When Moondog passes a guy with a sousaphone, parping away on the dock, he simply pushes the poor schmuck into the water, horn and all.
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The ability to remain in meditation after the breath stops is known as (t'hug dam). Jigme Tromge Rinpoche described this in a release to the Brazilian press: Afterwards his ku dun (the physical body) was flown to Kathmandu, Nepal, and then to the retreat center in Parping. During the forty-nine days that followed, Getse Tulku Rinpoche and Jigme Tromge Rinpoche led ceremonies in Parping, to purify inauspicious circumstances to Rinpoche's rebirth and to generate great merit through offerings and practice. A year later on the full moon of December 8, 2003, Rinpoche's cremation was held on Jigme Rinpoche's land in Parping, with Kyabje Mogtza Rinpoche, one of the highest lamas of Kat'hog Gonpa, serving as Vajra Master.
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Q praised the song, calling it "a marvellous concoction of parping trumpets, blasted vocals and headtrip guitar swirls". Robert Christgau cited the track as a highlight of the album.
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In the Kathmandu valley of Nepal there are several important Newar temples dedicated to different forms of Vajrayogini. These temples are important power places of Nepalese Vajrayana Buddhism and are also important pilgrimage places for Tibetan Buddhists. These temples include the Sankhu Vajrayogini temple, Vidhyeshvari Vajrayogini temple, Parping Vajrayogini temple, and the Guhyeshwari temple.
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In the Kathmandu valley of Nepal there are several important Newar temples dedicated to different forms of Vajrayogini. These temples include the Sankhu Vajrayogini temple, Vidhyeshvari Vajrayogini temple, Parping Vajrayogini temple, Pulchowk Khagayogini temple and the Guhyeshwari temple. Vīdyādharī, the 'Knowledge Holder', is the presiding deity of this temple. The Temple is an important pilgrimage place for Tibetan Buddhists and there is a recently constructed Tibetan Buddhist temple nearby.
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His understated record production is driven by the piano line, which runs throughout over tumbling delayed beats laced with a parping synthesized bassline in addition to a subtle interjection of acoustic guitar. As time goes on, additional keyboards enter and sweep the song away towards an outro that consists of wobbly bass, jangling percussion and wailing synths. In comparison to the chipmunk-soul production technique which characterized his debut album, West incorporated a much broader array of live instrumentation on his sophomore effort.
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The critic Simon Price described the new band: "Think Evel Knievel jumpsuits, Red Indian head-dresses and star-shaped warpaint, think lyrics about Bowie vs. Gary rivalry, think parping saxes and stomping stack-heeled beats." The band released a Glam cover of Bruce Springsteen's "Born in the U.S.A.", with a video showing Georgeson and Argos singing the song while driving down the M4. The version was a showcase for their different singing styles, with Argos speak-singing the verses, and Georgeson providing a soaring operatic refrain.
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Robbie Collin of The Daily Telegraph wrote, "This New Orleans-set detective thriller from Carol Morley pulls off an undesirable yet weirdly impressive coup: the twist ending to its murder mystery is somehow simultaneously preposterous and obvious, like a clown car parping and swerving its way towards you from the far end of an airstrip." Sophie Monks Kaufman of Sight and Sound wrote, "Out of Blue is incoherent, which isn’t to say it’s bad. Carol Morley’s murder mystery is a mood piece that alternates between naffness and transcendence".
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"Blow" is a five-minute and nine-second disco-influenced, R&B;, funk, retro-soul song with an electro-funk groove and a jazz-influenced opening. Critics also found elements of "chilly" neo-disco in the groove with Rolling Stone writer Rob Sheffield further noting that it created an "air of melancholy". Instrumentally it is complete with a heavy bass, sparse piano chords and guitars altogether creating a blipping, marching and parping beat. Kevin Fallon from The Daily Beast described the song's production as "so bouncy it's almost coyish and flirty" and added that it was a counterbalance to the "raunchy" lyrics.
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On behalf of MSN Music, writer Sam Greszes quipped, "A bitingly political and scathing collaboration between Adam Levine and Kanye West? What's not to like?" Virgin Media reviewed the single as "an accomplished piece of production" commenting on its "poignant sample ... the cascading piano melody which runs throughout, alongside tumbling delayed beats, a parping bass synth and the odd interjection of subtle acoustic guitar." Writing for Village Voice, rock critic Robert Christgau concurred with this sentiment and voiced his approval of the complex yet subtle musicality of the composition, highlighting the Chinese bells and berimbau found in its coda.
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Alex Fletcher of Digital Spy gave the song four out of five stars, and wrote: "Fedde has teamed up with Ida Corr to produce another three minutes of thunderous dance-tastic frivolities. 'Let Me Think About It' couldn't possibly be any more of an Ibiza TUNE. It's the sound of Pete Tong, Dave Pearce and Scott Mills stood screaming with a load of Club 18-30 reps, while some boozed-up bikini-clad temptress grinds up against you all soaked up into a CD package. Packed with parping horns, cascading synth beats and the sound of a fire alarm being played along to the theme from Shaft".
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