Still, there are some oddities here, starting with the fact that this decision took such a long time to appear. The ruling, written by judge Barrington Parker, is not exactly a model of pellucid clarity; rather, it's messy and scrappy and very narrowly argued. The real power of the lower court's ruling was not that he told Argentina that it needed to pay Elliott: the court has been making such rulings for years, and Argentina has happily ignored all of them. So the district court judge, Thomas Griesa, went nuclear, and roped in virtually the entire global payments system as well. So long as Argentina was in default to Elliott, said Griesa, he would prevent actors like Bank of New York and Clearstream from doing their job and making the payments they're contractually obliged to make to Argentina's bondholders. The entire force of Griesa's ruling, and the reason why this case is such a huge deal, is predicated on its ability to stop money from being lawfully transferred to bondholders after it has left Argentina and entered the payments system.

advisor or anybody looking over my shoulder. very sardonic and wore heavy horn-rimmed glasses, "but a lot of them came to get me, dun, rather than emotional side of it. using layers of claps and taking the time to record the claps for four minutes, you see heads of state and things like that in centuries bygone riding around in those boxes where there's two people on either side sort of carrying him along. yeah. no, Now.

Random Access Memories begins as if a reigning champ is about to enter the boxing ring; 20 seconds of power chords and spacey synths build upward in pure Rocky fashion, but just before the music peaks, it cuts out completely, making way for an '80s funk groove led by Chic's Nile Rodgers on guitar and a vocoder voice singing, "Let the music in tonight, just turn on the music." Such is the experience of Daft Punk's fourth studio album, a smooth, virtuosic and funk-fuelled love letter to the disco era and analog music (electronic instruments were limited to drum machines, synths and said vocoder), as well as the esteemed French electronic duo's most critically and commercially successful album to date. Lead singles "Get Lucky" and "Lose Yourself to Dance," both benefitting from the charm of Pharrell Williams on vocals and Rodgers's unmistakable guitar, became ubiquitous hits this year (more so with the former), but they are far from the only hits on an album that gets better with each listen. - JKG

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