Reviews on refrigerators. Morgue refrigerator.
Reviews On Refrigerators
- A refrigerator is a cooling apparatus. The common household appliance (often called a "fridge" for short) comprises a thermally insulated compartment and a heat pump—chemical or mechanical means—to transfer heat from it to the external environment (i.e.
- An appliance or compartment that is artificially kept cool and used to store food and drink. Modern refrigerators generally make use of the cooling effect produced when a volatile liquid is forced to evaporate in a sealed system in which it can be condensed back to liquid outside the refrigerator
- (Refrigerator (horse)) Refrigerator was an Appendix Quarter horse racehorse who won the Champions of Champions race three times. He was a 1988 bay gelding sired by Rare Jet and out of Native Parr.
- (refrigerator) white goods in which food can be stored at low temperatures
- A critical appraisal of a book, play, movie, exhibition, etc., published in a newspaper or magazine
- A formal assessment or examination of something with the possibility or intention of instituting change if necessary
- (review) look at again; examine again; "let's review your situation"
- A periodical publication with critical articles on current events, the arts, etc
- (review) reappraisal: a new appraisal or evaluation
- (review) an essay or article that gives a critical evaluation (as of a book or play)
LOTF Friday 11th July 2008 - Farm Folk - Cibelle
Cibelle - did a fantastic set, very Laurie Anderson From a cd review; The beautiful young lady staring enigmatically from the cover of this colourful CD is Cibelle Cavalli. She is probably Brazil's most exciting new musical talent. Seriously. It might be a good idea to take a good look at the picture. Check the face. Memorise the eyes. Do this, because the next time you see Cibelle, there is a good chance she'll look different. A natural-born chameleon, she changes her appearance constantly, applying the same restless creative spirit to her physical appearance that she applies to her art. From a review of her 2nd cd (The Shine of Dried Electric Leaves); The London-based, Sao Paulo raised, singer Cibelle, (pronounced see-BELL-ee), burst on the scene in 2003 with her beautiful, smoky voice on her self-titled debut. Her second album, The Shine of Dried Electric Leaves, is a quiet masterpiece, full of inventive and quirky arrangements. It combines rootsy acoustic instrumentation and electronic processing, noise guitars and children's toys, fascinating textural soundscapes and pure melodies. This record brings to mind such singular talents as Bjork and CocoRosie. Like them, Cibelle is a gifted storyteller. She has a keen ear for unusual textures which give each of the album's fourteen tracks the power to surprise. Cibelle has become a quick study in the control room too. She co-produced the new album, taking the tracks from London to Sao Paulo and back. Along the way she worked with producers Mike Lindsay (half of the English folktronica band Tunng) and Apollo Nove, the visionary Brazilian musician who produced her debut album. He has his own psychedelic folk/alternative pop album, and is now being mentioned as the heir apparent to the late Suba's title of "World's Coolest Producer." Finally, she mixed the album in Paris with Yann Arnaud (former house engineer for Air). As a result, the album has a strong international flavor. More than half of the songs on The Shine of Dried Electric Leaves are sung in English. In "City People," a quintessential Cibelle track, she turns an intriguing set of apparently random sounds into a sampled rhythm track (reminiscent of the refrigerator and cash machine that subtly color the sound of "Waiting" on her debut album.) Splashes and wisps from a dizzying array of an assortment of instruments make for a full, but not overwhelming sound and, for all its surprises, this is a tender, lyrical song. Cibelle's compositions are directly derived from her emotional life: she likens her life to a lab, where she is at once the hamster and the scientist. Aiding and abetting Cibelle on the new album are the like-minded young Brazilian singer Seu Jorge (best known for his David Bowie covers in the film The Life Aquatic) and French MC/beatboxer Spleen (who's also working with CocoRosie). Cibelle and Seu Jorge collaborate on "Arrete La, Menina," one of the most intriguing arrangements on the album. The song starts with the sounds of traditional flute and percussion, over a lilting, rocking accompaniment. Gradually add a healthy dose of samba drumming and electric guitar, plus Seu Jorge's unique vocals, and you have something that's neither Brazilian nor indie rock but somewhere in between. The duet with Spleen is even more unusual. On "Mad Man Song," almost every sound is made by the two musicians – using their voices and a coffee setting, including spoons, sugarcubes and even the coffee itself. Cibelle also offers some unusual covers, beginning with the Tom Waits' "Green Grass." Harp sounds, metal and wood percussion and a backwards guitar track move over a shuffling beat that would make old Tom proud. "London London" is a duet with singer/songwriter Devendra Banhart. The song was written by Caetano Veloso while he was living in exile in that city during the early 1970s. While both vocalists sing in English, Banhart's voice has an eerie resemblance to Veloso's. On "Por Toda a Minha Vida," Cibelle's spare, nocturnal arrangements reinvent Antonio Carlos Jobim's song as a piece of glitch electronica Other highlights on The Shine of Dried Electric Leaves include "Phoenix," a slow ballad that starts with a music box, adds electronic blips and twitters, then guitars, both forward and backward, and cello. By the end, the band has become steadily more rhythmic and electric. "Flying High" is an adventurous 6-minute epic over electronic beats that detours into a new key and texture halfway through, then takes another direction again towards the end. Through it all, Cibelle's expressive voice ties the album's many musical threads together. As in "Minha Neguinha" she can lure you in with her intimate, sotto voce vocals, then ramp up to more emotive, all-out singing. It is perhaps "Instante de Dois" which crystallizes what Cibelle's music is all about: richly te
more on 360
Joyce Park aka Troutgirl, Scott Rafer of Feedster, Julie Herendeen of Yahoo! We saw 360 on Thursday, and Yahoo! asked us for feedback…and told us we could blog it freely. In that spirit (and in the spirit of release 0.7 rather than fully baked thoughts): First, it was difficult to keep Flickr out of of my mind… and one *can* be excellent without being Flickr (!). 360 – which is a great name, btw – is a blogging service with instant communications, with photos, with IM blasts, the ability to create circles of friends, and much more. That’s both the opportunity and the problem. Yahoo!’s challenge is to figure out how to introduce it in a way that will draw in the most enthusiastic early users -without confusing them - and then rely on them to spread it. It could take several paths, and those paths will affect how the service is used and by whom….and ultimately how it evolves, because it will inevitably respond to the demands of its users and get shaped by them. That’s the lesson of the long tail: one size should not fit all; it should find its natural market, and then communicate well with other sizes. So they could call it a refrigerator door product (as described so ably by jerry Michalski years ago), for keeping others up to date (but it lacks a calendar). Or they could call it a blogging tool. Or a photo-sharing tool. Or they could decide not to compete with “blogging” tools (a la Live Journal) and attract newbies by calling it an “everyday holiday letter” tool for keeping your friends and family informed. Or they could give up on the metaphors and call it 360 – for surrounding yourself with your friends and with tools to keep in touch with them. Enough pontification, on to specifics (rather than a full review): What struck me was what I missed, which is Flickr’s ability to create shared context around shared objects. Randy Farmer called 360 a “user-centric” community tool; each user is the center of a number of concentric circles…. except they’re not really circles; they’re ellipses that all have the user at on of the [whatever the geometric terms is for the two "centers" of an ellipse], but don’t intersect (or perhaps they’re in 3D, in different planes). The user creates categories of friends – school, biking club, band practice, family – and communicates with them in that context. (The categories/ groups/circles aren't aware of their own existence, as far as I can tell; they are simply so designated by each user, so "biking frineds" is more a way of classifying individuals and determining what info about or from the user they see, than an actual group with its own collective existance.) But my friends and their “categories” are more fluid and self-organizing than that, and I prefer to let them define themselves. I like posting my photos/captions and tagging them, and then my friends who are interested can look and comment. I don’t presume to know what interests we might share…and I might not be the center of the conversation; they can gather around the artifact (the photo) rather than around me… but the conversation is semi-public, so I can join in again if I want. Or I can join others’ conversations. There was much discussion about the need (as in Flickr) for asymmetrical relationships: Juan can list Alice as his friend and let her see his (semi-)private photos, but she can keep him as a contact (or peoplemark)... with no hard feelings as long as he hasn't begged to be her friend. Subtle differences, perhaps, but they matter in ways we can;t always predict (unless we're danah boyd!). I know people can use Flickr to create groups, but I like the fluidity of tagging. So for some people, perhaps, Flickr groups are the natural home, rather than the people and the tags. The trick is to create something that draws people in, and then they can create their own nests with the particular colors of ribbons and strings that they prefer. Another interesting thing is the different sense of time. I see Flickr as a place to store things and keep them alive; 360 feels more like a stream: IM rather than e-mail. I don’t know how much this is a function of age, and how much my personal predilections as a packrat, but I feel most at home in a service that stores things and emergently organizes them rather than one that lets them stream through. And I like to *discover* people, by seeing what interests them and what they say, rather than reading self-descriptions of dubious accuracy and insight. And of course.... I like to use Flickr as my blog. By calling this "captions," I can avoid the presumption of calling it a blog... It was just a caption, sir, nothing serious!