Another is that his voluminous output includes some clinkers and throwaways.
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"We are made of throwaways and we will be thrown away," writes Vicuña.
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These were supposed to be B-sides, throwaways, tracks for the cutting room floor.
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"In the near future, cellphones are throwaways," Potucek said, according to New Hampshire Business Review.
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Come to think of it, AMC has made a career out of devouring HBO's throwaways.
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She was there to pick the dying person, the throwaways of society, up off the street when no one else cared.
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Throwaways is the story of two young people on the run from a shadowy government organization trying to track them down.
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Why it matters: These two Trump quotes might seem like throwaways on what was a lengthy and discursive call with allies.
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When the latter songs appeared on Sonic Youth albums, they played as interlude throwaways, included to provide an appropriately avant-garde aura.
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The rest of the slate was quickly forgotten throwaways and loudly flopping franchise-killers like Batman and Robin and Speed 2: Cruise Control.
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My bath and shower was elevated by the addition of MOMO shampoo, conditioner, and shower gel, which felt luxurious, rather than cheap hotel throwaways.
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The floors and walls were of a scorched reddish-black brick, the throwaways of the kiln, both sturdier and more attractive than normal bricks.
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The throwaways of society Although my start in life could be seen as unlucky, I consider myself lucky because Mother Teresa took me into her care.
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On any past album, a song like that or the blissfully smitten "Gorgeous" might even feel like throwaways, sweet sketches to fill the spaces between monster singles.
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With that in mind, the best approach is might actually be to have multiple email accounts (I have five that I use regularly, and several other throwaways).
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His music-making drew on both his classical training and his Southern roots, and he played everything from standards to surf-rock, from million-sellers to pop throwaways.
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There are loose drawings à la Matisse and casual throwaways made for a specific occasion which someone failed to get rid of — Hockney in private and Hockney in public.
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They're not just throwaways, so that's why it's so cool with this band to be able to do one group of songs on time and another group the next time.
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The project is purely a collection songs that the two recorded together and, in true throwback mixtape fashion, a couple Mozzy solo throwaways that he probably couldn't fit anywhere else.
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But there were fine pieces throughout that caught your eye, even those that a lesser designer might have considered throwaways, like the finely striped turtlenecks that peeked out from under shirts.
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All those extra tracks were meant to be bonus tracks to the four-song EP. All that stuff was on splits and throwaways, but it's kinda funny because now there's like 20 bonus tracks.
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Here's the latest playoff news from the N.H.L. and the N.B.A. • "Shoplifters," about a family of thieves and throwaways living on the margins in Japan, won the Palme d'Or at the Cannes Film Festival.
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Detroit Metro Times writer Allie Gross recently profiled one case, the death of 25-year-old Ashton O'Hara, in her in-depth piece "The Throwaways," an examination of the lives of trans women in Detroit.
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And if anyone wants a crash course in junk art, go to off-roads across the country and see the wonders that people create in their yards and that garage mechanics make with their throwaways.
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CANNES, France — The Japanese director Hirokazu Kore-eda won the Palme d'Or at the 71st Cannes Film Festival for his superb "Shoplifters," about a family of thieves and throwaways living on the margins in Japan.
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"They were girls that some people would consider to be the throwaways or not worthy of advocating for, because a lot of folks saw them as complicit in their own abuse," said #MeToo founder Tarana Burke.
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When my group first received out hats, we were all surprised to find that they were actually real hats, not cheapie throwaways, and in terms of sun protection this almost certainly bests the previous two options.
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And another, and another, until the 24-foot truck is full and the driver heads off to a teeming lot beside an industrial alley 20 miles away where other trucks plying other neighborhoods bring their precious cargo of throwaways.
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"Neither of the biggest problems, North Korea and Iran, can be solved by an America First, Lone Ranger policy," he said, adding the speech showed that globalists within his administrations were "throwaways" and that Trump was still driven by nationalism.
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Microsoft's decision to stuff up Windows 10 Home with Candy Crush and the like is frustrating in its own right, but that's compounded here by McAfee, a suite of games from WildTangent (over 20 by my count), and other throwaways like eBay and Booking.com.
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Cardi B: Invasion of Privacy (Atlantic) Because she's smart enough to know the difference between a mixtape and an album, she earns the right to treat this official debut as the one that counts—no filler, no throwaways, no riding her smash, no withholding her smash either.
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The top dogs, though, are an alpha male pack, a quintet of skinny throwaways voiced by Edward Norton (Rex), Bill Murray (Boss), Jeff Goldblum (Duke), Bob Balaban (King) and Bryan Cranston, whose Chief, a proud, violent stray ("I bite"), has wisely never depended on the unreliable kindness of humans.
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And when you look at the PS Classic's 20 bundled games to the 21 titles available on the SNES classic, Sony's console is burdened with more throwaways or niche titles that won't hit with a lot of people, which is sad, because back in the day, the PSX had one of the biggest and deepest libraries ever.
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Playlist: "One Hundred Years" / "The Hanging Garden" / "Cold" / "Shake Dog Shake" / "Give Me It" / "The Top" / "The Kiss" / "If Only Tonight We Could Sleep" / "The Snakepit" / "Like Cockatoos" Spotify | Apple Music As noted above, The Cure has a lot of singles and EPs, and while those kinds of releases can often be havens for half-baked throwaways, that's not the case here.
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During this wilderness period, Nilsson also developed an inexplicable fixation with Caribbean music, embellishing Duit on Mon Dei throwaways like "It's a Jungle Out There" with prominent steel drums and marimba and even covering the calypso classic "Zombie Jamboree (Back to Back)" on 1976's ...That's the Way It Is. That LP, a far-from-essential covers-heavy outing, at least features some stellar album art: Our dude is pictured lounging around a debauched living room, reading Penthouse and clutching a cigarette.
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The AllMusic review by Alex Henderson states, "Because Laws has recorded so many throwaways, one has to approach his catalog with caution; but rest assured that Fever puts his talent to work instead of wasting it".
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The album included a cover version of "Black Sabbath" by the band of the same name. Throwaways disbanded in 1995. Sean Baxter was later a member of Bucketrider, and then Lazy. He also had a solo career.
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In the early 1990s Throwaways, together with label mates, Spiderbait and Guttersnipes, organised and performed at the Tell 'em It's Healthy series of concerts. Throwaways were regular fixtures on Melbourne's inner city alternative music scene, playing at venues such as The Tote, The Punters Club, The Great Britain Hotel and the Richmond Club. During Easter 1991 the group performed at The Tote, sharing the stage with Hoss, The Meanies, Guttersnipes, Spiderbait, Nursery Crimes and Unclean Spirits. A live album, Wally's Wild Weekend, was issued in January 1992 with two tracks by each artist.
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At University College, Dorey met fellow resident David Kendal, and in 1988 Sean Baxter. A fellow resident of the college was Mark Maher ("Kram"), later of Spiderbait, with whom Throwaways, Guttersnipes and the Meanies would release the "Teeth" compilation.
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Crackle premiered The Throwaways on January 30, 2015. Caan plays Lt. Col. Christopher Holden, who leads a team fighting a cyberterrorist. More recent films include The Wrong Boyfriend (2015), Sicilian Vampire (2015), JL Ranch (2016) and Good Enough (2016).
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The Throwaways is a 2015 American action film directed by Tony Bui, written by Don Handfield and Michael Ross, and starring Sam Huntington, Katie McGrath, Christian Hillborg, Jack Kesy, Kevin Dillon, and James Caan. It premiered on January 30, 2015, on Crackle.
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He started local throwaway newspapers and sold ads to local merchants. He organized the only daily newspaper to begin during World War II, the San Diego Daily Journal in 1944 by stringing together several throwaways. The Journal competed with the much larger The San Diego Union- Tribune.
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Kittredge began writing a monthly comic-book series for Vertigo Comics titled Coffin Hill in October 2013. She is also the writer of the ongoing series Throwaways, which began in July 2016 and a revamp of Witchblade, which began in December 2017, both for Image Comics.
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Throwaways were an alternative rock group which performed from 1989 to 1995. They were formed by Sean Baxter (drums), Mat Butler (vocals and guitar), Marc Dorey (guitar) and Dave Kendal (bass guitar). In 1993 Matt Charles replaced Butler. The group recorded two studio albums, Angle Grinder (1992) and Postmadonna Primadonna (January 1994).
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The single's B-sides were referred to as "throwaways, except for the curiously different guitar style being heard for the first time." In Loveless, a book from the 33⅓ series about the My Bloody Valentine album of the same name, Mike McGonial referred to "Strawberry Wine" as a "rarified, effete and poppy approach to Byrdsian rock".
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Since 2011, Leroy has written original music for short films, independent features (The Mistover Tale, iKllr, The Housemaid, Chị chị em em...) and television films (Crackle's The Throwaways, Hallmark Channel's One Christmas Eve...). Leroy has also been writing music to video games such as Bandai Namco's Jump Force and for music libraries such as Audio Network.
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The song has a "piano and guitar-led instrumental". Many of ABBA's pieces are full of "thematic throwaways of the rich folk music culture [of Sweden]". This song is a "solo vehicle" in which to indulge in classical music. The grand piano is the central instrument, layered by a "flamboyant network of synth textures and brass punches".
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Caitlin Kittredge (born September 1984) is an American author and comic-book writer of dark fantasy and urban fantasy noir. She is known for her Nocturne City series of adult novels, and for The Iron Codex, a series of young adult books. She has also written the comic books Coffin Hill for Vertigo Comics and Witchblade and Throwaways for Image Comics.
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With Pearl's patience and skilled hands, these "throwaways" have thrived and have been transformed into wonderful abstract shapes. Pearl Fryar and his garden are now internationally recognized and have been the subject of numerous newspaper and magazine articles, television shows, and even a documentary, A Man Named Pearl."A Man Named Pearl (2006)", IMDb. Today, the Pearl Fryar Topiary Garden draws visitors from around the globe.
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Police Officer/Social Worker teams patrol the bus terminal and identify youngsters who may be runaways, throwaways, or missing persons. They provide crisis intervention counseling, placement with social service agencies, and reunions with families when appropriate. The Port Authority also owns the World Trade Center site and Port Authority Trans-Hudson, and the PAPD is responsible for the general safety and security of those facilities.
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Huge amounts of surplus food were being thrown out by grocery stores, food that was frozen but still edible, loose vegetables, stale bread. Inside stores John found less perishable throwaways such as dented cans and leaky bags of rice and sugar. Within a year, in 1967, John had established the location at which all the food that grocery stores could not sell would be housed and distributed.
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The film's review in the Los Angeles Times concludes: "Brimming with sharp asides and clever throwaways (Billings' passing parsing of nom de plume and nom de guerre, for one), plus astute observations on literary pretension and misguided youth, "Adult World" is a winner." The New York Times calls the film a "smart but wince-inducing satirical comedy" and Cusack's character as Rat Billings "a sardonic, understated portrayal".
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Rolling Stone staff writer Al Weisel gave Vitalogy four out of five stars, describing the album as "a wildly uneven and difficult record, sometimes maddening, sometimes ridiculous, often powerful." While Weisel praised several songs as "[matching] the soaring anthems of Ten", he criticized some of the more experimental songs as "throwaways and strange experiments that don't always work". Jon Pareles of The New York Times praised the album's diversity compared to the band's previous records.
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'Throwaways', handouts with no attributed source, were circulated. One showed a pregnant black woman in a rocker, with the caption, "I went all the way with Robert King High". Another had pictures of Rev. Martin Luther King Jr., Robert Kennedy and Robert King High, and was labeled, "A poker hand one joker and a pair of Kings." A photograph of High playing pickup football with some black newsboys was widely circulated.Barnebey. pp. 101–103.
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As a result, he's careful to construct real songs — as in the type you'd hear on traditional pop albums, the kind that people will listen to repeatedly. Of course, there are a few quick throwaways — see "Love Song" and "Not Home" — peppered throughout for cheap, hard, laughs. But largely, there are plenty of hooks on which to grab hold. ... Part of Lynch's draw is that he commits equally to both music and joke on each track.
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In a retrospective review for AllMusic, Rob Theakston referred to Keepin' the Summer Alive as "the low point" in the band's discography: "Ripe with mindless throwaways and lifeless filler ... The two exceptions to the rule reside in the title track and the closing 'Endless Harmony.'" In The New Rolling Stone Album Guide (2004), the album is cited as an "abysmal" entry in "a string of inconsequential records" that had not abated since 1978's M.I.U. Album.
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By the mid-1970s, Ozone House began recognizing that the problems youth faced were rapidly changing. Among these were rising incidence rates of child abuse, substance abuse problems within families, poverty, and parental imprisonment. Likewise, runaways who left home to explore counter culture on their own were becoming replaced by youth who had been thrown out of their homes ("throwaways") and youth who had aged out of the foster care system and found themselves with nowhere to go.Boyce, Karyn.
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Excerpt at nl.newsbank.com (fee required for complete article). However, the following year, guitarist Ed O'Brien said: "Heaven forbid anyone should judge us on Pablo Honey. We were in hock to Dinosaur Jr. and the Pixies up to our eyeballs." In 2009, PopMatters Mehan Jahasuriya criticised the album as "a hodgepodge of half-baked grunge, jangle-pop and stadium-ready alternative rock ... nearly indistinguishable from other early ‘90s college rock throwaways, save for a few hints of greatness".
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Cards were reusable, meaning players used tokens to mark called numbers. The number of unique cards was limited as randomization had to occur by hand. Before the advent of online Bingo, cards were printed on card stock and, increasingly, disposable paper. While cardboard and paper cards are still in use, Bingo halls are turning more to "flimsies" (also called "throwaways") -- a card inexpensively printed on very thin paper to overcome increasing cost -- and electronic Bingo cards to overcome the difficulty with randomization.
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Using > McDonald's throwaways (MacLei), curtain nets (Nosy Neighbour Lei), weedeater > nylon (Islanders) and soy sauce containers (Too Much Sushi Lei), Hastings- > McFall addresses the lived island and urban realities of New Zealand. Along with artist Sofia Tekela-Smith, Hastings-McFall has also revisited the kapkap (a pendant form found in the Solomon Islands and the Marquesas), traditionally made from mother of pearl and tortoiseshell, but in Hastings- McFall's versions made from materials such a gold and computer disks, or mother of pearl and stainless steel.
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The deadline for entries from the previous calendar year is typically in March and the submissions are screened by journalists from the Board of Advisors, which governs the conducting of the award. Finalists and winners are determined by an annually selected Executive Committee of the Board of Advisors. The 2013 MOLLY National Journalism Prize was awarded to Sarah Stillman of The New Yorker for her article “The Throwaways,” which addresses the use and abuse of juvenile drug offenders as confidential informants by law enforcement officers.
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In an issue related to size limitations, Sunday comics are often bound to rigid formats that allow their panels to be rearranged in several different ways while remaining readable. Such formats usually include throwaway panels at the beginning, which some newspapers will omit for space. As a result, cartoonists have less incentive to put great efforts into these panels. Garfield and Mutts were known during the mid-to-late 80s and 1990s respectively for their throwaways on their Sunday strips, however both strips now run "generic" title panels.
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McGrath was reunited with her The Tudors co-star and close friend Jonathan Rhys Meyers in NBC and Sky Living's horror drama TV series Dracula; she portrayed Lucy Westenra. In June 2013, McGrath co-starred in episode four of the Channel 4 show Dates as a young lesbian on the dating scene alongside Gemma Chan. In November 2014, McGrath co-starred in a Hozier music video for the song "From Eden". In 2015, McGrath had a supporting role as Zara in the film Jurassic World and starred in the Crackle original spy-thriller, The Throwaways.
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Because of its mixture of different cultural music genres, "Techno Cumbia" reminded authors Sara Misemer and Walter Clark of Chicano performance artist Guillermo Gómez-Peña's suggestion that "cultures are being superimposed". According to Ed Morales who wrote in his book The Latin Beat, "Techno Cumbia" is easily "forgettable throwaways" among the average listener, but found the recording "catchy" and "sticks in your gut". Author Michael Corcoran wrote in his music guide on Texan music that "Techno Cumbia" has "Michael Jackson-like trills". Patoski believed "Techno Cumbia" was aimed towards the Spanish international market, calling it "the most compelling tune".
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Comparing the song favorably to "Change" from Fearless, PopMatters editor Dave Heaton felt the song was somewhat generic, but that the ambiguity of its subject matter strengthens its appeal as an anthem. "It’s an anthem of defiance," he wrote, "where the defiant ones are gaining their energy from memories and story-making." Others were less receptive to the song. In her review for HitFix, Melinda Newman labelled "Long Live", along with "Enchanted", as "throwaways" compared to the sharper lyricism of other tracks, and suggesting these two suffer the most from "going on a minute or two too long".
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In late 1988 Kendal (bass), Baxter (drums), Dorey (guitar), Butler (vocals and guitar) held the first rehearsal of Throwaways (although the name was not coined at this time), in a corrugated iron shed at Kendal's Bacchus Marsh house. Also in attendance at this rehearsal was Ricky Drewitt (guitar). Essentially a free-from feedback jam, with occasional segues in to lyrical/chord motifs provided by Butler, the session laid the groundwork for the band's melodic noise aesthetic. The rehearsal saw the first airing of songs that later became fixtures of early live sets such as "Tarmac", "Violent", and "Girl in the Lava Lamp".
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The album remains one of The Jam's most critically favoured works, alongside All Mod Cons and Sound Affects. The only song particularly singled out for negative criticism is the cover of "Heat Wave", which clearly owes more to The Who's arrangement than the original. As AllMusic put it, "Setting Sons often reaches brilliance and stands among The Jam's best albums, but the inclusion of a number of throwaways and knockoffs (especially the out-of-place cover of "Heat Wave" which closes the album) mars an otherwise perfect album." Nonetheless, AllMusic gave the album the full five stars.
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On Earth Day 1970, litter was widely lamented as one of the nation's most prominent environmental ills, and throwaways were held up as emblematic of the problem. Following passage of a bottle bill in Oregon, Environmental Action took on the mantle of national bottle bill legislation, requiring a five-cent refundable deposit on every beverage container. With insurmountable corporate opposition in Congress, the organization focused on public education and state advocacy, resulting in the passage of bottle bills in Vermont (1973), Maine and Michigan (1976), Connecticut, Delaware and Iowa (1978), Massachusetts (1982), New York (1982), and California (1987). Fifteen years later Hawaii also passed returnable legislation.
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When the infamous hacker Drew Reynolds is captured by the CIA, he is faced with a choice. Either to spend his life in jail or work for them. Reynolds agrees to work for the CIA should he be able to form his own squad team called the "Throwaways", this team was seen as expendable and deemed the worst in the whole organization. The film opens with lone wolf patriot blackjack hacker Drew Reynolds living in solitude and doing what he does best: hacking anyone he feels is a threat to the America and the free world, including various jihadist and other terrorist organizations and straw militia groups.
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In 1914, Leo Harrigan (Ryan O'Neal) goes from being a lawyer to a writer and then to a film director. However, Leo has problems, such as being hopelessly smitten with his leading lady, who chooses to grab his attentions by getting herself engaged to his vulgar and ignorant leading man, Buck Greenaway (Burt Reynolds). Leo is forced to move from New Jersey to California to keep one step ahead of the Motion Picture Patents Company, who are out to destroy any non-authorized equipment violating the Edison Trust. Leo finally settles in with other filmmakers in Hollywoodland, California, and makes a series of dramatic, romantic, and comedic shorts as throwaways.
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UCSD Guardian writer Taylor Hogshead said Plumb "may be the duo's most inspired work to date", though he said there were "a handful of throwaways that seem half-heartedly attached merely for their technical elegance", like "Ce Soir" and "So Long Then". Mike Evans of Electric City gave the album a mixed review, calling Field Music a "polarizing band" whose intricacies you either love or find too intrusive.. Not all reviews of Plumb were positive. Daniel Orr of The Westmorland Gazette wrote: "It wasn't for me, but it might be for you." PopMatters writer Ian King described the album as ornate and "noble, if occasionally unbalanced" that is "both rapturous and jumpy".
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" Michael Snyder of the San Francisco Chronicle lauded the album's content, stating "[t]his 75-minute opus, her first effort under a megabuck contract with the Virgin label, could be the make-out album of the '90s ... a silken soul odyssey, charting one woman's journey to emotional and sexual fulfillment through 10 songs and a series of spoken-word and ambient snippets." Caroline Sullivan of The Guardian declared the album's "luxuriant collection of house, soul and pop is her best yet. Cod- Madonna throwaways like Throb aside, there are surprises all over the place. Public Enemy's Chuck D counterweights Jackson's sugared vocal to stunning effect on a black-pride anthem, New Agenda; soprano Kathleen Battle turns the heavyweight funk of This Time into something eerie and beautiful.
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" Kyle Anderson of Entertainment Weekly gave the album a B-, saying "Paula's muddled take on sexual politics probably won't woo his wife back, and the lack of an obvious "Blurred"-size hit means the Hot 100 may be equally unmoved." Andy Kellman of AllMusic gave the album two out of five stars, saying "Some of the songs that could fit on any non-conceptual Thicke release sound like commissioned work. Take 'Living in New York City,' a distant descendant of James Brown's 'Living in America' and Janet Jackson's 'Nasty,' seemingly made for a visitors bureau, or the equally hammy 'Tippy Toes,' which could be used to sell a line of footwear. Those aren't the only numbers that resemble frivolous 'Hey, we need one more' throwaways.
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Meeting at high school in the mid-1980s in the provincial city of Geelong, Mat Butler and Marc Dorey proposed the formation of what would become Throwaways. Influenced heavily by mid-1960s British Beat acts such as The Kinks and The Who, and US acts such as the Velvet Underground and The Doors, they gravitated toward the then underground Australian scene of the era, where acts as the Hoodoo Gurus, the Stems, Huxton Creepers and the Go Betweens were producing a range of 1960s garage-influenced post-punk tunes. The first musical output at this point was limited to a rough demo of several songs recorded by Dorey and Butler on a portable cassette deck modified by Butler to permit lo-fi multitracking. In 1987 Butler & Dorey moved to Melbourne.
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CPD's Captain James Stewart is extremely enthusiastic about assembling a superhuman strikeforce for his department and recruits Sarah Hill, giving her the codename Horridus, to his "Freak Force" program. There, she meets Dragon, Rapture, Barbaric and Ricochet who at the time is too young to join the department. Due to restrictions imposed by the local government and their police superiors, the 'freak' officers quit the police force and become bounty hunters, allying themselves with the veteran hero Superpatriot and the new Mighty Man. Freak Force fights a number of menaces, ranging from the supervillains such as the Fantastical Force, the Covenant of the Sword, the Throwaways, Master Atom, Bludgeon, their own evil clones and the Frightening Force, the extraterrestrial Martians, Matrix Swarm and Cosmic Cops, and other heroes like Badrock, the WildC.
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The collection was released to universal acclaim, with some of the best reviews coming from the American music press. Tom Lanham of Entertainment Weekly said that Anderson is a "tireless diarist, judging from this anthology of 27 U.K.-single B sides, each one—like the grim concert staple 'Killing of a Flash Boy'—as fey, somber, and solid as any album track." David Daley of the Hartford Courant felt the album was akin to a "best of" release, writing: "Far from an assortment of throwaways that didn't make the albums, this essential double-disc, 27-song set contains some of Suede's strongest material... the perfect antidote to Oasis' cartoonish 'Best Band' claims." Likewise, also comparing Suede to Oasis, Ed Masley of the Pittsburgh Post-Gazette admitted that Suede would always be the underdog to their Britpop rivals.
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Eric "Red Mouth" Gebhardt is an American singer-songwriter, from Alabama (born in Vernon, Texas) who plays a blend of southern music that blends punk, post punk, proto punk, blues, broken-hearted honky tonk, Stonesy rock and roll, with gospel music. Blues In London described his sound as: > "a joyfully chaotic reworking of the common sources... identifiably adhering > to bluesey, country, folky, forms but happy to accept (actively embrace) a > loose interpretation of the detail... a great blend of sasparila americana > styles pulled together without meandering to 'authenticity', and played with > a wit and verve that honour it's antecedents whilst managing a contemporary > freshness." Gebhardt started in a band dubbed The Throwaways who still perform every so often around the north Alabama area. The band's most notable achievement was a one-off release with High Society Records, an independent record label in Hamburg, Germany.
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This session culminated in the members propping their respective instruments up against amplifiers left at full volume, and exiting the shed to spend the rest of the night drinking beer and listening to the resulting wall of noise over several hours. Through 1989 the Kendal-Baxter-Dorey-Butler line-up rehearsed a 30-minute set of tunes that saw the initial 60s pop aesthetic mesh with a more hardcore approach to instrumentation indicated by the Detroit punk school, especially as practised by antipodean exponents such as The Saints and Radio Birdman, with occasional forays into Who-esque jams. These rehearsals led to the first show as an entrant in a 'battle of the bands' competition held at Melbourne University in late 1989, supporting a Cosmic Psychos show. While the band clearly won over the punk-oriented crowd with a swift 15-minute set culminating in a self-indulgent display of feed back and instrument destruction, the competition's judges were not so swayed, and The Throwaways failed to make the next heat of the contest.
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