#chartsandgraphs

[musicarenagh]

Charts and Graphs Impresses With "Assume The Position" There’s something delightfully awkward about an album that both scolds you and invites you to dance at the same time, like a stoic librarian suddenly asking you to do the moonwalk across a dusty, authoritarian reading room. That’s precisely where Charts and Graphs’ new release, “Assume the Position”, sets up camp — somewhere between an impromptu interrogation and a sweaty basement party where someone’s uncle just showed off his best robot dance moves. And yet, despite the chaos and provocations, it all makes sense in a way that feels more lived-in than rehearsed, like they’re making complex statements but also want you to shimmy while receiving them. https://open.spotify.com/album/30BuLQCWq8YmYJtr8yfvSQ?si=Lc0JtwewS6K7IyRBRXhcZQ Now, if you’ve heard Charts and Graphs before, maybe you're expecting a kitchen sink of angular guitars and jagged rhythms — the soundtrack for pacing anxiously in a parking lot while you're avoiding a call from your boss. Don’t worry. That feeling is still there. But with “Assume the Position”, things have subtly shifted. Dan, Ross, and Gary channel their usual post-punk ethos but crank up the synths, like Devo’s less-obnoxious cousin hanging out at a Bonfire Night after hearing some slightly eerie Kraftwerk tracks. The result is a sound that’s jagged but also smoother and, with Dan's vocals taking on a more melodic quality, oddly melancholy at times — as if the listener were starting to figure out something profound, only to get distracted by the beat. It all begins with "Memo," a song that sounds as though the frontline of a protest march is suddenly handed a synthesizer. With its critique of modern power systems, digital soullessness, and the infantilizing haze of 21st-century surveillance tech, it somehow feels both deeply rebellious and self-reflective—two ideas that often swim together but rarely manage to hold hands. The song asks more questions than it answers, but isn’t that usually the direction rebellion points toward? It’s simultaneously 1980 and 2080, a sonic anti-anthem for people who've got 42 browser tabs open. [caption id="attachment_57906" align="alignnone" width="825"] Charts and Graphs Impresses With "Assume The Position"[/caption] Oddly enough, "Janeen" steps in like a drunken confession from someone who swears they meant to send a text but never quite finished typing it. There's a longing, sure, but also a strange dissonance in the vocals — almost as though the fixation on specific names ("Janine," "Jenny") is really just a messy metaphor for being overwhelmed by too many choices. The repetition hypnotizes, dragging the listener down into a well of indecision — a spot where yearning meets confusion. It’s half-love letter, half-cry for help set to a click. Then things really heat up with "Pressure Pressure." Cue the impending doom. Ross's bassline hovers, like a storm cloud ready to burst over the most existential office meeting you’ve ever had. There's an urgency to every word, every push from Gary's drums. Pressure doesn’t just pull here — it slams you into furniture, then politely offers tissues afterward. The repetition, the dry energy, it all mounts up into this claustrophobic sigh that makes you question every deadline you’ve ever been given. And maybe, just maybe, that tension in your throat isn't just from the song. [caption id="attachment_57905" align="alignnone" width="799"] Charts and Graphs Impresses With "Assume The Position"[/caption] But it’s not all self-reflective crisis management set to jerky dance grooves. "Physical Specimen" exists in its own cynical, neon-lit plane, as if it’s been spray-painted on the side of a Maserati parked in the backlot of a dilapidated club. There’s a sneering quality here, a critique of materialism that’s less hippie-chiding, more torch-lit parkour escape from a shopping mall. It’s a rebellion against everything shiny, pitched at a frequency that feels half punk-rock, half backhanded compliment to consumerist culture.

And then there’s the quiet rebellion in "Who Watches the Watchmen." It has all the restless, uncertain fidget of someone planning their escape but unwilling to let go of whatever keeps them tethered. There’s frustration here, a boiling, frothing frustration at authority, circumstance—almost as if Dan's vocals are a gut-wrenching spiral of indecision. You can hear the tension pulling at his throat, but it’s Gary's drums that punctuate the overwhelming chaos of "talking overload" — the feeling we all get in the presence of too many leaders and not enough sense. The song ends where it began, stuck between an intent to flee and the resignation of staying put: the Purgatory of Discontent. [caption id="attachment_57904" align="alignnone" width="786"] Charts and Graphs Impresses With "Assume The Position"[/caption] By the end, “Assume the Position” leaves you stranded in the middle of a dance floor, drenched in cynicism and accidentally dancing with your head full of societal critiques. The beauty of this album is that Charts and Graphs don't shove revelation down your throat. Instead, they hand it to you wrapped in a glitchy bassline and tell you, "Here, sort this out." Armed with Dan’s voice zigzagging between accusatory and defeated, Ross’s basslines acting like snarky side notes, and Gary’s percussive outbursts reinforcing it all, it’s hard to leave the album's tension behind even when the last beat drops. Follow Charts and Graphs on Instagram.

[iqonicdesign]

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[yredgeconsulting]

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[excelworld]

[davidtimes]

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[surekha-bhosale]

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[eddievillanueva]

“Most Important Notes From 3/9” 3/9/22 - #chartsandgraphs #statistics #notes #veryimportant #keyconcepts #drawing #sketchbook #art #artprofessor #artschool #sketch #draw #pen #ink #collage #mixedmedia #mixedmediaart #dailydrawing #drawingoftheday #colorpencil #photooftheday #artofinstagram #artistsofinstagram #nft #nftart #nftartist https://www.instagram.com/p/Ca5few2vFqJ/?utm_medium=tumblr

[dave-columbus]

I’ve been tracking movie data for a one year project. Every new movie from 1 JUN 18 to 1 JUN 19 and whether or not it was shown in my local theatre. . After less than two months the data doesn’t look good. Out of 90 movies released since the first of June, only 20 of them have played my local theatre. That’s really sad to know my choices are that pathetic. . #movierelease #movieoverload #whatsplaying #neversawthatmovie #chart #moviechart #graph #moviegraph #chartsandgraphs

[wutbju]

Those are the average salaries based on BJU’s faculty “ranking” of Assistant Professor, Associate Professor, and Full Professor. 

There is no tenure at BJU, mind you. Everyone is on an as-needed, annual-”contract” basis.

BJU has no contracts, but we have to work with what we’ve got. 

The salaries have not reached the 2014-2015 school year levels yet.

[bone-fork]

I figured it out #animals #eating #food #vegan #carnivore #instaart #digitalart #claws #paws #flowchart #chartsandgraphs #funny #pets #Washington #chickens #cows #cats #dogs #meat #comic #adultswim #cartoonnetwork #Disney #nickelodeon https://www.instagram.com/p/Bv7PoeJBjZw/?utm_source=ig_tumblr_share&igshid=1v711kv5j4oid

[storysparked]

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[iqonicdesign]

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[wutbju]

The Vintage numbers have a lot of inaccuracies. But still -- taking the same search terms across the last four years, eliminating the graduate students and the employees, these are the totals for each School in Bob Jones University based on information from the online Vintages.

However, the Vintage major numbers are not as definitive as the numbers BJU submits to the South Carolina CHE. Those major totals use only full-time students and undergrads. Here’s a comparable graph for those totals from the South Carolina CHE reported each year in the Fall:

See the orange line in both graphs? Those are the majors that would be in the new building-less School of Health Professions (retroactively imagined back for previous years). 

Including all the part-time students makes the SoHP look very promising compared to the other schools. 

Time will tell.

[wutbju]

A larger version of this graph is available here.

So why has Bob Jones University decide to focus its dwindling funds and wrung-out constituency on a new School of Health Professions? 

Let’s look. 

The larger green bars show the overall full-time undergrad enrollment. Please note that the first column is from the Fall of 2006 and the last three are Fall 2015, 2016, 2017 respectively. There’s a data leap there, just so you know.

Overall, BJU’s health professions majors -- even though they have been expanded to include Sports Medicine -- have remained relatively even in the last 3 years. 

Does maintaining even enrollment -- even WITH past expansion -- justify this massive expansion?

[wutbju]

One anomaly in the data this year is the low percentage of first-time Freshmen who attended the Summer Orientation. 

The enrollment this year was not only the lowest of any year (337), it’s also a pretty low percentage for First-Year-Experience planning. 

Only 58% of the Freshmen attended in the Summer. The only percentage that’s lower was the first year they did summer orientation in 2013 when they had 55%. The program was still new then.

Why are so few attending? Hardly seems worth it for 334.

[wutbju]

A larger version of this graph is available here.

So yes, First-time Freshman are up 4. And Part-Time Students are up 37. Grad students are down 93 (most programs have closed). 

All that means that all the students enrolled at BJU -- full and part, under and grad -- is down 51 for a total of 2850.