Living legend Mauritz Von Oswald (aka Maurizio) and his dub conspirator Mark Ernestus make an incredibly rare North American appearance! Whereas Kode9 is proving to be the kingmaker of the current incarnation of dub aesthetics, Mauritz Von Oswald can rightly claim his throne as dub-techno royalty. As the prodigious producer behind Maurizio and Rhythm & Sound, as the founder of the insanely influential Basic Channel and Burial Mix labels, Von Oswald can now be counted as one of techno's most influential figures of the last decade. Rhythm & Sound allows Von Oswald and Ernestus the opportunity to veer away from techno and indulge their dub tendencies. The project first emerged in 1996 with a string of 10-inch singles (most featuring the iconoclastic voice of Paul St. Hilaire, then known as Tikiman) that were eventually collected on the now-classic 1998 album, Showcase. Several albums and compilations followed, most notably 2001's self-titled collection, 2003's companion pieces The Versions and The Artists, and 2005's See Mi Yah. MUTEK's rare North American presentation of the original Rhythm & Sound crew (featuring Tikiman!) has all the characteristics of a reverential event in the making.
Rhythm And Sound With The Artists Rare
Superb mastering, a wealth of rare hits, and over an hour of rockin’ rhythm, 1958 style, on one disc–that’s the promise of this edition in the Jukebox Classics series! Forget those slapdash, bargain-priced oldies collections with wrong versions and terrible sound quality; Hard To Find Jukebox Classics 1958: Rhythm & Rock features the original hits by the original artists in audiophile quality, lovingly compiled and presented by people who really care about this music.
Treatment of Brugada syndrome includes preventive measures such as reducing fever and avoiding medications that might trigger the arrhythmia. Some people with Brugada syndrome need a medical device called an implantable cardioverter-defibrillator (ICD).
This band's repertoire spans seven decades and includes a choice of classic covers, rare gems and award-winning original songs. Rhythm Krewe's unique sound is influenced by traditional soul, blues, funk, New Orleans R&B and roots rock.
During 1969, the group contributed music to the film Generation that starred David Janssen and Kim Darby. An accompanying soundtrack album was released, but quickly withdrawn after the film failed commercially, with only a small number of copies sold. Several tracks were remixed and included on the next LP, Ecology, in 1970. The soundtrack album was reissued as a limited edition LP for Record Store Day 2020. The issue was pressed on hot pink vinyl and limited to a run of 2,000 copies.[8]
Later in 1977, the group reassembled with Chicago-based producer John Ryan (who worked with Styx and others) to begin work on two new albums. This time, Monette and Olson agreed to join in and the results were Band Together and Grand Slam, both released in 1978 and featuring more of a late 1970s disco sound, with the former providing the Bee Gees-penned hit "Warm Ride", which peaked at number 39. Other than the one solitary hit, neither album was a big seller. Gap Band bassist Robert Wilson contributed to some of the tracks on Band Together.
Personnel shuffles abounded in the mid-1980s. In September 1984, Bob Weaver took over the drum throne and played with the group into 1985. He was temporarily succeeded by Bob Brock, whose professional name was Bobby Rock (not Bob Rock, the famous Hard rock/Heavy metal producer from Canada), but returned only to be replaced by Jerry LeBloch in mid-1985. Also in September of '84, Andy Merrild replaced Tim Ellsworth as bassist until the end of June 1985. Ellsworth then returned and toured with the group until the end of August of '85. The group's road manager, Randy "Bird" Burghdoff, took over as Rare Earth's bassist in September 1985 and has remained in that position ever since. Mark Olson was let go in 1986 after increasing personal and substance abuse troubles. (Olson died on April 14, 1991, at the age of 41, from liver disease.) Rick Warner was then brought in as the band's new keyboardist and Wayne Baraks, who was recruited in 1987 on rhythm guitar, took over much of the lead vocals as well.
Performers associated with the development of the style include Young Senators, Trouble Funk, Black Heat, and singer-guitarist Chuck Brown.[2] In the 1990s and 2000s, hip-hop increasingly influenced go-go. However, there is also a retro movement going back to its original style of marathon sessions incorporating popular contemporary R&B songs.[citation needed] Modern artists like Charles "Shorty Corleone" Garris continue the go-go tradition in D.C.[3]
Unique to go-go is instrumentation with two standard congas and two junior congas, 8" and 9" wide and about half as tall as the standard congas, a size rare outside go-go. They were introduced to Rare Essence by Tyrone "Jungle Boogie" Williams in the early days when they couldn't afford full-sized congas and are ubiquitous ever since.[5] A swing rhythm is often implied (if not explicitly stated).[citation needed]
Chuck Brown was a fixture on Washington and Maryland music scene with his band the "Los Lotinos" as far back as 1966. By the mid-1970s he had changed the group's name to "The Soul Searchers," and developed a laid-back, rhythm-heavy style of funk performed with one song blending into the next (in order to keep people on the dance floor). The beat was based on Grover Washington Jr.'s song "Mr. Magic,"[15] though Brown has said in interviews that both he and Washington had adapted the beat from a gospel music beat found in black churches.[16]
Experience Unlimited (a.k.a. E.U.) who originally formed in 1974 was a band more influenced by rock (their name a nod to the Jimi Hendrix Experience[17]), that started out in the 1970s. After witnessing Rare Essence in the late-1970s, they modified their style to incorporate the go-go beat. Kurtis Blow's "Party Time" subsequently put them on the map to be later tracked down by Grace Jones and to take the King of Go-Go Production, Maxx Kidd to an international music adventure with Island Records, to make E.U.'s greatest hit "Da Butt" for the soundtrack of the 1988 film School Daze, written, directed and produced by Spike Lee.
Along with the recording contracts Blackwell was handing out, he also wanted to make the go-go film and soundtrack; a D.C.-based version of The Harder They Come. The resultant film, Good to Go (or Short Fuse, as it was called on video) was plagued with problems: co-director Don Letts was let go halfway through production,[19] the film became less about the music and more about drugs and violence, and despite the fact that most of the post-production was completed in the fall of 1985, the film was held for release until late-summer 1986. When it did poorly on release, it seemed that go-go had missed its best chance to break into the mainstream. "Good to Go" OST album was released in 1986 also.[20] Soul/Funk groups used go-go beat in their songs. Examples were Club Nouveau "Lean on Me"(pop #1, yearend #10) Lebert "Casanova", and Midnight Star "Headlines".
Objectives:Outline the risk factors of developing a junctional rhythm.Review the pathophysiology of junctional rhythms.Explain the differential diagnosis of junctional rhythm.Summarize the interprofessional team's strategies for improving care coordination and communication regarding the management of patients with junctional rhythm.Access free multiple choice questions on this topic.
The sinoatrial node (SA) is the default pacemaker and is located subepicardially and is crescent in shape. The atrioventricular node (AV) is a subendocardial structure situated in the inferior-posterior right atrium. It sits within an anatomic region bordered posteriorly by the coronary sinus ostium, superiorly by the tendon of Todaro, and anteriorly by the septal tricuspid valve annulus. This anatomic region is also commonly referred to as the triangle of Koch. The sinoatrial nodal artery supplies blood to the sinoatrial node, it branches off the right coronary artery in 60% of cases, whereas in 40% of cases, it comes from the left circumflex coronary artery. The blood supply to the AV node is from the AV nodal branch of the right coronary artery (90%) or the left circumflex artery (10%) depending on the right or left dominant blood supply to the heart. The first septal perforator of the left anterior descending artery also supplies blood to the AV node. A junctional rhythm is where the heartbeat originates from the AV node or His bundle, which lies within the tissue at the junction of the atria and the ventricle. Generally, in sinus rhythm, a heartbeat is originated at the SA node. This electrical activity then travels through the atria to the AV node from where it reaches the Bundle of His from where the electrical signals travel to the ventricles through the Purkinje fibers.[1][2][3][4][5][6]
Junctional rhythm is typical among individuals who have a sinus node dysfunction (SND), and 1 in every 600 cardiac patients above the age of 65 within the United States has SND. Patients with sick sinus syndrome, young children, and athletes who have increased vagal tone may also intermittently exhibit junctional rhythm, especially during sleep. Junctional rhythm is reported equally among males and females.[10]
Patients with junctional rhythm may present with a varied array of symptoms or may be asymptomatic. Symptoms mostly depend on the underlying cause of the junctional rhythm, for instance, a patient presenting with heart failure exacerbation may present with shortness of breath, wheezing, and lower extremity edema. Patients with rheumatic fever may present with a heart murmur secondary to the damage to the heart valves, fever, joint pain, and a rash with an electrocardiogram showing a junctional rhythm. Some patients might present with generalized complaints such as dizziness, fatigue, syncope/presyncope, and intermittent palpitations. Non-specific physical exam findings include pulsating veins and regular heart rate with the heart rate varying from 20 to over 100 beats per minute.[13][14][15] 2ff7e9595c
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