Gang of Four's existence had as much to do with Slave and Chic as it did the Sex Pistols and the Stooges, which is something Solid Gold demonstrates more than Entertainment! Any smartypants can point out the irony of a band on Warner Bros. railing against systematic tools of control disguised as entertainment media, but Gang of Four were more observational than condescending. True, Jon King and Andy Gill might have been hooting and hollering in a semiviolent and discordant fashion, but they were saying "think about it" more than "you lot are a bunch of mindless puppets." Abrasiveness was a means to grab the listener, and it worked. Reciting Solid Gold's lyrics on a local neighborhood corner might get a couple interested souls to pay attention. It isn't poetry, and it's no fun; most within earshot would just continue power-walking or tune out while buffing the SUV. Solid Gold has that unholy racket going on beneath the lyrics, an unlikely mutation of catchiness and atonality that made ears perk and (oddly) posteriors shake. With its slightly ironic title, Solid Gold is more rhythmically grounded than the fractured nature of Entertainment!, a politically charged, more Teutonic take on funk. It's a form of release for paranoid accountants.
Have you been programming for a long time? If so, have you faced any situation that has come to be quite hard to solve? A feature that needs change but affects other features? A bug that’s hard to solve because it affects more than one place in your code? Come learn the classical design patterns from the Gang of Four, applied to the Ruby language.
Four acting students study with the high-class acting coach Constance Dumas and live together in a big Paris house. One by one, a mysterious man approaches the girls, asking questions and telling tales about their former housemate – implying that she may have kept some sinister secrets. Something hidden in the house attests to this. At the same time, the girls struggle in their tough acting class, trying to please the hard-as-nails teacher.
Crash Landing was the eighth studio album by Jimi Hendrix, released in March and August 1975 in the United States and the United Kingdom respectively. It was the fifth Hendrix studio album released after his death and was the first to be produced by Alan Douglas.
Midnight Lightning is a posthumous ninth studio album by Jimi Hendrix, released in November 1975. It was the sixth Hendrix studio album released after his death and the second to be produced by Alan Douglas. The songs used on the album consisted of post-Jimi Hendrix Experience recordings that originally featured Billy Cox on bass and either Mitch Mitchell or Buddy Miles on drums.
Loose Ends is a posthumous seventh studio album by Jimi Hendrix, released in 1973. It was the fourth and last Hendrix studio album released after his death by manager Michael Jeffery. The album features a collection of outtakes and jams, with the exception of "The Stars That Play with Laughing Sam's Dice" which is the sole authorized track by Hendrix (the stereo mix was used on this LP).