Download Over You By Freddie Pro

I haven't been able to find a satisfactory answer for this online. I'm wondering that, since Miles and Co. went into the recording of Kind of Blue with specific modes in mind that they were going to play, which ones are being used over Freddie Freeloader? Do they just correspond to the chord numbers (i.e. V = Mixolydian) or is there more to it? Btw I know that there are other possible modes to play than the ones MD used, I just want to know which ones are played in the recorded version so I can go from there.

On September 6, 2008, with the consent of both Fannie Mae's and Freddie Mac's (the Enterprises) boards of directors, the Director of FHFA exercised statutory authority to place each Enterprise into conservatorship. This established the two conservatorships in response to a substantial deterioration in the housing markets that severely damaged each Enterprise's financial condition and left both of them unable to fulfill their missions without government intervention.

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FHFA is responsible for the overall management of Fannie Mae and Freddie Mac and has informed the Enterprises which decision-making functions should be performed by the Enterprises' boards of directors and/or management teams. The boards and management teams must consult with FHFA and obtain conservator approval as FHFA directs. Overall, the conservator has ultimate authority over all operations of the Enterprises.

Gray's death and the protests it inspired once again placed a national spotlight on issues of race, justice, police brutality, and the deep distrust between minority communities and their local governments.

Much of the anger during protests was focused on the lack of answers surrounding Gray's death, which persisted for weeks. As the investigation dragged on, many people felt that the local government and police were engaging in a cover-up to hide how Gray received the spinal cord injury that killed him and whether the officers that arrested him caused it.

These numbers speak to problems in Baltimore that run far deeper than the police treatment of Gray. They expose a city and neighborhoods that have been failed not just by the police, but also by local, state, and federal governments at large.

So I'd revise my original approach, you can move the blues scale or minor pentatonic around based on the key of the chord you're playing over, or just move mixolydian around for all the chords as well and you'll sound pretty convincing. In other words: play Bb minor pentatonic/blues/mixolydian for 4 bars, then play Eb minor pent/blues/mixo for 2 bars, back to Bb minor pent/blues/mixo for 2 bars, then 1 bar of F minor pent/blues/mixo, 1 bar of Eb minor pent/blues/mixo, then 2 bars of either Ab minor pent/blues/mixo or 2 bars of Bb depending on whether it's the first or second time through the form. Did you catch all that?

So What is the tune i was thinking of, sorry i've been out of the jazz game for a few years now...freddie the freeloader is the one where you can do that cool sliding chord thing to play the main progression (in pretty much the same chord voicing that i think was played by piano in the original)

I am fairly sure that \u201CGawker\u201D editor Leah Finnegan said \u201Coh, yeah, we\u2019re supposed to be Gawker, someone has to write a pointless Didion flame.\u201D But the whole staff was like, it\u2019s Christmas and we don\u2019t read! And they drew straws and Sarah Hagi lost and she farted out a couple dozen words, then sent it to Finnegan with the subject line \u201Cyou owe me.\u201D Honestly the output of new Gawker is so narcotized, so listless and existentially half-assed, that I imagine if they were in an office right now you could visit and they\u2019d all be in a coma, sprawled out on quirky office furniture, drooling all over their open floorplan. I can\u2019t imagine that I\u2019d hurt anyone\u2019s feelings over this given that no one employed there seems to have invested a nickel\u2019s worth of emotion in the endeavor. Gawker existed to offend; new Gawker could not achieve offense if you promised to trade its staff Juul pods in exchange for fighting words. But who would even notice if they tried their hand at it? I\u2019m fairly certain everyone involved, including the investors, sees the site as a short-term cash out, a summer job, a pop up shop that sells disaffection and \u201Cironically\u201D shitty graphic design. Only, from what I hear, almost no one is buying.

But it\u2019s also hard to escape the corona of some of these publications themselves. They sell a particular attitude - almost always a Poochie, for the record - and this can overwhelm whatever individual style the writer is going for. And not by accident; the disposability of people who write for the internet was carefully crafted by the powers that be, as it strengthens the hand of management over labor. Nick Denton was famously willing to fire people, always trusting that there was some younger, cheaper version of whoever he was letting go, confident that microcelebrity and access to stepped-on New York blow (allegedly) would be enough to attract someone who had enough brain cells to rub together that they could write about the time Luke Russert shat himself during his college graduation\u2026 with attitude. But as he was in so many things, Denton was only the most crass, which is to say the most honest, about it all. Buzzfeed wants you to read their shit, and they\u2019ll groom whoever needs grooming, but they don\u2019t want another Ben Smith to get lifted out of their grasp by the NYT like one of those crane games, dribbling stock options of their pockets as they go. (Any day now Ben.) They all value replaceability more than personalities.

Whatever stars born-digital publications produced have been poached by legacy media (Choire Sicha, Ezra Klein, Caity Weaver, Jamelle Bouie) or launched an independent newsletter (Roxane Gay, Matt Yglesias, Anne Helen Peterson) or are fucking Deadspin\u2019s rotting corpse (Defector) or Keith Gessen (Emily Gould). The smartest have gotten Hollywood money (Emma Carmichael, Cord Jefferson, Erin Gloria Ryan). Staffies who are in the best position, it seems to me, are people like Elizabeth Bruenig, who are able to start in traditional publishing while having crowdfunded side hustles that bring home cash, typically podcasts. But one way or another, writing for digital-only and earning a respectable upper-middle class American income is a status enjoyed by few, and before you deny it, yes, that was once a dream of many. Make no mistake: the underpaid and overly ambitious staffers at many of these digital publications are in it precisely long enough until they find that escape pod. Unfortunately it\u2019s musical chairs, and every mass layoff ends up with people taking seats they would have turned their nose up at a few years before. At a casino you wouldn\u2019t go near these odds.

There\u2019s a guy I know in the industry, works at a big deal pub, and he always hates when I write this stuff. \u201CGawker\u2019s dead and gone!\u201D he grouses. And fair enough. The problem is that a lot of people in the industry seem not to have gotten the memo, that the party\u2019s over, particularly the young and impressionable. What is the career incentive, now, to do this kind of work? The pay has always been bad, certainly at entry level. The professional ladder is confused at best - put two beers in somebody in media and they\u2019ll complain about how Writer X or Journalist Y doesn\u2019t deserve their success. And the accelerating diaspora away from New York and DC, driven by technological change, low wages and insane rents and Covid, eliminates what was always the draw for a lot of people who could make more money elsewhere, the opportunity to come someplace and be seen and to see others seeing you. And for all of the things I\u2019ve said here, I understand. I do understand. The will to be somebody, to be among other somebodies, I get it. But it\u2019s gone now.

In response to an ACLU Freedom of Information Act request, the FBI has released more than 18 hours of video from surveillance cameras installed on FBI aircraft that flew over Baltimore in the days after the death of Freddie Gray in police custody in 2015. The videos, which were released to the ACLU before being posted online by the FBI this week, offer a rare and comprehensive view of the workings of a government surveillance operation. While the release of the footage addresses some questions, it leaves others unanswered.

The FBI videos come from traditional aircraft, with pilots and other law enforcement personnel on board. But, incredibly, on numerous occasions, the videos capture small drones flying over the streets of Baltimore. At one point, the frame zooms out to reveal what appear to be three drones simultaneously flying over one Baltimore neighborhood. Most of the drones are captured on infrared camera feeds, obscuring some of their details, but they appear to be a mix of quad-rotor and helicopter-style devices. Because drones generally fly relatively close to the ground, the potential for privacy violations can be even greater than with video captured from traditional aircraft.

Mortgage insurance (MI) on 1-unit properties can be cancelled after loan balance drops below 80% of the home's appraised value and cancellation criteria are met. MI coverage requirements are reduced for LTV ratios above 90%.

Exactly four years ago, during the early days of the financial crisis, the federal government took control of mortgage financiers Fannie Mae and Freddie Mac through a legal process called conservatorship. Since then, the two companies have required roughly $150 billion in taxpayer support to stay solvent, while the government has kept the housing market afloat by backing more than 95 percent of all home loans made in the United States.

Contrary to conservative talking points, the answer is very little. During the bubble, loan originators backed by Wall Street capital began operating beyond the Fannie and Freddie system that had been working for decades by peddling large quantities of high-risk subprime mortgages with terms and features that drastically increased the chance of default. Many of those loans were predatory products such as hybrid adjustable-rate mortgages with balloon payments that required serial refinancing, or negative amortization, mortgages that increased the unpaid balance over time. ff782bc1db