#Jon Rubin

[frances73]

rubert telling joke

jon rubin and horsies

[mrmousetolliver]

The National Museum by Jon Rubin (2023)

[longlistshort]

The National Museum is a public art project founded and curated by Jon Rubin and presented by Pittsburgh Cultural Trust. Different artists are invited to change the name of the museum and an essay is written using the title as a jumping off point. The first iteration is by artist and writer Pablo Helguera.

About the project from Jon Rubin’s website–

The National Museum repeatedly asks which stories, histories and futures are deemed worth saving and which are ignored or forgotten. Each month, a different artist is invited to change the name of the museum and a national writer is invited to use that museum title as the jumping off point for an essay. In its first year, the project currently consists of storefront signage, street posters, printed broadsheets, a website and monthly accompanying essays.

When a name starts with “The National Museum” it triggers contentious and political associations with borders, nationhood, even citizenship and belonging. Who gets to determine the belonging of an entire group of people bound only by the fact of their geographical location. There’s something absurd about that, if you think about it. Instead of claiming ownership over a diverse populous or even a disparate set of objects, can the notion of the “national” be rethought as something that is less tangible, less object-oriented?

There is a fundamental hubris and absurdity in calling something, anything, a museum, let alone The National Museum. But, in many ways, it’s really no different than any other museum that someone, usually with far more money, privilege, and power than any of my artist peers or myself, has simply made up. So, in a way, the project functions as a kind of loophole or work-around, a participatory fiction that allows a variety of artists to put forth an ongoing series of grand propositions, a theoretical institution that repeatedly brings into question the certainty and reality of our pre-existing institutions.

The National Museum elucidates how museums, especially national ones, are perhaps no different than the nation-states in which they reside. Each is an imagined political construct, a collective fiction used to collect, categorize, narrativize, and control. Throughout modern history museums have used the collections they steward and the stories they tell to validate extractive legacies of colonialism. And, although our current museums, both national and private, are staffed by people with experience in the arts and humanities, the ultimate decision-makers in many of these institutions are wealthy donors and trustees who derive financial benefits from, and exert ideological control over, the fundamental mission of museums. So, while the general public think museums are nominally for “everyone,” the truth is that they are delimited by economic, geographic, racial, and cultural boundaries that restrict their function, design, and access to select publics.

Pablo Helguera’s essay on building façades as art and metaphor, Creditable Unrealities, is included on the broadsheet for the project (as well as his Substack Beautiful Eccentrics), and is a highly enjoyable read.

It includes this passage on how he came up with his name for the museum-

“Ultimately, I reasoned that façades are  the most direct indicator of the time when they were built:  they are the things that we try to use as visual reference to identify a city we know in a historic photograph; they are time markers. And when it comes to museums, they traditionally seek to project timelessness, especially those august institutions whose neoclassic façades promise a container of art for the ages. So I thought that this façade should be the threshold not of art history but of our own awareness of that history and our minuscule place in it, knowing that the present that we are living so vividly will soon wash away, largely unimportant within the broader scope of human life. In 2001, doing research on people who consumed ecstasy, I was struck by the effect that their drug had in some people’s temporal awareness, and how it resonated with my own  (drug-free) experiences. Thus the phrase “I have nostalgia for the moment I am living”, which gave the inaugural title to the National Museum.”

The next iteration of the museum will feature Edgar Heap of Birds (Hock E Aye Vi). The broadside will be written by poet, writer, lecturer, curator, and policy advocate Suzan Shown Harjo.

[ge0rgica]

just watched hi, mom! hes just a little guy☹

[roxyandelsewhere]

I think robert de niro as jon rubin in greetings (1968) dir. brian de palma and hi, mom! (1970) dir. brian de palma should get the tumblrina treatment way more actually

[theonlyadawong]

A Chorus Line

Directed and Chroeographed by Amy Campbell

Sydney Opera House, 2022

(Photos by Robert Catto)

[ulrichgebert]

Ayayayayay, die Nachbarschaft! In den Washington Hights singen, tanzen und hiphoppen die Lateinamerikaner was das Zeug hält, trotz Armut, Leid und Gentrifizierung und wähnen sich offensichtlich -oder klingen zumindest wie- in Rent (mit lateinamerikanischen Rhythmen und Hiphop). Wir behaupten jetzt mal, daß Lin-Manuel Mirandas erstes Musical eher nicht verfilmt worden wäre, wenn sein zweites nicht so erfolgreich gewesen wäre.

[milliondollarbaby87]

The Idea of You (2024) Review

A 40 year old single mother named Solene just happens to meet Hayes Campbell the lead singer of popular boyband August Moon and an unexpected romance begins, with plenty of tough moments. ⭐️⭐️ Continue reading The Idea of You (2024) Review

[sunburnacoustic]

Rich Costey: Producer

Recording Muse's Absolution

(article in Sound On Sound by Richard Buskin in December 2003)

Photo: Tom Kirk

With their number one album Absolution, British three-piece Muse have established themselves as one of the most ambitious and innovative rock bands in the world — and in Rich Costey, they've found an engineer and producer who understands their aims and encourages them to experiment.

"I believe that anything should be possible at any moment," says Rich Costey. "The records that I'm most fond of are ones where people have taken as many chances as possible in service of the material. The process itself may yield both successes and defeats, but you'll never know unless you're free to explore, and that's something an outfit like Muse is very comfortable with. Those guys have been playing together for a long time, and as a result they are completely fearless and will try anything. That's one of the reasons why we had such a good working relationship."

A guitarist in high school who turned to producing indie bands in Boston and New York, Costey spent three years as the in-house engineer at Looking Glass Studios in Manhattan during the mid-'90s, assisting modern classical composer Philip Glass, and it was there that he steeped himself in the experimental approach to recording that has characterised much of his subsequent work, including the aforementioned Muse's acclaimed new album Absolution.

"My time at Looking Glass was just a thrill for me," he recalls. "I had been a huge admirer of Philip's, and it was no trivial matter for me to be able to work on his records day after day. When you're mixing for him, he holds out the score the whole time to ensure that you can hear all of the parts and are following the dynamics, as he simply composes on paper in the traditional manner. One day I was mixing something for him, and he was describing some of his compositional methods — he would use his motifs in an almost modular fashion, plugging in and reusing different parts of the same material within the same piece — and he told me 'Attempting to exactly repeat a success is bound to seem a failure, whereas if you move forward it's far more likely to seem a success.'

"How that translates to me in terms of making records is that I tend to reject the notion that there's a sort of penned-in area regarding how rock music is supposed to sound. These days there's a certain guitar sound that people think of as the guitar sound, and that's unfortunate. Previously, artists were more comfortable pushing things forward and trying things out, and obviously there are still artists who do that, but not many. That's what I'm interested in doing, though it usually means a bit more effort and occasionally a bit of risk."

Finding The Muse

After relocating to Los Angeles in the late 1990s, Costey teamed up with Jon Brion to produce and mix Fiona Apple's second album When The Pawn Hits The Conflicts... This led to assignments from producer Rick Rubin, which included the mix of Rage Against The Machine's Renegades album in 2000. Since then, Costey has undertaken numerous mixing projects, as well as production and engineering for the likes of Dave Navarro and, most recently, the London-based Muse trio of guitarist/vocalist Matthew Bellamy, bassist Chris Wolstenhome, and drummer Dominic Howard.

Originally hailing from Teignmouth, Devon, the three began playing together at the age of 13, first as Gothic Plague, then as Fixed Penalty and Baby Rocket Dolls, before adopting their current name in 1997, when they released their eponymous debut EP on Dangerous Records. A second EP, 1998's Muscle Museum, led to critical acclaim, a rapidly growing live following, and a contract with Maverick in the US, and in the wake of albums Showbiz (1999) and Origin Of Symmetry (2001), the band have attracted plenty of interest thanks to songs that meld melodic, sometimes unconventional lead vocals with strains of grunge, punk, psychedelia and arena rock. All of these elements are prevalent on Muse's new album, Absolution.

"I had become a fan of theirs, particularly after hearing their last record," says Rich Costey. "This was conveyed to them by some mutual acquaintances and we decided to collaborate. They had worked with the same people for a while, and I think they were interested in mixing it up a bit. By the time that I came into the picture, they had already recorded several tracks for the new album with John Cornfield and Paul Reed: 'Butterflies And Hurricanes' and 'Blackout' were among them. Those had gone very well, but they were interested in trying out some other ideas and seeing what else might be out there."

Costey would end up mixing 'Blackout', which utilised mandolin and real strings recorded at AIR Lyndhurst in north-west London, and recutting the vocal, bass and piano on 'Butterflies And Hurricanes'.

"Initially, we went to AIR just to see how things would work out between us," he recalls. "I did what I normally do, and they sat back and observed me. In retrospect it's kind of funny, because now, having gotten to know them so well, I realise they were a bit coy. There was also something of a continental divide between the American use of superlatives and the more reserved English use of them, but I wasn't aware of this at the time. For instance, soon after we went into AIR, my engineer Wally Gagel and I got what I thought was a great sound for the band to track live, and when I finally rolled some tape and they came in the control room to listen back, I thought they'd be over the moon. However, their response was along the lines of 'Uh, yeah, it's fine. All right, let's crack on...' and I felt deflated. It turned out that they did like it, but they were simply a bit reserved. They loosened up later — and I'm sure I did, too — when we got to know each other better.

Tractors & Water Sports

Grouse Lodge Studios, where much of the tracking for Absolution took place.Photo: Tom Kirk

Opting for a rural residential facility to complete the recording sessions for Absolution, the band members located Grouse Lodge in Ireland via the Internet, and it turned out to be a successful choice. "We just showed up and took our chances, and the place was fantastic," Costey remarks. "We had a great time there. It's the only place I've ever been where there are windows all the way around the control room and tracking room. And it was kind of funny, because at one point Dominic was in the live area while we were sitting in the control room, and just as he was playing a really intense drum part, some guy on a tractor drove by the window that was behind him. You don't see that too often in a studio! Fortunately the isolation was good — there's no tractor on the record.

"Grouse Lodge has a Neve VR, and although it was a good-sized board, we still brought in 14 [Neve] 1073s and several [UREI] 1176s as well as some Pultec EQs. The studio contacted a number of rental companies for additional mic pres, and apparently that was all we could get because Iron Maiden were tracking somewhere and using up all of the other 1073s in the UK.

Recording the introduction to 'Apocalypse Please': Dominic Howard plays a drum fill from the Grouse Lodge swimming pool, with the driver from an NS10 speaker used as a close mic.Photo: Tom Kirk

"Of course, one of the advantages of a residential studio is that you can just kind of take over the place, and so we were able to do things like set up mics in the residences, while for the song 'Ruled By Secrecy' I had this idea that I wanted the drums to be intimate and very close, yet with a unique distant ambience.

"At one point, while we were rehearsing in the smaller Studio B, the band was running through the number with the doors open and I could hear it echoing around the courtyard. It sounded fantastic, so one afternoon while we were tracking I decided to set up the drums outside. We brought out a whole bunch of mic pres to ensure that the mic line was as short as possible, and we spent a number of hours setting this all up.

A less successful experiment: Dominic Howard plays drums outdoors in the Grouse Lodge courtyard. Photo: Tom Kirk

"The kit was backed up into a sort of corner, with brick on one side and stone masonry on the other, alongside a tractor. Directly behind it was open, and it was good that Dominic was close to the wall because that enabled him to get a little more bass out of his kit. We set up a couple of distant mics and ran them through some Neves, and then I sat down in the control room and he started playing... and it sounded terrible. I think we captured one take, but we didn't use it at all. We got a little bit of ambience out of the courtyard, but the overall sound was unbearably thin and it just didn't have the presence that I'd expected.

"Still, one idea that we did try and that was really good found its way onto the tracks 'Apocalypse Please' and 'Time Is Running Out'. The intro to 'Apocalypse Please' has a tom section, and I really wanted that to sound just ridiculous and as epic as possible. So, lo and behold, the studio had a swimming pool, which of course was full of water, and what we did was bring over a couple of kick drums, put them on stands, and miked one of them really close with the disembodied woofer of an NS10 to get a low, thumping sound, while a few C12 ambient mics were placed in the swimming pool area. We also had to bring mic pres into the pool area for all the same reasons, and Wally and I set things up so that Dominic could actually stand in the water while he was playing, just because it looked really good."

So, were there any lapping sounds? "Not during that section, although we did do some hot-tub overdubs later on. We did a couple of takes of the bubbling water, but again we didn't use it. In fact, we did a bunch of stuff. I'd seen a modern classical performance a few years back where there was a whole back line of people hitting gongs and dipping them in water. The water gong is not an unusual 20th-century classical instrument, but as we were gong-poor, we took some samples of doing the same thing with cymbals, hitting them loads and loads of times while dipping them into the water. Of course, cymbals have nowhere near the sustain and heft of an actual gong, and whatever they did have would dissipate as soon as they went into the water, so that was pointless. But it was funny.

"One thing that actually was useful was recording a couple of takes of Chris diving into the pool — we used that on the start to the bridge of 'Thoughts Of A Dying Atheist'. Listen really closely and, right where the bridge hits, you can hear him jumping into the pool. We used rather nice microphones to capture that, so we made sure to keep them clear of the water, and we also had to move really quickly because I was concerned about humidity affecting the mics."

Reaching For The Overheads

"I didn't want to do anything that sounded like their previous records. I liked Origin Of Symmetry quite a lot, but one of the reasons why I thought I might make a good producer for Muse is that I believed I could hear what they were reaching for and felt there were moments where they weren't quite getting there. For example, it struck me that at their basic level they wanted to sound like a colossal, dynamic, epic and powerful rock band, but there were a lot of moments on their past two records when they didn't quite achieve that. So, the first thing I wanted to do was make sure that they sounded pretty damned big and aggressive when they were supposed to, and that was down to the recording methods as well as their performance.

The control room at Grouse Lodge is based around a Neve VR desk. Photo: Tom Kirk

"For their part, the guys had heard some of my mixes for Rage Against The Machine and Audioslave and they were quite keen to get a sound that was just as big and assertive. They play extremely well together and they sound quite powerful on their own, but as usual we needed to explore different drum kits to obtain the right sound. Dominic's very good at tuning his drums and Chris has his own bass tone down really well — he's got three amps with different degrees of distortion coming out of each. I also brought in a Diesel guitar head, which I'm pretty fond of, and Matthew played a bit through that as well as his own custom Marshall, and overall I set them up a bit differently to what they were used to.

"In fact, I spent quite a while trying to sort out the drum sound, because Dominic is a pretty aggressive drummer and he tends to hit his cymbals rather hard. A bit of thought went into how to have the individual drums sounding defined without being washed out by the cymbals, and to that end I did something that I wouldn't recommend anyone doing carelessly, using far too many microphones. For overheads you might use a stereo pair, maybe accompanied by a mono microphone, but we ended up using that for an overall kit sound and tight-miking each of the cymbals. I myself normally use [AKG] C12s, and then for the close mics I use [Neumann] KM84s whenever they can be found, and I'll slightly mix those in to get a lot of attack — that way, the overheads themselves can be fairly low, and you can mix up the attack of the cymbals without the overall sound being too brash.

"Chris's monstrous amp rig consisted of three Marshall bass heads and three different Marshall cabinets, and how much room we had in any given studio basically determined what size of cabinets we set up. One of them produces a cleaner bass tone, while the second amp largely goes through [an Electro-Harmonix] Big Muff [distortion pedal], as well as a few other pedals that he'll occasionally hit. Then his third amp, which is the most distorted, uses an obscure Japanese distortion pedal, which is pretty weird, expensive and apparently difficult to find. It has a real nasally tone that doesn't necessarily make any sense on its own, but when you mix it within the context of the rest of the bass sound it's critical to what Chris wants. He has several bass guitars, and there's a well-worn Pedulla that he's particularly fond of.

"I like to use condenser mics whenever possible on the bass cabinets. They tend to have a much more open sound, the transients come through a lot stronger, and the net result sounds a lot more like you're standing in front of the amp. There certainly is a place for dynamics and I am a fan of them as well, but to me they colour the sound much more than a good condenser. That having been said, I've actually got a fair bit into recording the bass with this mic made by Blue, called the Mouse. Wally Gagel and I used it last year on the Antenna album by Cave In and it was excellent, so I used that on Chris's bass rig and I also used it on the snare, doubled with an SM57 whenever possible. I sometimes use a Neumann FET47 to record the bass, but Chris's rig was so loud that I didn't think we could get away with that — nowadays, I think people play much louder than they did when 47s were introduced, and one of the advantages with a newer mic like the Blue is that it can take a stunning amount of level.

"Aside from that, we used a pretty standard setup on the bass: [Sennheiser] 421s and [Electro-voice] RE20s. We tried a whole host of things while working at different studios, and we used different stuff each time. The full band was set up at AIR in the lead-up to Christmas, and then a couple of months later we set up at a place in Ireland called Grouse Lodge, where we did the majority of the recording over the course of about four weeks. We didn't have exactly the same microphones to choose from there, but we tried to copy the AIR setup as much as possible so that the basic tracks didn't sound totally foreign next to one another."

Learning Reserve

Muse singer Matthew Bellamy hits some pretty amazing vocal notes on the new record, most notably on cuts such as 'Apocalypse Please', 'Time Is Running Out', 'Hysteria', 'Blackout' and 'Butterflies And Hurricanes'. "He has an amazing voice and an amazing range," confirms Rich Costey. "He is completely confident with what he's doing. He'll just get in and, in three takes, he'll have everything he needs. Sometimes, with the vocals, not unlike the rest of the process, we would try out different things, different directions even once we knew we had something great, and while this would occasionally produce improved results, most of the time it wouldn't because Matthew's own first instinct was exactly right.

"In terms of the vocal mics, we would switch between different ones according to the song. I'm a big believer in that as well. For example, he sang 'TSP' into a [Shure] SM7 that I had — one of the advantages for many singers who do a lot of shows is that they can grab hold of the SM7, carry it around the room and do whatever they want without creating very much handling noise. To me, that sounds quite a bit better than your more typical SM58, which a lot of people might use in the studio. The singer can press his face right up against the microphone without any worry whatsoever, so we used that on a few songs, while we mainly used a C12 for Matt on most of the more sedate vocals. Then again, in the case of 'Endlessly', we tried out a few mics — we tried an RCA 44, but that was just a little too dark, so we ended up going with the 77.

"Matthew has tremendous vocal capabilities, and if anything he's still learning what those capabilities are. I think one of the things that he became more comfortable with during this project was the ability to sing in a little more reserved fashion. Like on the verses of 'Sing For Absolution', his tenor voice is very quiet and just beautiful, whereas normally he's pushing himself quite hard. Any time you work with a great vocalist it's pretty exciting.

"Matthew's styling determined, to some degree, what I'd want to do with his vocals. For example, when he's singing loud, part of his sound frequently amounts to clipping the mic pre — I'd deliberately clip the mic pre on 'Time Is Running Out' as he sang louder and louder, adding more intensity and grit to his vocal. Distorting a vocal is so commonplace nowadays that to me it's the same as distorting a guitar or a bass. And much of the time when I'm mixing records for other people I'm distorting the vocal... whether they know it or not!"

Things That Have Character

In the months between the AIR and Grouse Lodge sessions (see box), Matthew Bellamy did more songwriting and Rich Costey took care of overdubbing some of the first-batch songs at AIR: 'Sing For Absolution', 'Stockholm Syndrome', 'Hysteria', 'TSP' and 'Fury' (which would end up as a bonus track on the Japanese release). These were then completed at North London's Livingstone Studios during a 10-day period following the Christmas/New Year break.

"We used the custom vintage Neve console at AIR, and whenever possible I only monitor on ATC SCM20s, which they also had there," says Costey. "Every facility was booked at the last minute, and when you're going from studio to studio it's really a crap shoot as to what you're listening to. On the other hand, the console at Livingstone was an SSL G-series, and it made a big difference switching to that from the vintage Neve. We rented a bunch of Neve 1073s to use as front-end mic preamps, and I also brought my old Universal Audio 1108s with me to warm up the sound. The UA mic pres are Class AB, whereas the 1073s are Class A. I largely only record through vintage Neves, but in this case we couldn't find a UK studio with one at short notice, and while I wasn't able to completely match the sound, I didn't mind that. I find it tedious when records sound the same all the way through. I'm much more interested in things that have character, and so long as they sound good, that's all that matters."

Rich Costey and Matthew Bellamy in debate at the desk in Grouse Lodge. Photo: Tom Kirk

Matthew Bellamy's custom Manson guitars were mostly recorded through the aforementioned Diesel and Marshall amps running into a variety of cabinets. "The band played live together, facing each other in a semi-circle, and Matthew was singing, too, which he apparently doesn't normally do when they're cutting basic tracks," Costey explains. "Still, once we'd created those basics, it was a case of anything goes. I don't really believe in any hard and fast rules after that, and I don't necessarily like to go with one setup for a whole record. So, after we got the basics, we would try to push every single overdub to make it as interesting as possible.

"The way that I and the band chose to work — and I like to work this way, anyhow — was to concentrate on one song at a time for a while. I remember that we did quite a bit of work on 'Stockholm Syndrome' and 'Sing For Absolution' at AIR. We'd just put up a song, see what it needed, and explore it for hours, days, whatever, and then at the point where we felt we were slowing down we'd move on to the next thing. That process continued at Livingstone.

"On 'Sing For Absolution', I had a pretty clear idea as to what I wanted to hear on the chorus: big, broad-sounding guitars with a little bit of echo — it's hardly ever the case that something goes down without getting run through a [Maestro] Echoplex. I'm addicted to them, although recently both of mine unfortunately have gone ill on me. Still, I wanted the big, broad guitars with Matthew's voice just peeking out over them without being too far in front, keeping the chorus kind of subdued and real simple whereas the verses really needed to sound expansive and three-dimensional. We did some basic stuff at AIR on that song, and then when we got to Livingstone we spent time treating different pianos.

One of Rich Costey's much-loved Maestro EP4 Echoplex delays. Photo: Katy Alverson

"The main piano sound on that song was heavily treated. I laid nails, guitar strings and all sorts of metal objects on top of the piano strings themselves so that they rattled, and then I miked all that with a pair of C12s. I had the dry piano coming into the console and I then split the signal so that half of it went to tape and the other half went to a [Digitech] Whammy pedal. In fact, the Whammy pedal also got split, so that half of it went to — no surprise here — an Echoplex and the other half went to a [Lovetone] Doppelganger pedal. That achieved a fake stereo, with a dry attack front and centre, while the Doppelganger with the echo was on one side and the Whammy's echo was on the other. Then we doubled it, so that it wasn't even fake stereo any more; it was two performances, which made a lot more sense.

"Once we had that down, the song took on a much more melancholy sound, and thanks to the piano it also had kind of a broken sound which, I think, worked well with the lyrics. After that, we did some ambient passes of various synths running through different effects and doing volume sweeps while Matthew played throughout the song. We just wanted things to sweep in and out around the vocals."

Although the songs were all comped, with each of the band members performing a minimum of passes, Costey was keen to guard against too much editing. He typically treats Pro Tools as if it were a tape machine, not because of a retro mindset but simply in order to enhance the music by way of a more human touch, and he'd therefore utilise as much as possible of a single take before editing in parts only where this was absolutely necessary. The same applied to overdubs — he'd use as much as possible of complete takes, and never once was a performance flown into another section of a song.

"I made that mistake years ago," Costey admits, "and what ends up happening is that the record has a real thin veneer to it, almost like a genetically engineered tomato that looks perfect but has absolutely no flavour."

Three People Trying to Sound Like 10

The approach paid off. Absolution boasts a collection of very live-sounding tracks that convey the effect of the band members playing complete performances. Then again, in terms of aural imaging, for all of the reverb and power chords, the manner in which the instruments blend into one another creates a sense of the musicians being bunched close together within a fairly confined space.

"I think that's partly the design of the band," says Costey. "Because they're only a three-piece, Chris's bass tone is engineered from the ground up to go from the low lows of the bass through the bottom end of the guitar. And Matthew, by extension, because he switches quite frequently to the piano, doesn't necessarily feel like he has to carry the brunt of things with his guitar. What you have is three people trying to sound like 10, and they've got it down pretty good, so that their instruments sonically tend to overlap one another, and the way they play off each other tends to overlap more than it does with a lot of other bands. Often you hear bass players who tend to double the guitar roots very low and function as a mere guitar support, but that isn't the case with Muse.

The Grouse Lodge live room. Photo: Tom Kirk"

At the same time, another reason for the tight sound may be that I don't tend to use much reverb on things like drums when I'm mixing. I pretty much just used whatever ambience was to be found on the room mics. Then again, when we were at Grouse Lodge in Ireland, we occasionally augmented things in terms of the drum sound, and this was especially so on 'Falling Away With You'. We ran a couple of Earthworks mics way down to the other end of the building, in the hallway towards the residences, and the track had this ridiculous, cavernous pomposity to it. This wasn't very useful if the drum part was busy, but if it was a simple part then it sounded terrific, and so there were a couple of moments where I cranked those up quite a bit."

One notable aspect of 'Falling Away With You', which starts off as a ballad before seguing into heavy rock, is the prevalent sound of Matthew Bellamy's fingers sliding on the strings of his guitar. "That's simply the sound of a human playing guitar," says Costey. "Matthew was playing his black Manson guitar very quietly through an Overbuilt amp, and all we added was a bit of reverb, so it was fairly clean. However, if you run just a little bit of compression you're bound to enhance those finger noises. A lot of people find them distracting, but for me that's the sound of someone playing an instrument. I have worked with people who play in such a manner that you don't hear any finger noises at all, and in those cases I just defer to the musician, but with Matthew you can hear the sound of his fingers on the strings, and this created a kind of intimacy that perfectly suited the quiet section of 'Falling Away With You'."

On some tracks, Matthew Bellamy didn't want to track his vocals until he really had a feel for where the music was going to lead him, whereas on others he'd record his part and, in so doing, highlight the fact that some more musical texture needed to be developed underneath the vocal. One example of this was the song 'Endlessly', with its loungey-sounding Wurlitzer intro and backwards cymbal and conga during the short instrumental break.

"That song was really a work in progress up until almost the last minute, and we took a different sort of vocal approach with it," Costey recalls. "Obviously, it's too slow to be a dance number, but there is a kind of subdued four-to-the-floor, 909-sounding rhythm going on throughout the track. That's largely due to the fact that Matthew did a couple of demos, and one of them featured him performing on a piano as well as a drum machine that was playing that pattern. There was such an honesty to it and a directness to it that even though we tried it with a full band approach, nothing seemed to work as well as what he had on that demo, which was just a real pure intro and a really heartfelt vocal. We therefore took that approach and built on it, and we had Dominic play loads of different drum patterns within that tempo and then actually cut up ones that had kind of a light jazz feel with a couple of fills."

More Chet Baker, Less Arthur Baker

After the work was completed at Grouse Lodge, the project switched location once again, this time to Cello Studios in Los Angeles, where three weeks were spent overdubbing before the mix then took place. It was here, during the overdubs, that 'Endlessly' really came together.

"Although we were happy with the drumming aspects of the song, we were still dissatisfied with a lot of it," Costey explains. "We were in Studio Three, where the Beach Boys had once recorded Pet Sounds [when the facility was still known as United Western Recorders], so we tried to conjure up the spirit of Brian Wilson by bringing in an old S6 tube monophonic synthesizer. I mostly wanted Matthew to use it to play some arpeggios, but those didn't end up sounding very good, and so he then reached over to these auto-chord figures on the left-hand side of the keyboard, where you can just hit one button and it will play the chord. Underneath it is a button that you can press to control the volume of that note, and while we were running the track down Matthew started playing the chords to the song and using the dynamic button to tap out a rhythm. That ended up being the main thing that the rest of the song was centred about: the real soft, moody, warm keyboard sound that plays in the chorus.

"At that point, we absolutely knew that we wanted the sound more Chet Baker and less Arthur Baker. So, Matthew sang into a big old RCA 77 ribbon mic, and we did a number of other overdubs on the track, but we tried to keep it as sedate as possible even if, by the end of the song, it gets a bit expansive. There's a treated type of opera vocal coming in later in the song, and we tried to be very careful with that, because it's a dangerous area."

Meanwhile, another song that starts off in fairly staid and straightforward fashion before building in force is 'Ruled By Secrecy', on which thundering piano bass notes are interspersed with high notes that ride over the top of the vocal. "A lot of the time we would actually cut the right-hand and left-hand parts separately and treat them separately," Costey remarks. "The beginning of 'Ruled By Secrecy' was all CP80, which is an old Yamaha electric piano, and while that was a left-hand part we also doubled it up with a right-hand part that was actual piano. We also took the CP80 and ran it through a couple of guitar amps only for the left hand, so that the left hand would have a larger tone to it when Matthew hit those notes. Then, by the end of the song, when he was hitting the more sustained left-handed parts, I trotted out the old Echoplex as well."

'Time Is Running Out' was probably the most difficult song for band and producer to nail down, especially with regard to an intro that required mucho experimentation. "We tried out all sorts of percussion ideas," says Costey, "including people clapping their hands and slapping their knees. At one point Wally even miked up Chris and Dominic scratching their heads to produce a shaker track, and that worked suprisingly well, but we didn't end up using it. Eventually, we concluded that the bass would comprise the centrepiece of the intro, so we had to come up with a unique, very characteristic tone, although I wasn't totally convinced about the bass line that we initially settled on. We spent an entire day trying to get the greatest bass intro sound ever created in all humanity, and by the end of that time we went with an acoustic bass guitar running through a ton of pedals and different amps. Then, just as we'd attained a sound that we thought was pretty good, Matthew walked in, listened to it and said, 'Fantastic, you've just spent eight hours on a flanged bass?' He was right of course, not having spent hours on the floor, toying with pedals and cables. We didn't keep any of it. Still, there was always good give-and-take like that, and we trusted each other enough to go with our respective ideas."

The well-stocked gear rack in Cello Sound, where Absolution was mixed, with Rich Costey's own gear on top and in the portable rack to the right.

As most arrangement decisions regarding the songs were made while recording, the overall modus operandi amounted to settling on a direction that would subsequently determine the nature of the overdubs and then the mix. This, in turn, ensured that the mixing process was relatively short and strightforward; about three weeks in all.

"The biggest challenge on Absolution was making sure that the whole thing hung together cohesively," Costey asserts. "We tried out so many different ideas, and in a couple of songs we didn't get the arrangements totally nailed down until it was time to mix. At that point, if you're not happy with something it's too late to go back and change it. So, during the last week there was a certain amount of making sure that all those loose ends were dialled in, and that the songs sounded good next to one another and sounded like the same band. Hopefully, that's what we achieved. By the end, for all of their British reserve and my over-the-top American enthusiasm, the guys were very excited about this record — and so, of course, was I."

[projazznet]

Tropea ‎– Short Trip To Space (1977)

Bass – Richard Davis , Will Lee Drums – Rick Marotta , Steve Gadd Guitar – David Spinozza , John Tropea Keyboards – Don Grolnick Organ – Leon Pendarvis Percussion – Ralph MacDonald, Rubens Bassini Reeds – George Young , Lew Delgatto, Lou Marini, Michael Brecker Trombone – Dave Taylor , Sam Burtis Trumpet – Alan Rubin, Jon Faddis, Randy Brecker Tuba – Tony Price Vibraphone – Mike Mainieri

[frances73]

Jon Rubin Frank Serpico walking down the street, Jon clinging to Frank's arm talking a lot and frank smiling and listening (draw request)

yayayayyyy celebrating more awful crack fic about them

[talkingpointsusa]

The profound laziness of Dave Rubin

No, but you posting a video about it for clicks is. (source: Rubin Report on YouTube)

Dave Rubin is a pretty regular source of truly insane and stupid takes and today is no exception. This was the episode he put out on January 31st and as usual it breaks new ground in the realm of stupidity. Lets get into it.

Dave starts off by declaring the theme of todays episode, or lack thereof.

01:24, Dave Rubin: "The theme of todays show is there's an awful lot happening in the world right now. This WW3 situation seems like it's ramping up a bit. I'm gonna try to cool the jets as everyone loves talking about 'Oh my god WW3 is happening and oh my god the civil war is happening and oh my god the alien invasion is happening.' Sometimes, maybe we can have some calmer heads prevail so we'll do a little bit of that. But what I wanted to start with that'll kind of prime everything is that Jon Stewart-"

Brief pause, so what's the theme? If the theme is WW3 related stuff, how on earth is Jon Stewart even remotely related to that?

01:51, Dave Rubin: "Jon Stewart, I guess former comedian. I don't know what we call him at this point, he's basically a progressive activist now."

"Yeah, imagine being a former comedian who became a political activist. Man, I can't even imagine. That's so sick."

First of all, the sheer lack of self awareness is stunning. Second of all, watch that video in full if you want to get an idea of the sheer lack of talent that Dave brings to the table. It's three minutes of Dave being a complete moron constantly trying to do crowd work and getting absolutely no laughs out of anyone.

02:18, Dave Rubin: "Jon Stewart left the Daily Show, what was it? About six years or so ago. Ends up bringing a new show, The Problem With Jon Stewart onto Apple TV and he just goes all in on the crazy leftism."

Jon Stewart is back at the Daily Show for a limited time and Dave Rubin isn't gonna take it! He's only hosting on Monday nights to cover things related to the election cycle.

Jon Stewart was always a pretty big leftist. Here's him absolutely demolishing fellow blog favorite Tucker Carlson all the way back in 2004. I can't help but feel a tinge of jealousy in Dave's coverage of Jon. Jon also stood up for his free speech, something that Dave should love, by walking away from his show on Apple TV when they told him he couldn't talk about AI and China.

Dave doesn't even understand the most basic facts about this story...like the fact that Jon isn't the only person hosting the Daily Show or the fact that they are making more than the Monday episode.

02:30, Dave Rubin: "But the machine is bringing him back now, putting him back at the Daily Show at the chair on a weekly show not a daily show. So the Daily Show's going to weekly, alright they're going to struggle with that."

Here's what happened, Dave read some headline somewhere about Jon Stewart returning to the Daily Show and instead of trying to learn the facts about the story that he's trying to cover, he just barged in and started talking about it on his show.

If Dave actually read about what he's trying to talk about the subject he's talking about, he'd know that Jon is only hosting on Monday’s and that other people are hosting the show on all the other days of the week. It's also only for the election cycle.

Dave plays some clips of CBS for him to react to.

03:36, Dave Rubin: "We're doing PR, we're owned by the same people and we have to tell you he's really great. Yeah, ok! So you guys get how the whole machine works, right? There's no reason for CBS News to be covering that on their nightly news program."

At the end of the clip he plays, the reporter discloses that CBS and Comedy Central are both owned by Paramount, in short disclosing the conflict of interest. Should they have maybe not covered this? Yeah, I wouldn't have because it's a conflict of interest. But they did disclose it.

03:51, Dave Rubin: "And the damn shame about Jon Stewart and we'll illustrate this in just a moment is that at least for the first couple of years at the Daily Show he was doing something kind of new and poking and prodding at the media the way I kinda do on this show."

Dave Rubin and Jon Stewart have one key difference; Jon is funny and insightful and Dave is well....Dave.

04:07, Dave Rubin: "He's sort of gone off the deep end, or I don't even need to qualify that, he has completely gone off the deep end when it comes to progressive politics and I would say become everything that he probably once despised."

Just to recap some of Dave's career; Dave started off at the Young Turks, a progressive news outlet, and ended up starting a conservative news show after leaving the Young Turks. His sudden pivot to conservativism coincidentally dovetailed with receiving money from the Koch Brothers.

So who has became everything they once despised here?

Dave plays a clip of Jon confronting a Republican attorney general about gender affirming care for minors. If I were Dave I really wouldn't have played that clip as Jon does a really good job dismantling the Attorney Generals arguments. Dave does cut the clip and this was his takeaway.

06:51, Dave Rubin: "And it goes on and on, what an absolutely smug unlikeable person he became for the cool one million plus per episode he was making on that now defunct show."

More of Dave describing himself. Seriously, take some time to watch a Dave Rubin episode if you have time. He talks in this really slow and condescending way that's near unbearable to listen to.

07:10, Dave Rubin: "Jon Stewart, if you are watching this you might want to read Irreversible Damage by Abigail Shrier, thank you, who wrote an incredible book about how so much of what's happening to our children is a social contagion. Particularly when it comes to young girls thinking they can transition and become young boys."

Abigail Shrier is one of those right-wing grifters who has made a cottage industry of spreading misinformation about transgender youth. Blog favorite and professional sociopath Matt Walsh is another example of that. Shriers book is filled with massive amounts of misinformation and outright falsehoods.

Also, the idea of Jon Stewart even knowing of Dave Rubin's existence is laughable. You just know if Jon stepped foot on Dave's set, Dave would be tripping over himself to get Jon a beer and a pillow for his feet.

08:04, Dave Rubin: "No you cannot take a boy and actually make them a girl, that's just not reality."

Say it with me; absolutely nobody is giving transgender surgeries to small children. Dave's entire framework is simply denying the existence of transgender people.

I've said this before but I find the fact that Dave is a member of the LGBTQ community and still has hopped onto the right-wing transphobia bandwagon really infuriating. Years ago his ilk would be trying to make his marriage illegal and guess what? They still want that! It's so frustrating to watch this guy run defense for guys who hate who he is.

And talk about "smug and unlikeable". Dave hasn't even bothered to meet up with the families of trans youth like Jon has and is handwaving legitimate medical treatments because "my billionaire sponsors don't like it".

Anyway, lets move on before my head explodes. Dave plays another Jon Stewart clip, this time him interviewing Gavin Newsom. Dave then plays some clips from the Daily Show when Trevor Noah was hosting it. Dave proceeds to call a transwoman a "creature" and I want to throw my laptop out the window. I'll elaborate on this in the conclusion, but I'm starting to realize that Dave Rubin is a profoundly lazy content creator.

14:22, Dave Rubin: "Now the reason I'm showing you all this and starting the show with this Jon Stewart thing and everything else is because the Daily Show became this cultural touchpoint. 'More young people get their news from the Daily Show than anywhere else.' So when you wonder how did this all happen? That so many kids are confused about their gender. How did it happen that being not racist made you racist? It's because this is the crap that Hollywood pushes on us."

"The Daily Show is turning people trans" is an argument that I never thought I would hear and yet here we are. The median viewership age of the Daily Show in 2024 is 63 years old by the way so this argument makes even less sense in this day and age.

Dave plays another Daily Show clip. This time it's one of the guest hosts talking about migrants.

15:54, Dave Rubin: "Illegal people are here illegally. Even if there are jobs for them then what you do is you have them come legally and you figure it out."

Except that the pathways to legal immigration are borderline impossible to fulfill. If Dave is saying that we should loosen those pathways, I agree. But that's not what he's saying so this is just him being an obtuse idiot.

Dave does an ad for Tax Network USA and then he expands on his broader point.

18:10, Dave Rubin: "What I'm trying to lay out to you, and that's all well and good, is that all the ideas that we just talked about there are the things that get into the culture and you wonder why everything is wrong, why our politicians suck, why we don't know up is down and up is up and down is down and all these things."

Dave Rubin: Master Orator strikes again.

"Up is down and up is up and down is down", truly profound stuff right there. Seriously, who the hell watches this unironically?! How does this guy have 2.14M subscribers?! At least guys like Ben Shapiro have certain airs around them that make them seem like intellectuals to people who don't know any better.

18:25, Dave Rubin: "But now I want to drive this a little further into the cultural piece of this because Law & Order where a white woman is raped by a black man but doesn't want him to go to jail. Take a look at this."

Dave then plays the clip from Law & Order. Again, this a ridiculously stupid thing to talk about, especially since Dick Wolf seems like a pretty conservative guy from what I can tell.

19:40, Dave Rubin: "Could we do a road trip after the show? Would you guys be interested in doing a road trip after the show? Drive cross-country, go to Hollywood, bomb the place?"

Law & Order has been filmed in New York for a million years.

Also, the episode ends with the rape victim testifying against the rapist so this whole story is a complete load of nothing even if we follow the parameters that Dave laid out.

20:11, Dave Rubin: "The messaging that they are sending to the brains of young people and I guess middle age people who watch Law & Order, everything is freaking backwards. They have taken art and made it activism."

Does....does Dave not realize that art and film has been a form of activism since its inception. Also, I love how he realized in the middle of his sentence that young people tend not to watch Law & Order and threw that "middle aged people" in there at the last second. Nice save.

Dave talks about the Disney Snow White remake. This is such an insanely old story. Ben Shapiro even announced a "competitor" version that will be hosted on the Daily Wire what feels like a century ago. Old news and an immediate skip.

21:21, Dave Rubin: "I do wanna back up for just a second. I don't condone or call for terrorism in Hollywood or anywhere else. I didn't mean bomb the place, I meant like glitterbomb it, you know what I mean? Just go there and pour glitter all over these people, that is what I meant. Lets be clear about that because Media Matters I'm sure is watching every moment of this 'Rubin just called to bomb Hollywood.'"

I've got bad news for Dave, he's not even important enough to get clipped by Media Matters. He's been mentioned by them in passing but the last time he got clipped was February of 2023. Really the only people criticizing him are a Twitter account called "Dave Rubin Clips" on Twitter, his own subreddit, and me.

Dave plays a clip from SNL. He does an ad for the Wellness Company, it's the same company that makes those emergency kits that Charlie Kirk was hawking in our last episode.

Now, its time to get serious. Dave wants to talk about the news...it involves playing more stupid freaking clips. He plays an MSNBC clip and here are his thoughts.

26:11, Dave Rubin: "Ok, I'm only showing you that because these people that they put on there, they just offer them the red meat. And of course their kind of brain damaged progressive audience eats it up."

"And then I play a clip of it so that my audience can eat up my commentary on it"

Also, the brain damaged comment was stupid as all hell. Anyway, Trump lost the defamation suit against E. Jean Carroll and Dave comments on it the only way he can...by commenting on a clip he plays from The View.

28:13, Dave Rubin: "It really, it's so horrible. And watching the women applaud. If they all felt like this woman really got raped, again rape is pretty bad, they wouldn't be celebrating today, right? Like, it wouldn't be a day of celebration. It would be kind of a somber like, 'Oh there was a verdict in the defamation thing related to the rape and Donald Trumps gonna have to pay up.' But they know it's all bullshit, it's all a show."

"Woah, a rape victim celebrating finally getting justice?! That makes no sense!"

This argument makes absolutely zero sense. Imagine if you got raped and the court forces your rapist to pay you millions of dollars. You'd be pretty damn happy. Does Dave think that after you get raped you are incapable of feeling anything outside of sadness?! And what's more, if you manage to score a win against your rapist you are still going to be sad.

Lets play a game. Do you think that Dave is going to;

A): Offer insightful and nuanced commentary on the verdict that considers the evidence and leads to an informed conclusion.

B): Play another stupid clip and then say something stupid.

The answer is A....just kidding! This is Dave Rubin we're talking about, of course it's going to be B! Dave rolls a CNN clip and mumbles about some stupid shit.

30:20, Dave Rubin: "If she got raped, which Donald Trump was not convicted of, would you want to make a show of all of this?"

The guy was extremely wealthy and that was before he became president. She's celebrating getting a form of justice against an extremely powerful adversary.

Also, Trump was found liable of sexually abusing Carroll which is commonly understood as rape. So he didn't even get that part right. Again, laziness.

Dave comments on a joke Carroll made to Rachel Maddow that she would "buy her a penthouse". It was a joke and apparently Dave is pissed about it. Whatever. Dave plays more clips of Carroll and then plays a Megyn Kelly clip. Again, letting others make his arguments for him.

35:16, Dave Rubin: "This is why Megyn is just so consistently great. I don't know what happened, you don't know what happened, Megyn Kelly doesn't know what happened."

So the bar for trusting a rape victim is if you know for sure what happened? That's ridiculous! Plus the evidence was clearly compelling enough that Trump was found liable for sexual abuse.

Also, wasn't the theme for today supposed to be about WW3? "Cooler heads shall prevail" and all that?

37:03, Dave Rubin: "But now I wanna connect that to something that's happening in the world and show you Trump at his absolute best. Because these are the moments that we could use a real leader in this country and I think he has an interesting opportunity. And as I've been telling you for the last two weeks, I wanna nudge him to be the best Donald Trump if possible."

Oh yeah, that's gonna happen. I can just see Trump now;

"I was gonna make this decision but Dave Rubin said that would be a bad idea! Guess I'm not gonna do that!"

Anyway, Dave's next story is about the drone-strike in Jordan that took the lives of 3 US soldiers. He reads some stuff from the Daily Wires website (and here I thought he was going to play a clip of Ben Shapiro, he's evolving!) and then launches into his take;

38:44, Dave Rubin: "So now you might be wondering 'Dave, what does this have to do with the E. Jean Carroll thing?' Well, Donald Trump issued a statement on this and I think he nailed it."

Dave reads out a Donald Trump post that he very clearly didn't write (not enough random all caps). Again, Dave can't really make content of his own capably and just relies on everybody else to do the heavy lifting. Also, I love how quickly he switched over from being a Ronnie D simp to being a MAGA moron. Those boots need a lickin'!

40:20, Dave Rubin: "Look, I don't know if Donald Trump wrote that himself. It's obviously irrelevant, they have speechwriters and everything else."

It's relevant when you spent the past four minutes hyping this post up as "the Trump we need" and "Trump at his absolute best". If Trump didn't write it then it isn't Trump. Unless you are saying that Trump is at his best when he isn't in control, in which case me and Dave might have more common ground than I thought.

40:26, Dave Rubin: "But the clarity, the moral clarity, 'peace through strength'. The reality of the fact that three, four years ago, when Donald Trump was still president, especially pre-COVID, that the world was peaceful and Middle East peace deals were being signed left and right. The Iranians were doing absolutely nothing."

It may have seemed more peaceful compared to right now but it's important to remember that the conflict between Israel and Palestine has been going on for way longer than October 7th. The Abraham Accords, which I assume is what Dave is talking about when he mentions about peace deals, was brokered between countries that weren't engaged in conflict and did nothing to impact Israel and Palestine. Also, nothing happened with Iran? Remember the assassination of General Suleimani that nearly pushed the US and Iran to the brink of war? That certainly didn't help peace in Iran.

41:30, Dave Rubin: "The first thing that Donald Trump did when he got into office was drop the mother of all bombs, the MOAB, the mother of all bombs, dropped it. People didn't even know why he dropped it but it made it seem like he was kinda crazy so don't mess with this guy."

So Dave's brilliant foreign policy strategy is acting like a complete lunatic?

41:43, Dave Rubin: "He killed Suleimani, right? And everyone was like 'this is gonna start World War Three', actually it caused Iran to not do much of anything while he was president."

The reason we are seeing so much action from Iran is because of Israel/Palestine, a conflict which finally boiled over after decades. Blaming Irans increased action on Biden is stupid.

Again, I don't think Biden is faultless. His continued funding of the genocide in Palestine is awful and I fundamentally disagree with it. But criticizing him for stupid made up reasons is well...stupid.

Conclusion:

Ok, so Dave playing a lot of clips and not adding a lot of original ideas to his commentary took me off guard the last time that I talked about him but this time I was ready for it. This episode didn't break a lot of new ground but I felt that it would be a good opportunity to talk about something about Dave that needs to be said and it's that his content is so deeply lazy.

Think about it. Your average Dave Rubin episode is just him playing television clips completely out of context and then saying a two second conservative culture war related soundbite after it. Dave Rubin basically gets mad at TV for a living.

Even when he's trying to make an argument, he just mumbles something that doesn't really make any sense and then lets someone more articulate like Megyn Kelly pick up the pieces. It's to the point where I would be willing to wager that a good 50% of his show is just clips of other people talking.

This is because Dave Rubin is a grifter who doesn't really bring any new ideas to the table outside of "I'm gay and I'm also conservative". I feel like a big part of him realizes that when he talks for long periods of time he usually ends up making a fool of himself.

And it's not just the clips either, he barely researches what he's talking about. Take for example, the Daily Show coverage. With a five second Google search I knew more about the story than Dave did and as a result was able to point out his inaccuracies and make him look like a complete idiot. Same thing with him not realizing that Trump was found liable for sexual abuse. This is basic shit that you need to know when you are trying to act like the authority on a subject. But Dave doesn't even look into it because he's too busy clipping NBC and being deeply lazy.

Anyway, cheers and I'll see you in the next one.

[daily-spanish-word]

to want, to love querer

Think about the loving relationship Carrie had with her classmates and mother. (not really, quite the opposite)

Probably only the queen can have all that she might want.

“I want you, I love you, I care about you.”

“You have the key to my heart.“

Where there’s a will, there’s a way. (’To want is to be able.’) Querer es poder.

Picture by Jon Rubin on Flickr

[pigeonflavouredcake]

I gave myself permission to get some new books for new year's day but that's it that's all I'm giving myself. I was really bad my book ban last year so I'm trying again this year.

My book buying ban starts now on the 1st of January 2024.

My TBR is 49 books long here's the list:

Adrian Tchaikovsky - The Doors of Eden

Aiden Thomas - Cemetery Boys

Alexandria Bellefleur - The Fiancée Farce

Alice Feeney - Sometimes I Lie

Alison Rumfitt - Tell Me I'm Worthless

Alo Johnston - Am I Trans Enough

Bram Stoker - Dracula

Cordelia Fine - Delusions of Gender

Cordelia Fine - Testosterone Rex

David Attenborough - Living Planet (audio book)

Euripedes - The Bacchae and Other Plays

George Orwell - Nineteen Eighty Four

Hannah Kaner - The Fallen Gods Trilogy #1: Godkiller

Isaac Fellman - Dead Collections

J.B. MacKinnon - The Day The World Stops Shopping

Jaimie Raines - The T in LGBT

Jeanette Purkis - The Guide To Good Mental Health on the Autism Spectrum

Jen Beagin - Big Swiss

Jennie Kermode - Growing Older as a Trans and/or nonbinary person

Jon Krauker - Under the Banner of Heaven

Julia Lynn Rubin - Primal Animals

Juno Dawson - Her Majesty’s Royal Coven

K. Patrick - Mrs. S

Kalynn Bayron - You’re Not Supposed To Die Tonight

Lily Lindon - My Own Worst Enemy

Liz Gloyn - Tracking Classical Monsters on Popular Culture

Malinda Lo - A Line in The Dark

Mark Lawrence - The Library Trilogy #1: The Book That Wouldn’t Burn

Marie Cardno - How to Get a Girlfriend (When You’re a Terrifying Monster)

Mary Shelley - Frankenstein

Maude Ventura - My Husband

Max Adams - The Wisdom of Trees

Megan Abbot - Give Me Your Hand

Mona Awad - Bunny

Naoya Matsumoto - Kaiju No. 8 Vol 8

Ottessa Moshfegh - My Year of Rest and Relaxation

Paul Tremblay - The Cabin an The End of the World

Peter Corbin - Three Jacobean Witchcraft Plays

R.W. Wallace - Beyond The Grave

Reni Eddo-Lodge - Why I'm No Longer Talking to White People About Race

Robin Wall Kimmerer - Braiding Sweetgrass

Sarah Waters - Fingersmith

Sayaka Murata - Earthlings

Sven Holm - Termush

Talia Jager - Without Hesitation

Tamsyn Muir - The Locked Tomb #3: Nona the Ninth

Veronique Altglas - From Yoga to Kabbalah

Walter Stephens - Demon Lovers

William Peter Blatty - The Exorcist

[deniroarchives]

“Publicity flyer for Greetings noting "A whole gallery of new, young talented performers!", 1968 Promotional postcard for Greetings, 1968 Unidentified photographer [Production still of Robert De Niro as Jon Rubin (left), Gerrit Graham as Lloyd Clay (center), and Jonathan Warden as Paul Shaw (right) rehearsing scenarios to avoid being drafted for the Vietnam War] 1968 Gelatin silver print Robert De Niro Papers 74.5 Robert De Niro's first feature role in a film was in Greetings (1968). In this satirical counter-culture film, De Niro plays Jon Rubin, an amateur filmmaker and voyeur. Together with his friend and conspiracy theorist Lloyd Clay (Gerrit Graham), Rubin tries to coach Paul Shaw (Jonathan Warden) in dodging the draft for the Vietnam War. The film's director, Brian DePalma, would become one of the primary figures of the "New Hollywood," or the "Hollywood Renaissance," a period that began in the mid 1960s and extended through the early 1980s. The New Hollywood signaled a shift from the failing studio system to younger, independent filmmakers who were making for a younger audience inventive, original films focused on real life issues of the day, with bold subject matter including sex, drugs, and violence.”