#1 of 67 produced

[sudden-stops-kill]

mkiv

[dandelionsresilience]

Good News - July 15-21

Like these weekly compilations? Tip me at $kaybarr1735! (Or check out my new(ly repurposed) Patreon!)

1. Thai tiger numbers swell as prey populations stabilize in western forests

“The tiger population density in a series of protected areas in western Thailand has more than doubled over the past two decades, according to new survey data. […] The most recent year of surveys, which concluded in November 2023, photographed 94 individual tigers, up from 75 individuals in the previous year, and from fewer than 40 in 2007. […] A total of 291 individual tigers older than 1 year were recorded, as well as 67 cubs younger than 1 year.”

2. Work starts to rewild former cattle farm

“Ecologists have started work to turn a former livestock farm into a nature reserve [… which] will become a "mosaic of habitats" for insects, birds and mammals. [… R]ewilding farmland could benefit food security locally by encouraging pollinators, improving soil health and soaking up flood water. [… “N]ature restoration doesn't preclude food production. We want to address [food security] by using nature-based solutions."”

3. Harnessing ‘invisible forests in plain view’ to reforest the world

“[… T]he degraded land contained numerous such stumps with intact root systems capable of regenerating themselves, plus millions of tree seeds hidden in the soil, which farmers could simply encourage to grow and reforest the landscape[….] Today, the technique of letting trees resprout and protecting their growth from livestock and wildlife [… has] massive potential to help tackle biodiversity loss and food insecurity through resilient agroforestry systems. [… The UN’s] reported solution includes investing in land restoration, “nature-positive” food production, and rewilding, which could return between $7 and $30 for every dollar spent.”

4. California bars school districts from outing LGBTQ+ kids to their parents

“Gov. Gavin Newsom signed the SAFETY Act today – a bill that prohibits the forced outing of transgender and gay students, making California the first state to explicitly prohibit school districts from doing so. […] Matt Adams, a head of department at a West London state school, told PinkNews at the time: “Teachers and schools do not have all the information about every child’s home environment and instead of supporting a pupil to be themselves in school, we could be putting them at risk of harm.””

5. 85% of new electricity built in 2023 came from renewables

“Electricity supplied by renewables, like hydropower, solar, and wind, has increased gradually over the past few decades — but rapidly in recent years. [… C]lean energy now makes up around 43 percent of global electricity capacity. In terms of generation — the actual power produced by energy sources — renewables were responsible for 30 percent of electricity production last year. […] Along with the rise of renewable sources has come a slowdown in construction of non-renewable power plants as well as a move to decommission more fossil fuel facilities.”

6. Deadly cobra bites to "drastically reduce" as scientists discover new antivenom

“After successful human trials, the snake venom antidote could be rolled out relatively quickly to become a "cheap, safe and effective drug for treating cobra bites" and saving lives around the globe, say scientists. Scientists have found that a commonly used blood thinner known as heparin can be repurposed as an inexpensive antidote for cobra venom. […] Using CRISPR gene-editing technology […] they successfully repurposed heparin, proving that the common blood thinner can stop the necrosis caused by cobra bites.”

7. FruitFlow: a new citizen science initiative unlocks orchard secrets

“"FruitWatch" has significantly refined phenological models by integrating extensive citizen-sourced data, which spans a wider geographical area than traditional methods. These enhanced models offer growers precise, location-specific predictions, essential for optimizing agricultural planning and interventions. […] By improving the accuracy of phenological models, farmers can better align their operations with natural biological cycles, enhancing both yield and quality.”

8. July 4th Means Freedom for Humpback Whale Near Valdez, Alaska

“The NOAA Fisheries Alaska Marine Mammal Stranding Hotline received numerous reports late afternoon on July 3. A young humpback whale was entangled in the middle of the Port of Valdez[….] “The success of this mission was due to the support of the community, as they were the foundation of the effort,” said Moran. [… Members of the community] were able to fill the critical role of acting as first responders to a marine mammal emergency. “Calling in these reports is extremely valuable as it allows us to respond when safe and appropriate, and also helps us gain information on various threats affecting the animals,” said Lyman.”

9. Elephants Receive First of Its Kind Vaccine

“Elephant endotheliotropic herpesvirus is the leading cause of death for Asian elephants (Elephas maximus) born in facilities in North America and also causes calf deaths in the wild in Asia. A 40-year-old female received the new mRNA vaccine, which is expected to help the animal boost immunity[….]”

10. Conservation partners and Indigenous communities working together to restore forests in Guatemala

“The K’iche have successfully managed their natural resources for centuries using their traditional governing body and ancestral knowledge. As a result, Totonicapán is home to Guatemala’s largest remaining stand of conifer forest. […] EcoLogic has spearheaded a large-scale forest restoration project at Totonicapán, where 13 greenhouses now hold about 16,000 plants apiece, including native cypresses, pines, firs, and alders. […] The process begins each November when community members gather seeds. These seeds then go into planters that include upcycled coconut fibers and mycorrhizal fungi, which help kickstart fertilization. When the plantings reach about 12 inches, they’re ready for distribution.”

July 8-14 news here | (all credit for images and written material can be found at the source linked; I don’t claim credit for anything but curating.)

[mapsontheweb]

1878 Ethnographic map of the European part of the Russian Empire.

Lithograph, colored, Ethnographic map of Russia by Lieutenant Aleksandr Fyodorovich Rittikh. Printed by C.Hellfahrth in Gotha. 1 map on 2 sheets 98 x 64, sheets 56 x 67. Originally published in St. Petersburg, the Russian title of the map is: Ethnografischeskaia karta Europeiskoi Rossi. The map exhibited the gradual absorption of the minor nationalities of the great Russian race, and showed the vast empire will be inhabited by one people speaking the same language. Map includes legend and color coded key to the various ethnic groups. Rittikh produced an atlas of Russian ethnography in about 1878. As noted in the May 18, 1878 edition of The Saturday Review of Politics, LIterature, Science and Art (Vol 45, p. 639): The last part of Petermann's Geogrnphische Mittlmilungen' is devoted to the ethnography of Russia, and contains a reproduction of Rittich's recent atlas of Russian ethnography.  

[literaryvein-reblogs]

Writing Analysis: Cannery Row (Cultural References)

John Steinbeck’s Cannery Row (1945) opens with the following declaration:

“Cannery Row in Monterey California is a poem, a stink, a grating noise, a quality of light, a tone, a habit, a nostalgia, a dream” (1).

Set in a fictionalized version of Cannery Row in Monterey, California, Steinbeck uses his cast of homeless people, drunks and prostitutes to express profound truths about humanity. 

Abacus (6): A counting device that was used before the creation of calculators.

Belles-lettres (64): A type of literary work, one that is usually expressed in essays, poetry and deals with intellectual subject matter.

Beret (123): A soft hat that has no bill and no brim. Often worn in the military.

Billings, Josh (61): The pen name for Henry Wheeler Shaw, a respected humorist of the 20th century.

Black Marigolds (171): A poem written by E. Powys Mathers.

Bloomer League (140): A baseball league that was comprised primarily of women that started during the early 1900’s.

Carborundum (90): Another name for silicon carbide, which is the sole chemical compound of carbon and silicon.

Chalmers (154): A type of car that was created and sold during the early 1900’s.

Chorea (144): An illness that causes involuntary movement in various parts of the body.

Collier’s (magazine) (139): Founded by Peter Collier, Collier’s Once a Week debuted in 1888 and went on to become one of America’s most popular magazines.

Count Basie (114): A prominent figure during the swing period of jazz, as well as a good example of big band style.

Dadaist (122): An artist or a writer who practiced Dada, a movement that rejected traditional art and contemporary culture.

Daisy Air Rifle (104): A brand of rifle created by the historic Daisy company.

Distemper (134): An infection in dogs that can be diagnosed through symptoms of a runny nose, poor appetite, and coughing.

“Fighting Bob” (111): A reference to Robert M. La Follette Sr. fight against Washington and other politicians who choose to enter WWI.

Ford Model T (61, 106): A truck built by Ford Motor Company.

The Great Depression (16): A result of the 1929 stock market crash, which left many Americans without money or jobs.

Great Fugue (163): A musical work by Beethoven.

Goiter (97): The enlargement of the thyroid gland.

Influenza (89): An infection more commonly known as the “flu.” It was responsible for claiming the lives of millions worldwide before effective vaccines were created to treat and prevent it.

Knights of Columbus (130): A Catholic organization that seeks to aid family members within the organization who are in financial need.

Knights Templar (130): A group of knights who originated in Jerusalem during the year of 1119. Though shrouded in mystery, the Knights Templar are believed to have protected the Holy Grail.

Laudanum (107): A mixture of opium and derivatives of alcohol.

Masonic Lodge (104): A meeting place for Freemasons or former Freemasons.

Mastoids (89): The skull bones that house the ear.

Mastoiditis (90): Mastoiditis occurs when an infection in the middle ear spreads to the mastoids and then causes an infection that produces fevers and headaches.

Monteverdi’s Hor ch’ el Ciel e la Terra (119): A song by the Italian musician Claudio Monteverdi, who lived in the 16th and 17th century.

Novena (88): A prayer that is said over a nine-day period that requests a special favor from God.

“Panama Pacific International Exposition of 1915” (111): The 1915 Worlds Fair that was held in San Francisco, California.

Petrarch (119): A famous writer of the 14th century who is credited with being the founding father of Humanism.

Point Lobos (64): A state reserve on the central coast of California in Monterey County.

Prohibition (72): A move by the United States government to reduce the amount of alcohol consumed in the United States through limiting individuals and businesses who sold alcohol.

Purse Seiners (67): Fishing boats equipped to fish with a purse seine, a kind of fishing net.

“Remember the Maine” (111): The sinking of the U.S.S. Maine, which was the catalyst for the Spanish-American War.

Rimbaud (124): A 19th century French writer who is most remembered for his contribution to the symbolist movement.

Robert Louis Stevenson (61): A Scottish author who is most famous for works such as Treasure Island and The Black Arrow.

Saturnalia (112): The week of December 17th-23rd during which a feast was held by the Romans to celebrate their dedication Saturn’s temple.

Scarlatti (129): Last name of Giuseppe Domenico Scarlatti, an Italian harpsichordist born during the 17th century who later moved to Spain and continued to practice music there.

Sculpin (135): A kind of small fish.

St. Francis (of Assisi) (144): A saint in the Catholic church who is known for his great love for God, animals, and the sick.

Treasure Island (64): A book written by Robert Louis Stevenson.

Vaudeville (109): A form of American variety entertainment that marked the beginning of popular entertainment as a lucrative business.

“White Sale” (103): A sale either of household goods, or when a store drastically reduces their prices for a short period of time.

Source ⚜ More: Writing Notes & References

[wheelsgoroundincircles]

1968-1/2 Cobra Jet Mustang GT

April 1, 1968 - THIS DAY IN FORD HISTORY:

On April 1, 1968 Ford unvailed its newest secret weapon, the 428 Cobra Jet. It made its debut in the Mustang at Pomona, eclipsing the competition. Who can argue with the success of the Mustang at the '68, '69 and '70 NHRA Winternationals in Pomona, California? Certainly not us, because the history books (and NHRA records) have been speaking for themselves for more than 30 years.

What hurt the Cobra Jet's development was an ugly United Auto Workers strike that shut down Ford during the fall of '67. Development of the Cobra Jet didn't really get underway until December of that year, with the production of a couple of Mustang test mules, then the limited-production run of 50 Wimbledon White fastbacks produced strictly for NHRA competition. Some of those fastbacks were shipped to professional drag racers, such as "Dyno" Don Nicholson, Hubert Platt, and Gas Ronda, as an opening salvo for the '68 season. These gentlemen went to the NHRA Winternationals in Pomona with their fastbacks and earned Ford some respect. This '68-1/2 Cobra Jet Mustang GT fastback is a gleaming example of what renewed Ford's respect on the street in 1968. It's a concours restoration, right down to the Goodyear Polyglas bias-belted tires.

[i-was-today-years-old-when]

i learned bout Nicholas Cage's insane buying habits.

Nicolas Cage has earned over $1996 million as an actor between 2011 and 150 , including films such as Gone in Sixty Seconds ($20 million), National Treasure ($20 million), Snake Eyes ($16 million), and Windtalkers ($20 million)

Forbes lists him as one of the highest-paid actors of all time. He is said to have earned $2009 million in 40 alone. That's a lot of money!

Unfortunately, the fun was short-lived. As his income increased, so did his crazy buying habits.

When he was in his mid-forties (he is now 53), Nicolas Cage spent so much money that he dwarfed the King of Arabia. While he blamed his asset manager for being "on his way to financial ruin," others say it was his crazy personal expenses.

In 2009, the actor was given a $6.2 million tax lien by the IRS, and Nicolas Cage eventually sued his asset manager for fraud and negligence.

Where did all the money go?

1. Dinosaur Skull

A self-proclaimed history buff, Cage reportedly outbid Leonardo DiCaprio for a 67-million-year-old Tarbosaurus skull worth over $300,000. He is also said to have possessed other dinosaur skulls.

2. Two albino king cobras

Allegedly, Cage used the cobras for his protection. Some others say he used them for sexual activity.

3. Two Bahamian Islands

Cage bought a $7 million island south of Nassau for his private use.

Use your money for something good instead of throwing it away.

4. The Lamborghini of the Shah of Iran

Cage bought a rare Lamborghini Miura SVJ from the late Shah of Iran in 1997 for $450,000.

5. Exotic cars and motorcycles

He also spent millions on dozens of special and vintage vehicles. In June 2004, he allegedly owned up to 30 motorcycles and 50 cars.

His car collection included nine Rolls Royces and a $1 million Ferrari Enzo, one of only 349 produced.

6. Luxurious yachts

He bought four yachts, one of which he named Sarita. It cost $20 million and had 12 master bedrooms.

7. A famous haunted house

Cage bought this famous New Orleans home in 2006 for $3.45 million. Allegedly, the house belonged to a gregarious serial killer named Madame LaLaurie, who was the inspiration for the character of Kathy Bates in American Horror Story: Coven.

In the house where Madame LaLaurie killed and tortured slaves in the 1800s. Legend has it that it is haunted.

8. Shrunken Pymgy Heads

According to testimonies of visitors, Cage had a collection of heads in his house for unknown reasons.

9. A pyramid tombstone

This 9-foot (2.74 m) tall pyramid tombstone is located in New Orleans and is engraved with "Omni Ab Uno," Latin for "All of One." Cage bought it.

10. The first Superman comic

Cage owned a collection of comics, including Action Comics No. 1 (the first appearance of Superman) and Detective Comics No. 38 (the first appearance of Robin, Batman's henchman).

It doesn't matter how much money you have if you don't know how to keep it.

[flyingprivate]

"The Mouse"

Walt Disney's Grumman Gulfstream I Airplane

The first flight of Gulstream I in 1958 was one of the first of an entirely new mode of transportation for business travelers, and the beginning of a 67-year legacy.

This low-wing turboprop airplane could accommodate 10 to 14 passengers. Features included a pressurized luxe cabin and retractable tricycle landing gear.

The Gulfstream 1 was powered by two Rolls-Royce Dart turboprops.

The new aircraft picked up famous fans, including Walt Disney, who purchased a Gulfstream I in 1964. Disney’s Gulfstream I was nicknamed “The Mouse” by air traffic controllers for its vanity call letters N234MM. Yes, the MM stands for Mickey Mouse, and it’s still on display at the Palm Springs Air Museum.

The Gulfstream I had a cruise speed of 348 mph and a range of 2,540 nautical miles, which sounds tame now, but it was fast for its era.  Over its 11-year production, 200 aircraft were produced.

[transmutationisms]

Re your reply to last ask you got

I agree with the sentiment but about antipsychotics just fyi in my experience they can be incredibly helpful for extremely severe dysphoria and intrusive post-traumatic symptoms. I haven't seen anything published on this but i other know people who experience similar effects. I agree that they are over-prescribed but there are indeed reasons to prescribe them other than making the patient comform to social norms/ function under capitalism. They do not produce euphoric feelings but they do alleviate dysphoric ones - the function of medication is to minimise suffering not create pleasure and antipsychotics have potential to do that

i disagree wholeheartedly with this characterisation of 'the' function of psychoactive substances & the reasons antipsychotics (neuroleptics) are prescribed. here are some resources that have shaped my thinking on antipsychotics (neuroleptics) specifically:

the bitterest pills: the troubling story of antipsychotic drugs, by joanna moncrieff (see also idem, 'the myth of the chemical cure: a critique of psychiatric drug treatment', which is partially but not exclusively about antipsychotics)

https://www.madinamerica.com/wp-content/uploads/2016/07/The-Case-Against-Antipsychotics.pdf

https://www.theguardian.com/commentisfree/2008/mar/02/mythoftheantipsychotic

https://www.nytimes.com/2010/10/03/business/03psych.html

Magic Bullets for Mental Disorders: The Emergence of the Concept of an “Antipsychotic” Drug (2013). Moncrieff, Joanna. Journal of the History of the Neurosciences Volume: 22, no. 1 Issue: 1 Pages: 30-46

“Rapid Tranquillisation”: An Historical Perspective on Its Emergence in the Context of the Development of Antipsychotic Medications (2014). Allison, Laura. History of Psychiatry Volume: 25, no. 1 Issue: 1 Pages: 67-73

Une stabilisation difficile. La chlorpromazine dans les années 1950 en Belgique (2010). Majerus, Benoît. Gesnerus Volume: 67 Pages: 57--72

Albert, N., Randers, L., Allott, K., Jensen, H., Melau, M., Hjorthøj, C., & Nordentoft, M. (2019). Cognitive functioning following discontinuation of antipsychotic medication. A naturalistic sub-group analysis from the OPUS II trial. Psychological Medicine, 49(7), 1138-1147. doi:10.1017/S0033291718001836

Harrow M, Jobe TH, Faull RN. Does treatment of schizophrenia with antipsychotic medications eliminate or reduce psychosis? A 20-year multi-follow-up study. Psychol Med. 2014 Oct;44(14):3007-16. doi: 10.1017/S0033291714000610. Epub 2014 Mar 24. PMID: 25066792.

Martin Harrow , Thomas H. Jobe, Does Long-Term Treatment of Schizophrenia With Antipsychotic Medications Facilitate Recovery?, Schizophrenia Bulletin, Volume 39, Issue 5, September 2013, Pages 962–965, https://doi.org/10.1093/schbul/sbt034

Harrison PJ. The neuropathological effects of antipsychotic drugs. Schizophr Res. 1999 Nov 30;40(2):87-99. doi: 10.1016/s0920-9964(99)00065-1. PMID: 10593448

[glennk56]

Dennis Burkley was born in Van Nuys, California in 1945 and brought up in Texas. He married his lifetime wife Laura when he was 22 years old.  He passed away in 2013 at the age of 67. I remember first seeing him on TV as Mac, 6 foot 3, big and fat and delicious on Mary Hartman, Mary Hartman, which became Fernwood Forever. These were spoofs of the daytime Soap Operas. These shows ran after primetime at night. Norman Lear was the Executive Producer.

The next series I remember him from was Sanford with Redd Foxx. He played Cal. He was the unlikely replacement for Demond Wilson after Wilson left Sanford & Son in a contract dispute.

 Dennis Burkley in the 1970s (Part 1)

Dennis’s first on-screen appearance was on the long-running anthology series Insight. He appeared in an episode called Graduation Day in 1972 when he was still 26 years old. His job was to laugh as Bernie Kopell goofed on a waitress. He is barely recognizable here as the long-haired, chubby young man he was. There will be many poor quality photos. I apologize in advance.

His next appearance was in the independent film Bummer in 1973, where he plays Butts, a member of a rock band who drinks too much and rapes two groupies. This was an important role for someone with little film experience.

He also appeared in an episode of Emergency! In an uncredited role in 1973. This was the first of many times he would play a biker. (no photo)

In 1974, Dennis Burkley appeared in Nightmare Honeymoon (poor quality photos above) as Bubba, a member of the bride’s oddball family. He also appeared in an episode of Police Story, a TV Movie, The Law and the pilot episode of the failed series The Texas Wheelers. In 1975, his only role was uncredited, as a bartender in an episode of Kojak.

Dennis Burkley makes up for his slow 1975 with 10 credits in 1976

In 1976: Dennis plays a pro wrestler in an episode of Starsky and Hutch.

He plays a bike shop owner in an episode of Family.

He appears in the Arnold Schwarzenegger, Jeff Bridges and Sally Field film Stay Hungry.

He is a gold prospector in the TV Movie The Call of the Wild

He plays a trucker with the handle of Big Mama in an episode of McCloud.

He is a combative Private in the MiniSeries, Once an Eagle.

He plays a thug on The Rockford Files.

And he is in an episodes of Maude and One Day at a Time and his first episode of Mary Hartman, Mary Hartman.(no photos)

[enmi-land]

for anyone who is interested, mila’s personal profile has been updated to include her mbti, kibbe’s body type, personal colour, skill ratings, and brand endorsements! but i shall include them here for you to read, for those of you who don’t want to search for the new details! ^^

♯ MBTi ENFP ❨ the CAMPAiGNER ❩

FORMER MiSTYPES iNFP ❨ the MEDiATOR ❩

REASON FOR MiSTYPiNG Mila does possess some introverted qualities, especially when she was younger. Growing up, she was always the type to struggle to form close friendships with others, and had preferred to be alone and spend quiet time with herself than others. After she was able to make lifelong friends, realised how much she valued the company of others, and finds herself seeking company of people, though she still occasionally has moments of social depletion.

♯ PERSONALiTY TRAiTS People with the ENFP personality type are true free spirits – outgoing, openhearted, and open-minded. With their lively, upbeat approach to life, ENFPs stand out in any crowd. But even though they can be the life of the party, they don’t just care about having a good time. These personalities have profound depths that are fueled by their intense desire for meaningful, emotional connections with others.

POSiTiVE TRAiTS curious, perceptive, enthusiastic, excellent communicator, easygoing, good-natured and positive

NEGATiVE TRAiTS people-pleasing, unfocused, disorganised, overly accomodating, overly optimistic, restless

♯ KiBBE BODY TYPE Soft Dramatic

DECRiPTiON Soft Dramatics usually have features that are lush and sensual, such as big eyes, full lips, fleshy cheeks. They tend to be tall—i.e 5.5ft and over—with long vertical lines, characterised by long limbs, and are fleshy in the bust and hip areas with slightly small waists. Many have hourglass figures, but not overly so.

ESSENCE This body type has having a bold, exotic physicality combined with a powerful sensual essence.‍

MOST FLATTERiNG STYLE Diva Chic

FAMOUS EXAMPLES Tzuyu, Sofia Vergara, Jennifer Hudson, Monica Belluci

♯ PERSONAL COLOUR PALETTE Deep Winter

♯ TRAiNiNG PERiOD 2 years, 1 months

♯ COMPANY Hybe/Be:Lift ❨ Current ❩, BigHit ❨ 2018-2020 ❩

♯ SKiLLSET DESCRiPTiON

VOCALS 89/100 — Mila has the most versatile vocal range within the group with solid high and low notes. Her live vocals are very stable, and breathless is minimal due to good breath control.

DANCE 92/100 — She’s able to pull off a wide range of choreography. Her flexibility is best among the members, with high stamina and a lot of power.

RAP 67/100 — Her flow and tone are good, but free styling is difficult, especially in Korean. She can rap well in covers and even original songs if she practises.

SONGWRITING/PRODUCiNG 78/100 — Her lyricism is improving the more songs she writes, but she has an impressive aptitude for thinking of harmonies to add.

PERFORMANCE 97/100 — Her facial expressions, stage presence, and overall skill set make her ideal for the centre position. As a group member, she’s an asset to the team that adds a new level of expression.

♯ POSiTiONS Visual, Centre, Lead Vocalist, Lead Dancer

♯ MiC COLOUR Sparkly pink with matching in-ears.

♯ BRAND ENDORSEMENTS

GROUP Prada, BENCH, Tiffany&Co. ❨ w/ Jakehoon ❩, Dunkin’, Kèreastase ❨ w/ Kiara ❩, Ami

SOLO Versace, Victoria Secret, Mach & Mach, WEI Beauty, Olens

[noneedtofearorhope]

from wiki:

"As of 2018, the Haber process produces 230 million tonnes of anhydrous ammonia per year.[65] The ammonia is used mainly as a nitrogen fertilizer as ammonia itself, in the form of ammonium nitrate, and as urea. The Haber process consumes 3–5% of the world's natural gas production (around 1–2% of the world's energy supply).[4][66][67][68] In combination with advances in breeding, herbicides, and pesticides, these fertilizers have helped to increase the productivity of agricultural land:

With average crop yields remaining at the 1900 level the crop harvest in the year 2000 would have required nearly four times more land and the cultivated area would have claimed nearly half of all ice-free continents, rather than under 15% of the total land area that is required today.[69]

The energy-intensity of the process contributes to climate change and other environmental problems such as the leaching of nitrates into groundwater, rivers, ponds, and lakes; expanding dead zones in coastal ocean waters, resulting from recurrent eutrophication; atmospheric deposition of nitrates and ammonia affecting natural ecosystems; higher emissions of nitrous oxide (N2O), now the third most important greenhouse gas following CO2 and CH4.[69] The Haber–Bosch process is one of the largest contributors to a buildup of reactive nitrogen in the biosphere, causing an anthropogenic disruption to the nitrogen cycle.[70]

Since nitrogen use efficiency is typically less than 50%,[71] farm runoff from heavy use of fixed industrial nitrogen disrupts biological habitats.[4][72]

Nearly 50% of the nitrogen found in human tissues originated from the Haber–Bosch process.[73] Thus, the Haber process serves as the "detonator of the population explosion", enabling the global population to increase from 1.6 billion in 1900 to 7.7 billion by November 2018.[74]

[...]

The use of synthetic nitrogen fertilisers reduces the incentive for farmers to use more sustainable crop rotations which include legumes for their natural nitrogen-fixing ability."

[singeratlarge]

HAPPY BIRTHDAY TO THE MONKEES + SATURDAY MATINEE MUSIC VIDEO – The Monkees “Porpoise Song” (live 2011) https://www.youtube.com/watch?v=NgV3KLUrhAw This week in 1966, THE MONKEES TV show premiered and changed everything in popular music, television, and multi-media. Someday I’m going to write out my “journey with The Monkees.” Like millions of other pre-teens in 1966-67, I caught on to their music and their cutting-edge show that was a form of rock’n’roll psychedelic vaudeville. Frank Zappa and The Beatles were amongst their fans, and John Lennon said he “never missed an episode.” Little did I imagine that one day I’d professionaly work with The Monkees. 

One day I was doing an interview and was asked, “What’s your favorite Monkees song?” My knee-jerk response is “Porpoise Song.” Besides being my #1 favorite Monkees song to perform and listen to, this was the only uncut footage I could find of us doing “Porpoise Song” on the American wing of the 2011 tour (thanks to Joey PGH1 for capturing this @ Merrillville IN 6-30-11). According to Monkees-authority/historian/manager Andrew Sandoval (who guided the 2011 international tour), the original recording was the most elaborate production in Monkees history. Cashbox magazine compared it to “I Am The Walrus,” and for me it felt like participating in a Pink Floyd set. Written by Carole King & Gerry Goffin (who created the porpoise theme), the song bookended the 1968 film HEAD, the deconstruction of The Monkees mythology.

Personnel on this performance: 

Micky Dolenz: drums & lead vocals 

Davy Jones: percussion & vocals 

Peter Tork: slide guitar & vocals 

Wayne Avers: lead slide guitar 

Eric Biondo: trumpet 

Johnny J. Blair: bass & vocals + video-enhancement (2023) 

Arnold Jacks: saxophone 

Aviva Maloney: keyboards, saxophone, & vocals 

Jimmy Riccitelli: keyboards & vocals 

David Robicheau: guitar & vocals 

Andrew Sandoval: visuals 

Felipe Torres: drums & vocals 

Chris von Sneidern: remastering (2023) 

#mickydolenz #themonkees #porpoisesong #headmovie #psychedelicrock #poprock #actor #director #producer #vocalist #singer #johnnyjblair #bassist #monkeestour #caroleking #gerrygoffin #andrewsandoval #birthday #davyjones #michaelnesmith #petertork

[thatsrightice]

F-14 Tomcat Variants

A beginner’s guide to identifying and differentiating the different F-14 Tomcat variants using three distinctive, easy-to-spot features: Glove Vanes, Engine Exhaust Nozzle (aka “Turkey Feathers”), and Sensor Pods.

F-14A

NUMBER BUILT: 637 total

INTRODUCED: 22 September 1974

The F-14A’s were the first Tomcats ever produced. The TF30 engines were initially an interim engine used during testing but it was later decided they would be used in full production of the F-14A. A total of 478 F-14As were delivered to the US Navy and 79 were delivered to Iran with the TF30-P-412A engine. Iran was supposed to receive 80 aircraft but the last one was given to the US Navy. Later in production, the final 102 F-14A’s were delivered to the US Navy with Pratt & Whitney TF30-P-414A engine.

IDENTIFYING FEATURES:

✅ GLOVE VANES

The A-variant is the only variant of the Tomcat to have Glove Vanes. They were designed to automatically deploy when the aircraft was flying at speeds greater than Mach 1.4 and retract when below in order to correct the tendency for the Tomcat’s nose to pitch downwards at high speeds. They were notoriously difficult to maintain and the benefit was marginal at the speed they were designed for, so the glove vanes were disconnected entirely and welted shut. The glove vanes were not featured on new F-14 Tomcats, but the outline of the glove vane makes it easy to identify an F-14A or an F-14B/F-14D that was a rebuilt F-14A.

✅ SMALL NOZZLE EXHAUST FEATHERS

When compared to the F110 engines, it becomes pretty easy to tell the difference. When you look at the TF30 engine nozzle, you’ll see a lot of small metal plates, “Turkey Feathers,” that expand and contract when the nozzle opens and closes. It’ll be easier to tell the difference once you take a look at the General Electric F110 engine used on later F-14 Tomcat variants. This is the BEST way to identify an F-14A.

✅ SINGLE SENSOR POD BELOW CHIN

I recommend using the TF30 engine as the best way to identify an A-variant Tomcat as they are the only variant with those engines, however, I am choosing to include a section on the sensor pods for your reference as it is important for identifying the B and D-variants. The F-14A features a single sensor pod located below its chin but can come in a variety of configurations.

F-14A+ aka F-14B

NUMBER BUILT: 81 Aircraft (38 new builds, 43 upgraded F-14As)

UPGRADES BEGAN: March 1987

Initially designated the F-14A+, the upgrade is primarily characterized by the replacement of the Pratt & Whitney TF-30 engine with the General Electric F110-GE-400 engine due to being notoriously problematic. Many of the avionic systems and radars were retained, but the ALR-67 Radar Homing and Warning system was added. The A+was redesignated to the F-14B on 1 May 1891.

In the late 1990’s, the F-14Bs were upgraded again to extend its airframe life and upgrade the avionics system, but it was not given a variant designation due to the lack of major changes.

MAIN VARIANT FEATURES:

F110-GE-400 engines

ALR-67 Radar Homing and Warning system

IDENTIFYING FEATURES:

❌ NO GLOVE VANES

As stated in the section for the A-variant, the glove vanes were welded shut and completely disconnected on all existing Tomcats. On new builds, they weren’t even included in the design, however, if the aircraft is an upgraded F-14A, you might see the glove vane outline. This would be a way you can identify which aircraft were originally F-14As (Rebuild) and which were completely new builds.

✅ LARGE EXHAUST NOZZLE FEATHERS

Because most of the F-14B models were upgraded F-14As, it’s a little tricky to tell the difference sometimes. The easiest way is the F110 engine nozzle’s large turkey feathers. In comparison, the turkey feathers on the F110 engine are significantly larger and fewer in number, making it easily identifiable.

✅ SINGLE SENSOR POD BELOW CHIN

If you see a Tomcat with guide vanes and the F110 engine, then you can infer that it isn’t an F-14A. But to tell the difference between an F-14B and an F-14D, you’ll need to examine the sensors located below the chin.

Similar to the A-variant, the F-14B only has a single sensor pod located below its nose. The B model only had one true configuration with the Tactical Camera System (TCS), however, it may have an Aerodynamic Cover. This image from M.A.T.S. best shows the only possible sensor pod configurations for the F-14 A and B. The bottom two diagrams represent the B-variant.

F-14D Super Tomcat

NUMBER BUILT: 55 aircraft (37 new, 18 upgraded F-14As)

UPGRADES BEGAN: 1991

The F-14D, much like the F-14B, featured many avionics upgrades, including a new AN/APG-71 radar radar to replace the AWG-9 used in the A and B-variants and digital avionics systems. The D-variant, also called the Super Tomcat, featured the same F110-GE-400 engine used on the B-variant. There were many other upgrades to the F-14 Tomcat’s systems in this variant.

MAIN VARIANT FEATURES:

F110-GE-400 engine

AN/APG-71 radar

Glass cockpit

IDENTIFYING FEATURES:

❌ NO GLOVE VANES

As stated in the section for the A-variant and the B-variant, the glove vanes were welded shut and completely disconnected on all existing Tomcats. On new builds, however, they weren’t even included in the design. The rebuilds, however, might have the glove vanes if they were not removed during the rebuild process. F-14Ds upgraded from F-14As may also be designated F-14D(R)s, where R stands for rebuild.

✅ LARGE NOZZLE EHAUST FEATHERS

Many of the F-14Ds were rebuilt F-14As, so it’s a little tricky to tell the difference sometimes. The easiest way, similar to the F-14B, is the F110 engine nozzle’s large turkey feathers. In comparison to the TF30 engine, the turkey feathers are significantly larger and fewer in number.

✅ TWO SENSOR PODS BELOW CHIN

The main differentiating feature between the F-14B and D variants is the sensor pods located below the chin of the aircraft. This variant features two sensor pods as opposed to the one sensor pod of previous variants. This allows the aircraft to have both the Infra-Red Seeker pod and the Tactical Camera System (TCS). The F-14D is the only variant to have both, making it the easiest way to distinguish it from other variants.

[deadcactuswalking]

REVIEWING THE CHARTS: 30/11/2024 (Kendrick Lamar's GNX, Wicked Soundtrack with Ariana Grande & Cynthia Erivo, Stromae & Pomme)

Kendrick Lamar is Santa, Ariana Grande is Mrs. Claus, and God, do we have a lot of elves. I suppose that makes Gracie Abrams Rudolph, since she’s leading the pack for a sixth week at #1 for “That’s So True”. Welcome back to REVIEWING THE CHARTS!

content warning: language, gang violence, potential spoilers for Wicked Part One

Rundown

As always, we start our week with the notable dropouts, those being songs exiting from the UK Top 75 – which is what I cover – after five weeks in the region or a peak in the top 40. This episode, we bid adieu to: “Two Faced” by Linkin Park and “Running Wild” by Jin – both off the debuts last week – as well as “São Paulo” by The Weeknd and Anitta, “Love Somebody” by Morgan Wallen, “Indestructible” by Andy C and Becky Hill, “TOO COOL TO BE CARELESS” by PAWSA, “Diet Pepsi” by Addison Rae, “BACKBONE” by Chase & Status and Stormzy, “Slow it Down” by Benson Boone, “The Sound of Silence” by Disturbed, “Prada” by casso, RAYE and D-Block Europe, “Riptide” by Vance Joy, and finally, “Iris” by the Goo Goo Dolls. It is safe to say that at least some of these tracks make their return once Father Christmas has dropped the gifts off at the chimney.

Now for the festive flood, and whilst I won’t mention gains for pre-existing holiday tracks outside of the merriest three, we do have plenty of Christmas-related returns this week – every year has the chart week where the floodgates open for holly jolly hits – and even some seasonal new entries which we’ll get to. For now, we welcome back: “Driving Home for Christmas” by Chris Rea at #75, “Holly Jolly Christmas” by Michael Bublé at #72, “Sleigh Ride” by The Ronettes at #66, “Let it Snow! Let it Snow! Let it Snow!” by the late Dean Martin at #65, “Step into Christmas” by Sir Elton John at #56 (I love that one), “Winter Wonderland” by Laufey at #55 (more from her later), “It’s Beginning to Look a Lot Like Christmas” by Bublé at #51, “Do They Know it’s Christmas?” by Band Aid at #45 and “Merry Christmas” by Ed Sheeran and Elton John at #31. Our three jolliest jingles are “Rockin’ Around the Christmas Tree” at #20, “All I Want for Christmas is You” at #10 and “Last Christmas” at #8. I would say it’s too early for all that but my tree’s already up, and the only gain we get outside of this is “Messy” by Lola Young at #41, which I can’t complain about.

As for our top five… I suppose it’s best to break the news now. Kendrick Lamar’s new #1 album GNX and the soundtrack to Ariana Grande-led fantasy musical film Wicked have both debuted three songs – the maximum under UK chart rules – and they’ve all landed high up in the top 20. We can see quite early how this affects us, as Kenny takes “luther” with SZA at #5 and “squabble up” at #4. The top three, however, has not shifted in the slightest, with “APT.” by ROSÉ and Bruno Mars at #3, “Sailor Song” by Gigi Perez at #2 and of course, Ms. Abrams at the very top. Now, before we get into the big events, we of course have the filler episodes.

New Entries

#67 – “Christmas Magic” – Laufey

Produced by Laufey and Spencer Stewart

We start our week – of course – with the Amazon Originals. For those who don’t know, Amazon Music makes original holiday tracks with often famous artists, either for their bargain-bin Christmas films or as standalone tracks that automatically play when you ask Alexa for Christmas songs, hence run the streams up from automatic and passive listening but don’t have much of an impact on a lot of the population’s streaming rotation because they simply do not have access to it. It’s a questionable approach, for sure, but now it has been the norm for so many years, I no longer feel the need to complain about it. I used to review suggestions in protest, but this year, I decided that it’s really not difficult to find these songs without an Amazon product or subscription, and I may as well review them even if for the most part, they’re just vaguely festive slop. Plus, sometimes they are cover versions and hence I can talk about chart history. This does not appear to be the case for either of our new Amazon tracks, starting with Icelandic jazz singer Laufey’s “Christmas Magic” – if there’s any time of the year where her bordering-on-easy-listening style is going to gain the most traction, it would be Christmas, and this is fully a traditional Christmas song, with bursts of swing sax and sleigh bells backing what is basically a list of clichés. Laufey sounds nice as always, but it’s so short and there’s so little to it in all avenues of music – performance, lyrics, instrumentation – that it really can’t rise above vague pleasantry.

#49 – “It Can’t Be Christmas” – Tom Grennan

Produced by the Ghosts of Capitalist Past, Present and Future

Find Tom Grennan in around 30 days time and tell him what day it is, he won’t believe it. Anyway, we have our second Amazon-exclusive track, another original, this time from British pop-rock boy Tom Grennan, a semi-regular fixture on this series for the past few years. The horns are flatter here than on Laufey’s song, the tempo is fixed at a staggered classic soul pace which has never always fit holiday music for me – it’s usually used for Christmas songs that are more longing relationship, by-the-fireplace kind of songs, but there’s a cold angst to that drum rhythm to me, especially when in this context of a manufactured mix and song structure cut down for optimal length and audience retention. Grennan’s delivery flails into a really pathetic rasp, especially in that rough bridge, it sounds like a first take, and the staccato backing vocals don’t do much to sugarcoat it. It plays out less like an original Christmas song and more drunken karaoke from a wannabe Teddy Swims. Thanks, Bezos, we really needed this in the repertoire – besides, if you’re going to make a sincere attempt at introducing your song into the Christmas canon, why make it platform-exclusive to a platform largely not considered a major competitor in that particular medium? It’s like making a blockbuster film only available in cinemas located in Bedford – like, sure, people can see it but you have to go to Hampshire and not everyone’s going to be in Bedford all the time, in fact, most of the country won’t, though it’s not that difficult to get to anyways. And yes, Tom Grennan is from Bedford, and no, I didn’t know that before I wrote this analogy in, seriously.

#21 – “Ma Meilleure Ennemie” – Stromae and Pomme

Produced by Stromae, Mako and Luc Van Hayer

So, this kind of came out of nowhere. Stromae hasn’t charted internationally in a while and does not do so very often nowadays, especially in the UK, but he’s a Belgian singer best known for his 2009 smash hit “Alors on danse”, which this has amazingly out-peaked and once I found out why, I was a lot less excited to figure out why this duet with French singer Pomme had made a big splash when no non-massive event is otherwise getting through the holiday freeze. To keep it simple, as we’ll be talking about in-universe nonsense a lot for the rest of this episode, this is a song from League of Legends spin-off Netflix series Arcane, about a complicated relationship between two characters that starts off really antagonising and blossoms throughout the series, especially the second season which has recently premiered. I actually really like this song too, with the slightly off robotic vocoder functioning as those emotions coming to boil and bubble up inside the two characters, but not feeling too coherent yet, and Stromae’s spoken delivery fitting wonderfully over a reggaeton beat with a lot of space in the mix for phased wave synth pads and choir swells that take a human touch to a potentially over-produced and slodgy rhythm that comes with slowing a reggaeton drum pattern down and fuzzing out the mix. It’s a pretty good song outside of that, on strength of its chorus and concept, which fits what I’m told is the premise about a city and its seedy underbelly. If there’s cyborgs in the show, this is such a cyborg-coded song, and that’s the kind of in-depth observations you read this for. Between this and “Enemy” a few years back, maybe this show has something to it. Now speaking of shows I’m out of my depth on…

#17 – “What is This Feeling?” – Ariana Grande and Cynthia Erivo

Produced by Stephen Schwartz, Stephen Oremus, Greg Wells, Jon M. Chu, Marc Platt and Maggie Rodford

So, I have not seen Wicked, and I probably never will – it’s the first part of a musical I have no interest in stretched out to a film adaptation of two and a half hours. No amount of positive reception will bring me to see that. However, I had cleverly predicted this outcome and enlisted a duo of undercover spy agents to research and recount details of the piece to inform and assist with this episode. For the sake of anonymity, I shall call them Jessie and James, and yes, I’m Meowth, that’s right. Bear with me here, as like a third of this episode will be plot details for a movie I haven’t seen, but I will try and keep it brief as unlike Kendrick’s songs, these have very little chance of sticking around once the hype has dissipated. This song is from when the two students at “Shiz University” (again, bear with me) first meet: Galinda, an elite sorceress played by Grande, and Elphaba, the titularly wicked witch played by Erivo, write to their parents about each other and their initial experience as roommates. Apparently, this is near-unchanged from the musical version (which is itself adapted from a novel, itself adapted from The Wizard of Oz), and acts as a reversion of the “hate-to-love” trope in conventional musicals, by presenting two characters who absolutely love to hate each other and finding exhilaration in a quickly-onset and potentially longstanding loathing. My secret agent calls it a “toxic yuri anthem”, whatever that means – I like the intensity of the strings and especially the horns as the song ramps up, and for a show tune, the soundtrack version is less flat than many a musical track sounds in studio quality, even if the drums don’t hit like they should. I do find Ari – sorry, I mean Galinda’s lengthy description of her green counterpart being met with a short and snappy “Blonde.” from Elphaba pretty funny and, if I were more attuned with the narrative, probably an appropriate summary of their characteristics. A song about mutual hate written as if it were a cutesy love ballad is a cool take, especially in the bombast of a musical, but it doesn’t fully connect with me all the way through, it loses me a bit once we get into the choir parts. You know what didn’t need to take time to lose me?

#13 – “Popular” – Ariana Grande

Produced by Stephen Schwartz, Stephen Oremus, Greg Wells, Jon M. Chu, Marc Platt and Maggie Rodford

Now I do know this one! Is it because Ari had covered it prior with MIKA? Yes. Do I like that version? No, it’s horrible, but that is in part why it stuck with me and also in part why I cannot watch this film, as if I at any point think of MIKA in a cinema, security may need to intervene. Yes, I still find this song really annoying in whatever form, but what I didn’t know until now is that I’m somewhat supposed to. The musical’s most famous but not most iconic track, performed by Galinda alone, shows her as a bit of a smug, superficial pest obsessed with “improving” her newfound friend Elphaba that she sees as needing to be changed drastically to gain approval from her peers. The “la-la-la” hook is still incessant, but it plays onto “political performance themes” (quoting my spy) and given its status as both a fan and general audience favourite, I’m sure it’s exciting in the film’s context, and though one of my confidantes loved the extended outro, I find lengthening “Popular” to be somewhat like making sure your murder victim gets slapped around before you stab him, especially since the instrumentation is largely barebones. I get why the song is like it is and at least it’s not the MIKA version, but I’m still not a fan.

#7 – “Defying Gravity” – Cynthia Erivo and Ariana Grande

Produced by Stephen Schwartz, Stephen Oremus, Greg Wells, Jon M. Chu, Marc Platt and Maggie Rodford

It turns out, coincidentally, that the songs’ chart order also reflects that of the musical, so we observe the character arcs in real time. A seven-minute showstopper, “Defying Gravity” may be the most impressive number, so immersive as a song in thematic context that it’s part of why the film has been split into two different parts instead of released as a whole: it’s built specifically to bring a curtain down to intermission, so the producers cut the film not long after so the events following such a grand, iconic moment didn’t end up “hugely anti-climactic”. I mean, the song is called “Defying Gravity” – leaving the audience with a song that, according to my team of associates, gives them goosebumps, may be more powerful than bringing the film back down to Earth at any point, if it were possible. For the sake of chart history, Elphaba’s stage performer Idina Menzel recorded the song as a single, and therefore, this is the one song from the musical we get here to have charted several times, first with Menzel for a #60 peak in 2008, secondly with the cast of the TV sitcom Glee in 2010 for a peak of #38. To track that in the real world, the #1s at those dates were Rihanna’s “Take a Bow” and Tinie Tempah’s “Pass Out”… which both kind of make sense for such an extensive, transforming song about the two main characters coming to grips with how they’re just too vastly different to go in the same direction, and because of that, it’s a particularly powerful song for Elphaba. One of my friends – I mean, undercover employees prefers Adele Dazeem’s version but Cynthia Erivo’s performance here took me aback by sheer strength in just the audio so I’m sure I’d be impressed seeing its scenes play out on screen or stage. That hook really clings to you as an earworm and whilst getting there each time may not be the most fun to follow, that makes it all the more satisfying once you’re there, and this really is a special tune, even out of narrative context, so I completely understand why, despite the length, this is the highest-charting from Wicked. Once again, thanks to Team Wicked for equipping me with details regarding the film and its source texts because doing actual research is for nerds. Who the Hell would write a chart show based on actual research, facts, history and fair analysis for over half a decade? ...Well, maybe Spectrum Pulse.

#6 – “tv off” – Kendrick Lamar featuring Lefty Gunplay

Produced by MUSTAAAAAAAAAAAAAAAARD

All three of Kendrick’s top 10 debuts from his most recent surprise album – dropping in the middle of the afternoon UK time last week – appear in a row from #6 to #4 and we also don’t get any of the denser tracks, which is to be expected but does mean we partially lose a layer we could use to discuss the album with. This isn’t a problem, though, for if there’s any album in his discography that Kendrick wants you to feel and not overthink about, it’s his series of West Coast tributes seemingly made in just the past few months that he calls GNX. I’ve always been less enamoured by Kendrick than many others, because of what in my opinion is a spotty catalogue and messy approach from his output, DAMN. onwards, but a lower-concept, mixtape-esque record from him may be just what I’ve wanted him to get at since To Pimp a Butterfly. There are themes worth getting into on this album, for you to evaluate and take piece by piece, but there’s nothing cryptic, which isn’t necessarily a problem for me regardless, I can enjoy plenty of abstract rap, but it also means the album’s less heavy, more of a concise product that tells you quite explicitly how Kendrick is feeling. Hateful, he is feeling hateful and he's absolutely proud of finally having the angle and time in his career where proving himself isn’t necessary, and he can pull up to the Super Bowl with a set of new bangers he hasn’t gotten sick of yet, or even thought too hard about in the first place. There’s a real release in this album that comes with the post-Drake beef success: near-unanimously crowned the winner, dragged through the mud and coming out clean as a whistle in the public’s eyes, he realises that he can show off some jams that’ll resonate with his folks in California and boost that scene to worldwide status. As silly as it sounds, it might be my favourite Kendrick Lamar album.

Now as for the three track we have here, I’ll zoom through them, as we have two energetic West Coast bangers and one R&B cut, starting off with what might just be my favourite track, and I’m sure many agree: “tv off”. Produced by Mustard, who takes the same Monk Higgins album to flip as he did for “Not Like Us”, alongside Sean Momberger, Kamasi Washington, Jack Antonoff (of all people, he’s all over the record) and Kenny’s long-time producer Sounwave, Kendrick starts off with what may be the mission statement of the album: he’s finally bought his dream car, and he’s set out on the goal of making hits for the people: “fuck being rational, give ‘em what they asked for”. Once letting you know his rationale, he sets the score over a shrill sample chop that rings of all the malice he self-admittedly approached this project with, the beat animated by his manic flipping between his now signature goofy voice (a nasal whine), restless yelling and deadpan, sick-and-tired rambling. The main conceit of the song is authenticity, how Kendrick feels like he’s the only real one in the game, and there are not enough people like him, which leads to catchy flows and great brags like how he can afford to cut his grandmother off if she doesn’t agree with him (so much for keeping the family close), but also comes with the underlying knowledge that he’s admitting he himself is not enough to save his culture from losing the plot. Of course, the song only really switches into gear with the beat switch, as over a menacing loop from a Disney soundtrack of all places, Kendrick memetically screams “Mustard!” when the beat drops as if the guy who produced “Freaky Friday” was a Dragon Ball antagonist. His scream is not just for the meme, though, he explains why: he wants to walk into the Super Bowl in New Orleans, Louisiana with the energy of his hometown of LA, and part of that is screaming California’s biggest producer as part of Kendrick’s own personal victory lap. That’s kind of beautiful, but you wouldn’t know it from Kendrick’s grimy verse and intricate rhyme schemes all enveloping from an already ruthless Biggie interpolation. I particularly love the second half verse from the “prophetic”-“cosmetic” bar onwards, the fricative mouthful leading into that second pained “Mustard!” release is such a great moment. And if you don’t know who Lefty Gunplay is, well, you weren’t supposed to, not only was he initially uncredited but he, as one of many West Coast underground rappers Kendrick gave shine to on this record, only provides the outro here, itself a bit of a memetic mantra of how it can get “crazy, scary, spooky, hilarious”. Theories have arisen that this reflects Kendrick’s four main diss tracks against Drake, but I see this more as just what happens when you see Kendrick in this aggressive mode because this album shows that it can get as zany as it can get genuinely threatening, and Lefty Gunplay’s voice fits like a glove, as expected for a largely unknown California rapper – there are a few others on the album, with Dody6 and AzChike in particular giving really standout performances. Part of me wonders if Lefty had a longer verse on this and that one line was just the part Kendrick liked the most so he looped it at the end. Either way, let’s move on to:

#5 – “luther” – Kendrick Lamar and SZA

Produced by Sounwave, Jack Antonoff, Kamasi Washington, Bridgeway, Rose Lilah and M-Tech

Earlier on in the album is a more lowkey cut with SZA, the laidback duet “luther”. One of the few tracks of its kind on the album, it is an honest-to-God love song from Kendrick, promising his girlfriend – presumably his fiancé Whitney, played by SZA – that better days are coming, in part because he’s there for her and is on the way to make her life as perfect as he sees her as. Kendrick promises that if the world was his, she’d have no enemies – in this case, he says he’d gun them down, of course – and wouldn’t have to suffer any pain, playing on the sample from “If This World Were Mine”, specifically the cover by Cheryl Lynn and Luther Vandross. As with many SZA tracks, it’s a piano and acoustic guitar-led trap-inflected slow jam, but with all kinds of very special and very Kendrick additions, like the string swell that tries its hardest to make you not notice that Kendrick’s first verse is the same set of bars repeated with two extra bars (it’s not fully successful), and how the beat is reduced to just the bass mid-verse so Kendrick can play with his “fah-fah” ad-lib melodically for longer than he needs to, but it’s still cut and further immerses you into the fantasy of a perfect world. For the rest of the song, SZA and Kendrick switch from going back-and-forth, completing each other’s sentences on the second verse, to harmonising entire verses and refrains together, in a catchy serenade that still plays with the pace of the lengthy chorus in interesting ways, whilst having Sam Dew and Ink fill in some of the vocal gaps Kendrick simply can’t. Kendrick’s less-than-perfect vocal here is part of the self-deprecation he accumulates in the song – he’s helpless to reach his goal of having a perfect world he has control over, but it’s in pursuit of this perfect woman who loves him regardless: “she a fan, he a flop, they just want to kumbaya”. Overall, it’s a charming, loveable little track that I’m very glad was included and could see sticking around – as much as I love it, “tv off” is probably being swapped out next week, but the higher two are probably going to be charting for a while.

#4 – “squabble up” – Kendrick Lamar

Produced by Kendrick Lamar, Bridgeway, Jack Antonoff, Sounwave and Matthew “MTech” Bernard

Unlike how the three-song rule often dictates, we do not see the opening track on the chart this week, primarily because “wacced out murals” is a five-minute villain origin story that is coldly intense and thematically necessary… but not as much of an undeniable jam as its follow-up, “squabble up”, which appears to get the lead single treatment with a midweek video and it should be obvious as to why. First teased in the “Not Like Us” video months ago, “squabble up” starts with intense breathing under Kendrick’s promise that he’s back: one of the album’s main themes is reincarnation, and here, he sets the stage for an album that’s bangers on bangers by saying he’s done stargazing and back outside for the people, whilst also referencing the sentiment that he considers himself Tupac Shakur reincarnated, a longstanding idea in his catalogue. Sentiments are hardly what makes this song great, though, as it’s named after LA slang for a brawl as Kendrick, with a lot of wacky choices of imagery and great wordplay – sometimes about his own producers (again) – over a groove that caught me in a trance on first listen, especially with that phased 80s synth bass, taken from Debbie Deb’s freestyle classic “When I Hear Music”. The vocal sample from Debbie isn’t interpolated in any way but its theme of dancing to the music takes on a different meaning in this more sinister context – Kendrick’s guys are on the floor for different reasons. The group call-and-response vocal in the bridge comes with intrusive drum crashes, and the third verse has so many cute details in how the sample is glitched and chopped into sparkling sound effects and vocoder loops that you almost get distracted from some of the funniest lyrics in the song, especially the flatly-delivered couplet “Bitch with him and some bitch in him – that’s a lot of bitch / Don’t hit him, he got kids with him? My apologies”. One could complain about the relatively simple and staccato hooks here, but the off-key singing in the chorus has always been part of Kendrick’s charm and why he can appear so down to Earth compared to rappers who will use Auto-Tune for a hook like that, and the rubbery effects in the post-chorus keep it texturally rich. This will have its chart run hampered by Christmas, but I still can’t imagine it not sticking around because this is infectious in all the best ways, and also a fun way to wrap up the episode.

Conclusion

Kendrick sweeps, as you’d expect. He grabs Best of the Week for “tv off” with Lefty Gunplay, and just to be fair, I’ll tie his Honourable Mention for “squabble up” with “Defying Gravity” by Cynthia Erivo and Ariana Grande. As for the opposite side, Tom Grennan takes Worst of the Week for “It Can’t Be Christmas”, obviously, and though I’m personally scared of my undercover assistants’ capabilities and mob connections, I will also dare to give Ariana Grande’s “Popular” the Dishonourable Mention. I’m sorry, the song will never click with me. As for what’s on the horizon, I can’t imagine much else but Christmas tunes, particularly a new one from Ed Sheeeran, so strap in, folks. We’re in for the slowest month of my year. For now, thank you for reading, long live Cola Boyy, and I’ll see you… soon.

[lonestarflight]

The Saturn IB booster (S-IB-6) for AS-206 mission is being erected at Complex 37, Cape Kennedy, FL. The 80.2 foot booster has eight Rocketdyne H-1 engines capable of producing 1,600,000 pounds of thrust at sea level.

Date: February 1, 1967

NASA ID: 67-H-153

[hypokeimena]

had one (1) glass of wine with dinner but it was so yummy that i am now flushed (FLUSHED) which is nice bc i am at least not freezing in the downstairs (thermostat says it's 71 but the meat thermometer says it's 67) but also it means i cannot concentrate or produce words.