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"Fall (Musical group)"
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Mark E. Smith and The Fall: Art, Music and Politics
This volume offers a comprehensive range of approaches to the work of Mark E. Smith and his band The Fall in relation to music, art and politics. Mark E. Smith remains one of the most divisive and idiosyncratic figures in popular music after a recording career with The Fall that spans thirty years. Although The Fall were originally associated with the contemporaneous punk explosion, from the beginning they pursued a highly original vision of what was possible in the sphere of popular music. While other punk bands burned out after a few years, only to then reform decades later as their own cover bands, The Fall continue to evolve while retaining a remarkable consistency, even with the frequent line-up changes that soon left Mark E. Smith as the only permanent member of the group. The key aspect of the group that this volume explores is the invariably creative, unfailingly critical and often antagonistic relations that characterize both the internal dynamics of the group and the group's position in the pop cultural surroundings. The Fall's ambiguous position in the unfolding histories of British popular music and therefore in the new heritage industries of popular culture in the UK, from post-punk to anti-Thatcher politics, to the 'Factory fiction of Manchester' and on into Mark E. Smith's current role as ageing enfant terrible of rock, illustrates the uneasy relationship between the band, their critical commentators and the historians of popular music. This volume engages directly with this critical ambiguity. With a diverse range of approaches to The Fall, this volume opens up new possibilities for writing about contemporary music beyond traditional approaches grounded in the sociology of music, Cultural Studies and music journalism - an aim which is reflected in the variety of provocative critical approaches and writing styles that make up the volume.
eBook
It's tough to take your eyes off revamped Fall
The answer was a firm \"no\" to the latter question, as the group left the stage after an hourlong set and didn't come back. And maybe that had something to do with the former question as well, because Smith seemed especially antagonistic to his bandmates, hijacking the keyboards and microphones, and frequently turning down bass player Rob Barbato, even when Barbato's steady chug helped elevate the monolithically funky likes of \"Blindness.\" Then again, this is all pretty typical Smith (mis)behavior for a Fall show.
Newspaper Article
A Regression Paradox for Linear Models: Sufficient Conditions and Relation to Simpson's Paradox
An analysis of customer survey data using direct and reverse linear regression leads to inconsistent conclusions with respect to the effect of a group variable. This counterintuitive phenomenon, called the \"regression paradox,\" causes seemingly contradictory group effects when the predictor and regressand are interchanged. Using analytical developments as well as geometric arguments, we describe sufficient conditions under which the regression paradox will appear in linear Gaussian models. The results show that the phenomenon depends on a distribution shift between the groups relative to the predictability of the model. As a consequence, the paradox can appear naturally in certain distributions, and may not be caused by sampling error or incorrectly specified models. Simulations verify that the paradox may appear in more general, non-Gaussian settings. An interesting, geometric connection to Simpson's paradox is provided.
Journal Article
SONGWRITING BOOT CAMP
First Session We discussed the humor of the song: [...] Session We studied the lyrics and discussed the following: [...] Session In third grade, I took out the chart of at least 30 miscellaneous eight- and 15syllable lines the class had come up with the day before that fit the rhythm footprint of the verse for the \"Pirates\" song.
Journal Article