just one

& AGAIN from John John Florence on Vimeo.

here comes july 4 (actually july1,2,3,4,5,6,7) for dogs a living hell

The real drugs from vet are super expensive as well as blood work and all sorts of shit to cover there asses etc....


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George Harrison - The Last Performance (John Fugelsang)


Blondie w muppets

paul williams


Meet Aaron James, a surfer and best-selling author who says you might be an asshole

| POSTED ON MAY 21, 2015
image: http://stwww.surfermag.com/wp-content/uploads/2015/05/drop-in-noyle.jpg
Many surfers treat the lineup like a lawless territory. Those are the assholes. Photo: Noyle
Many surfers treat the lineup like a lawless territory. According to James, those ones are the assholes. Photo: Noyle
Before acquiring his PhD in philosophy from Harvard University, lifelong surfer Aaron James found inspiration for his New York Times bestselling book, Assholes: A Theory, not from his Ivy League colleagues, but from the many insufferable surfers he’s encountered in lineups around the world. We all know the type: the aggro local bent on ruining your session, the bratty grom who scoffs at etiquette, the standup paddleboarder who literally takes every wave. But James goes beyond identification. He explains why these assholes are the way they are. We asked James to employ his asshole-management theory and discuss how to deal with these people both in and out of the water.
First off, can you tell us a little about your background in academia and surfing?
I grew up surfing in San Diego until Rincon drew me north to Santa Barbara, where I studied at Westmont College. From there, I got my PhD in philosophy at Harvard, trying to fit a year’s worth of surfing into the four months I didn’t have to be in Boston. I hoped to find a research-oriented “surfing job” at a university near good waves. Luckily, it all worked out. I got a job as a philosophy professor at UC Irvine right out of graduate school with Lower Trestles as my main break and have been happily there ever since.
So how does the premise of your book relate to surfers? 
I first got the idea of defining the term “asshole” in the water while watching a guy blatantly burn someone and then get angry at the victim when he complained. We grow up dealing with this a lot, but this was the first time I had a philosophical moment with it. I thought, “Wait, to claim he’s an asshole is classifying a person as of a certain moral type.” Then I thought it would be fun to try to define what the moral type is, because a philosopher is supposed to define what is otherwise obscure.
In the first few chapters, you define an asshole as “a person that allows himself to enjoy special advantages in interpersonal relations out of an entrenched sense of entitlement that immunizes him against the complaints of other people.” Who fits into that mold?
That’s the definition I came up with based on the surfer who repeatedly snakes people and then yells at them when they reasonably complain. But the definition also seemed to work for the asshole who cuts in line at the post office, swerves through three lanes of traffic, parks in handicapped places, or talks too loud on his cell phone in a public space. It also fit a bunch of celebrities and political figures, which was all very fortunate, since I was initially just thinking of certain surfers and academic types.
Why do some surfers act like this, and why do they seem to be growing in number?
Most commonly, the asshole surfer makes up some entitlement to right of way in the lineup rather than relying on talent, wave knowledge, and hustle like everyone else. Maybe he’s the older guy, or a supposed local, or a washed-up pro. I suppose it feels like there are more assholes in the water than before just because lineups are more crowded, and assholes convince themselves of their entitlements to cope with the frustration of not getting enough waves. I’m not sure whether there is a higher percentage of assholes than in earlier decades or if it’s just the same proportion of a larger surfing population. You’d need a social scientific study to find out, but there are probably better questions for social scientists to work on.
You touch on gender differences in your book. Why don’t we often see women being assholes in the lineup?
Assholes are usually men in the general population, so it’s no surprise that extends into the lineup. In the case of surfing, I think it’s due to nurture rather than nature: Young girls are usually subjected to higher expectations to cooperate with rules. Boys are often permitted or even encouraged to act out, to push boundaries, and to compete, because “boys will be boys,” while girls are often sharply sanctioned for acting in similar ways. For similar reasons, we see fewer women in the water. Historically, girls and young women haven’t been pushed into sports to the same degree as boys. That started to change partly because of Title IX laws in the 1970s, which gave young women and girls better athletic opportunities, and now there’s a surge of interest in female surfing. But the young women that do become surfers are a lot less likely to be assholes, just because they are generally less likely to engage in male styles of confrontation, such as yelling or making threats of violence, etc. Even the women who are exceptions to the rule will tend to pull asshole moves in their own, less brazenly male, fashion.
Part of your book is devoted to “asshole management,” showing readers how to deal with assholes. How do we deal with assholes in the lineup?
The asshole problem is basically intractable, in which case you shouldn’t expect a true asshole to listen or change regardless of what you say or do. Accepting that should help keep you from becoming frustrated or enraged when he doesn’t. So you have to find other ways of upholding your rights to better treatment. Principled silence is one way. There’s always the quick, cutting remark in hopes of embarrassing the guy and getting a laugh from others. And of course you could threaten to take it to the beach, which might work if he doesn’t call your bluff, but may be dangerous otherwise. I think escalating isn’t generally advisable. The quiet approach of principled silence saves you a lot of trouble, and can still be done in self-respect: In refusing to acknowledge the guy, you make clear that he’s lost his right to speak to you. I’ve done this a lot, and most assholes don’t know how to handle it. They get flummoxed.
Have you ever felt like the asshole in the lineup?
Ah yes, the inner asshole we all have. Sometimes you let yourself start thinking, “This is my spot and that other guy can’t surf anyway, so I can back-paddle him, or not give him the benefit of the doubt when he’s behind a makeable section.” Maybe he’s also ugly, or seems full of himself. Then, of course, non-assholes have that moment of self-awareness when you tell yourself, “Jeez, get over yourself. Just be cool. Don’t be an asshole.”
image: http://stwww.surfermag.com/wp-content/uploads/2015/05/author.jpg
Bestselling author Aaron James, getting burned by some asshole.
Bestselling author Aaron James, getting burned by some asshole.

thanks to some asshole that sent this to me

Jack Marshall & Shelly Manne - Sounds!

256+ VBR LAME mp3
Vinyl rip & scans from Capitol ST-2610

The Girls of Sao Paulo

This is the final effort in the Sounds! series of duet albums Manne & Marshall did together during the early 60s. Manne was a drummer who always followed a different beat and was quite a bit more experimental than contemporaries like Buddy Rich and Louis Bellson. It was due to this bohemian bent that he proved the perfect percussionist for what amounts to sound-centred stereo test records that also provided an enjoyable listening experience.

The series was experimental to start with and was conceptualised as a showpiece for the flegdling Hi-Fi stereo sound consumers were still adopting at the start of the 60s and was envisioned as a way to demonstrate the frequency range and cutting-edge studio techniques of the era. In fact, after cruising some of the audiophile forums, it's surprising to see this particular LP in the series is still often slapped on to show off the strengths of a $erious $tereo $etup.

While Marshall has an exquisite tone and picks clean as a whistle throughout, Manne does his very best David Van Tieghem and pounds on whatever is at hand, whether shoe-boxes or sheet metal, giving the proceedings an avant-garde flavour belying the simple melodic strings Marshall effortlessly floats atop the percussion. Although a pleasurable listen in its own right, if you'd like to learn something about mic placement you need look no further than this long-play lesson in room, range and dynamics.

This one goes out to The Oracle for his excellent Portal of Grooveblog, where you will also find the other releases in the series as well as a heapin' helpin' of hi-fi hi-jinx covering exotica, the-in-sound-from-way-out, space-age-bachelor-pad music and other auditory delights of the dollar bin variety.

Dusty Groove sez:
Wild! Shelly Manne plays odd percussion behind Jack Marshall's jazzy guitar, and the two of them run through an odd bunch of tracks that will stretch the dynamic range of your stereo. More "hi fi" than jazz, but with a firm jazz base -- even though there's odd bits like shoeboxes, whistling, and handclaps. Cuts include "The Girls of Sao Paulo", "The Rain in Spain", and "Choros".

Jack Marshall - Guitar
Shelly Manne - Percussion

1 Theme From "Lawrence Of Arabia"
2 Sweet Sue, Just You
3 All The Things You Are
4 Choros
5 Am I Blue?
6 The Rain In Spain
7 Spanish Dance No.5
8 S'posin'
9 Yesterdays
10 The Girls Of Sao Paulo
11 A Day In Brazil - Medley

Sound off with Manne, Marshall & Soundological HERE or HERE.

Shelly Manne: The Well-Toned Drummer

partner content from Jazz24
Shelly Manne achieved many tonal colors in drumming by using sticks, brushes, mallets, his hands... whatever it took to get the sound he wanted.
Shelly Manne achieved many tonal colors in drumming by using sticks, brushes, mallets, his hands... whatever it took to get the sound he wanted.
Michael Ochs Archives
One the greatest drummers in jazz history, Shelly Manne, was born in New York City on June 11, 1920. Coming from a family of drummers, Manne began working New York's 52nd Street jazz scene in his late teens. When bebop arrived in the 1940s, Manne was there, playing with everyone from Dizzy Gillespie and Charlie Parker to Lennie Tristano and Lee Konitz. His introduction to a national jazz audience came shortly after WWII, when he began drumming for two of the finest big bands of the era, going back and forth between bands led by Stan Kenton and Woody Herman.
As you can infer from breadth of artists with whom he performed, Manne not only had talent, but was also eager to apply that talent to all forms of jazz, from hard-driving, highly improvisational bebop combos to the more tonally experimental orchestral jazz typified by Kenton. With all that experience under his belt, Manne was ready for more when he and his wife decided to leave the New York scene for Los Angeles in 1952. And it was there that Shelly Manne really came into his own, as a pioneer and lynchpin of the West Coast "cool jazz" sound.

Shelly Manne: The Well-Toned Drummer

Stan Kenton Retrospective

Stan Kenton

  • Artistry in Percussion
  • from: Retrospective
Even early in his career, Manne was noted for his musicality and the tonal colors he achieved in his drumming by using sticks, brushes, mallets, his hands... whatever it took to get the sound he wanted. There's no doubt that his early work with The Stan Kenton Orchestra helped set him on this path. In this recording from 1946, we hear a very lyrical Manne sharing the solo spotlight with trombonist Kai Winding.

Jimmy Giuffre

  • Four Brothers
  • from: Voodoo
When Manne was in the Woody Herman Big Band in the late 1940s, one of Herman's signature pieces was the Jimmy Giuffre composition "Four Brothers." It was originally written as a showpiece for Herman's great sax section (Stan Getz, Serge Chaloff, Herbie Steward and Zoot Sims), but several years after Herman recorded the song, Giuffre decided to record it himself with some of his West Coast musical associates. Along with Shelly on this 1954 recording, the band includes Bud Shank (alto sax), Shorty Rogers (flugelhorn), Jack Shelton (trumpet), Bob Enevoldsen (valve trombone), Ralph Pena (bass) and Giuffre on sax. 

"Four Brothers" is available via Amazon MP3 and iTunes.
Exploring The Scene

Poll Winners

  • This Here
  • from: Poll Winners: Exploring the Scene
In 1956, guitarist Barney Kessel, bassist Ray Brown and Shelly Manne each won the readers' poll in Down BeatMetronome and Playboy magazines as Best Guitarist, Best Bassist and Best Drummer, respectively. Based upon that mutual trifecta, they formed a trio called The Poll Winners and recorded four albums between 1957 and 1960 (with a later reunion recording in 1975). This version of Bobby Timmons' composition, "This Here," was recorded in 1960 and features Manne's wonderful technique with brushes, as well as fine solos from Kessel and Brown.
Swinging Sounds

Shelly Manne

  • Poco Loco
  • from: Shelly Manne, Vol. 4: Swinging Sounds
Shelly Manne and His Men recorded a number of albums between 1955 and 1960. Not unlike Howard Rumsey's Lighthouse Allstars, the personnel of Manne's band was ever-changing, but it always featured the cream of the crop of West Coast jazz musicians. The 1956 incarnation of the group on this recording consists of Manne with Charlie Mariano on saxophone, Stu Williamson on trumpet, Leroy Vinnegar on bass and Russ Freeman on piano. After letting all his bandmates solo, Manne steals the show with his inventive and melodic drum solo.
Cover for Concierto de Aranjuez

The L.A. Four

  • St. Thomas
  • from: Concierto de Aranjuez
One of the last bands in which Shelly Manne performed regularly was also one of the best. It was The L.A. Four, featuring Shelly and three longtime colleagues: Brazilian guitarist Laurindo Almeida, who had worked with Manne in the Kenton Band in the 1940s; bassist Ray Brown, who was a member of The Poll Winners (above); and jazz flute pioneer Bud Shank, whose association with Manne also went back to The Kenton Orchestra. The sound of The L.A Four was a fusion of jazz, classical and various forms of Latin music, primarily Brazilian. In The L.A. Four's version of Sonny Rollins' composition "St. Thomas," recorded in 1975, we'll hear that fusion (although, in this case, the Latin component is somewhat more Caribbean). Also, as we hope you've now come to expect, Manne weighs in with another terrific solo.