Buraka’s breakneck carnival beats, wonky fanfares and rudimentary electro rumbles sound like exactly the thing MIA could get with. And, lo and behold, Travelex’s favourite customer turns up on ‘Sound Of Kuduro’ yelling “It’s upmarket, bro!” for no obvious reason other than shits and giggles. Elsewhere, excitable vocals are provided by ladies called things like Petty and Pongolove, whose rhymes probably wouldn’t make much more sense even if you could translate them. If ‘Black Diamond’ – and kuduro in general – has a nervous, manic energy, it probably stems from the fact Angola only recently emerged from a vicious 25-year civil war. Even when mediated by a bunch of tubby Portuguese chaps, this is party music with an authentic, violent sense of release.
Three sets of fatigue crack growth data tested under different constant-amplitude loads for CT specimens made of 2024 T-351 aluminum alloy are released, and the analyzed results presented in this study are specially emphasized on the correlation between statistics of these scattered fatigue data and their applied loads. Investigating the scatters of initiation cycle and specimen life, it was found that both the mean and standard deviation of initiation cycle, as well as the mean and standard deviation of specimen life, decrease as applied stress amplitude increases. Moreover, the negatively linear correlation between the median values of initiation cycle and applied stress amplitudes presented in linear scale, and between the median values of specimen life and applied stress amplitudes presented in logarithmic scale were found, where the initiation cycle and specimen life are all best depicted by normal distributions for all three data sets. Finally, the mean of intercepts and mean of exponents of Paris-Erdogan law for each data set were studied, and it was found that the mean of intercepts decreases greatly as applied stress amplitude increases, while the mean of exponents decreases slightly. Abstract: The fatigue properties of ferritic-pearlitic-bainitic steel using specimens produced from massive forging were measured in stress controlled regime with positive mean stress.
Splitting his time between the electric and acoustic pianos and a bit of organ, teams up with drummer/percussionist in a series of experimental duets, his only electric session for ECM. The all-acoustic title number ranges all over the lot, from tootling on a bamboo (?) flute to the energizing barrelhouse gospel riffs that would bloom in the solo concerts. Tellingly, there is little in this collaboration that predicts what and would do in their of the '80s; rather, it anticipates the exotic Third World side of American quartet immediately in the future and adds a finishing flourish to his jazz-rock period. Indeed, the most memorably percolating playing by both musicians turns up in the electric numbers, where utilizes the distinctively funky, wah-wah, fuzz-tone approach on electric piano that he developed with. As such, this is a valuable, underrated transition album that provides perhaps the last glimpse of the electric as he embarked on his notorious (and ultimately triumphant) anti-electric crusade.
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