Aretha or Dionne, to revitalise his career? For Carlos, what happened? And, he being very influenced by Miles Davis, and John Coltrane — everybody knew he was a guitar god and that he was a virtuoso, but he was no longer making Top 40 records.

Would you come to see him? He misses you, and he would love you to see his new band. And we met afterwards, and he told me that he had teenage kids who have never heard him on the radio. I promise you I will find six songs that will be true to your artistry, that will not be a bastardisation of your integrity, and the rest of the album you do whatever you want to do.

We co-produced it. When CBS fired you from Columbia in , it must have been a dark time — but you quickly made a success of Arista. Well, it was our first record. What were the major moves you made upon heading up a brand new label with no back catalogue to rely on? What were your priorities? Then, to look for entertainers that we could submit material to, who needed Top 40 hits and that would sell platinum or above.

At Columbia, I signed only artists who wrote their own material. But at Arista,. Dionne was no longer recording. She was leaving the record business. And Aretha was no longer working with Jerry Wexler. She had done two or three albums. They did disco, they did other stuff.

Which was? I signed them then because they were innovative — with horn sections, with guitar virtuosity, writing — in order to have a quality label that you could believe in, in the long-lasting nature of the artists. And it turned out that they all ended up with their own signature cards, and there were so many of them. They were all in the Rock and Roll Hall of Fame laughs. So when I started Arista, yes, I was concentrating on repertoire for hits, but I also wanted a quality label.

I never knew when Patti Smith, if she ever, ever, ever would have a hit song — or a Graham Parker. I wanted to continue those culturally affecting artists. Even in comedy, we had Monty Python, we had Lily Tomlin. In every area I wanted us to be pacesetters, right? And stand for the best in current music. The primary one, who did have more than one successful or two successful albums, was John Mellencamp — at the time, John Cougar.

When I auditioned him, he was so close to Bruce Springsteen, and I had signed the original, so I did not see his originality. True story. It was five or six of us. Did you audition all of us at one time or another? I wanted to audition for you — but of course secretly he really wanted me for his label. No more than a minute. You were not impolite. And I was mortified. Because you were.

I swear this is a true story. And what did Mellencamp say? Let me tell you what happened. I remember my audition for you vividly. I will manage you if you leave your band, and you start writing material for yourself. Because a cover band will never have a career. Woodstock, and the charting Evil Ways, proved him right. At Columbia, Davis had Bob Dylan, Paul Simon and though briefly Bruce Springsteen, and never lost his nose for writers or a sense of their long-term value to a record label.

Smith might seem a bit scrappy for a smoothie like Davis, but not so. But he had already mentored his successor:L. There was no question that when I auditioned for you, I was too close. So Clive, know that you were right. I developed later. I was not John Mellencamp. I was a really young guy trying to find my voice. I am there professionally for any artist that wants to call me. I have done very few personal dinners with any of them.

The exception, as it turned out in life, was Aretha. Because we were foodies. She was the only artist that, regularly, when she was in New York, maybe two or three times every year, we would have dinner. But, you know, we all have different styles. Geffen would have Laura Nyro, Joni stay at his house, you know. Not for me — I had a family, but I was totally available. And they let me make a list of the 18 most senior executives that had been with me in creating Arista Records, and offer them jobs at J Records.

And my proudest achievement is that all 18 came. Everyone came with me, without any increased money — that is my proudest achievement. And I just cast Cynthia Erivo in that role as Aretha. And I was the only one really there from the time I signed her. So I am firmly dedicated to make sure that the biopic of Whitney presents the full story, which has not remotely surfaced yet. And anything else coming up? Yeah, my Grammy party Saturday night.

Pauses It still is the biggest deal in the entertainment world. Chuckles M. Bonebrake,Billy Zoom,John Doe. They had a real mystique. Cervenka is at the table doing some kind of artwork. No idea where drummer D. Bonebrake is. We had to create everything ourselves. Same with the music business. Dangerhouse party animals: above backstage in ; right Zoom,Bonebrake and Cervenka on-stage at Exit,Chicago,May 18, insets X on wax.

Bassist Doe sang while leaping about the stage. Cer venka, in her thrift. The west open. A place where you. And they were in touch with the reality of the street. So to hear a band articulate those feelings in such a unique way just turned me upside down. Of the four members of X, only one, Bonebrake, is a native.

The other three are Midwesterners, born in Illinois. Zoom was the first to go west. Doe and Cervenka followed separately in Circumstances had taken Exene to Tallahassee. And, you know, I was a weirdo. Exene volunteered. Doe was in Baltimore, working as a roofer, a budding poet playing.

Doe and Cervenka met at Beyond Baroque. She was working there, first as a trainee typesetter — the place had its own small press — and then as librarian, and had a tiny apartment upstairs. Love at first sight? She stood out. She was striking and interesting and had obviously lived something of a life already, as I had. And she was my age and appeared to be the kind of bohemian person I wanted to learn from and be with. And he believed in me. He thought I was a great writer and I could be in this band.

That same week, Billy Zoom posted an ad. Keep taking the tablets: Exene with five Commandments, ; below Cervenka and Doe in ; insets album fun. Then he started suggesting that she sing with us live. But I did it. Bonebrake, raised in the Valley, kept time in many bands including The Eyes with future Go-Go Charlotte Caffey before settling for the variety X offered. Three doors down, Madame Wong, who had her own nightclub, would stand at the window with binoculars counting how many kids went into the Cafe, calling the fire marshalls the second it was over-limit.

Punk central was the Masque. A basement dive down a steep, narrow staircase in seedy central Hollywood — a stagger away from the Canterbury Apartments, home to misfits, junkies and numer-. This is a movie cow, not just some average cow. Unbeknownst to them, Ray Manzarek of The Doors was sitting in a booth at the back. Doe thinks it might have been that he and Exene wrote poetry about the dark side of LA as Jim Morrison had.

But first, after a show in San Diego, Doe and Cervenka crossed the border to Tijuana to get married:a punk wedding that included a whole lot of tequila, a street fight, and a group photo in front of a donkey painted with white stripes to look like a zebra. Bonebrake happened to have a Hammond B3 with a Leslie speaker in his van, so Manzarek added some keyboards. The rock press loved it. In Rolling Stone would rank it the 24th best album of the decade.

As the documentary showed, the scene was becoming increasingly violent as jocks from the suburban beaches arrived with their Central Casting punk haircuts and football hooligan attitude. Their third album was the first to make the Billboard Top — albeit the lower end — and was the first fr uit of a long-awaited major label deal with Elektra, home of The Doors.

But it placed lower in the charts. So when Elektra suggested they make their fifth album with Michael Wagener, a heavy rock producer with a reputation for perfectionism and hits, the band agreed, and Manzarek stepped down.

Because it was a record of Exene and my break-up. John had a relationship, I had a relationship, kind of awful. A lot of sadness and loss. And then Billy decided to leave. He felt like he was on a hamster wheel. So I went back to my old job working in electronics, fixing amps and stuff. Both were roots rockers. When X reconvened for Hey Zeus! I think we are a better punk rock band than we are a roots rock band. This band is better than that. Songs about fucked-up life and fucked-up love as fiery and lean as their early records.

Then they approached Billy Zoom, who knew and liked Schnapf, and particularly liked that this time the whole band would share writing credits. So it fell into place, with all four original members — Bonebrake too.

And will there be another album? An unflinching look at the LA punk scene, it mixed interviews with live footage of the bands — X;Black Flag; Fear;Catholic Discipline;Germs; Bags;Circle Jerks — but also encounters with fans, club owners and other scenesters. X has a big part in Decline. Their song Nausea opens it. They were playing the Whisky next week, he told her, she could come over after. I just had some more beer and whiskey and kept going. And we kind of got lumped into the hardcore scene because of it.

They went way back: meeting as newcomers to Greenwich Village in ,both 19,literary, lower-middle-class Jewish boys seeking to escape their provincial backgrounds. For Blue — born David Cohen — that was Providence,Rhode Island,where his father was depressive,crippled by action in the Second World War, his mother a hairdresser who had been married twice before.

He joined the US Navy,got kicked out for insubordination,and wound up washing dishes at the Gaslight club,hub of the nascent folk revival scene,and studying acting at the renowned Herbert Berghof Studio,where Al Pacino and Robert De Niro also learned their craft. He wrote poetry and,encouraged by his new pal,began to write songs and learn guitar.

It was him. But it was an equal exchange. The last thing he needs is a visit from Bob Dylan. Certainly not from June Bob Dylan. Afterwards,when we tried to record David was all over the map… it was weird to watch.

I asked somebody,Are they actually friends or what? Some say it was Dylan who re-christened him Blue, after his conspicuous eyes. Others that it was fellow folkie Eric Andersen. After Dylan, there was Joni Mitchell they were lovers and she remained his patron , then the Eagles for whom he wrote the hit Outlaw Man. Right up until his untimely death in December , Blue was loved by his peers, including Leonard Cohen, David Geffen and Wim Wenders, yet mostly unknown to the public.

He was great looking, imposing, extremely seductive and he had a keen intellectual sharpness. He could always hold his own at the top table, in the rapping that went on with Dylan and Bob Neuwirth at the Kettle Of Fish and the Gaslight, everyone tearing each other apart with words. Influenced by Ginsberg and Kerouac, Camus and Sartre, early songs including Justine and Arcade Love Machine were vivid, empathetic stories of hookers and rent boys.

He had lots of problems. Get high, smoke weed, and then have a chocolate sundae. But his debut album proper — of raw and contemporary folk rock, played by an A-list of Village musicians including guitarist Monte Dunn and sometime Dylan bassist Harvey Brooks — sold poorly, unsupported by Elektra. Once he called her desperate for money because he was being thrown out of his apartment. So she got the money to him. He had taken the money and bought flowers for his new girlfriend.

Watching the folk craze fade, he formed a psych rock band, the American Patrol, then followed Mitchell into the singer-songwriter lists, and onto her label, Reprise. On Me, recorded in Nashville in just three days, one track, Atlanta Farewell, details a nervous breakdown he had suffered as he sings to a telephone operator, contemplating suicide. The LP sold a paltry 2, copies. It was a familiar story:Blue, a favourite of Canyon scenesters, was a commercial non-starter. Jackson Browne and Blue toured together and played as a duo on a Boston radio show in The Eagles cut Outlaw Man for their second album, Desperado.

But the clubbable public Blue and the private one were often at odds. His songs were cathartic for him, and once having purged himself of those tremendous emotional things, these demons, he was OK… for a while. I enjoyed David Blue. I enjoyed his conversations. The way he died was colourful. He was running and collapsed into the arms of a beautiful blonde. So even his death was colourful. He was a colourful character. I loved David.

They were living in New York and this one afternoon the whole building had been sprayed for cockroaches except for her apartment. So David picked up an umbrella, put it over his head and the cockroaches dropped onto the umbrella, ping, ping, ping. He was a romantic as a person and a writer. Joni was his patron but we all recognised he was a very talented songwriter, under-appreciated. We all wanted him to be better known. They played a lot of chess.

His hold on life was a little fragile. I wanted to get his music down on tape before anything happened to him. He was fascinating, warm, sensitive, but broken, really broken. Dylan played with Joni Mitchell. Dylan was enjoying a second flush of youth, revisiting old friends and Village haunts as his relationship with wife Sara broke down, and it was while carousing with Blue at the Other End club that he began planning the Rolling Thunder Revue.

I saw a picture of a guy who had bangs with a quote. He said something like life is just a turkey or life is just a cookie. I was 17 and said that makes a lot of sense. Life is just a cookie. Bob would divorce Sara in.

In , clean and focused on getting healthy,. Warnes says Hepatitis B often laid him low and he suffered from jaundice. He reminded me of Tom Waits, they were similar kind of characters. It got him noticed. He discussed his plans for a change of career with Leonard Cohen, who was then experiencing his own commercial slump. They were on equal planes.

She cast him in her film, Uncertain Futures, and became his wife, accompanying him to Greenwich Village where his reputation as an actor continued to grow. Blue seemed contented. I was struck by how happy he seemed to be. I thought that was great, hilarious. He had a taste for drama. The last time I talked to him he called me from a laundromat in New York City. He was waiting for his clothes to dry and he was talking to me as though he was a legend, in legendary terms… It was fun to talk to him.

He saw the world in a larger way than most. Everything was important. You were important. The events of the day were important. She was 10 or I could feel the history in that experience, watching these elders, but also felt very present in that moment. Her stepfather also collected unusual instruments, like the First World War metal clarinet Garcia found lying around one day, and started to teach herself to play. Her mother then surprised her with a saxophone for her tenth birthday.

That was that. Everything else fell by the wayside. Full of the confidence of the new London jazz scene on which she first emerged in , Source explores reggae, soul, Colombian cumbia, calypso and other genres from the Afro-diaspora, all mingling with jazz in an organic and exhilarating new way.

Royal Albert pub, and local exploratory music all-nighter, Steez. It was a birthplace for synergies, anything and everything. I learned so much there. I learned the most through different energy elsewhere. He met her when she was 17, still in school. Absolutely anything was accepted in Camden. No one stares at you, whatever your hair or your style or your walk.

No one cares. Garcia started around the same time as many of the lodestars of. You need to teach [women] not to be self-deprecating instantly. Start by putting an instrument in their hand. Then give them the support to continue. By John Mulvey.

Caribbean, where my family come from, full of joy and pain and wisdom, means so much. The titles speak volumes. Exploring the forgotten stories of our elders is really important. It motivates me. Through that, a better energy can come through. The best is yet to come. Vinyl copies reputedly sold out in a day. Garcia shows her flute chops.

Live shows, meanwhile, included collaborations with Miles Davis alumnus Gary Bartz. The closest, perhaps, that the new British movement has got to its Kamasi Washington moment. A growing number of inquisitive gate-crashers soon led to complete chaos. People wanted me to get some money from The Clash. It was going crazy. People are threatening me. But no one in The Clash seemed unduly concerned. By then, chaos and confusion had become bywords for the sessions that would give life to Sandinista!.

When it finally emerged on December 12, , Sandinista! And 54 MOJO. Billboard Top Second, bass player. When he heard it, Oberstein loathed the track so much he commanded his female chauffeur to drive him and his dog Charlie to Heathrow Airport to deliver the damning verdict to The Clash in person. Electric Lady in Greenwich Village. But there was a major snag. With Simonon still away, Nichols was roped in to play bass. Motown beat. It was like, Who are these guys?

I learned how to improvise on the fly from him. Gallagher was all but a fifth Clash member by then, having regularly played live with the band since providing overdubs on London Calling. But what they needed [from us] was some boringness to balance out the chaos.

The Sandinista! Jenner duly arranged plane tickets for Gallagher and Watt-Roy, who arrived in Manhattan in the middle of a transit strike for a miserable start to their Sandinista! There was just the engineer there — no band. So we stripped off, dried our clothes over the radiators, and began jamming. Bill Price rolled the tape, and four or five tracks came from that first morning.

After months of touring, Mickey Gallagher was already au fait with the singular yin and yang of the Strummer-Jones creative partnership. But even he struggled to unravel its peculiar dynamic. It was very loose.

The Blockheads worked in a different way — we were like a family, whereas The Clash were more like… a cult laughs. Lots of stuff was unspoken. The artwork was quickly retouched — though the untreated shot accidentally appeared on the remastered CD edition. He was really enthusiastic, but rather than being pleased, I left thinking, Why is this man still living like this?! But there was no questioning their work ethic at the time.

It was bonkers. While yet to impair his ability to fa-. By this time, however, puzzlement was reigning over who was producing the sessions, and how all the material was going to be used. There were. Amid this feverish activity, everyone except perhaps Mick Jones — by now taking on the role, as he had done on London Calling, as Sandinista!

The Clash? Ellen Foley? Pearl Harbour? Around this time, Jones proposed releasing the album not as a double album, like London Calling, but a triple. Not everyone thought it was a good idea. I think, God, and they sacked me for taking drugs! But since CBS were desperate for a new Clash LP for the pre-Christmas market — and corporate face had been lost when fan demand had resulted in a UK release for Bankrobber — a lose-lose deal was eventually struck:the group would have their way, but forfeit royalties on the first , copies sold in the UK.

Until, that is, reviewers lined up to savage the record. If Sandinista! As Sandinista! And for Sandinista! I was 16 when I first listened to Sandinista! I loved Hitsville UK. That linked into my bittersweet vision of what The Clash could do.

It has a rush of emotion, and a melancholic observational quality too. Not many bands can do that. I remember Nick obsessively practising One More. None of the tracks stand still. Bill Price and Topper really knit it together. It was such a weird session, everybody was so stoned and drunk.

And nothing was doing that for me. So I had to do it for myself. She was very young — she would have been not even And this is how incestuous the whole thing was. I left Automatic Dlamini, and Polly got asked to join. It actually was an icehouse, underneath a factory.

Lots of socialising went on down there. It was quite a busy, healthy scene. Every little town in this area had at least two or three bands. There was a healthy rivalry between Sherborne and Crewkerne, you know. Ben Groenevelt:When she was in Automatic Dlamini she was very quiet and just got on with it.

Very level-headed, just watching what was going on, very interested in everything. A call to armpits: clockwise P. She was kind of folky in the early days. Although her demos make sense all the time — her recordings of those songs are just astonishing.

Sheela-Na-Gig was on there,. I remember meeting her at the Underworld in Camden. It was a really hot day, the windows were open, and I could barely hear her speak. She was speaking so quietly, we had to move venues. H:After that first session I had done a couple of gigs with them and the autumn of we went to see the Pixies in Exeter with Polly in her Land Rover. I made a record with Charles, or Black Francis, a few years ago and told him I remember when Polly hung around near the bus.

She did go up to him and give him her demo tape. RR:A lot of music distributors went down at that point and we were working at one that went down as well. So we had no money but we had 30 days of credit at the manufacturer and we had the third Faith Healers single, the first Stereolab single and the first P. All three went Top 10 in the independent chart. RE:Dear old John Peel. Thank God for John Peel. RR:The first time he asked us to go and take her to have lunch with him before his Sunday evening show, John was so shy about meeting Polly that he never spoke to her at all.

And my wife at the time gave me an ultimatum:the band or the family. I asked him if he wanted to do it and he agreed. The plan was that we were going to finish off recording and Steve was going to do the live stuff, but a couple of weeks later Polly came and said that Steve had agreed to join only on the condition he played bass on the album. H:The way that band worked was one of the classic three-piece things, like Jimi Hendrix or The Police.

The Camden Falcon [October 25, ] was amazing. It was so full. I smoked at the time and I was trying to light a match at the mixing desk and the match would immediately go out because there was so little oxygen in that room. So when we recorded the second. Dry and heavy:the P.

Harvey; inset the Dry LP and the Dress single right. But technically it was a disaster. H:We did it in a week just before Christmas It was a pretty chaotic time. They kept losing the tapes I gave them, so I had to mix that song, like, seven times for Top Of The Pops edits and all sorts of weird nonsense. So there was that, and Polly and I had water coming up through the floor of the studio. It was quite exciting. We just kind of lost touch.

I love that! Women have been making music for quite a while now. No matter what happened, she still changed my life — and that of everyone around her as well. RE:It went so quickly, that three-year period and was so shocking to all of us, it was too much. We were thrown into the terrifying world of the music business and I was personally dealing with all sorts of issues — even stage fright. When Polly played the Montreux Jazz Festival on her last tour [July 6, ], we were sat by the lake having a picnic with everyone and I went and sat on a bench with her.

Back in early , I used to work as a welder for a firm of heating engineers. We were both just talking about how funny that is. Two weird people from Somerset. But all editors are like that. How do you get your magazine out? Rightly so:it was the first fruit of an overdue reunion with his old producer Tony Visconti, opening their excellent-to-godlike quartet of 21st century Bowie albums.

Fair enough. We covered all that. I put this to him and he made a token protest, but soon relented and chattered happily. For hours… In fact he gave us far more material than we had space to accommodate. Which part of your career do you look back on with the most satisfaction? I think the writing on it is very good.

I had a good long stretch when things were flowing. Which bits of that period would you listen to for pleasure? I really like that album a lot. To take away the nostalgic elements, the music elements are pretty good. Ziggy Stardust had a far more direct approach to it but to satisfy me as a musician, The Man Who Sold The World is probably the better album. Perhaps with Ziggy you were too busy to craft songs, because you had another agenda?

You wanted to steam ahead with this character, this self-fulfilling prophecy, as he turned out to be… I think at that age you tend to steam off, as you put it, with little or no forethought, and really work on the minute and second. But it had been percolating. Say it lasted for 3 iterations? Reviewed in Billboard. February , Blue Oyster Cult rehearses with full lighting rig. The Dictators also rehearse there during this period.

Gossip about cancelled shows in New York Times. Reviewed in New York Times. But the room had multiple other lives as a music venue. Theatre, aka the Village East, subject of a separate, much briefer chronology. Allen Ginsberg appeared at the December 6th performance.

Many photos. Gig details. March 12, Kay Boyle Tribute to the Rev. Stone, Marge Swann. Steven Truett. Bhaktivedanta Swami Prabhupada. Associated Press photo. Timothy Leary, Len Chandler, Dr. Harvey Cox. There was some kind of bazaar set up in the lobby. Pearls Before Swine cancelled. Steven Truett presents…. It snowed through a hole in the ceiling. Complete program for the shows. Program features a track list and coupon for the forthcoming live album Take Five were recording that night, allegedly to be released soon on Constellation Records of E.

GOODE encore, despite it absolutely not being his birthday. SPACE is aimless autopilot, destination never in doubt. DRUMZ is the debut of the beast, new circular array with roto-toms, hand percussion, etc.. DRUMZ go from big to little. DRUMZ is less interesting this tour so far due to the beast percussion array. EYES is typical hyperfast specimen. SPACE continues in lovely very jerry mode. DRUMZ stays spaced almost the entire time, with synth noise starting under the hand drums.

RIDER, sung by weir. GOODE is pretty, uh, extra. RIDER cover moves to its permanent home, adding blues-rock drag to 1st sets through much of the next decade. RAG has tasty jerry outro. TC starting to fit in. TC dials in the swirls. TC excels. On the bridge of the ship, the Technical Commander smiled down at the cars rolling easily up the New York State Thruway.

It was all part of the package. The ship was fully stocked for up to two months of travel. Using a combination of probes, mirrors, archival footage, pristinely restored audio, and algorithms, they could work around the impending storms and offer high-resolution real-time stage footage and sound. That was when he had to do his real work. It was almost too bad the ship was going to have to stick around for the storms.

Below the ship, in the far distance, he could just make out the helicopters rising off and settling onto the landing pad behind the stage. On the whole, he thought, the whole cruise was a somewhat frivolous use of the decidedly non-frivolous new time travel technology, even if it did have an obvious application in commercial tourism.

The Technical Commander was jolted awake in the middle of his third sleep cycle by a clonk on the side of the ship. On edge anyway, he abandoned the last three hours of rest, put on his uniform quickly, gave a cursory check of his holo-ranks and encryption schema, and hurried towards the bridge via the walkway that circumnavigated the upper part of the geosphere.

Even just going from his cabin to the bridge, he observed how much the party had grown. Before he could get to the bridge, he ran into the promoter of the cruise, long-haired and bright-eyed and wearing a spangled leather vest with no shirt beneath it. All seemed normal on the bridge, though, with three officers monitoring the variety of atmospheric probes.

After he confirmed on the sensors that there was nothing amiss on the hull, the Technical Commander took chance to again peer down into the geosphere. Instead of giant striped tents, he saw clouds inside the geosphere. And, inside one of the clouds, he swore he saw a small bolt of lightning. At first, in fact, he thought the large fleshy shape on the ground in front of him was a flattened body-mass lump, an unfortunate but not infrequent side-effect of light-time jumps.

But it turned out it was actually several bodies, not dead at all. He gasped as an arm reached out towards him and slithered tantalizingly up his leg, grasping firmly. He turned for another look as he walked away, and an arm emerged—female, he thought—and flashed a fist of solidarity.

The rain was down to a drizzle, which felt warm and nice as the virtual summer day bloomed. But what shocked him more than the orgy-patch was that the field was now almost full, bodies filling the artificial hillside as far as his eye could see. The Technical Commander walked down the hillside in the direction of the central viewing area. Not that festival goers on the surface could see it with the cloud cover, but—in the geosphere—the sun was coming into view around the planetary horizon, an inspiring view by itself.

Another rainy day was breaking on the second day of the festival below them, some years into the past. A naked man covered in mud walked past the Technical Commander going the opposite direction, raising his eyebrows at the uniformed officer. It was even more rare than that body flattening.

And impressive. Nobody seemed to be getting hurt, he saw. They could always dry off in their cabins, if they all had cabins, and he set back up the hillside. He made a zagging path through the festival site, which was ablaze with color and life, aiming vaguely for the hatch on the opposite site.

The Technical Commander changed his course, and headed for wherever they were coming from. They eyed him suspiciously. He heard the unmistakable whisper of electricity, a rustling in the trees, and the dropping of something heavy, which landed with a cushioned and nearly silent, mossy thump. The junior officer called up another file and they scrolled furiously down the readings. The Technical Commander stood over his shoulder and glanced nervously at his communicator.

The decision to go to Woodstock had hardly been his idea, but it was the earliest date on which the Comptroller could get a firm time-handle that matched with the desires of the investors to harvest clean air from the past. It was the furthest point in the past at which they possessed enough documentation to make a fully realized jump. He cursed the producers for their thoroughness. Not that he minded. The party in the geosphere was beyond both his understanding and his interest, except that it, too, had spiraled mysteriously out of control.

He continued to wonder where all those new people had come from. The samples were safely stored and could be brought home to be extrapolated. Maybe there was some way to account for the readings. The festival on the planet would be over soon enough, and the crowd would spread out from the Catskills around the New York area. He wished he could go back to the observation area and watch the cars disperse.

He hoped the party in the geosphere was also winding down, and remembered that there was a way to monitor the action from the bridge monitor. The Technical Commander toggled over and immediately regretted it. Noise blasted from the small internal speaker on the console, a solid mass of overloaded sound, though once his ear adjusted he could make out a beat.

When the Technical Commander figured out where the extra festival attendees had come from and upped the security at their entrance point, it was too late. The new festival in the geosphere was in full swing, and three more bands had just arrived, each from the future, but only slightly. The Technical Commander had no way of knowing, but it had been a free festival almost all along.

But the Technical Commander had no time to wonder where they might go in the meantime, because the bigger problems were at hand. They would all need to find cabins, at the very least, or risk mass pulverization. It was then that the beatific curly-haired cruise promoter reentered the bridge, still shirtless in a spangled leather vest, and wearing the same inscrutable smile as the last time the Technical Commander had seen him a few days previous.

The promoter sat down on the seat behind the main bridge station and stretched out peacefully, though continued not to talk. The site itself had been moved several times. It was a particularly ravaged region, the desiccated fields and plains almost fully uninhabitable, though carbon-farmers had colonized large patches. If the new technology worked, there stood to be a particularly dramatic recovery, whole hills that might be bloom into lush green within a day or two.

Rains of actual water would come. It was what the Technical Commander had been dreaming of since the academy, the true liberation of planet. If it worked. The Technical Commander looked over at the cruise promoter, who now seemed to be staring at the technology around him in newfound wonder. His eyes seemed to be dilated, the Technical Commander noted.

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Carry out also avail available able available Closed Sunday. El Toro Gainesvilles favorite Mexican res restaurant. Featuring fajitas, quesadillas, burritos. Stop by for our early bird specials Mon. Located blocks from campus at SW 13th St. Open Mon. M fU choose rnAcsod Ffiy'. We offer a wide variety of home-style Persian dishes. Persian bread, French and Bulgarian cheese, cheesecake, and Persian sweets.

Also we carry Persian groceries. M-Sat Pizza Leonardos Pizza by the Slice Legendary pizza since Deep dish and New York style. From cheese slice to the Floren Florentine. Pastas, salads and calzones. All ready to eat. Whole pizzas always available. Open 7 days llam-midnight. Chicken breast now available. Everything made fresh from original recipes. Look no further than the case of Wilco, a band whose dedicated fanbase is obvi obviously ously obviously more knowledgeable than your stan standard dard standard Britney Spears fan.

Wilco are also a band who could give a shit about commercial viability. All they want is to play the songs in leader Jeff Tweedys head, songs with more meaning than Spears wet panty anthems. By now, a good portion of the world has heard, or at least heard of, Yankee Hotel Fox Foxtrot, trot, Foxtrot, Wilcos latest album. Upon listening to the mu music, sic, music, the label wiftly dropped the band. Word of the dismissal traveled quickly through the industry and via the internet, fueling speculation and scorn from fans over rue mCK j Tonight Within weeks, YHF was on the Internet and in the stereos of fans and critics around the world.

Not all that surprisingly, everyone was literally baffled at why this album prompted the dropping. So started a media outcry, hyped even more by the word on the street, and copies of the record flew threw burners at shocking paces. Complementing their already ma mature ture mature No Depression- style country rock, Wilco added a dab of psychedelia and even more feeling to the music.

Aside from a cut-up beat and extra noises, the overall effect is the same as their previous efforts. And, most importantly, its just damn good. Also not that surprising was the move from Nonesuch Records to sign the band and properly release YHF commercially. Af After ter After all, when thousands of fans ignore a label and love a record anyway, why not release it and pilfer just a bit more cash from them. I love stupid businessmen.

M Exhilarating So, if your idea of good country music is Shania Twain videos with the volume ail the way down, you should get your greasy hands on these albums. With their debut re release, lease, release, Wilco take the coun country-rock try-rock country-rock sound of Uncle Tu Tupelo pelo Tupelo and add a bit more of a pop edge.

School Ycar What do I things look like from the stage? Its very danceable. The Houseman. Weve definitely got a iands pay tribute to father of country-rock this weekend preview By Geoff Eisler Detours Staff I was patronizing a downtown booze par parlor lor parlor Monday night around closing time when I noticed a pair of middle-aged gentlemen actually having a conversation with a uri urinal-bound nal-bound urinal-bound friend of mine.

Cross-generational contact of this kind, in this setting, strikes me as dubious. Only when I saw my drunken buddy mouth the same two words that I swore I had just seen the silver-haired man utter did their unlikely exchange make any sense to me. The words of course were: Gram Parsons. When it comes to digging on Gram, age is not an issue. The late Gram Parsons is invariably re regarded garded regarded as the father of country-rock.

His twangy influence on the Byrds Sweetheart of the Rodeo album changed the direction of the group and firmly established Par- tittle heavier element. Currently, they are working in their brand new studio in the Warehouse District of the Cres Crescent cent Crescent City on an album that cap captures tures captures these latest inspirations.

We call it the Romper-room, Mercurio said. Mofro, who left the stage at the Florida Music Har Harvest vest Harvest to the crowd chanting their name, will headline the following night, Nov. Mercurio had good things to say about Mofro. I saw them about a month ago in New Orleans, and I was really impressed. Theyre more like a rock band that, impro improvises.

In the scheme of things, the album is piv pivotal otal pivotal in that it demonstrated to young rock calendar. Stephen feller marc weinroth assistant editor. Gram Parsons' songs are at once wistful and downtrodden, honky-tonkand refined. His songs transcend time and are at least as meaningful today as they were when they were written.

He died nearly 30 years ago in the Cali California fornia California desert after brazenly ingesting a combination of morphine and tequila. The Rolling Stones adored Parsons and wel welcomed comed welcomed him into the studio during the re recording cording recording of Exile on Main Street, but Gram just couldnt hang like Keith.

In recognition of what would have been Parsons 56th birthday next week, over two dozen bands and solo acts will take to Gainesvilles Downtown Plaza on Sunday afternoon for the fourth annual Gramfest. They play the music with a lot of passion. Marino also indicated that he has con contacted tacted contacted promoters at the Palace in hopes that Gram-disciples Wilco might wander down before that bands set in the eve evening.

Regardless, anyone planning to at attend tend attend the Wilco show at night, would be well-advised to warm-up with a healthy dose of Gram. No were not talking about B2K dumbass. We're talking about Wilco. Sure, theyre not on the TRL countdown, but theyre better than shitbags -like Shakira. Nick Carter and Uncle Kracker. Hopefully, real bands interest you, Heres your chance to win a. Please send your responses to: detours aiiigator. Still get a tan! Huge specials! Call for Details! Exclusive residence hall for women available for Fall Prices start low and we offer the best amenities!

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Entertainment Additional Days For Sale Now if I'm here for the short haul and I'm talking to you, but I've got my agent out doing ground work to go someplace else, then I don't worry about it. I just play guys and then say, 'See you. We talk about graduation and we talk about doing the right things in the class classroom room classroom and on campus and around the community. I don't want to sit back and ignore things. Let's take care of things as they come.

I try to do it not in an an angry, gry, angry, belligerent way. I say, 'Hey, you screwed up. Not for the benched players' and definitely not for the top-ranked Hurricanes. All four players were on the playing field in the opening minutes of the first quarter, and all four re regained gained regained their starting spots the following game. But Taylor said the brief punishment hurt. No one likes being off the field," he said. Tt 's like a punishment that helps you understand the situation and then say, 'All right, I can't do it again.

He was criticized for not penalizing receiver Andre Johnson this summer. Johnson was caught cheating twice last spring but didn't miss a down. The univer university sity university suspended Johnson for the fall semester, but an appeals committee reduced the suspension to the summer meaning he wouldn't miss a game for the defending national champions.

And he said he has seen results from the discipline. I think it has worked," Coker said. Most of us that have children know that if you let things go it does tend to escalate. All positions are located in the Student Government Finance ; Office.

We pre prefer fer prefer students who will be available through the summer term. Application forms and interview appointments available in Room of the Union. The former "Mr. Football" and "Mr. Basketball" in Florida, the only person to capture both honors in the same season in the Sunshine State, takes over as quarter quarterback back quarterback for the benched Chris Rix when the 18th-ranked Seminoles visit Wake Forest. It's the first time in a dozen seasons FSU coach Bobby Bowden has changed quar quarterbacks terbacks quarterbacks for any reason other than an injury.

The Seminoles , At Atlantic lantic Atlantic Coast Conference have lost two straight games and Rix suffered three turn turnovers overs turnovers in last week's loss to Notre Dame. The year-old McPherson said the coaches have prom promised ised promised they'd be patient with him in his first starting assignment. COiI S. The junior standout planned on declaring NBA eligibility but backed out, and there was some someone one someone that was there for good ad advice vice advice when it was decision time teammate and starting point guard Derrick Zimmerman.

Do what's in your best interest. If you feel like you're ready, you go ahead and pursue your dream. If you're not, you can always come back and compete for a national title. State l Predicted Conference. The victory is UF's 18th in a row and extends the Gators' NCAA record streak ,of consecutive regular season confer conference ence conference wins to The Gators , SEC got on the board first in game one when a Georgia attack hit the antenna and went out of bounds.

UF opened up a lead quickly after fchree Georgia hitting errors and a kill from Jacque Robinson. The Tide has most of last year's pivotal players in the lineup, and Dudley said that attributes to their strong team play. Slay is known for his trash talking, so his opponents get it on a regular basis. But on the court, though, we're the best of enemies. UF 26 2. The Gators then scored three quick points, including a kill and a service ace from Aury Cruz, to take the advantage.

With the Gators leading , the Bulldogs went on a run before a UF kill stopped Georgia's momentum. The Gators took game one Georgia jumped out to a lead to be begin gin begin the second game, but McCray, the reigning SEC Player of the Week, stopped the run with a kill. The Bulldogs added two more points to take the advantage before McCray added kills on the next two plays to bring the Gators to within two points at Slay is also known for getting emotional during games, but Tennessee coach Buzz Peterson doesn't mind because being vo vocal cal vocal shows leadership.

His career was more accurately defined as a part of freak folk collective, Sunburned Hand Of The Man. An attitude-over-ability experience, she freed popular songs from their normal melody and lyrics, singing at guests including Liza Minnelli, Boy George and Tom Jones. Joey Poole, played with the iconic New Jersey punks. The two founded the short-lived Dandelion label in , but were on firmer. In he put out a split single in Germany with The Vibrators. The St Albans-born artist was a childhood friend of Zombies Colin Blunstone and Chris White, sharing a flat with the latter and keyboardist Rod Argent during the recording of the album.

His stature was underlined this year, as it is most years, by creating their own history. They all come every year. Bruce Springsteen. On May career path? Was it an artist,a song,a record, an event? Carlos Santana on Clive 29, , Davis was conspicuously fired for a Davis, song diviner. That would be changing my life and history.

It was a total accident. The fallout was ugly and public, albeit was Columbia Records, who after three years goes back to when I was followed by a CBS payout to secure the mail needed a lawyer to head the legal department washing dishes. He was order and record club rights for the label he there with Bob Dylan and of Columbia Records.

He was by luck, there is no way that I ever would have would soon unveil. Bill counsel to Columbia Records. I mean, it would Davis says today. MOJO First of all, I never would have discovered I had an actual gift. No, there were no labels. So I was there with my wife. You know, there were all the gowns and scarves. I was wearing khaki pants and a tennis sweater. You see it in the pictures. And so no, not at all. It was not competitive. And after that?

I was auditioning them, and I was just trusting my instinct when each of them in their own way broke through. I was meeting with them personally, connecting with them personally — and to this day, the connections are personal.

I knew it was for me. On an. Columbia was pre-eminent in middle of the road music with Barbra Streisand, Andy Williams, Tony Bennett;pre-eminent in classical music, with all of the New York Philharmonic, Philadelphia Orchestra and Cleveland Orchestra;Broadway, pre-eminent in the theatre. So we did change the whole pace of the label with the profusion of the signings that I just mentioned.

How has it varied over the years? I would dispute that there is a style. I would argue that every artist is different. I would never submit material to Alicia Keys. I would never submit material to a rock artist. You just make them feel comfortable. You take each artist as you find them, and you custom-craft the most productive and comfortable way to move forward with their careers.

Such as? When I first signed Springsteen, for example — his imagery was so unique, but as a performer, he stood there. So before Greetings From Asbury Park came out, I did a closedcircuit broadcast on the Columbia distribution network, just to read some of his lyrics and discuss them.

And the imagery from his songs was so unique. A big stage, a Radio City Music Hall-sized stage. So during rehearsals, Springsteen came on-stage and he was doing the two songs on this huge stage and standing there, and, you know, it occurred to me. CBS president Goddard Lieberson is far left. Clive with re-signed Carlos Santana and the armful of Grammys they won for the album Supernatural. And then? Two years later, when I was head of Arista and we were no longer involved, he called me.

I could not believe it. I mean, he was jumping all over the stage. I was blown away. I went backstage alone. He was alone in his dressing room. We always reminisce about that when we see each other. I do know that I try to custom-craft what makes the most sense for each artist that I am involved with. Would they take encouragement, or did you sometimes have to push to get your opinions across?

Because both artists were definitely beholden to material. Meaning, both. They wanted to have hits again. Was Carlos Santana looking, in the same manner as Aretha or Dionne, to revitalise his career? For Carlos, what happened? And, he being very influenced by Miles Davis, and John Coltrane — everybody knew he was a guitar god and that he was a virtuoso, but he was no longer making Top 40 records.

Would you come to see him? He misses you, and he would love you to see his new band. And we met afterwards, and he told me that he had teenage kids who have never heard him on the radio. I promise you I will find six songs that will be true to your artistry, that will not be a bastardisation of your integrity, and the rest of the album you do whatever you want to do.

We co-produced it. When CBS fired you from Columbia in , it must have been a dark time — but you quickly made a success of Arista. Well, it was our first record. What were the major moves you made upon heading up a brand new label with no back catalogue to rely on? What were your priorities?

Then, to look for entertainers that we could submit material to, who needed Top 40 hits and that would sell platinum or above. At Columbia, I signed only artists who wrote their own material. But at Arista,. Dionne was no longer recording. She was leaving the record business. And Aretha was no longer working with Jerry Wexler. She had done two or three albums.

They did disco, they did other stuff. Which was? I signed them then because they were innovative — with horn sections, with guitar virtuosity, writing — in order to have a quality label that you could believe in, in the long-lasting nature of the artists. And it turned out that they all ended up with their own signature cards, and there were so many of them.

They were all in the Rock and Roll Hall of Fame laughs. So when I started Arista, yes, I was concentrating on repertoire for hits, but I also wanted a quality label. I never knew when Patti Smith, if she ever, ever, ever would have a hit song — or a Graham Parker. I wanted to continue those culturally affecting artists.

Even in comedy, we had Monty Python, we had Lily Tomlin. In every area I wanted us to be pacesetters, right? And stand for the best in current music. The primary one, who did have more than one successful or two successful albums, was John Mellencamp — at the time, John Cougar. When I auditioned him, he was so close to Bruce Springsteen, and I had signed the original, so I did not see his originality.

True story. It was five or six of us. Did you audition all of us at one time or another? I wanted to audition for you — but of course secretly he really wanted me for his label. No more than a minute. You were not impolite. And I was mortified. Because you were. I swear this is a true story. And what did Mellencamp say? Let me tell you what happened. I remember my audition for you vividly.

I will manage you if you leave your band, and you start writing material for yourself. Because a cover band will never have a career. Woodstock, and the charting Evil Ways, proved him right. At Columbia, Davis had Bob Dylan, Paul Simon and though briefly Bruce Springsteen, and never lost his nose for writers or a sense of their long-term value to a record label. Smith might seem a bit scrappy for a smoothie like Davis, but not so.

But he had already mentored his successor:L. There was no question that when I auditioned for you, I was too close. So Clive, know that you were right. I developed later. I was not John Mellencamp. I was a really young guy trying to find my voice. I am there professionally for any artist that wants to call me. I have done very few personal dinners with any of them. The exception, as it turned out in life, was Aretha.

Because we were foodies. She was the only artist that, regularly, when she was in New York, maybe two or three times every year, we would have dinner. But, you know, we all have different styles. Geffen would have Laura Nyro, Joni stay at his house, you know. Not for me — I had a family, but I was totally available. And they let me make a list of the 18 most senior executives that had been with me in creating Arista Records, and offer them jobs at J Records.

And my proudest achievement is that all 18 came. Everyone came with me, without any increased money — that is my proudest achievement. And I just cast Cynthia Erivo in that role as Aretha. And I was the only one really there from the time I signed her. So I am firmly dedicated to make sure that the biopic of Whitney presents the full story, which has not remotely surfaced yet. And anything else coming up? Yeah, my Grammy party Saturday night.

Pauses It still is the biggest deal in the entertainment world. Chuckles M. Bonebrake,Billy Zoom,John Doe. They had a real mystique. Cervenka is at the table doing some kind of artwork. No idea where drummer D. Bonebrake is. We had to create everything ourselves. Same with the music business. Dangerhouse party animals: above backstage in ; right Zoom,Bonebrake and Cervenka on-stage at Exit,Chicago,May 18, insets X on wax.

Bassist Doe sang while leaping about the stage. Cer venka, in her thrift. The west open. A place where you. And they were in touch with the reality of the street. So to hear a band articulate those feelings in such a unique way just turned me upside down.

Of the four members of X, only one, Bonebrake, is a native. The other three are Midwesterners, born in Illinois. Zoom was the first to go west. Doe and Cervenka followed separately in Circumstances had taken Exene to Tallahassee. And, you know, I was a weirdo. Exene volunteered.

Doe was in Baltimore, working as a roofer, a budding poet playing. Doe and Cervenka met at Beyond Baroque. She was working there, first as a trainee typesetter — the place had its own small press — and then as librarian, and had a tiny apartment upstairs. Love at first sight? She stood out. She was striking and interesting and had obviously lived something of a life already, as I had. And she was my age and appeared to be the kind of bohemian person I wanted to learn from and be with.

And he believed in me. He thought I was a great writer and I could be in this band. That same week, Billy Zoom posted an ad. Keep taking the tablets: Exene with five Commandments, ; below Cervenka and Doe in ; insets album fun. Then he started suggesting that she sing with us live. But I did it. Bonebrake, raised in the Valley, kept time in many bands including The Eyes with future Go-Go Charlotte Caffey before settling for the variety X offered. Three doors down, Madame Wong, who had her own nightclub, would stand at the window with binoculars counting how many kids went into the Cafe, calling the fire marshalls the second it was over-limit.

Punk central was the Masque. A basement dive down a steep, narrow staircase in seedy central Hollywood — a stagger away from the Canterbury Apartments, home to misfits, junkies and numer-. This is a movie cow, not just some average cow.

Unbeknownst to them, Ray Manzarek of The Doors was sitting in a booth at the back. Doe thinks it might have been that he and Exene wrote poetry about the dark side of LA as Jim Morrison had. But first, after a show in San Diego, Doe and Cervenka crossed the border to Tijuana to get married:a punk wedding that included a whole lot of tequila, a street fight, and a group photo in front of a donkey painted with white stripes to look like a zebra.

Bonebrake happened to have a Hammond B3 with a Leslie speaker in his van, so Manzarek added some keyboards. The rock press loved it. In Rolling Stone would rank it the 24th best album of the decade. As the documentary showed, the scene was becoming increasingly violent as jocks from the suburban beaches arrived with their Central Casting punk haircuts and football hooligan attitude.

Their third album was the first to make the Billboard Top — albeit the lower end — and was the first fr uit of a long-awaited major label deal with Elektra, home of The Doors. But it placed lower in the charts. So when Elektra suggested they make their fifth album with Michael Wagener, a heavy rock producer with a reputation for perfectionism and hits, the band agreed, and Manzarek stepped down.

Because it was a record of Exene and my break-up. John had a relationship, I had a relationship, kind of awful. A lot of sadness and loss. And then Billy decided to leave. He felt like he was on a hamster wheel. So I went back to my old job working in electronics, fixing amps and stuff. Both were roots rockers.

When X reconvened for Hey Zeus! I think we are a better punk rock band than we are a roots rock band. This band is better than that. Songs about fucked-up life and fucked-up love as fiery and lean as their early records.

Then they approached Billy Zoom, who knew and liked Schnapf, and particularly liked that this time the whole band would share writing credits. So it fell into place, with all four original members — Bonebrake too. And will there be another album? An unflinching look at the LA punk scene, it mixed interviews with live footage of the bands — X;Black Flag; Fear;Catholic Discipline;Germs; Bags;Circle Jerks — but also encounters with fans, club owners and other scenesters.

X has a big part in Decline. Their song Nausea opens it. They were playing the Whisky next week, he told her, she could come over after. I just had some more beer and whiskey and kept going. And we kind of got lumped into the hardcore scene because of it. They went way back: meeting as newcomers to Greenwich Village in ,both 19,literary, lower-middle-class Jewish boys seeking to escape their provincial backgrounds.

For Blue — born David Cohen — that was Providence,Rhode Island,where his father was depressive,crippled by action in the Second World War, his mother a hairdresser who had been married twice before. He joined the US Navy,got kicked out for insubordination,and wound up washing dishes at the Gaslight club,hub of the nascent folk revival scene,and studying acting at the renowned Herbert Berghof Studio,where Al Pacino and Robert De Niro also learned their craft. He wrote poetry and,encouraged by his new pal,began to write songs and learn guitar.

It was him. But it was an equal exchange. The last thing he needs is a visit from Bob Dylan. Certainly not from June Bob Dylan. Afterwards,when we tried to record David was all over the map… it was weird to watch. I asked somebody,Are they actually friends or what? Some say it was Dylan who re-christened him Blue, after his conspicuous eyes. Others that it was fellow folkie Eric Andersen. After Dylan, there was Joni Mitchell they were lovers and she remained his patron , then the Eagles for whom he wrote the hit Outlaw Man.

Right up until his untimely death in December , Blue was loved by his peers, including Leonard Cohen, David Geffen and Wim Wenders, yet mostly unknown to the public. He was great looking, imposing, extremely seductive and he had a keen intellectual sharpness.

He could always hold his own at the top table, in the rapping that went on with Dylan and Bob Neuwirth at the Kettle Of Fish and the Gaslight, everyone tearing each other apart with words. Influenced by Ginsberg and Kerouac, Camus and Sartre, early songs including Justine and Arcade Love Machine were vivid, empathetic stories of hookers and rent boys. He had lots of problems. Get high, smoke weed, and then have a chocolate sundae. But his debut album proper — of raw and contemporary folk rock, played by an A-list of Village musicians including guitarist Monte Dunn and sometime Dylan bassist Harvey Brooks — sold poorly, unsupported by Elektra.

Once he called her desperate for money because he was being thrown out of his apartment. So she got the money to him. He had taken the money and bought flowers for his new girlfriend. Watching the folk craze fade, he formed a psych rock band, the American Patrol, then followed Mitchell into the singer-songwriter lists, and onto her label, Reprise.

On Me, recorded in Nashville in just three days, one track, Atlanta Farewell, details a nervous breakdown he had suffered as he sings to a telephone operator, contemplating suicide. The LP sold a paltry 2, copies. It was a familiar story:Blue, a favourite of Canyon scenesters, was a commercial non-starter.

Jackson Browne and Blue toured together and played as a duo on a Boston radio show in The Eagles cut Outlaw Man for their second album, Desperado. But the clubbable public Blue and the private one were often at odds. His songs were cathartic for him, and once having purged himself of those tremendous emotional things, these demons, he was OK… for a while.

I enjoyed David Blue. I enjoyed his conversations. The way he died was colourful. He was running and collapsed into the arms of a beautiful blonde. So even his death was colourful. He was a colourful character.

I loved David. They were living in New York and this one afternoon the whole building had been sprayed for cockroaches except for her apartment. So David picked up an umbrella, put it over his head and the cockroaches dropped onto the umbrella, ping, ping, ping.

He was a romantic as a person and a writer. Joni was his patron but we all recognised he was a very talented songwriter, under-appreciated. We all wanted him to be better known. They played a lot of chess. His hold on life was a little fragile. I wanted to get his music down on tape before anything happened to him. He was fascinating, warm, sensitive, but broken, really broken. Dylan played with Joni Mitchell. Dylan was enjoying a second flush of youth, revisiting old friends and Village haunts as his relationship with wife Sara broke down, and it was while carousing with Blue at the Other End club that he began planning the Rolling Thunder Revue.

I saw a picture of a guy who had bangs with a quote. He said something like life is just a turkey or life is just a cookie. I was 17 and said that makes a lot of sense. Life is just a cookie. Bob would divorce Sara in. In , clean and focused on getting healthy,. Warnes says Hepatitis B often laid him low and he suffered from jaundice. He reminded me of Tom Waits, they were similar kind of characters. It got him noticed. He discussed his plans for a change of career with Leonard Cohen, who was then experiencing his own commercial slump.

They were on equal planes. She cast him in her film, Uncertain Futures, and became his wife, accompanying him to Greenwich Village where his reputation as an actor continued to grow. Blue seemed contented. I was struck by how happy he seemed to be. I thought that was great, hilarious. He had a taste for drama. The last time I talked to him he called me from a laundromat in New York City.

He was waiting for his clothes to dry and he was talking to me as though he was a legend, in legendary terms… It was fun to talk to him. He saw the world in a larger way than most. Everything was important. You were important. The events of the day were important. She was 10 or I could feel the history in that experience, watching these elders, but also felt very present in that moment.

Her stepfather also collected unusual instruments, like the First World War metal clarinet Garcia found lying around one day, and started to teach herself to play. Her mother then surprised her with a saxophone for her tenth birthday. That was that. Everything else fell by the wayside. Full of the confidence of the new London jazz scene on which she first emerged in , Source explores reggae, soul, Colombian cumbia, calypso and other genres from the Afro-diaspora, all mingling with jazz in an organic and exhilarating new way.

Royal Albert pub, and local exploratory music all-nighter, Steez. It was a birthplace for synergies, anything and everything. I learned so much there. I learned the most through different energy elsewhere. He met her when she was 17, still in school. Absolutely anything was accepted in Camden. No one stares at you, whatever your hair or your style or your walk. No one cares. Garcia started around the same time as many of the lodestars of.

You need to teach [women] not to be self-deprecating instantly. Start by putting an instrument in their hand. Then give them the support to continue. By John Mulvey. Caribbean, where my family come from, full of joy and pain and wisdom, means so much. The titles speak volumes. Exploring the forgotten stories of our elders is really important. It motivates me. Through that, a better energy can come through.

The best is yet to come. Vinyl copies reputedly sold out in a day. Garcia shows her flute chops. Live shows, meanwhile, included collaborations with Miles Davis alumnus Gary Bartz. The closest, perhaps, that the new British movement has got to its Kamasi Washington moment. A growing number of inquisitive gate-crashers soon led to complete chaos.

People wanted me to get some money from The Clash. It was going crazy. People are threatening me. But no one in The Clash seemed unduly concerned. By then, chaos and confusion had become bywords for the sessions that would give life to Sandinista!. When it finally emerged on December 12, , Sandinista! And 54 MOJO. Billboard Top Second, bass player. When he heard it, Oberstein loathed the track so much he commanded his female chauffeur to drive him and his dog Charlie to Heathrow Airport to deliver the damning verdict to The Clash in person.

Electric Lady in Greenwich Village. But there was a major snag. With Simonon still away, Nichols was roped in to play bass. Motown beat. It was like, Who are these guys? I learned how to improvise on the fly from him. Gallagher was all but a fifth Clash member by then, having regularly played live with the band since providing overdubs on London Calling.

But what they needed [from us] was some boringness to balance out the chaos. The Sandinista! Jenner duly arranged plane tickets for Gallagher and Watt-Roy, who arrived in Manhattan in the middle of a transit strike for a miserable start to their Sandinista!

There was just the engineer there — no band. So we stripped off, dried our clothes over the radiators, and began jamming. Bill Price rolled the tape, and four or five tracks came from that first morning. After months of touring, Mickey Gallagher was already au fait with the singular yin and yang of the Strummer-Jones creative partnership.

But even he struggled to unravel its peculiar dynamic. It was very loose. The Blockheads worked in a different way — we were like a family, whereas The Clash were more like… a cult laughs. Lots of stuff was unspoken. The artwork was quickly retouched — though the untreated shot accidentally appeared on the remastered CD edition. He was really enthusiastic, but rather than being pleased, I left thinking, Why is this man still living like this?!

But there was no questioning their work ethic at the time. It was bonkers. While yet to impair his ability to fa-. By this time, however, puzzlement was reigning over who was producing the sessions, and how all the material was going to be used. There were.

Amid this feverish activity, everyone except perhaps Mick Jones — by now taking on the role, as he had done on London Calling, as Sandinista! The Clash? Ellen Foley? Pearl Harbour? Around this time, Jones proposed releasing the album not as a double album, like London Calling, but a triple. Not everyone thought it was a good idea. I think, God, and they sacked me for taking drugs! But since CBS were desperate for a new Clash LP for the pre-Christmas market — and corporate face had been lost when fan demand had resulted in a UK release for Bankrobber — a lose-lose deal was eventually struck:the group would have their way, but forfeit royalties on the first , copies sold in the UK.

Until, that is, reviewers lined up to savage the record. If Sandinista! As Sandinista! And for Sandinista! I was 16 when I first listened to Sandinista! I loved Hitsville UK. That linked into my bittersweet vision of what The Clash could do. It has a rush of emotion, and a melancholic observational quality too.

Not many bands can do that. I remember Nick obsessively practising One More. None of the tracks stand still. Bill Price and Topper really knit it together. It was such a weird session, everybody was so stoned and drunk. And nothing was doing that for me. So I had to do it for myself. She was very young — she would have been not even And this is how incestuous the whole thing was.

I left Automatic Dlamini, and Polly got asked to join. It actually was an icehouse, underneath a factory. Lots of socialising went on down there. It was quite a busy, healthy scene. Every little town in this area had at least two or three bands. There was a healthy rivalry between Sherborne and Crewkerne, you know.

Ben Groenevelt:When she was in Automatic Dlamini she was very quiet and just got on with it. Very level-headed, just watching what was going on, very interested in everything. A call to armpits: clockwise P. She was kind of folky in the early days.

Although her demos make sense all the time — her recordings of those songs are just astonishing. Sheela-Na-Gig was on there,. I remember meeting her at the Underworld in Camden. It was a really hot day, the windows were open, and I could barely hear her speak. She was speaking so quietly, we had to move venues.

H:After that first session I had done a couple of gigs with them and the autumn of we went to see the Pixies in Exeter with Polly in her Land Rover. I made a record with Charles, or Black Francis, a few years ago and told him I remember when Polly hung around near the bus. She did go up to him and give him her demo tape.

RR:A lot of music distributors went down at that point and we were working at one that went down as well. So we had no money but we had 30 days of credit at the manufacturer and we had the third Faith Healers single, the first Stereolab single and the first P. All three went Top 10 in the independent chart.

RE:Dear old John Peel. Thank God for John Peel. RR:The first time he asked us to go and take her to have lunch with him before his Sunday evening show, John was so shy about meeting Polly that he never spoke to her at all. And my wife at the time gave me an ultimatum:the band or the family. I asked him if he wanted to do it and he agreed.

The plan was that we were going to finish off recording and Steve was going to do the live stuff, but a couple of weeks later Polly came and said that Steve had agreed to join only on the condition he played bass on the album. H:The way that band worked was one of the classic three-piece things, like Jimi Hendrix or The Police. The Camden Falcon [October 25, ] was amazing. It was so full. I smoked at the time and I was trying to light a match at the mixing desk and the match would immediately go out because there was so little oxygen in that room.

So when we recorded the second. Dry and heavy:the P. Harvey; inset the Dry LP and the Dress single right. But technically it was a disaster. H:We did it in a week just before Christmas It was a pretty chaotic time.

They kept losing the tapes I gave them, so I had to mix that song, like, seven times for Top Of The Pops edits and all sorts of weird nonsense. So there was that, and Polly and I had water coming up through the floor of the studio. It was quite exciting. We just kind of lost touch. I love that! Women have been making music for quite a while now.

No matter what happened, she still changed my life — and that of everyone around her as well. RE:It went so quickly, that three-year period and was so shocking to all of us, it was too much. We were thrown into the terrifying world of the music business and I was personally dealing with all sorts of issues — even stage fright. When Polly played the Montreux Jazz Festival on her last tour [July 6, ], we were sat by the lake having a picnic with everyone and I went and sat on a bench with her.

Back in early , I used to work as a welder for a firm of heating engineers. We were both just talking about how funny that is. Two weird people from Somerset. But all editors are like that. How do you get your magazine out? Rightly so:it was the first fruit of an overdue reunion with his old producer Tony Visconti, opening their excellent-to-godlike quartet of 21st century Bowie albums.

Fair enough. We covered all that. I put this to him and he made a token protest, but soon relented and chattered happily. For hours… In fact he gave us far more material than we had space to accommodate. Which part of your career do you look back on with the most satisfaction? I think the writing on it is very good. I had a good long stretch when things were flowing. Which bits of that period would you listen to for pleasure? I really like that album a lot.

To take away the nostalgic elements, the music elements are pretty good. Ziggy Stardust had a far more direct approach to it but to satisfy me as a musician, The Man Who Sold The World is probably the better album. Perhaps with Ziggy you were too busy to craft songs, because you had another agenda? You wanted to steam ahead with this character, this self-fulfilling prophecy, as he turned out to be… I think at that age you tend to steam off, as you put it, with little or no forethought, and really work on the minute and second.

But it had been percolating. Not far, but far enough. As the master tape of that version is lost, the nearest that you can get to it is the BBC version recorded in The January version is a revelation. The sound is stripped back to guitar, bass, drums, piano Rick Wakeman and backing vocals. The tempo is accelerated, and the original string riff is accentuated at various points in the driving performance.

Which is inexplicable, because London Bye Ta Ta sounds like the huge Bowie hit that never was, and a template for the superstar he would become. Jon Savage. Was the apocalyptic. How much were you affected by the London of those days? It was much more of a singular cult of personality type thing.

We were only going for 18 months. The whole Ziggy Stardust thing was 18 months, from beginning to end. It was a really short period of time. And that includes Aladdin Sane. There was no real precedent for a rock musical at that time, was there? Apart from things like Hair and Jesus Christ Superstar. The things that impressed me were the original version of Cabaret, which may well have been Judi Dench [Sally Bowles in the original London production] — it was such a long time ago now.

It revolutionised the way staging could be done, especially for something musically oriented. Something in yourself? Because a writer,. But you were a devil for the work, because apart from your main albums you sneak in this extra one, Pin-Ups… But that was still natural me, remember. That was still before the mad stuff had really happened to me. I worked like crazy and it was an indication of my addiction, my workaholicism.

I recognise it for what it is. But I do confine my addictions, and try and channel them into my work. But I dunno, it just seemed like a good idea at the time. I loved all those old songs. I love covering other artists and I always got a thrill out of introducing new people to other people.

I love the fact that I did. And I played it and thought, Oh God, manna from heaven. And we started doing it in More evidence of your workaholism is that apart from your own career you were soon producing Lou Reed and Iggy Pop. It was part of my crusade to present these fantastic underground artists to the hippy world and get them an audience.

And if there had been more than half a dozen articles in the five or six years before I got Lou into view again… They were totally abandoned, there was nothing about them. I get pangs of that every now and again. In America they just did not make a dent, apart from on several bright artists like Kurt Cobain.

They started to become not so important in what I do. We used to do those things for threepence, you know? What is this? For an art film? By the time of Scary Monsters you did seem to be coming back down to Earth,in a sense. In many senses, probably. That was a very good time for me and it did open things up to approach music in a different way. But it. The last of that trilogy,Lodger,rather sounds the odd one out?

It was done so quickly. It contains so many nuggets. I do like it a lot. At a time when pop video was emerging,it was your first album to use videos as part of the total process. We had a run of three or four from that. You must have wished video had become this important 10 years earlier?

I was so on it. The idea of any multi-media event was thrilling for me and I really embraced the idea for the first few years. But then, when it became a wall-to-wall kind of thing, and it was so appropriated by record companies as a selling tool, it started to take on a different vestige entirely. Where did the Pierrot look come from?

From Lindsay Kemp. It was made by the same woman, Natasha Korniloff, who made that exact costume for Lindsay Kemp in It was identical. What was different was that I used much more the Pierrot face. Were you aware of that New Romantic club look in London?

Absolutely, of course I was. I did, the one that contained Space Oddity. The clown on the back of that is supposed to be me with my mother. So it was a confluence of events at that time which led up to the imaging of that particular album. There was a bit of treading water there, probably around the Pin-Ups period when we were waiting for Mrs Orwell to come back to us. But of course she said no.

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Whenever you play on any multiplayer server or in singleplayer, it looks at your surroundings and generates natural noises as a soundscape, such as birds chirpling in the forest, rumbling noises near a lava lake or wind gusts on a hilltop. This fills out the perpetual silence of Minecraft. Works in both single player and multiplayer. Presence Footsteps by Sollace Presence Footsteps is an overly complicated footstep sound enhancement mod for Minecraft.

It changes the way footstep sounds are produced, in addition to a whole new set of sounds. Presence Footsteps is an overly complicated footstep sound enhancement mod for Minecraft. It also has some features to make moderation tasks, such as observing chat and managing screenshots, a little easier. MAtmos 34 or higher required. Website with downloads. The MSI expansion features a large variety of new sounds for every biome, striving to create a very unique atmosphere for each of them.

By default, MAtmos does not include any sounds. To get started, move the soundpacks you want to your resource packs folder an enable them. Pressing F7 opens the MAtmos settings menu which can be used to adjust the volume levels of the individual expansions that make up soundpacks.

You can even combine different expansions from different soundpacks! Customize your experience to exactly the way you like it. Dynamic Surroundings for better footstep sounds. Yes, it's compatible. Disable its biome sounds in the config to only get the footsteps. If adding MAtmos on 1.

This problem commonly occurs with old modpacks. There are 2 ways to resolve this:. Releases for MAtmos are available on the releases tab. Want even more soundpacks , or more info? MixinTweaker --mixin haddon. The net. Skip to content. Minecraft Atmospheric sounds simulator github.

Go back. Launching Xcode If nothing happens, download Xcode and try again. This branch is commits ahead of Sollace:master. Pull request Compare. Latest commit. Git stats commits. Failed to load latest commit information.