#Continuing with the parallels to 20th century history

[marietheran-archived]

I think the fundamental problem I have with the Star Wars Sequel Trilogy is how they completely undermines the ending of RotJ.

In real life, I allow, it absolutely happens that 20 years after one great war there is another. Historical victories aren't clear cut like that. But let's be clear: if Star Wars worked like history does the rebellion wouldn't have won in the first place.

So let our heroes have their happy ending! Let them stay heroes. Don't do that.

[doedipus]

a large amount of time I've been spending on -untitled undefined scope original fiction project- since the last time I posted about it has been trying to develop the protagonist concept I came up with last summer or whatever into like, a character that would feel real and era appropriate.

it's fun research to do. naturally a lot of the details I assigned to her are things that I already think are cool, so it's been a lot of fun trying to trace her traits back through the relatively recent past, getting reminded of how much things have changed, or where the gaps in my intuition are, and then doing a flurry of reading to get a sense for exactly how someone like her and the people around her could have happened and what her life was probably like leading up to her present day. hopefully this results in some good good verisimilitude.

[mariacallous]

Today, Aug. 31, Estonians and Latvians celebrate 30 years since the departure of Russian troops from their territories, which ended half a century of occupation. The ongoing war in Ukraine is a daily reminder for Russia’s neighbors that their freedom must not be taken for granted. History suggests that Russians only withdraw from occupied territories for one of two reasons: Either they are driven out by force or their own cost-benefit calculus compels them to leave. In the latter case, the only major territorial withdrawals in Russian history have happened when regime collapse has radically changed this cost-benefit calculus. If Washington fails to recognize this long-established pattern and continues to severely constrain Kyiv’s defense in hopes for some future reset in relations with Moscow, the next wave of Russian aggression is all but ensured.

The Russian empire—whether the tsarist or Soviet variant—collapsed twice in the 20th century: in 1917, when a communist coup dethroned the tsar, and in 1991, when another, unsuccessful coup was the final death knell for the Soviet Union. Both events created a window of opportunity for many smaller nations to break free. Moscow withdrew from many of its non-Russian territories not because it no longer wanted to have an empire, but because it no longer had the means to keep these territories under its control.

Russia is currently occupying more than 42,000 square miles—about the size of South Korea—or approximately 18 percent of Ukraine’s territory. Ukrainians aim at regaining all of it and see full restoration of their territorial integrity as an essential component of a just peace. Yet their hopes to reconquer much of their land have withered, not least due to strict limitations imposed, mainly by the United States, on the Ukrainians’ use of Western weapons. Ukraine’s surprise incursion into Russia’s Kursk region and quick capture of about 500 square miles of Russian soil has changed the outlook: Now, an exchange of territories may become an element of eventual negotiations. Russian leader Vladimir Putin’s calculus is still in favor of continuing the war, but the Ukrainians are finding new ways to increase the cost to Moscow and upend the narrative that Russia is marching towards an inevitable victory.

The historical experience of Russia’s neighbors provides some clues to Ukraine’s chances to regain occupied territories or achieve peace through territorial concessions.

The last Soviet leader, Mikhail Gorbachev, decided to let the Soviet satellite states in Central and Southeast Europe go and allowed an unprecedented degree of openness within the Soviet Union. But even the great reformer Gorbachev was unwilling to give up any of the Soviet republics, including the three Baltic states. A leader of the Estonian national movement at the time, Marju Lauristin, recalled a personal conversation with Gorbachev, in which she explained Estonia’s aspirations for independence and received a straight reply. He could not give away what the Russian nation had gained, she recalled him saying.

The Baltic states grasped the chaos and aftermath of the 1991 Soviet coup to restore their independence, but that was followed by a tense three-year struggle to achieve the withdrawal of Russian troops. Diplomatic efforts took place in parallel with the departure of Moscow’s forces from the former satellite states, including more than 330,000 soldiers leaving East Germany by 1994. As we know, Russia’s withdrawal from Germany was a most humiliating experience for the young Putin, who was traumatized by the East Germans’ peaceful uprising against their communist regime while he was stationed there as a KGB agent.

Estonia was the last European country to secure the departure of Russian troops through a July 1994 agreement between the two countries’ presidents at the time, Boris Yeltsin and Lennart Meri. Both leaders took considerable risks by agreeing to a deal that was unpopular in their respective countries. Many in the Russian opposition, diplomatic establishment, and security services were highly critical of Yeltsin’s decision. On the Estonian side, the deal involved painful concessions, notably allowing retired Soviet military personnel and their families, altogether more than 10,000 people, to stay in Estonia and enjoy social benefits. Similar unpopular conditions were also accepted by Latvia. Although the departure of occupying troops was a dream come true for Estonians, Meri faced criticism at home for the concessions. It took great diplomatic skills and political courage to achieve the final stage of de-occupation, which paved the way for Estonia’s accession to NATO and the European Union.

The motive for Yeltsin was most probably his wish to maintain good relations with the West—especially the economic and financial support on which Russia depended at the time—while the United States and Germany put friendly pressure on him to withdraw his forces from the Baltic states. Any such motive is utterly irrelevant for the current Russian leadership; there is no chance that Western countries could persuade the Putin regime to deliberately leave Ukraine in hopes of improved relations or economic benefits such as sanctions relief.

For some of Russia’s neighbors, giving up territory was the price to pay for independence. However, territorial concessions without being prepared to resist further Russian demands has not been a recipe for stability. In 1939, then-independent Estonia gave in to Soviet demands to establish military bases on its territory in the vain hope of avoiding war. The concessions did not help, and the Baltics were soon occupied and annexed. Finland refused similar demands for the stationing of Soviet troops and was attacked by the Red Army. Yet eventually, Finland sustained its independence after fiercely fighting for it. The Baltics learned a bitter lesson. Today they are prepared to fight back from the first moment of aggression.

Finland gave up one-tenth of its territory as a result of its two wars with the Soviet Union, but it would be wrong to present this as an example of trading land for peace. The Soviet Union did not stop fighting because it was content with the concessions; it stopped because it was unable to defeat the Finns and conquer more land. The Red Army became too exhausted to carry on, not least because it was also fighting on other fronts of World War II.

As part of the armistice agreement that ended the Soviet-Finnish fighting in September 1944, Finland leased to the Soviet Union the strategically valuable Porkkala peninsula, located just 20 miles from Helsinki. Although the lease was set for 50 years, the Soviets returned Porkkala in 1956, which looks like a rare example of a voluntary Russian withdrawal. The decision was part of the thaw under Soviet leader Nikita Khrushchev, who succeeded Joseph Stalin in 1953. The case shows that a new leader who is critical of his predecessor may sometimes be favorable to new openings.

However, in subsequent years the Kremlin continued attempts to subsume Finland under tighter Soviet control, successfully interfering in its domestic politics and forcing it to align much of its foreign policy with Russia’s but failing to push the country closer to defense cooperation. Finland achieved Soviet recognition of its neutral status only as part of the Conference on Security and Cooperation in Europe held in Helsinki in 1975.

Another Russian neighbor, Japan, has also learned that Moscow does not give up territories under its control as a gesture of goodwill. Under former Prime Minister Shinzo Abe, Japan made extensive efforts in the 2000s and 2010s to foster friendly and mutually beneficial relations with Putin’s regime. Abe aimed to finally settle the two countries’ territorial dispute over the four southernmost Kuril Islands, annexed by the Soviet Union at the end of World War II. In the hope of splitting the difference and regaining two of the islands, Japan went to great lengths in courting Putin and avoiding any criticism of Russia, including after Russia’s illegal annexation of Crimea and the start of the war in eastern Ukraine. In March 2022, Russia announced that it did not intend to continue the talks and practically ruled out giving up any of its territories, with Russian Security Council Deputy Chairman Dmitry Medvedev stating that “negotiations about the Kurils always had a ritualistic character”.

So far, the West has been surprised by Russia’s ability to bear the heavy cost for its invasion of Ukraine. In Western societies, human life is priceless; in Russia, it is cheap. The Russian regime has been able to rely on seemingly endless waves of expendable soldiers and a harsh redirection of its economy to defense production in ways that would be far too costly for any democratic leader. What can be fatal for a Russian leader, however, is any perceived weakness and the failure to uphold Russia’s greatness. Most Russians want to live in a great country that dominates others, and they are ready to accept sacrifices for this cause, as documented in detail in books by Svetlana Alexievich, Jade McGlynn, and others.

Western leaders have talked a lot about the need to raise the cost of Russian aggression. But they have failed to effectively implement economic sanctions and have still not allowed Ukraine to use Western long-range weapons to attack military targets on Russian territory. By bringing the war to Russia nonetheless, Ukraine has proven that there is space to be bolder and more innovative in making the Russians pay a painful price for their desired greatness—a greatness that is built on invading and occupying other nations.

Russia is not going to withdraw from Ukraine unless it is forced to go—or to pay an unbearable price to stay. There is absolutely nothing in Russian history or recent behavior that suggests Moscow could be expected to negotiate in good faith to reach a compromise. Some territorial concessions from Ukraine may eventually be the price worth paying for peace and freedom—but this remains moot until Russia first gets to the point where it believes that further aggression can bring no gains.

Full restoration of Ukraine’s territorial integrity will likely require another collapse of the Russian empire. It may be years ahead, but Russia’s historical trajectory suggests that it will happen at some point, as the country has shown itself to be incapable of correcting course through evolution rather than revolution. A Western “reset” with the current regime will not be possible without sacrificing Ukraine’s independence and the core principles of the European security order, including the principles of sovereignty and territorial integrity.

Whether losing Ukraine will be the final death toll for the Russian empire, only time will tell. And even then, Russia’s neighbors will always have to be prepared for its violent imperialism to rebound.

[easternmind]

The weird and wonderful history of Kowloon as a digital interactive space - Part II

This article is the continuation of a previous post.

Any comprehensive history of 20th century Hong Kong is not complete without a chapter entirely dedicated to the architectural and urban planning puzzle that was Kowloon Walled City. Quite unlike any other slum in Asia or elsewhere in the world, the extreme conditions under which its inhabitants lived captured the attention of various international journalists and photographers whose reports of this accidental labyrinth, in turn, inspired some of the most remarkable artistic explorations of our time. In this regard, video games did not remain impervious to the powerfully stimulative imagery, as much a reference today as it was when its hardened concrete walls still stood tall.

Kowloon's Gate Suzaku VR - Jetman - 2017

Kowloon's Gate made a most unexpected comeback twenty years after the original episode via the crowdfunded VR project Suzaku developed by Jetman, a studio founded by and composed almost exclusively of ex-SME/Zeque staff. While it is not the remaster many had hoped for, essentially consisting of a walking simulation through some redesigned locations from the original, it does a commendable job in faithfully replicating its instantly recognizable, light-starved alleyways in competent high-definition. It is also the only VR-compatible entry from this list, granting it a degree of uniqueness over its counterparts.

Stranglehold - Midway/Tiger Hill Productions - 2007

Stranglehold is the result of a collaboration with Hong Kong movie director John Woo, developed as a direct sequel to his heroic bloodshed classic Hard Boiled, featuring Chow Yun-fat in the role of detective 'Tequilla' Yuen in his unending confrontations with organized crime. One of the game's most unforgettable levels, Slums of Kowloon, takes place during a particularly rainy day, seemingly in those last days when the zone had been emptied of residents and demolition work was well underway. The visual representation of the quarter is suitably evocative, its buildings in complete state of disrepair, the remnants of local businesses or places of prayer still discernible from under the piles of steel and cement rubble.

Resident Evil 6 - Capcom - 2012

For all its shortcomings, Resident Evil 6 partly succeeds in taking the first two episodes' concept of parallel storylines and realizing it to a much fuller extent. Its choice of different characters translates into entirely different campaigns, locations and playing styles. The very first scene in Chris/Piers' campaign occurs in the fictional Chinese city of Lanshiang, modelled after real-life Hong Kong. The mayhem in the main streets forces the player to take a detour into a location named Poisawan, which bears a striking resemblance to the Kowloon district. Though an unofficial representation, it is among the most skilled replications of the scenery we find in the vast photographic repository of the area. The degree of minutiae with which the district's haphazard electric installation is replicated, alone, suffices to demonstrate a true commitment to authenticity.

Paranormal HK - Ghostpie Studio - 2020

Few would dispute that Kowloon is, itself, naturally conducive to sentiments of dread and anxiety. Paranormal HK is a 2020 made in China production reviving the defunct neighbourhood in a gripping, blood-curdling contemporary ghost story. The player is the cameraman of a paranormal-themed TV show exploring the zone during the evening of the Zhongyuan festival, a scheme suspiciously akin to that of Akira Ueda's 2004 game, Michigan: Report From Hell. As a result of the thorough research work performed by its creators, as well as the impeccable usage of contemporary 3D graphics techniques to achieve accurate lighting conditions, players may momentarily experience the feeling of walking into a photo of the actual city as it existed in the mid eighties.

Sifu - Sloclap - 2022

Notwithstanding of its renaissance during the 128-Bit era, the beat 'em up genre is commonly associated with the arcade games of the late 80s and 90s, the period of time when it flourished and, arguably, reached its zenith. The simplicity of controls and ease of access sufficed to attract players to the arcade cabinet, while the frequently extreme levels of difficulty of advanced levels ensured a steady flow of cash for arcade room owners and game development companies alike. Nevertheless, the genre has but perished and, in many aspects, recent years have indeed elevated it to unforeseeable degrees of complexity. Sifu, by Sloclap, synthesizes the elation of digital hand to hand combat simulation with the real-life complexity of mastering a martial art.

As is the case of previous entries in this list, Sifu makes no admitted reference to Kowloon or Hong Kong. However, the designers left little to the imagination in what pertains to their inspirations when taking on the task of constructing the game's environments. Another notable coincidence stems from the fact that this production was made possibly with the support from a celebrated independent game funding group going by the name Kowloon Nights.

Stray - BlueTwelve Studio - 2022

Stray is one of the most revered independent video games in recent memory, and justifiably so. The long development process yielded many benefits, judging from the consistency and attention to detail that engrossed many an avid player. That the main character is singularly charming feline may have played an equally crucial role. The creators have made no effort to conceal the fact that the notorious Hong Kong district was a pivotal influence to the design of its nameless city. The first indication can be spotted in the game's earliest footage, in which a black cat traverses a street where a particularly conspicuous sign boasted the initials HK. Stray is less concerned with presenting a precise replica of Kowloon than it is about summoning the very essence of its atmosphere. Moreover, in an exquisitely poignant way, its ending lends an entirely new meaning to the term walled city. In the future, robots may well take the place of humans. Invariably, the Walled City is no more. Slitterhead - Bokeh Game Studio - Work in Progress

An sequence of unconscionable mistakes from the part of Sony Computer Entertainment's management galvanized Keiichiro Toyama to part ways with Japan Studio, as it once was, and establish his own game production label. Their debut title, Slitterhead, is described as a grotesque survival horror experience, a genre within which the author moves with matchless ease. Among the few certainties regarding this project is the fact that it will take place prominently - if not exclusively - within the Kowloon City province. A wide variety of aspects included in the preview footage leave the viewer optimistic as to this being one of the most accomplished portrayals of the district ever seen in a video game. Subtle yet telling signs already demonstrate the creator's in-depth knowledge of the quarter's architecture and history. Take, for instance, the suggestive image of the airplane flying mere meters above the top of the buildings. Although the growth of Kowloon was for the most part ungoverned, buildings did not rise above a certain height, even as inhabitants claimed for increased availability of space. This is due to the fact that airplanes landing at the nearby airport would be required to make their descent at relatively low altitude, performing a tight curve as they soared just above the enclave, thus preventing construction from expanding upwards. Another scene shows a child playing on the rooftops of the buildings, which once again is consistent with the documented habits of residents who, starved for sunlight and open space elsewhere within the city limits, had little alternative than to take the stairs all the way to the top.

Warehouse Kawasaki Arcade

I would be remiss not to make some form of allusion to Warehouse Kawasaki, an arcade built to replicate the Walled City with unthinkable detail. Though its ultimate purpose was for visitors to engage in digital entertainment, the venue was scrupulously put together. Point in fact, many of the objects used in the construction of the five floor amusement centre were imported directly from Hong Kong. Like so many other Japanese arcades, it closed its doors in 2019.

In recent years, a rather similar initiative was taken by the Chinese in their attempts to build unique mall spaces. The 文和友 malls in mainland China, found in Changsha, Guangzhou and Shenzhen, attempt to reproduce the walled city aesthetic. Local residents inform me that these are increasingly lacking in foot traffic, for which reason the majority of their stores are closed. Other digital replicas of Kowloon

A number of other videogames set in or deriving inspiration from Kowloon could not be featured in this article. A frequently cited reference in this context is the action/adventure game Fear Effect, one which I emphatically dispute. No doubt remains as to it being located in a futuristic version of Hong Kong, yet I could discern no parallels with the walled city, save for those scattered second-hand visual motifs that were no doubt imported from sci-fi classics such as Blade Runner or Ghost in the Shell.

The Utelek Complex stage of Deus Ex: Makind Divided presents a similar situation, where the overall atmosphere of the futuristic favela bears some resemblance to Kowloon, without meeting the specificity quota that would warrant a more comprehensive exploration.

The 2004 Shout! original Kowloon High-School Chronicle for the PS2 is a unique case, in that it borrows the city's name despite taking place in a massive, Tokyo underground dungeon that is later revealed to be a maze-like Egyptian pyramid. The odd choice of title remains unclear. Shadowrun: Hong Kong game (screenshot above) contains a very direct mention of Kowloon as the place in which an entire episode comes to pass. Another project still in development, Kowloon's Curse (screenshot below), is following the lead of many popular independent horror games in recent memory by using a visual design and structure that elicits memories of the late Playstation/early Dreamcast era. A short prequel episode was made available earlier this year, for free.

Additionally, I refrained from mentioning the Kowloon maps in Call of Duty: Black Ops or Counter-Strike: Global Offensive, as I perceive both games to be insufficiently relevant to merit study or contemplation.

A space that refuses to be forgotten

(China rooftop stage from The King of Fighters 2003)

It would be a gross overstatement to claim that Kowloon is a recurring location or level design motif in videogames. The relationship between digital games and the real life ghetto has been one of sporadic references. What makes the subject so engrossing pertains to the quality of the relationship, particularly that of a small cadre from among the titles featured in this article. Kowloon's Gate was one of the most relevant game creations of the 32-Bit era, a game deserving of reverence and cult following inside and outside Japan. Likewise, Shenmue II is the second instalment of a truly ground-breaking and highly advertised series whose production costs alone were unmatched until quite recently.

Moreover, this is an affair that is far from concluded. The unexpectedly high number of allusions to Kowloon in videogames released or revealed just last yet demonstrates that its aesthetic is still very much present in the minds and hearts of artists and designers working in the field. The walled city lives on as a digital demarcation that is certain to resurface time and again in years to come.

[nellie-elizabeth]

Outlander: Ye Dinna Get Used to It (7x14)

Is it my birthday?? John Grey-centric episode, Hal, PERSEVERANCE WAINWRIGHT?? Ahhhhh.

Cons:

Okay, like, obviously there is a ton about this show where you just kind of have to hold your nose and pretend this is like, a parallel fantasy reality that's not our own, but I have to say: the dinner scene with General Washington was just so icky to me. Everyone's getting all reverent and patriotic and Washington is painted very much in his mythic "father of our country" sort of vibe. And the whole time it's just like... yeah, future President George Washington, who also owned human beings as chattel? And Claire is not shown to have any sort of thoughts or feelings about this whatsoever. The show has always been so awkward about this, not wanting to look at it head-on. Like the Jocasta stuff at River Run always bothered me too, because Claire reacts to it more like it's casual bigotry that she's having to grin and bear for the sake of social politeness, and not literally, you know, the institution of slavery. I'm not saying Claire should throw a drink in George's face, that wouldn't be very strategic of her, for one thing. But I do wish the show didn't have her be quite so giddy and honored to be in his presence and receiving a Betsy Ross flag as a gift from him. It's yucky.

Small detail, but when William gets chastised for his uniform being in disarray, and is literally told "you look like a groom from my estate," it's like... oookay. A little too on the nose. Couldn't he have said "you look like one of those slovenly continental traitors" or something else that's also true about Jamie but that isn't so oddly specific? It was too silly.

Pros:

We don't get a ton of motion on the 20th century plot this week, but Brianna does find Rob Cameron with some accomplices hanging around her house, and by the end of the episode she's come to an important decision regarding her future: maybe it's time her and the kids go to Roger. Dun dun dun! More on that in the coming weeks, one assumes.

I loved the Ian and Rachel scene in this episode, I continue to be surprised by how much I've been converted to them as a couple. It's so cute to see them being all giggly and newlywed, and Rachel helping Ian with his war paint is something that can be so personal (and sexy) actually.

I really love the casting for Jane, too, and the way she puts William back on his heel. The scene where she explains how she doesn't know how money works is a good way to open William's eyes, and ours, about the true depth of the gulf between them in terms of not only social standing but also life experience. She's lived a life that most high born ladies would find horrifying, but she's also had this very sheltered, very small world she's never had to poke her head outside of. We learn that in order to protect her sister Fanny, Jane killed the dickhead who was hoping to take her virginity for a high price. They are now under William's protection, which is... complicated. William's got a lot going on in his life right now, not the least of which is Richardson sending him off on another quest, that we learn from a certain Monsieur Beauchamp is a trap. I continue to be really impressed with the William actor for portraying this simmering rage and despair alongside a good, stalwart heart.

While I was cringing at the canonization of George Washington as a mythic figure of good, I do still get a major kick out of Claire bumping into history while out and about in town. The stuff with Lafayette (or should I say Gilbert?) was incredibly charming. I love that Claire really loves to be flirted with? It's this thing about her that Jamie ordinarily doesn't really mind either, this courtly type of good manners paid to her by gentlemen who would never dare cross a real line about it. It was so cute, the whole bit where he offers to let her use his first name, and then gives her the cheese as an apology for bumping into her in the street. I love him.

As always I've saved my bestie John for last in this review - this was a proper John-centric episode in every way, we start the episode with a flashback to John and Hal, we end the episode with John and Percy, and we get a ton of juicy stuff in between. I was in heaven. I don't know if David Berry has ever looked more handsome to me than he did in this episode, I don't know what it is - not the gross eye or the eye patch, but like, I think the wig looks good and his constant expression of injured affront is just so tasty to me. So many little book details made it in here, like John calling Claire "my dear" when they run into each other (although I wish it had been in Jamie's hearing lol), and Claire asking Jamie to hold John still while she works on his eye. Just like... the amount of history and hurt feelings in that room as Jamie clamps onto John's shoulders, wincing in seeming horror at the sound of him in acute pain while Claire yoinks his eyeball around in his skull... there are entire essays one could write in honor of this whole situation.

I think one of the reasons this plot thread is among my favorites in the book is how... intimate and personal the anger between these people is, like, the depth of feeling between them is the reason for the break being so extreme now. John isn't an acquaintance, John isn't the father of Jamie's son by happenstance, these people care about each other, and they're entangled with each other because of that care, and that's what makes the conflict between them so rich and devastating. I really loved the bit where Jamie's like "well, I should turn him into Washington, but then he might be hanged" and then abruptly speaks to John directly for the first time like "what the devil were you thinking?!?!" Because it's like, "I'm so mad at you right now I can barely look at you and now you've put me in the position of having to protect you from being killed because obviously you're family and I can't let you die even though I kind of still want to punch you in the face again..." and then he's distressed by John's pain but not necessarily sorry for having hit him... chef's kiss.

Claire and John having this post-marriage softness in their dynamic is something I've always really loved too. After what they went through together, they're solid for life, they'll always have this deep affection and respect for each other. And you see it in the way Claire touches his shoulder, and says she's sorry to John, and offers her support to him before leaving him alone with Percy at the end, there.

And let's talk about Percy. "For your beautiful eyes" like, sir, this is a Wendy's. The minute this guy's name came up at the dinner party I made a sound like a tea kettle going off. I'm so hyped to have John's most intense reciprocal love on our screens at last. They have, shall we say, a contentious backstory, and I'm delighted to see him here and to have this juicy opening scene between the two men, because it speaks to the possibility of getting even more John-related content moving forward as we dig into the deal between these two men. Also continuing to make me feel insane about the Jamie of it all, when Percy tenderly touches John's face and asks "who did this to you?" John's response is to say "a man who has a right to touch me." Which is just!!! Big yikes! I love!!!

I don't think the words "our son" ever cross Jamie's lips in the books when he's talking to John directly about William. I may be wrong, but in any case I deeply loved it when it happened here. John tells Jamie that William is in danger, and the solution to this problem is for Jamie to set John, his prisoner, free, and send him off after William. That moment, where John makes a quip about getting used to being in chains, and Jamie says "ye dinna get used to it," is so rich with the history of these characters. The first time they met, Jamie overpowered him easily. The second time they met, Jamie was John's prisoner, and it stayed that way for a very long time. Now, John is under Jamie's power, and both of them resent the situation, but Jamie might resent it more than John does. That "our son" moment was a touch of apology and forgiveness, but mostly it was a setting aside of everything else: no matter how much anger exists between them at any given moment, they can be united in wanting to protect William.

So yeah. I'm a happy camper once again. All you gotta do is put John Grey on my screen and I'm ready to be delighted!

9/10

[cyarsk52-20]

On Kendrick Lamar’s GNX, The Hardest Diss Song Is A History Lesson

By Lawrence BurneyNovember 27, 2024

Taylor Hill

Kendrick Lamar hurled plenty of damning judgments in Drake’s direction throughout the course of this year. He’s spoken about the Canadian star’s history with women, his shallow, stream-seeking music, his siphoning off of young artists’ untapped energy to stay relevant. A compelling case could be made for each of those accusations, though their stench has seemed to largely fade with time. The most pointed and persistent of these indictments, however, is the one that was introduced in “Euphoria,” sculpted the shape of “Not Like Us,” and is now the driving force behind the sonic direction of Lamar’s newest album, GNX: the idea that what separates Kendrick and Drake, the two faces of hip-hop’s Millennial generation, is Drake’s perceived refusal of a spiritual — and maybe even ancestral — obligation to contribute and call back to a specified cultural lineage that precedes him.

If the strategy to win this feud was to point out how Brother Graham has had to globetrot and collect collaborators to substitute for his lack of a genuine, longstanding connection to a community, then it makes sense that Kendrick has concluded his biggest year in almost a decade by continuing to flex how strong his arm is from Southern to Northern Californiathroughout GNX. He pulls in artists who are buzzing at a ground level on his home turf —Dody6, AzChike, Peysoh, Lefty Gunplay, Hitta J3, and more. Mustard and Sounwave lend the West Coast’s resonant, playful bounce to a fair share of the production; the late LA rapper Drakeo The Ruler’s signature technique is resurrected and used as a roadmap. But beyond his weaponized use of a hyperlocal focus and regional displays of expression, Lamar also tries to emphasize the space between him and Drake by drawing parallels between his forebears and himself on the already-divisive “Reincarnated.” Produced by Sounwave and Jack Antonoff, the song is a reimagining of 2Pac’s “Made Niggaz” in which the Compton rapper channels Black musical icons from the early twentieth century to the 90s of his childhood to the present day.

The first verse appears to reference John Lee Hooker, the Mississippi-born blues singer and guitarist who made himself a larger-than-life fixture in American music between the 40s and 60s. Kendrick gives a slice of the artist’s life, accurately detailing how Hooker, as a 14-year-old, was kicked out his reverend father’s house for having a guitar; the blues, at that time, was a secular taboo for religious folks. He follows Hooker’s progression from an ambitious teen, to a breakout star in the Detroit scene in the 40s to one of the most heralded musicians of the 20th Century, his music eventually used as a faceless source of soul for White America to draw from commercially and culturally. In 1997, four years before Hooker’s death, the Chicago Tribune paid him a visit at his sprawling ranch home in the San Francisco area. They made mention of the singer having white standout artists like the Rolling Stones as the opening act on his tours and Eric Clapton in his backing band in the ‘60s and his restoration to the public consciousness in the ‘80s thanks to acolytes like Bonnie Raitt. Outside of his window, a couple of peacocks frolic; contractors are carving a guitar out of white stone; he has eight cars. “Not bad for the son of Mississippi sharecroppers,” they note. Assessing the situation on “Reincarnated,” Lamar wraps up Hooker’s story from the blues legend’s POV: “But I manipulated power as I lied to the masses/Died with money, gluttony was too attractive.”

In the song’s second verse, Kendrick goes into the story of an angelic-voiced female star of the Chitlin Circuit era — likely Billie Holiday or Dinah Washington. “Had everything I wanted, but I couldn’t escape addiction/Heroin needles had me in fetal position, restricted,” he says from her perspective, detailing the dilemma in this chapter. Lamar’s narration in this part of the song brings to mind the Tom Surgal-directed documentary, Fire Music, from 2021, which goes through the evolution of free jazz, an avant-garde iteration of the music that gave rise to genre titans like Sun Ra, Ornette Coleman, Albert Ayler, and Don Cherry. Though the majority of the film is spent outlining how this wave of artists innovated by bringing jazz back to its roots as improvisational Black music, ample space is given to honoring the artists who pushed themselves to the brink of insanity, addiction, and bad health in pursuit of their dreams — many never making enough money to fully sustain themselves and suffering an early demise.

To close the track, Lamar inserts himself into this timeline of cautionary tales. Like he’s done many times in the past (DAMN., in many ways, drew from the Hebrew Israelite doctrine that says Black people need to get right with God in order to rid themselves of the curse that keeps us in precarious situations), he personalizes the battle between good and evil here. In a conversation with God, Lamar takes on the role of Lucifer (or reveals that he seems himself as Lucifer sometimes), a disgraced musician who got too greedy along the way. Still in an internal battle of who he really is, God reminds him: “every individual is only a version of you.” With this reasoning, you could argue that Kendrick is just the latest host of a spirit that’s traveled through all these people at one point in time. Will he—like Hooker, in his framing—get too comfortable being rich and a celebrated figure for all American people instead of speaking to the specific community he comes from? Will he, like Holiday or Washington, fall victim to a detrimental habit? Or will he be in a perpetual state of limbo, not knowing where to stand?

In a literary feat, Lamar pulls in history, his own experiences, and artistic forms of the past to place himself within the pantheon of troubled Black musicians who stumbled their way through fame, often to varying results of ruin. And though most have agreed on it being executed properly on a story level, the divide is driven by his delivery. Kendrick Lamar is cut from the cloth of capital-C conceptual rappers—Nas rapping from the perspective of a gun, Lupe Fiasco personifying the streets, Immortal Technique chronicling a horrifying night of gang initiation. The kinds of artists who not only find pride in being able to wield technically-sound raps, but who also like to flex their depth and intellect and leave a lasting impression on how you perceive the world around you. Before “Reincarnated,” he did something similar in 2022’s “The Heart Pt. 5", channeling the spirit of Nipsey Hussleto assure the slain LA rapper’s loved ones that he fulfilled his purpose and that, though he wasn’t prepared to go, he is at peace. It’s the type of earnestness Drake and rap fans who just want to have a good time can snicker at.

Even on “Reincarnated” Kendrick is so passionate about telling an intergenerational epic that his voice — even though being uttered in 2Pac’s cadence — feels more akin to Eminem’s squawk rather than Pac’s infinitely cool poise. There’s also a more than justifiable fatigue some may feel from having to hear Lamar depict himself as God’s anointed messenger time after time while still partaking in some of the infractions he accuses Drake of. And for that, many may view “Reincarnated” as a miss, the type of dorky theater that reads better on paper than it plays through speakers. But, I’d argue, for Kendrick, identifying himself as someone in the line of Black Americans who sacrificed it all to be heard is the real win in this instance. And, to a greater extent, in doing so, he highlights how Drake—too far removed from the essence; too concerned with the wrong shit, thus trapped in a cycle of listlessness—does not (or cannot) feel the same.

In 1963, the iconic poet, writer, and freedom fighter Amiri Baraka (then going by his birth name, LeRoi Jones) released his seminal book Blues People, a work that masterfully tracked the evolution of the blues from plantation spirituals to big city music-hall anthems in the Northeast and Midwest. But, in laying out the music’s trajectory, Baraka also told the story of Black folks in America; how their subjugation, commitment to liberation, and co-existence with people whose society thrived off of extracting from them all played a role in how Black American music came to be. When the book was republished in 1999, Baraka said something profound in the introduction about his initial motivation to write the book. Through research, he wrote, he’d realized that Black music “was an orchestrated, vocalized, hummed, chanted, blown, beaten, scatted, corollary confirmation of the history. And that one could go from one to the other, actually, from the inside to the outside, or reverse, and be talking about the same things,” he wrote. “That the music was explaining the history as the history was explaining the music. And that both were expressions and reflections of a people.”

Whether its flying the African American flag in the video for “squabble up,” making sure “Not Like Us” was a West Coast anthem, embracing his home state’s buzzing artists throughout his album, or inserting himself into a narrative he knows he belongs to, Kendrick Lamar wants us to know that, whether we like it or not, he is beholden to his people. Even if he stumbles in his execution. And the fact that Drake’s most recent rebuttal to that onslaught is suing UMG for allegedly incorporating foul play to help spread Kendrick’s message and accusing his opponent of defamation instead of taking his L on the chin, only drives the point home: he isn’t acting like one of us.

Sent from my iPhone

I know it’s been over a week but I got a feeling that this song has the potential of becoming the greatest songs ever made in this decade

I remember listening to this and afterwards I was left speechless. It was mind blowing good

[dailyanarchistposts]

The Ceaseless Lager

“The Holocaust experience is a very condensed version of most of what life is all about.” —Dori Laub

This is not a book about happy endings. Almost every story ends with mass torture, slaughter, and enslavement. When the liberation of the camps occurred it was not because internal resistance had brought the Nazis to their knees, but because of the arrival of a different team of imperial state armies.[19] A typical leftist approach to this topic might try to emphasize the effectiveness of concentration camp resistance, to paint portraits of heroes who hastened the end of the war, or to only celebrate the moments of successful escape. A nihilist approach might be just as content to emphasize all of the times that action accomplished nothing, all of the times that rebel strategies failed, all of the acts of resistance that did not even survive for us to hear about them — to stand back with all of that information and to still be able to say: that’s great! From a nihilistic approach, we can celebrate the “failures” of resistance, because in them we find a sort of resiliency and substance that may serve us better in our current situations than mere stories of triumph.

Though it would be ludicrous to over-pronounce a comparison between our situations today and the concentration camps of World War II, the institutionalized brutality and the systematic disempowerment many of us feel certainly resonates. Many of us who experience or at least recognize the horrors of modern society can relate to those before us who were “turned into numbers, deprived of the last vestiges of human dignity, and transformed into totally submissive objects”.[20] Most of us alive today experience nothing near the brutality of Treblinka; however the mechanisms that were used to subjugate Häftlinge,[21] the prisons that were used to contain them, and the underlying logic of Nazi Germany that made the camps possible all persist in abundance. Those who have survived the (ongoing) five hundred year colonization of Turtle Island will surely recognize many of these as the same methods used to displace and eradicate their people, and that continue to serve colonial states at their expense. The colonization of this land was, after all, of great personal inspiration to Hitler himself.[22]

For a variety of reasons history has exceptionalized this particular genocide, but I’ve come to understand it as part of an unbroken continuum of domination that neither began nor ended with Hitler. It’s important to remember that the Nazis didn’t have to build all of their own camps (some of that work was done by the Social Democratic governments prior), nor did they have to decommission all of them after the war (the Soviets put a couple of them to good use).[23] Let’s also remember that the post-war trials of Nazi doctors were conducted under the explicit understanding that most governments of the world are guilty of perverse, unconsensual human experimentation. Most notably, the United States, from where many of the Nuremberg judges came, had been involved in this kind of brutal scientific experimentation throughout much of the 20th century, infecting prisoners with malaria plasmodia, infecting death row prisoners with pellagra, or testing the effects of nuclear radiation on general populations.[24] The Nazis were only found (or remembered as) guilty because they lost the war. Their camps were not fundamentally unique, though they certainly brought a devastating industrial flair to the whole concept. Giorgio Agamben has aptly argued that the concentration camp is the defining feature of modern politics, as it represents a “site of exception” from the enlightened facade of civilized society.[25] Indeed, everywhere we look today we see Nazi machinations at work, though these parallels are often too controversial to utter. And yet for those willing to see it, from the Gaza strip to the Toronto Immigration Holding Centre, from the factory farms to the Alberta Tar Sands, the logic of this civilization continues to show its true colors. In order for some to live safely, others must be declared Ballastexistenzen[26] and be shackled, violated, and killed. In order for humans to thrive, the earth and all of its other inhabitants must be subjugated and ravaged. Although the uniforms have changed and the tactics have evolved, the same basic struggle against domination continues. The phrase “never again”, repeated often by victims and descendants of the Nazi holocaust, rings more and more hollow with every passing moment.[27]

[lol-jackles]

Talking about prequel ideas, I was rewatching the episode with Henry Winchester where he talks about his father's father being a Man of Letters, which puts him about the turn of the 20th century. With the Campbell's history of coming over with the Mayflower, they could have a Winchester MOL partnering with a Campbell hunter in the early 1900's, almost like a parallel of Sam and Dean. You could have the series end with a falling out, or maybe they lose track of each other during the war, something that could bring the two families together and tie in to Sam and Dean without breaking SPN's continuity. What do you think?

(I'm sure there are a ton of ideas out there, and pretty much all of them would have been better than AU John and Mary.)

I seriously like your idea! Maybe because while I don't necessarily think about the Roman Empire every week (more like every other week), I do give a lot of thought to AU history filled with historical figures armed with steampunk-like weaponry against aliens, monsters, and demons. It's one of the reasons why I liked Abraham Lincoln, Vampire Hunter so much.

I always thought one of the missed prequel idea was centering on Samuel Colt and his posse fighting monsters and ghosts in the Old West. You know the writers of Independence would have written an awesome Supernatural spinoff.

[azalen-draws]

I'm on a fucking roll fr fr

I made an OC Introduction 🤠

꒰⁠⑅⁠ᵕ⁠༚⁠ᵕ⁠꒱⁠˖⁠♡~~~~~~~~~~~~(⁠´⁠ε⁠｀⁠ ⁠)

Name: Eztli Dzata

Birthday: March 20th

Affiliation: Seven Sovereigns

Gender: Male

Rarity: 5*

Weapon: Claymore

Ancient Dragon's Authority: Pyro

Constellation: Flammeum Anguis

An old dragon that was found in the deepest chamber of the Great Volcano of Tollan Was found to be greatly weakened from the centuries of isolation. The Pyro Archon Requested him to transform into a human

Signature weapon

Flamelord's everlasting ember

Claymore

Crit Damage

66.2

Base ATK

608

Blazing embrace

Increases Crit Rate against opponents affected by Pyro by 80%. Opponents affected by Pyro are instead dealt DMG equal to 200% of ATK. Can only occur once every 10s

Name card

Storge of a dragon

"...For a protector's job may never end, their will and love be as undying as their soul will forevermore be..."

Constellation

Partner:

Neuvillette

Eztli adores the Chief Justice and would drop everything if the man ever receives a letter requesting his presence (Which of course is rare for Neuvillette to open up even to his partner, he is used to relying on himself, so Eztli checks up on him every week, bringing him flowers or other gifts)

(Little Eztli on his way to his beloved)

Fun Facts:

Has a great soft spot for children

Holds the Archons in high regard... except for the Geo Archon, refuses to elaborate further whenever asked

In his Night soul state, he will discard his cloak, his markings will light up and the markings on his face will appear

Adores sweets, though refuses to admit it

The crown of feathers behind his ears are actually part of him, if ever touched or even pulled, he will become absolutely offended for an indefinite amount of time.

Is capable of engulfing his claymore and extremities in fire, will only last for 1 minute

(10 seconds in game lol)

Drip marketing!

~~~~~~~~

References

Tépactl, blade used for ritualistic sacrifices to venerate the gods in Mexica tribes. It is also associated in the Aztec calendar the day March 20, which is coincidentally the first day of spring

Macuahitl, a weapon mostly associated with the Jaguar warriors, preceded the Mexica. Tools made of obsidian fragments were used by some of the earliest Mesoamerican groups. It was a club-like weapon made of wood with edges inlaid with obsidian, a volcanic glass, on each side.

(I used mostly number 2 as reference)

Quetzalcóatl, also well known as the Feathered Serpent, yes, I know Genshit used Xiuhcōātl or also called the Turquoise Serpent. I decided to draw sort of a parallel, Eztli is not Xiuhcoatl (Genshit's), but he is a reincarnation, just how Neuvillette is a reincarnation to the og Hydro dragon

~~~~~~~~~~~~~~~~~~~~~~~

Rambling time

I used WAY more references but these were the most... important ig, also, yes I am Mexican but I am not that connected to my history, I really mostly created Eztli to nudge myself to learn more about my culture. And honestly, most of Natlan gave me a weird vibe, its... too modern...? not that I expected them to be in tribal clothing ofc, it's just weird to see the women with crop tops and FUCKING ORORON WITH JEANS

It's just personal preference tho, I did make Eztli sort of more leaning on post conquista with the pants and metal armor... but also mixed more ancient armor, I hope I did a sort of good job and I'm open to advice!

...

Also... I'm kinda conflicted with the game, I love it, it's fun for me, but with all that's happening it's just... I don't even know how to write it! I want to separate it from everything that's happening, but it's just so jarring, and I enjoy the characters but their designs make me feel weird, maybe its the fact that I have a positive view of the game since I started playing for someone I love and only continued because I got so attached to it, and I cannot pick up another game and I don't know why

I don't think I like Natlan as much as I hoped, but whatever that's enough whining from me, I think I'll continue until I get the characters I want and ditch the game

Maybe I'll continue making art of Neuvillette and Eztli, and maybe other characters they're genuinely so enjoyable for me

[losercomputers]

Some of My Fav WOC Jazz Artists!

As it is officially the last day of Women's History Month, I thought it would be fitting to close it off by giving some of my favorite (and arguably underrated) WOC jazz artists some very well-deserved recognition!

Una Mae Carlisle (born December 26, 1915 – passed November 7, 1956) -

A truly talented jazz pianist, composer, and vocalist that specialized primarily in swing and crooner styles. With her voice highly resonant, leaving behind a lingering sweetness, and careful attention to detail in her piano-playing, Una Mae was not only one of the first WOC jazz composers to have her work end up on billboard charts, but her achievements are parallel to/went beyond the bounds of those other more conscientiously documented jazz performers in the early 20th century.

Discovered by Fats Waller at the young age of 17, Una Mae Carlisle had an early start in the entertainment industry with her true roots being in the little state of Ohio. Despite her early compositions and playing styles being heavily inspired by Waller, starting in the mid-late 1930s and continuing until her passing, Una Mae would go on to have her own solo career outside of touring and recording with him. In turn, she traveled across the states and even made her way throughout Europe and the UK (though eventually returning to the states and settling down in Harlem, New York).

Her achievements spanned from things such as her compositions becoming hits that proceeded to be performed and recorded by other highly-regarded jazz artists such as Ella Fitzgerald, Peggy Lee, Billie Holiday, etc, and taking residencies in big and bustling clubs around the world. She would do work in Paris, London, Amsterdam, and New York where she would appear and perform in several films, and worked alongside record labels such as Capitol Records and Bluebird Records. Eventually, in her later years of life, Una Mae would go on to become the first African-American woman to have her own radio program, named “Agile fingers and a voice that lingers," broadcasting to stations across different parts of the US.

There's a lot that I've left out as I could dedicate an entire essay to her, but please give her a listen and be prepared to feel like you're falling in love.

Teri Lyne Carrington (born August 4, 1965) -

A force to be reckoned with in the world of contemporary jazz, drummer, composer, activist, and educator, Teri Lyne Carrington, in my eyes, is a genuine SUPERHUMAN. She has and continues to breathe new life into the genre and has made significant contributions to expanding what jazz is all about.

As a lifelong musician, Teri Lyne Carrington, started her career as a professionally accounted for jazz artist at the young age of 10 and attended the Berklee College of Music at only 11. Throughout her career, Teri has worked and toured with other big names in jazz such as Cassandra Wilson, Stan Getz, Pharaoh Sanders, Herbie Hancock, and Wayne Shorter, and can also be recognized in other parts of the entertainment industry such as performing on several late night TV shows .

Teri lyne Carrington may also be recognized as the first woman ever to win a Grammy award in the Best Jazz Instrumental Album category. However, she didn't do this just once, but SEVERAL times. She would recieve Grammy's for "The Mosaic Project," "Money Jungle: Provocative in Blue," "Waiting Game," and her most recent album "new STANDARDS vol.1" (LIKE I SAID, A FORCE TO BE RECKONED WITH)

Her artistry is not to be questioned and neither is her character! Teri has made archaic efforts in amplifying the voices of and creating an inclusive, safe, and welcoming space in the jazz world for marginalized groups. LISTEN TO THIS COOL ASS LADY!!!

​Melissa Aldana (born December 3, 1988) -

Highly influential and a true master of her craft, Chilean jazz saxophonist, Melissa Aldana, evokes a sort of poetic and soul-touching aura through her playing and does a superb job of not just performing jazz but feeling and speaking jazz.

Melissa got the ball rolling as a professional saxophonist by first playing jazz clubs as a young teen in Santiago, Chile. As she gained traction, she was eventually lead to study at the Berklee College of Music and would then move to New York City post-graduation, and during this time, was under the guidance of other respectable musicians such as Bill Pierce, Greg Osby, and George Coleman.

Outside of her musical education, Melissa Aldana has gone to the lengths of achieving things such as winning Altazor National Arts Award of Chile, being the first female musician, youngest musician, and South American musician to win the Thelonious Monk International Jazz Saxophone Competition, performing in multiple credible jazz festivals around the world, AND has won a Grammy for Best Jazz Performance.

Just like Una Mae Carlisle and Teri Lyne Carrington, Melissa Aldana's work ethic and eagerness to always keep learning and widening her perspectives is more than admirable.

These women make me so excited for the future directions of jazz and the incoming lineage of influential and innovative female jazz performers. As the genre evolves, it is figures like these outstanding women that unfailingly serve as a reminder as to how important women are to the arts and how we will forever stand as symbols of possibility.

Have a beautiful April~

[mywifeleftme]

189: The Haxan Cloak // Excavation

Excavation The Haxan Cloak 2013, Tri Angle (Bandcamp)

Through his work as the Haxan Cloak and as a film composer (notably on a couple of Ari Aster pictures), Bobby Krlic has helped define the modern aesthetics of what we might call Upsetting Music:

Extremely low frequency synthesized bass with a subliminal roar

Slow, deliberate, violent industrial percussion with a ton of reverb

Creepy whirring noises that simultaneously evoke machinery and insects

Staticky, panned whooshing sounds, that suggest rapid movement captured on degraded video tape

Piercing whines, reminiscent of alarms or the shrill violin notes exploited in scores like Psycho

Snippets of higher pitched noises that sound like muffled or glitched recordings of human cries

Unlike traditional symphonic scores or even the kind of throbbing but ultimately melodic progressive electronic stuff used in ‘80s horror scores, this music largely eschews melody in favour of manipulating sounds to provoke a visceral sense of unease as directly as possible. Electronic music made its initial inroads into horror in the late ‘70s largely because it was cheap to produce, but the runaway success of independent/low-budget films with keyboard-heavy scores like John Carpenter’s Halloween made the aesthetic popular. Since then, genre film has continued to evolve alongside the darker strains of electronic music, from schlocky early ‘90s flicks that incorporate techno and horrorcore rap, to the way industrial became de rigueur for a certain variety of desaturated, nihilistic, almost fetishy brand of cheap ‘00s torture flick.

Independent of this history though, I think there’s something specific about recent horror and thriller filmmakers’ embrace of dark ambient/drone music like Krlic’s that links to Western contemporary anxieties and how these audiences experience fear. I remember many years ago (I’m 51) reading an article in a film theory class about how the rise of automation in the early 20th century kicked off a minor craze in the newspapers of the day for grisly stories about bodies being maimed by trams and the like. The author argued that these sorts of accidents were a new form or vector of terror specific to the industrial age, and that there was a corresponding spike in depictions of these tragedies in contemporaneous films, which tended to pull their subject matter and aesthetics from the well of public worries. Genre music has evolved along parallel lines. Traditional orchestral horror scores derive from ominous motifs found in classical music and opera, which reflect older notions of how evil and despair should be depicted—a Christian understanding of evil, with attendant tropes. A world mediated by religion and versed in devotional music (masses, hymnals, Gregorian chant) would naturally imagine Satanic music as its inversion (dark, baroque renditions of the religious cannon) or opposite (“primitive” tribal music).

By the middle of the century a secularized notion that evil might derive from the personal psychoses of individuals, or (as the tram reading suggested) the indifference of technology and institutions, became widespread, and was duly reflected in the cinema. Today, in the West anyway, our bodies are more insulated than ever before from daily exposure to the sorts of violence depicted in horror films, and our fears have become more secularized and more abstracted still. Our most immediate experiences of dread and bodily harm have tended to come from what we witness on our screens, the fear of seeing something troubling. At the same time, filmmakers have realized that the sonically unsettling aspects of ominous symphonic music (extreme high and low frequencies; disharmony; jerky rhythms) could be divorced from the orchestral context, leaving artists with a set of specific tools for physically startling audiences in tandem with the action onscreen.

Krlic’s music is a product of these parallel processes. As noted, much of his work prioritizes psychological and physiological effect above all, pushing these notions (in his Haxan Cloak work especially) about as far as they can be taken outside of extremist genres like harsh noise and powerviolence. When he makes his synths literally growl, our bodies respond to the perceived threat, even though we know what we’re hearing isn’t produced by a living animal. Some of what he’s exploiting, again, is stuff that goes back to our base threat-detecting instincts, but the overtly technological aspect is also the sound of horrible things both real and simulated we’ve seen through media. Staticky screams and the scrape of metal on concrete summon the spectre of snuff films, hostage videos, extreme BDSM porn, war footage, and all of the movies, video games, and music videos that have adapted their imagery to get a rise out of people. It also, especially to a broad subset of “average” moviegoers, sounds like the type of music people who want to rape and murder your family would listen to for kicks.

There is a good deal more going on in Krlic’s music than simple fearmongering though—we can look at Excavation, his second and final LP to date as the Haxan Cloak,as part of a long lineage stretching from ‘60s experimental electronic music like White Noise through Nurse with Wound, Aphex Twin, and Nine Inch Nails among many others. “The Mirror Reflecting (Part 2)” eventually reveals a sequence of austere, crystalline guitar-like sounds that post-metallers Agalloch might’ve produced; “Dieu” opens with some subterranean breakbeats and chopped up samples that nearly threaten to look in the direction of a dancefloor before a creepy violin quells the thought; the rain-drenched “The Drop” flashes a bit of a Baths-style emo/downtempo vibe when it isn’t trudging past the sounds of dark satanic mills. Just as some people will hear Excavation as sadistic junkie music, others will no doubt find it an exceedingly warm and plush casket to disappear within, the overwhelming weight of its sounds divorced of violent associations, just signals strobing across the darkened hemispheres.

189/365

[idv-news-boi]

What happened in Japan between 1800 and 2000?

Laurence// …

Akihiko// …

Laurence// Time to rizz you with my history knowledge, bro <33/j

Akihiko// …??? (o-o

{warning} Japan history below- this is only based on what mun Pins learn, so researching on your own is recommended hehe~

In the 19th century (aka the 1800s), Japan experiences a dramatic shift from the conservative, isolationist policies of the shōgun-dominated Edo period to the rapid and widespread drive to modernize and engage with the rest of the world that characterizes the Meiji Restoration.

During the first half of the century, decades of fiscal and social disruption caused by the growth of a market economy and a complex monetary system in a country that is still officially based on agriculture, which supports both the farming and privileged but unproductive samurai classes, continues to weaken the country in general and the Tokugawa regime in particular. Increasingly aggressive intrusions by Western powers not only puts pressure on Japan but convinces its political leaders that the Seclusion Policy has limited the country’s participation in technological advances, innovations, and worldwide changes. It also restricts the economy from rising by restricting its involvement in global trade. Well of course, Japan allowed the Dutch to trade, but it was not enough to stabilize-

Taking advantage of the disruption caused by these internal and external crises, in 1867 several powerful daimyo (or regional warlords) band together and overthrow Shōgun Yoshinobu (1837–1913), forcing him to resign authority. Marching into the imperial capital Kyoto, they “restore” Emperor Mutsuhito (1852–1912) to power and establish the Meiji (“enlightened rule”) Restoration.

Japan's isolation came to an end in 1853 when Commodore Matthew Perry of the United States Navy, commanding a squadron of two steam ships and two sailing vessels, sailed into Tokyo harbor. He sought to force Japan to end their isolation and open their ports to trade with U.S merchant ships.

Laurence trying to act as U.S.// don’t close the country,,, Keep it open :D *literally carrying big battle ships*

Akihiko as Japan// … *sweats since he only has samurais against American guns* Hai…

In the name of Emperor Meiji, numerous striking and far-reaching social, political, and economic changes are legislated through a series of edicts. Japan also opens its borders, sending several high-ranking expeditions abroad and inviting foreign advisors (including educators, engineers, architects, painters, and scientists) assist the Japanese in rapidly absorbing modern technology and Western knowledge. Throughout the century, however, the drive to Westernize is paralleled by continued isolationist tendencies and a desire to resist foreign influences. Eventually, as has happened numerous times in the nation’s history, after the Japanese assimilate what has been borrowed, they use these imports to formulate a new but distinctly Japanese modern society

The 20th century (aka the 1900s) is a turbulent time in Japan, as the country vacillates between unprecedented heights of power and wealth and the depths of poverty and devastation. After the dramatic efforts to modernize politically, socially, economically, and culturally during the Meiji Restoration, Japan seeks to win control over neighboring countries, competing with Western imperialist ambitions. Finally, Japan participates in World War I, fighting on the side of the Allies. Despite dramatic industrial and financial expansion during the war years, along with the rest of the world, Japan is plunged into economic crisis in the 1920s, accompanied by social upheaval caused by the stresses of unemployment, an expanding population, and rapid urban growth.

Continuing an imperialist agenda and strengthened by a strong sense of nationalism, Japan, allied with Germany and Italy, enters World War II hoping to gain control of strategic territory and natural resources in East and Southeast Asia. Despite initial successes, Japan is ultimately defeated by the United States (who joined after the Pearl Harbor Attack Japan have executed on the U.S.), ending with the horrific detonation of two atomic bombs (one on Nagasaki, and one on Hiroshima).

Japan’s postwar period is marked by a miraculous revival, culminating within a few decades in the nation’s emergence as one of the world’s wealthiest democracies.

Culturally, Japanese art parallels the country’s historical experience during this century. On one hand, interest in traditional art forms including woodblock prints, Kabuki theater, ceramics, and native crafts, continues and is sometimes coupled with nationalistic motivations and identification. On the other hand, not only do Japanese artists and the public continue to study and be influenced by foreign art techniques, forms, and trends, such as oil painting, sculpture, psychologically probing novels, modern dance, and Western-style architecture, but many Japanese artists gain worldwide renown. Japanese artists also master and use expressively and innovatively such new art forms as cinema, animation, photography, and fashion. Japan also began with hope and optimism for the 21st century and ended with the Late-2000s recession. Gaming systems like the PlayStation 3, the Nintendo Wii, and the Nintendo DS continued to help generate the profits of Japan-based electronic companies like Nintendo and Sony.

[labi-labeaabi]

🥊🎤 Welcome to "The History of Boxing with Hip-Hop Song" 🎤🥊

Step into the ring and experience the powerful fusion of two iconic cultures—boxing and hip-hop—as we take you through a rhythmic journey into the history of one of the world’s oldest and most intense sports. This video combines the raw energy of hip-hop music with the epic legacy of boxing, creating an experience that’s as educational as it is entertaining.

🎶 What to Expect:

This unique hip-hop track tells the incredible story of boxing, highlighting its most defining moments, legendary fighters, and the impact it has had on sports and society. Through beats and bars, we’ll break down the evolution of boxing, from its ancient roots to its modern-day superstars.

Dynamic Hip-Hop Beat: A hard-hitting beat that keeps you engaged as we tell the story of boxing.

Informative Lyrics: Each verse covers key eras of boxing history, from the bare-knuckle brawls of the 18th century to the reign of modern champions.

Tributes to Boxing Legends: Shout-outs to the greatest fighters of all time, including Muhammad Ali, Mike Tyson, Sugar Ray Leonard, Floyd Mayweather, and many more.

🥊 Key Moments Covered:

The Origins of Boxing: Explore the ancient history of boxing, from early civilizations to the establishment of formal rules.

The Golden Age of Boxing: Learn about the rise of iconic fighters, such as Jack Johnson, Joe Louis, and Rocky Marciano, and how they shaped the sport in the 20th century.

The Civil Rights Era: Discover the role boxing played in social justice and how champions like Muhammad Ali used their platform to make a difference.

The Modern Era: From heavyweight champions to modern boxing’s crossover with MMA, we cover how the sport continues to evolve and captivate fans worldwide.

🎤 Hip-Hop and Boxing: A Shared Culture:

Hip-hop and boxing have long been intertwined, both representing strength, resilience, and the fight for respect. From rap anthems blaring during ring entrances to fighters embodying the lyrical flow and energy of MCs, these two worlds have influenced each other for decades.

Rap Icons and Boxing: How hip-hop artists like Tupac, Nas, and Jay-Z have referenced boxing in their music and connected with the culture.

Fighter and MC Parallels: The art of storytelling in rap mirrors the drama and intensity of a boxing match—both filled with strategy, endurance, and the pursuit of victory.

🎶 How This Hip-Hop Song Works:

Listen and Learn: Follow the lyrics as they chronologically take you through the most important eras of boxing history.

Feel the Beat: Let the music elevate the storytelling with punchy rhythms and powerful delivery.

Dive Deeper: Whether you’re a boxing fan or a hip-hop lover, this video will deepen your appreciation for both.

🥊 Why This Video Is Special:

Educational and Entertaining: Learn the history of boxing while vibing to a captivating hip-hop beat.

For Boxing Fans and Hip-Hop Heads Alike: This video celebrates the culture and artistry of both worlds, blending them seamlessly to tell an unforgettable story.

Perfect for All Ages: Whether you’re new to boxing or a seasoned fan, this video makes history come alive in a way that’s fun and accessible.

💥 Fun Ideas While Watching:

Boxing Training: Play this track during your workout or boxing training session for a motivating experience.

Classroom Learning: Teachers and coaches can use this video to introduce students or athletes to the rich history of boxing.

Hip-Hop Playlist Addition: Add this song to your playlist for a unique mix of education and entertainment.

If you enjoyed "The History of Boxing with Hip-Hop Song", don’t forget to like, subscribe, and share with your fellow boxing and hip-hop fans! 🥊🎤

You can find more music videos on the Labe Aabi channel on YouTube 🩵

Sport me music makes by Labe Aabi digital music studio. ©️Labi-LabeAabi2024-2025

Follow me on the YouTube channel;

@ Labe Aabi 🩵

[sidharthojhasns]

Blog post 4.

Photorealism in Digital Media

"In the 20th century, different areas of commercial moving image culture maintained their distinct production methods and distinct aesthetics. Films and cartoons were produced completely differently and it was easy to tell their visual languages apart. Today the situation is different. " (Manovich 2006).

The medium through which we consume art has all moved towards a computer screen. (Manovich 2006). the computer screen where we today enjoy our films, animations, photography games, etc. has resulted in the physical differences between the medium to blur.today this competer screen is increasingly the one in our pockets Result of technological progress and optimization. another parallel can be seen in the way all technological needs are served by a singular device, our phone. while in the past we used to have different ones with different purposes, for example, phones, walkmans, cameras, and notepads.

There has been a shift away from hardware to software in technology starting from the 1980s when hardware which is case specific is replaced with a general-purpose computer and the software which is programming can perform multiple functions.

while this melding of different mediums occurs there has been a trend towards photorealism in this new hybrid visual language. this is true in many different mediums but perhaps the most apparent in games. where the games are often reduced to tech demos showcasing the latest in rendering technology rather than artworks with engaging gameplay or interesting art styles (Masuch, M. and Röber, N., 2005)

What's the point of faking cinematic imagery in games or animation? like motion blur or lens flare in games?is it that photographic imagery is far more prevalent and respectable? is it an attempt to hide the digital artificiality of CGI with a patina of cinema? which is tangibly more real. is it that the new medium is just imitating the older more established medium? (Manovich 2006).

The Order 1886, A game praised for its photorealistic and cinematic graphics, still failed because of bad gameplay and story.

Photographic realism is the standard or default visual reflection of the real world. or at least it has occupied that position for a long time. It offers the closest parallel to how the human eye actually sees everything. it's not clear though whether this is an obvious fact of nature or is the result of people being surrounded by photographs as the primary source of visual communication. most cultures throughout history when representing reality, chose an abstract form of doing it. maybe suggesting that our natural way of perception isn't obviously photorealistic. this also asks the question is art about simulating reality or sampling it? (Manovich 2006).

another reason might have been that the various styles of art and aesthetics that have existed have been a negotiation between three things natural biological need to communicate, a need for artistic expression, and the limitations of any physical medium and processes that have to be taken care of while making anything tangible.

However, the process and tools of expression are more accessible and have few steps involved that deal with the tangible. the shift towards photorealism continues. example. the live-action Disney films. the style of 2d animation seen in classic Disney films was very much informed by the medium. to a line drawing with flat colors simplified, exaggerated, and simplified features and expressions are an optimal way of expression on a piece of paper. which in turn informed the style. but now that the technical limitations aren't there, Disney has abandoned what was once a style, now a limitation. these media-specific qualities are what should be highlighted (Greenberg, C. 1960) but results have often been very different. even the stylization in 3d animation seen in many animated art forms today can be seen as a vestigial effect. only to be ironed out slowly.

This relationship can also be understood the other way around. Films have seamlessly blended transitions from one medium to the other and then back. the least noticeable might be the transitions in 1917. at what point a film could be considered not a film but a hybrid medium? or even an animation with film aspects? Many of the Marvel films have more CGI than actual footage.

Sources-

⦁ Manovich, L., 2006. Image Future. [online] Available at: https://manovich.net/content/04-projects/048-image-future/45_article_2006.pdf [Accessed 28 December 2024].

⦁ Masuch, M. and Röber, N., 2005. Game Graphics Beyond Realism: Then, Now, and Tomorrow. Otto-von-Guericke University Magdeburg, Games and Graphics Research Group, Institute for Simulation and Computer Graphics. Available at: https://www.researchgate.net/publication/252486461 [Accessed 28 Dec. 2024].

⦁ Greenberg, C. (1960). Modernist Painting. In: Forum Lectures. Voice of America.

[enterprisewired]

Gustavo Gutiérrez: The Icon of Latin American Liberation Theology Passes at 96

Source: cruxnow.com

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Gustavo Gutiérrez, a towering figure in Latin American Catholicism, passed away on October 22 at the age of 96, leaving behind a legacy that shaped the spiritual and social landscape of the region. Often regarded as the father of Liberation Theology, Gutiérrez’s work both inspired and polarized the Catholic Church. His groundbreaking ideas advocating for the poor became a defining force in post-Vatican II Latin America, marking a sharp division between supporters and critics.

Just days before his death, Cardinal-elect Carlos Gustavo Castillo Mattasoglio of Lima underscored the enduring tensions surrounding Gutiérrez’s theology. In a public statement, Castillo criticized the Sodalitium Christianae Vitae, a lay group in Peru, accusing them of unjustly persecuting Gutiérrez. “They considered him a leftist,” Castillo wrote, while defending Gutiérrez as someone who merely sought to renew faith in a way that resonated with Latin America’s poor and deeply religious population.

The Birth of Liberation Theology

Gustavo Gutiérrez’s journey toward theological prominence began in 1968, when he served as an advisor to the Latin American bishops at the Medellín conference. Out of this experience, he developed a book that would forever change the course of Latin American Catholicism. Initially intended to be titled Towards a Theology of Development, the book was eventually published in 1971 as Toward a Theology of Liberation. This work laid the foundation for Liberation Theology, which sought to interpret the Christian Gospel through the lens of social justice and the struggles of the poor.

However, Gustavo Gutiérrez’s ideas sparked controversy, especially during the 1980s. In 1983, then-Cardinal Joseph Ratzinger (later Pope Benedict XVI) asked Peruvian bishops to investigate Gutiérrez’s theology, accusing it of promoting a Marxist interpretation of history and focusing excessively on material redemption. The investigation deeply divided the bishops, with some preparing to issue a negative judgment. Yet, a last-minute intervention from the esteemed Jesuit theologian, Father Karl Rahner, prevented such a conclusion. Rahner passionately defended Gutiérrez, asserting that his theology was orthodox and cautioning against any attempt to suppress the pluralism of theological schools.

Though no official sanctions were imposed, Gutiérrez continued to face resistance from conservative elements within the church. Cardinal Juan Luis Cipriani Thorne of Lima, a notable critic, accused Gutiérrez’s theology of undermining the church’s authority, fostering political activism among priests, and creating a “parallel magisterium.”

A Legacy that Transcends Theology

Despite the opposition, Gustavo Gutiérrez’s influence extended far beyond the confines of theological debates. His commitment to the poor and marginalized earned him international recognition, including nearly 20 honorary degrees and the prestigious French Legion of Honor in 1993 for his work in promoting human dignity. In addition to his academic contributions, he founded the Bartolomé de Las Casas Institute in Lima and held professorships at the University of Notre Dame and other institutions.

Those who encountered Gutiérrez were often struck by his diminutive stature, which belied the profound impact of his intellect. Comparisons to the wise Yoda from Star Wars were not uncommon, but Gutiérrez’s influence on the global Catholic Church was anything but small. His ideas about social justice, the role of faith in political activism, and the rights of the poor left an indelible mark on the 20th-century church.

As the Catholic world reflects on his life, there is little doubt that Gustavo Gutiérrez’s work mattered. His absence will be felt not only in theological circles but also in the broader conversation about faith, justice, and the future of the church in Latin America.

[soophiemoories]

The Only Guide You Need to Emerald-Cut Diamonds for Engagement Rings

For a long time, emerald-cut engagement rings satisfied hearts, satisfying the desire for elegance and being seen as the ultimate embodiment of vintage charm. The unique cut has a rectangular shape and step-cut facets, boasting a history that dates back to centuries. In this blog, we will discuss the historical significance and evolution of the emerald cut, its unique characteristics, and its longevity in the jewellery market today.

The Historical Genesis of the Emerald Cut: Antiquity Through the Renaissance

The cutting of the emerald began during the 1500s, a Renaissance period when jewellers tried to find ways to enhance the stability and beauty of the emeralds. Emeralds are known because of their vibrant colour, lime green, but they are very soft and brittle for diamonds, and this was always in stonecutters' worries. In answer, the gem cutters have developed the step-cutting technique that is characterized by parallel lines and layered facets that look like those of an ancient temple.

This new cut not only strengthened the structure of emeralds but also enhanced their natural beauty, because it reduced internal imperfections. Later, this same step-cut cut evolved for diamond cutting, which resulted in what we are familiar with today as the "emerald cut" diamond. The term itself is a tribute to the historical reason for which the original cut was designed - to emeralds.

A History of the Emergence of the Emerald Cut

History took on a new twist in making jewellery styles with the emergence of the emerald cut, which was then taken to be a new style of making jewellery sleek with clean cuts in geometric forms. When Art Deco began to reveal its colour in the 1920s and 1930s, this cut with its sassy avant-garde style set the style standard instead of establishing itself as something more epitome of refined fine jewellery designs, perfectly capturing its aesthetic identity, according to the architectural designs of the time.

This earlier style of emerald-cut diamond, however, still came back in the mid-20th century when various famous movie stars started adorning this great cut as an ornament to their engagement rings. Amazingly, celebrities like Grace Kelly and Elizabeth Taylor transformed this emerald cut into stardom and linked it with glamour and style for a lifetime.

Distinctive Characteristics of the Emerald Cut

What distinguishes emerald-cut diamonds is their characteristic step-cut faceting. Brilliant cuts are engineered to show maximum sparkle; the emerald cut, more so focuses on highlighting clarity and elegance. Its large open table exposes the characteristics of the diamond internally thus requiring transparency and quality as factors of prime importance.

The rectangular shape, with the elongated facets, adds a "hall of mirrors" effect. That dazzling play of light shows up the natural beauty of the stone and presents it in a sophisticated understated style. The diamond cut can make the emerald cut make the diamond appear larger than its actual weight as determined by carat weight and therefore a solid presence on the hand.

The Emerals of Today's Jewelry Market

Recently, emerald-cut engagement rings seem to have experienced a renaissance of sorts, appealing to the modern couple looking for something uniquely traditional, yet timeless. Representing only a small fraction of the diamond market, their uniqueness and sophistication continue to find appropriate buyers who distinguish between these two characteristics. It is just for this reason that the emerald cut is perhaps an attractive choice when combining tradition and individuality.

Apart from that, contemporary jewellery designers are now looking for fresh ways through which emerald-cut diamonds could be put in new designs offering even more personalized choices to suit the preference of various personalities. In this regards, east-west orientations and even split-shank Rings can make the cut versatile.

Emerald Cut vs. Other Diamond Cuts

Thus, this brilliance of being an emerald in a sea of round brilliant and princess-cut jewels has been transformed into simplicity with understated sparkle, if you will. While the round brilliant boasts sparkle, the very essence of the emerald cut is elegance and clarity rather than sparkle. It is for that reason that understated brilliance has made it all the more appealing to those with an appreciation for subtlety and refinement.

The emerald cut is actually more vintage and old-fashioned compared to the princess. Its step-cut facets give it a different look - ideal for those who'd like to have a less conventional yet classy form of presentation.

Conclusion: A diamond - an eternal and an eternal choice for engagement rings

The development of the emerald cut has been through many phases, adapting and remaining timelessly classic. From its infancy roots dating back to the Renaissance period to its appearance today, this cut has always symbolized class and good taste. Whether selected for old-world charm, unique characteristics, or even just current savvy style, the emerald-cut engagement ring still exudes a certain enticement to a wearer seeking a way of combining tradition and uniqueness in deciding on jewellery selections. It is, quite simply, the ultimate classic option for an engagement ring-a fashion statement good and true in the collective consciousness of today, yet also one that was well-loved in the bygone years of yesteryear.