Amicus Curiae Khaitan And Co is 100

In one sense, it’s easy for artists—songwriters, specifically—to express their feelings in their work. After all, that’s what the lyrics are for! But it’s much harder to convey emotional energy in how you play, slash at the guitar, and the structure of the music itself. That’s precisely why Girl and Girl’s Sub Pop debut, Call A Doctor, feels like such a vital, electrifying shock to the senses. Not since the early work of Car Seat Headrest or Conor Oberst’s widescreen emotional brutality as Bright Eyes has indie rock managed to come across as this intimate and grandiose, as the Australian quartet led by Kai James lay a lifetime’s worth of woes—mental health, the human race’s planned obsolescence if you’ve been living on this cursed rock you know what we’re getting at—across a canvas of indie rock that feels both timeless and in-the-moment.

In the two years since her meteoric rise to International superstardom, Tones and I has simultaneously experienced the highest of highs and the lowest of lows. Welcome to the Madhouse documents all of this in a record that was entirely written and co-produced by the Mornington Peninsula artist.

Road Dogs is a studio recording by British Bluesman John Mayall with the Bluesbreakers. With 71 minutes of Mayall's sturdy blues rock, the album's 15 tracks cover a wide variety of ground, from the slow, deliberate pace of 'Road Dogs' to the shuffle of 'Burned Bridges' to the laid back 'Beyond Control'.

In one sense, it’s easy for artists—songwriters, specifically—to express their feelings in their work. After all, that’s what the lyrics are for! But it’s much harder to convey emotional energy in how you play, slash at the guitar, and the structure of the music itself. That’s precisely why Girl and Girl’s Sub Pop debut, Call A Doctor, feels like such a vital, electrifying shock to the senses. Not since the early work of Car Seat Headrest or Conor Oberst’s widescreen emotional brutality as Bright Eyes has indie rock managed to come across as this intimate and grandiose, as the Australian quartet led by Kai James lay a lifetime’s worth of woes—mental health, the human race’s planned obsolescence if you’ve been living on this cursed rock you know what we’re getting at—across a canvas of indie rock that feels both timeless and in-the-moment.

One of the most significant challenges in the development of embedded and cyber-physical systems is the gap between the disciplines of software and control engineering. In a marketplace, where rapid innovation is essential, engineers from both disciplines need to be able to explore system designs collaboratively, allocating responsibilities to software and physical elements, and analyzing trade-offs between them.

"The One and Only" is a studio album recorded by the American R&B group Gladys Knight & the Pips, released in August 1978 on the Buddah label. It was their eighth and final album recorded for Buddah. The first single, "Sorry Doesn't Make It Right", was released in late 1977 and peaked at #24 on the R&B singles chart. Three more singles were released, including the title song, "The One and Only", "Come Back and Finished What You Started" and "It's a Better Than Good Time". They only achieved moderate success on the charts, with "It's a Better Than Good Time" reaching #16 on the R&B chart and "Come Back and Finish What You Started" peaking at #15 on the UK Singles Chart. None of the singles made the Billboard Hot 100.