I'll make a stand. I won't break. I'll be the rock you can build on, be there when you're old, to have and to hold. When Night For Love (Ralphis Vox Dub) love inside I swear I'll always be strong. I'll prove to you we belong. I'll be the wall that protects you from the wind and the rain, from the hurt and pain. Why are you looking to move away from that? You get to this point, where it's like, how much better can this sound? It would be nice if someone who wanted to produce us, who wanted to work with us in an outside environment, who wanted to bring something out of us.
So much of the pressure is just on me to figure out the sonics of everything. The truth of being in a band and touring is all about that moment. You end up having it at some of the most awkward shows, where there might not even be a great crowd, but you just hit it. Like man we are just there, it's undeniable.
None of us are very jockey people, but you get in this mind set before you play where its like you got to get pumped and were going to destroy the other bands on stage and you got to get worked up like that. The volume and power and moment, those are the key. Albums are fun to make, and they are what set up being able to tour, and touring is what sets up these power moments. Once known for his magical ukulele, Dent May has since proved he's more than just a novelty act.
Combining a hyper-awareness of his own mortality with the musical likeness of the Beach Boys, Dent has learned to embrace his anxieties and fears and is more than committed to keeping the south weird.
Surrounded by the taxidermy-filled walls of the SportsmanDent and I talk about film school, Miley Cyrus, and his favorite part of your best friend's wedding. Augustine, Florida. Was this something new that you tried just for this album? My friend had this Night For Love (Ralphis Vox Dub) isolated in this cotton field and I locked myself there for a few weeks and finished the album. I really found out how much harder you can work when you have a deadline and you isolate yourself like that.
I always had this romantic idea of going to this old home by myself with recording gear and just making an album in solitude. AD: How diligent were you with the solitude aspect, did you have any contacts in St. Augustine before you went? I would work from 10 am to 8 or 9 pm then hang out with people. I try and treat music like a job, I try and get 10 or so hours in a day and then let myself forget about it.
Maybe listen to it before I go to bed, then start again tomorrow. DM: Definitely. What brought you to Oxford instead of returning home? Being in New York for a couple years really made me evaluate who I am. The reason I stay there, not to sound conceited, is because it needs people there who are making weird music. NYU is very much a machine-churning people out to work in the industry. AD: Do you ever incorporate your film experience into making music videos?
I just want to write. I would like to be the boss of someone and tell them what I want it to look like. Which has been your favorite video to work on so far?
We just had so much fun making it. I went to the Neshova County Fair and we went water skiing and to a waterfall. Would you say the breezy vibe your music has is an embodiment of how you wish you could feel at times? I like a lot of dark stuff, but I want my music that can make people feel better. I feel as if being happy and being sad is something that everyone has to go through, so I want to chew it up and spit it out and go for more of a melancholy, blissful sound.
I think everyone is aware of their mortality to a certain degree. Making music is the best response I have to my own mortality, to make a record of my existence. There's this Zen philosophy, to me its about being at peace with the world and yourself. AD: You had a lot of theater and show experience growing up. How do you think these interests you had affected your sound today? DM: I think growing up I had absolutely no concept of coolness, or what was cool.
I fantasized about having a family-band for a long time growing up. DM: Twerking is hilarious to me because its been going on in the south since like ! DM: Yes! I want to know what the people are into and why. AD: The mainstream can be pretty unifying in that way. AD: So, Cats Purringthe venue space and sort of collective you ran, is that still existing or is it on more of a hiatus now?
Cats Purring was always a sentiment that a group of friends share, and that still very much exists. Its my fault.
AD: How do you think this collective affected you creatively? DM: There were a few of us that wanted to get our music out of Mississippi. So Cats Purring was kind of a way for us to do that; we all shared the account and it was just a way for us to get it out there. We had such a great roster come through there, but spending all this time touring allows me to feel more a part of an international community.
Unbound by rules or genres, Gordon Stoneheart and Teen River Tapes are turning the standard release process on its ear and loving every minute of it. Teen River proves that if your underlying goal is simply to have fun, not much can go wrong.
Operating in Chicago for roughly three years now, the label is a constant source of new life in the home recording community.
Leaving no stone unturned, Teen River releases music from the noisy and ambient to poppy bliss, creating a sense of community that transcends the genres involved. It quickly became apparent that Gordon is really into doing what he wants, and it just so happens that what he wants tends to be pretty fucking cool.
Or, more so, how Headless Horse Head came to be? We were in really shitty bands that played together, and he went on to this band that was fucking legendary. They were really noisy, ambient, but good pop songs. There was no one doing what they were doing in Kansas. Then I moved to college and eventually here. Drew was touring with that band non-stop.
He was fine with going wherever, so he moved into Ball Hall with me. He was the person that taught me the most about music, as far as electronics go; so we just jammed nonstop at this warehouse at Diversey and Pulaski. AD: Tell me more about this practice space you had. Was this the place with the soda fountain? GH Yeah, it was weird.
We mainly moved out because no one paid rent. Then we got out of there and Headless Horse Head had all this music to put out, we basically had like eight volumes we wanted to put out in the course of a year and we ended up putting out eight volumes in the course of three months. AD: How do you think living at Ball Hall affected you creatively? GS: Well we could have shows, so that was rad.
And then, basically, when we wanted to put out 20 tapes at once it was the most fun vibe to do it in. It was a big ballroom, it was really pretty, and every one of our friends was a part of it. We were able to, in Decemberthrow a party where we released 12 tapes, then had another where we released 20 tapes.
The next release was at Lake Paradiseanother warehouse space I lived in. After we put out a shit ton of stuff and Ball Hall was unfolding a little bit, Drew moved to New York for a while. So I kind of took things over myself. AD: How do you guys get connected with the bands you release?
Was it mostly through the shows you put on at Ball Hall? GS: I think since that was such a long running place, we were having shows a couple times a week. This is such a huge city, and there are so many bands. So basically the way I get in touch with bands is they get in touch with me. Or I see them live and approach them. If bands kill it live their tapes will sell. AD: You have a really wide range of releases you put out.
GS: The Toupee release one is one of my favorites. Nobody does it better than Brian. He recorded it all himself. She moved away a while ago, but she lived at Ball Hall for a long time. Do you make a Night For Love (Ralphis Vox Dub) number of tapes for each artist or is it on an as-needed sort of basis?
GS: When we did those releases, the batch of 20, we did 30 of each. So it was about tapes. My set up now is in Roscoe Village. I used to just take my shit everywhere and dub tapes all the time. I do dubbing in real time, and it take me so long. They all sound insanely different, but I might just be a freak and have listened to tapes every day of my life. You guys seem to have some overlap in releases sometimes.
GS: That dude is one of our best friends, Gabe. Drew and Gabe are the dudes I learned how to do everything from. He started Lillerne when he was back in Kansas just for fun. His batches always sell out. AD: Do you guys have any plans or release dates in mind for ?
We just put out his stuff. Other than that, its super hard for me to see past that. GS: When we were releasing so many tapes at once, people were getting angry about it. They think there this specific way to do it. Tapes are about your fucking friends. The variables are those two variables.
People always want to have a release show and have the same bill. Like lets find some other shit that is cool and nobody knows about. Despite all of this, White Mystery shows no signs of slowing down. Seeing White Mystery for the first time circa in Athens, Ohio was electrifying and now three years later White Mystery has all but perfected that alien, 60's-influenced, garage rock sound.
Saturday I got to reunite with the old rock and roll pals and snug as bugs on a pretty dirty couch in the Empty Bottle's basement I got to hear what writing an album on tour is like, how growing up in a city like Chicago affected their sound today, and where the hell they found that psychedelic bus for "People Power" music video. You specifically, Alex, started playing in bands when you were 13 and even started a record label in high school.
Why do you guys think you were so musically charged at such an early age? One is that our parents loved really great rock music so we had access to their record collection and fell in love with Zeppelin and The Stones at an early age.
The second is growing up in a city like Chicago, where so many great bands play and all the access to great shows really inspires you. Thirdly, everyone has something inside them that is their passion that inspires them.
For some people its art or writing and, ya know, we must have Night For Love (Ralphis Vox Dub) something inside of us that inspired us to play music.
AD: You guys were lucky to find it at such an early age. Speaking of growing up in Chicago, your home seemed like it was very liberal. I loved going through them. How do you think her photography and aesthetic affected your sound growing up?
AW: She was here tonight! She saw me DJ for the first time. AD: Awe It's cool that she was a photographer and not a musician so she had that whole visual aspect. Our youngest brother, Nick White, does fashion, so we get to wear his clothes. It's really fun. This really struck me because having only lived in small towns before living here I spend a lot of time thinking about how kids in the city get to utilize public transportation and all the culture around them.
What else, aside from the abundance of transit and rock shows, did you really appreciate about growing up in Chicago? Being stone cold sober and nerdy and being able to make my own fun.
All the parks and playgrounds and places you could go that you could walk to, or take the bus to. There are plenty of things to do and places to see and Chicago smells a certain way, it smells delicious, throughout many different seasons.
AD: You guys were on tour most of the time when you wrote Telepathic. Do you think this gave you more inspiration since you were constantly somewhere unfamiliar? FW: It definitely was a different avenue for inspiration. And the last record was the first that was entirely written on tour. AD: How was working with Greg Ashley on recording?
I always love seeing the Greg Ashley band. AW: Me too! It was fun recording with an old friend who knows you super well and can really push you in special ways and understand your sound and embrace it, and know how to encourage you to do your best. FW: Greg provided a very comfortable environment for us. AD: Aside from the previously stated and obvious perk of owning all the rights to your own music, why is it so important for you guys to do self-releases?
You know, liking wrapping up the records and staying in touch with people, writing personal messages. We have a lot of values for the band, and rules. Weird rules, but it keeps us on track. AD: I want to know how you guys get so many endorsements! AW: Well with Orange amps, their logo is a redheaded woman and a redheaded man so it worked out perfectly. Companies and organizations share a similar vision as us. Birds of a feather flock together kind of thing. And we really like them, to0.
AD: This was a perfect segue -You guys have such a unique sense of style and self, do you guys like to coordinate outfits together when you play? You know if Fran's going wear a Bjork dress or something. Like when the two South Park guys showed up in the J-Lo parody.
FW: I want to wear fur, like just a lion cloth. AD: I especially love all the music videos you guys put out. Is there a certain process for each one? Coordinating, curate-ing, pulling the right people together, within our community, to execute the plan.
Egging my sister on to really put it out. We shot it in LA and it's going come out with our new record. We did it at all these different locations in LA, picked out based on how they looked and the vibe. One place was called Dog Show. AD: That sounds beautiful. AW: Yeah, flashbacks.
AD: Did they come to you or vice versa, what was the collaboration like? AW: They would come to us and then we would propose a concept to them. And we took it out on the town with all of our friends. So once we found out this whole sibling team up situation we fell in love.
We call it the three-legged race to the alter because we are trying to get married so we'll all be related. FW: I have a total crush on Penelope. But - In a very professional and creative way. AD: So this is my final question and you both have to answer.
Alex you especially are a great female musician, but I feel like you get pigeonholed almost in that label too often. So the question is: What does being a musician in the age of millennials and computers and robots mean to you? AW: Making music in the era of robots. FW: Its definitely a privilege; privilege and an honor.
Chicken, waffles, and some of Chicago's finest underground rappers - what more could one want? Not much, if you ask me. Saturday I had the pleasure of sitting down with Shawn Childress, the mastermind behind the Waffle Gang - and now, Waffle Fest - to discuss the importance of professionalism, childhood inspirations, and what goes best on a waffle. It was like Purple Ribbon with Big Boi, just a group of artists playing shows together and having fun.
AD: How long has Waffle Gang been going on? SC: Three years, we actually just had our three-year anniversary. AD: What do you like most about a collective of people? You know the people that mean it. AD: What motivated you to start Waffle Fest, the event? Was it just a way to showcase what you and other artists have been working on?
AD: How do you choose who gets to perform? Is it anyone who is interested can or do you hand select them? SC: The first two I had people submit music. But this one was personal invites.
AD: Ah I see, so now you gotta know somebody who knows somebody. SC: You know, most promoters get a hold of people the day of an event. But I gave people set times three weeks ago. AD: What inspires you to make your own music?
SC: Big Daddy Kane. But it all started with Big Daddy Kane. Fans of horror and synthesizers have a lot to rejoice about in - legendary synth rockers, ZOMBI, are back after a two-year hiatus for a tour with none other than, Goblin. Serving as long time inspirations for the duo and the masterminds behind the synth-tastic scores to films like Dario Argento's Suspiraand George Romero's Dawn of the Deadit's no secret that Goblin and Zombi go hand-in-hand.
I got to chat with the duo as they kicked off their tour at the Empty Bottle and find out where to go to feel like a rockstar, what it feels like to tour with your idols, and, of course, their Spirit Animals. So you guys have toured, literally, all over. All over the States, Japan, the UK, where has been your favorite so far? Did you guys have a residency there? I saw you played the same club a few times. AP: No, it was just three shows. SM: Very well-behaved.
AP: Tokyo was more of a normal show, but the other two were very low-key, very respectful. It was a great time. Very reserved. AP: Japans great, I really love touring Europe. In Japan, the first night we set up all our gear, and there were these two guys watching how we set everything up. After we were done we just left, left everything on stage and they packed everything up and the next day we took a train to the next city and we get there and my stuff would be set up exactly the way I would set it up.
AD: So they were taking some pretty thorough notes? They have been a pretty big influence on you - I mean, your name is even an ode to them. How does it feel to be touring with people that are such huge inspirations for you guys?
SM: They made some of my favorite music ever! These guys are absolutely responsible for so much of my iTunes. AD: Yeah, it must be great. Back inyou guys put out Sapphire and worked with Norwegian producer, Prins Thomas. How did that all come about? I can explain exactly how this came about. Tony and I, we recorded that song in He had them in his Napster folder, then James Freedmana DJ, grabbed them, and then Prins Thomas grabbed them from him, and then all these European DJs grabbed it from him, and, without us even knowing about it at all, it was playing in all these clubs in Europe.
AP: Yea I still remember sitting around the tv with our synths [laughter] AD: Do projects like that, and tours with bands like Goblin give you guys a lot of inspiration and motivation to draw from? AD: I guess, I just mean that all these collaborations and tours open the doors to working with creatively like-minded, but still different people. AP: I think back when we were touring a lot, like touring with Trans Am - we were able to tour with a lot of really good bands, I think. The Trans Am tour was a really big one.
The Champs. AP: It was neat; all these bands that we really liked and respected were asking us to go on tour. It kind of validated what we were doing, and gave us a lot of confidence in what we were doing. SM: Yeah, in that sense, the fact that we were asked to open for Goblin will make us feel more wanted, needed. AD: So you guys were both in bands before Zombi, and both do a lot of solo stuff now.
How do you balance your solo stuff and Zombi stuff? Is that because of timing and lack of new material, or is it something you reserve for your solo projects, and other musicians?
AP: We basically started it because we have a lot of stuff, Steve especially, a lot of out-put. AD: How do you feel you guys have grown together over the last decade? SM: A lot of shows! We spent a lot of time just the two of us in a van across the country.
It is an initiative of JSTOR, a not-for-profit organization Night For Love (Ralphis Vox Dub) a mission to help the scholarly community take advantage of advances in technology.
Approaches of the public administration in: a The contemporary era Introduction The approaches to the study of Public administration in the contemporary era can be categorized from different angles such as normative approach and empirical approach. The main focus of these approaches is how public administration should be, and also to describe and to analyze the actual administrative situations.
There different forms of public administration which are divide as follows; Philosophical approach Legal approach Historical approach Scientific approach Case Method Approach Institutional and Structural Approach Behavioral Approach Philosophical Approach The Philosophical approach takes within its purview all aspects of administrative activities.
This is perhaps the oldest approach to public administration as of all other social sciences. Legal Approach This is a systematic approach which is formulated and it traces its ancestry to the European tradition of rooting Public administration in law. Public administration was considered to be a part of law, concentrating on legally prescribed structure and organization of Public authorities. Legal approach came into place at a time when the functions of the state were narrowly limited and simple in nature.
The administrative law is an important branch of Public law which is conceived in quite broad terms to enable Public Administration in the United States Ambler Columbia Southern University Public Administration Ethics 22 January Abstract When in the workplace there are a few things that people try not to discuss and religion or spirituality is one of those.
It is often a touchy subject because of differing beliefs and opinions. Does spirituality help or hinder productivity in the workplace? Will someone that is spiritual be a better leader than someone who is not? I will show how the authors relate spirituality to leadership. They tend to sway to the opinion that spirituality is needed in the workplace and is effective in leadership. I will tell my opinion on the subject and how I feel spirituality relates to leadership in public administration.
Spirituality and Public Administration When discussing great leadership traits, a lot of people do not use the word spiritual. You will hear words like charismatic, strong, leader and great work ethic. Those are the types of people you would want to lead an organization.
Does it matter if they are spiritual or not? People will have differing opinions on that subject mostly depending on their own personal position on spirituality. A person that is spiritual is considered ethical and caring. So whether you are spiritual or not most people would want someone like that In no time at all, bureaucracy came to mean failed government and just plain rude people. Sadly, bureaucracy became a mandatory punishment in the form of a sterile waiting room full of rubber-stamp worker bees that I was required by law to endure in order to drive, pay taxes vote and send mail.
Surprisingly, even through a Bachelors degree in Political Science, I was never introduced to the Night For Love (Ralphis Vox Dub) that public administration was necessary in order for out government to function. The 9th edition of Managing the Public Sector by Grover Starling illuminated several blaring issues with my personal definition of public administration and bureaucracy.
The very first of these inaccuracies is the definition of both. The most informative and thought-provoking aspect of the Starling text is the situational examples that are used to provide the reader with insight into the world of public administration.
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Never Change (Reckonize Real Remix) - Reckonize Real - Remixes (File, MP3), Recitativo « Wohlan, Ihr Brüder » - Mozart* - Oratorios, Cantatas, Masonic Music (CD), (Incl. To Zion) Rehearsals - Lauryn Hill - Japanism (CD), Charles Trenet - La Mer/Seul... Depuis Toujours (Shellac), Dick "Two Ton" Baker* - The Cocoanut Song / Im A Lonely Little Petunia (In An Onion Patch), Hate To Say I Told You So - The Hives - Today Your Love, Tomorrow The World (Vinyl, LP), The Carlton Weaver - Highwaymen - Two Classic Albums From The Highwaymen (CD, Album), Les Ténèbres Du Dehors, The Rock - The Who - Quadrophenia In 1996 (CD), Eternal Suffering - Dodsferd - Desecrating The Spirit Of Life (CD, Album), Silence Inside - ON (11) - Double Vision (Vinyl, LP), I Could Cry - Reno And Smiley - A Variety Of Country Songs (Vinyl, LP, Album), Come On Over - Various - The Best Of Texas Flashback (CD), Free Food Ticket - Various - Tougher Than The Rest (Vinyl, LP)