Month: October 2021
https://web.archive.org/web/20111015031341/http://www.nytimes.com/
1. Maroon 5 Feat. Christina Aguilera – ‘Moves Like Jagger’
2. Foster the People – ‘Pumped Up Kicks’
3. Adele – ‘Someone Like You’
4. Bad Meets Evil Feat. Bruno Mars – ‘Lighters’
5. Rihanna – ‘Cheers (Drink to That)’
6. Britney Spears – ‘I Wanna Go’
7. David Guetta Feat. Usher – ‘Without You’
8. Cobra Starship Feat. Sabi – ‘You Make Me Feel…’
9. Lady Gaga – ‘You and I’
10. Lil Wayne – ‘How to Love’
Illinois, Kentucky and Missouri got some explaining to do. https://t.co/GlPasYGWsm
— Ragnarok Lobster (@eclecticbrotha) October 12, 2021
He formed several groups with musicians in duets and trios, and in 1962 formed the band that would become The Chieftains Sean Potts and Michael Tubridy.
The Chieftains went on to become one of the best-known Irish traditional groups in the world, winning six Grammys as well as many other awards.
Mr Moloney and The Chieftains worked with a vast range of artists over their long career, making guest appearances with and contributing to albums by Ry Cooder, Marianne Faithful, Mick Jagger, Elvis Costello, and Sinead O’Connor. In 1987 they recorded the acclaimed 1987 album Irish Heartbeat album with Van Morrison.
Paddy Moloney, The Chieftains founder, dies aged 83
Keening out a special Kaddish like a proper banshee for Paddy Moloney, who has left us. I can’t number the times a Chieftains tune or performance made this boy from County Minsk feel perfectly Irish.
— David Simon (@AoDespair) October 12, 2021
Here’s an interview with NPR:
The Chieftains: For 50 Years, Irish Music For The World
MONTAGNE: Talking about roots, what were you thinking when you collaborated with some of Nashville’s top artists: Lyle Lovett, Rosanne Cash, Ricky Skaggs?
MALONEY: Yeah. For us and for me to go to Nashville was almost going to another part of Ireland and meeting up with all your country cousins and just go for it. Because you didn’t have to duck and dash with these people, they knew the music. And if you played it once or twice, naturally they’d just pick it up and play it.
“For more than a year throughout the Covid-19 pandemic, Kellogg workers around the country have been working long, hard hours, day in and day out, to produce Kellogg ready-to-eat cereals for American families,” said Anthony Shelton, president of the Bakery, Confectionery, Tobacco Workers and Grain Millers International Union.
“Kellogg’s response to these loyal, hardworking employees has been to demand these workers give up quality health care, retirement benefits, and holiday and vacation pay. The company continues to threaten to send additional jobs to Mexico if workers do not accept outrageous proposals that take away protections that workers have had for decades,” Shelton said.
NEW: The workers who make Rice Krispies & Froot Loops are on strike at all Kellogg's U.S. cereal plants. They work 16-hour forced overtime shifts and 7-day work weeks, sometimes up to 120 days straight.
Now, amid record profits, Kellogg's wants to cut their pay & benefits. pic.twitter.com/3XJpR1sIIU
— More Perfect Union (@MorePerfectUS) October 9, 2021
Three police officers went to an *elementary* school in Tennessee & arrested four Black girls.
One girl fell to her knees. Another threw up. Police handcuffed the youngest, an 8 yo with pigtails.
Their supposed crime? Watching some boys fight — and not stopping them. (THREAD)
— Ken Armstrong (@bykenarmstrong) October 8, 2021
Source:
Black Children Were Jailed for a Crime That Doesn’t Exist. Almost Nothing Happened to the Adults in Charge.
Judge Donna Scott Davenport oversees a juvenile justice system in Rutherford County, Tennessee, with a staggering history of jailing children. She said kids must face consequences, which rarely seem to apply to her or the other adults in charge.
by Meribah Knight, Nashville Public Radio, and Ken Armstrong, ProPublica
“Shattered” is a song by the English rock band the Rolling Stones from their 1978 album Some Girls. The song is a reflection of American lifestyles and life in 1970s-era New York City, but also influences from the English punk rock movement can be heard.
Uh huh shattered, uh huh shattered
Love and hope and sex and dreams
Are still surviving on the street
Look at me, I’m in tatters!
I’m a shattered
Shattered
Friends are so alarming
My lover’s never charming
Life’s just a cocktail party on the street
Big Apple
People dressed in plastic bags
Directing traffic
Some kind of fashion
Shattered
Laughter, joy, and loneliness and sex and sex and sex and sex
Look at me, I’m in tatters
I’m a shattered
Shattered
All this chitter-chatter, chitter-chatter, chitter-chatter ’bout
Shmatta, shmatta, shmatta, I can’t give it away on 7th Avenue
This town’s been wearing tatters (shattered, sha ooobie shattered)
Location, location, location. If there’s an element of luck to my story, it’s that the Stones—Mick, Keith, and Woody—lived in the same place as me. If Picasso had a “blue period” and Orson Welles a “film noir period,” then this was the Stones’ “New York period.” They wrote songs about the city—their new album gave a shout-out to 8th Street—and became part of its fabric. When Mick sang about walkin’ Central Park and about schmattas on Seventh Avenue, he was drawing from experience. I mean, how many non-New Yorkers even know what a schmatta is? (Yiddish for “rag.”)
Under Their Thumb: How a Nice Boy from Brooklyn Got Mixed Up with the Rolling Stones (and Lived to Tell About It)
Bill German
(Great book, by the way. Highly recommended.)
DUBNER: All right, well, Levitt, I feel indebted to you because I feel it’s if not valuable, then at least useful, and I use it now and again. And so I would like to return the favor, to give you something that you can use in certain circumstances. So here’s the thing. Do you ever have a circumstance where you’re interacting with someone, maybe kind of in passing and they say something to you and you don’t quite catch it, or they say something to you that you don’t want to have heard but you kind of need to say something? You ever have that at all?
LEVITT: Yeah, all the time.
DUBNER: All right, so here’s what you say. You ready? You might want to write it down.
LEVITT: Yep.
DUBNER: You say, “reebusacassafram.” Let me hear you say that.
LEVITT: Say it one more time.
DUBNER: Reebusacassafram.
LEVITT: Reebus Acassafram?
DUBNER: More like one word. Reebusacassafram.
LEVITT: Reebusacassafram.
DUBNER: Good. Right. So, that is a phrase that was invented that was by some genius. I don’t know who. I do know where I learned to say this was from the former dean of students at Darmouth and he was always getting in these conversations in passing where he had to have the response but he had no idea what the person was talking about. It might have been talking about a relative of yours or a former encounter. I could see you using this a lot. And you want to say something on your way out, you don’t want to be rude but you have no idea what the response is. If you say “reebusacassafram,” the human ear will interpret that in one of a hundred different ways and they will almost certainly think that you actually said something real when you didn’t.
Freakonomics
That’s a Great Question! (Ep. 192 Rebroadcast)
Verbal tic or strategic rejoinder? Whatever the case: it’s rare to come across an interview these days where at least one question isn’t a “great” one.
Label for song I heard while getting coffee, at place other than Starbucks. Didn’t catch the words but the singer was conveying an overwhelming sense of emotion. Not my cup of tea, but I guess it’s better than Smooth Jazz.
Crack that whip
Give the past a slip
Step on a crack
Break your mama’s back
When a problem comes along
You must whip it
Before the cream sits out too long
You must whip it
When something’s going wrong
You must whip it
Now whip it
Into shape
Shape it up
Get straight
Go forward
Move ahead
Try to detect it
It’s not too late
To whip it
Whip it good
When a good time turns around
You must whip it
You will never live it down
Unless you whip it
No one gets away
Until they whip it
I say whip it
Whip it good
I say whip it
Whip it good
Crack that whip
Give the past a slip
Step on a crack
Break your mama’s back
When a problem comes along
You must whip it
Before the cream sits out too long
You must whip it
When something’s going wrong
You must whip it
Now whip it
Into shape
Shape it up
Get straight
Go forward
Move ahead
Try to detect it
It’s not too late
To whip it
Into shape
Shape it up
Get straight
Go forward
Move ahead
Try to detect it
It’s not too late
To whip it
Whip it good
“Whip It” is a song by American rock band Devo from their third album Freedom of Choice (1980). It is a new wave and synth-pop song that features a synthesizer, electric guitar, bass guitar, and drums in its instrumentation. The apparently nonsensical lyrics have a common theme revolving around the ability to deal with one’s problems by “whipping it”. Co-written by bassist Gerald Casale and singer Mark Mothersbaugh, Devo recorded “Whip It” with producer Robert Margouleff at the Record Plant in Los Angeles.
Although “Whip It” was released as the second single from Freedom of Choice, Warner Bros. Records did not expect it to be a hit, due to its nonstandard tempo and strange lyrics. The disc jockey Kal Rudman took an interest in the song and it was soon being played on several radio stations in the Southeastern United States. Peaking at number 14 on the Billboard Hot 100, “Whip It” became a hit single and found chart success in several countries. Mothersbaugh believes the song sold well because some people assumed the lyrics are about masturbation or sadomasochism.