So if I were to give a down and dirty, so to speak, over what an effective listener is, it would be somebody that takes a step back, that allows the other to speak, that gives their full attention, that hears the message with their ears, with their heart, with their mind, with their emotional intelligence, that suspends judgement and makes a connection with the other individual
The power (and the myth) of getting picked
The film’s official soundtrack is similarly old-fashioned in its approach, even as its credits include a host of modern songwriters from the pop, country, and rock spheres. Along with Gaga and Cooper, there’s contributions from Jason Isbell, Willie Nelson’s son Lukas, Mark Ronson, Miike Snow frontman Andrew Wyatt, behind-the-scenes pop wizards Julia Michaels and Justin Tranter, the list goes on. The songs fall into a few distinct silos—blaring blues-rockers, tender acoustic ballads, anthemic torch songs, and robotic electro-pop—and save for a digital flourish or two on the pop songs that make up much of the film’s back half, there’s very little here that would’ve sounded out of place on blockbuster film soundtracks of decades past.
In this episode, Dan Haesler talks with author and public education advocate Jane Caro, about her life and career that led her to become such an outspoken defender of public schools, and some of her opinions on the state of education today.
It is time to put aside the novelty aspect of unmanned aerial vehicles and start designing domestic drones that are fit for purpose. But how do you regulate a technology that has so many different uses and such varying capacities?
We uphold through what we passively assent to this world and schools uphold it by what they put on the board and who they raise money from ... We are all in on a world that has entrusted the super-rich to become our saviors.
Can the messy and complex world we live in be reduced to algorithms? And should we even try? Mathematician and lecturer Hannah Fry attempts to answer all this and more
We all need to be a bit more literate and a lot more sceptical.
Moulder's musical career started in the early 1980s, at Trident Studios in London. As an assistant engineer, he worked with influential producers like Jean Michel Jarre, drawing from them great familiarity with electronic sounds and textures. Also an engineer at Trident was Flood with whom Moulder would often collaborate in the future. Moulder assisted in one of Flood's recording sessions with The Jesus and Mary Chain, and found that the often fractious and troublesome band enjoyed working with him. The Mary Chain invited Moulder to engineer their live sounds and, eventually, to engineer their 1989 album Automatic. The album's production was praised for its combination of thick, noisy guitar with a polished, listener-friendly tone, and the Mary Chain's former label, Creation Records, soon had Moulder producing records for Ride, My Bloody Valentine and Swervedriver.
For Tides, Middleton teamed up with with Davey Lane (You Am I) as co-production buddy and brought in Steve Schram to mix. The album also includes some quality Australian performers such as Vika and Linda Bull and Kelly Lane on backing vocals, with Graeme Pogson (The Bamboos), Luke Hodgson (Meg Mac), Xani Kolac and Louis Macklin (JET) handling the rhythm of the album.
Place in-between Josh Pyke and Bob Evans
The long awaited collaboration between two iconic Australian artists Daniel Johns (aka Dr Dreams) and Luke Steele (akaMiracle) has arrived.
I feel that No One Defeats Us is one of those albums that has something for everyone, but can be a challenge in its entirety.
Place between Twin Shadow and The Presets