#Koster Status

[anonameisadditions]

So You Want To Write #1 : The Amazing Digital Circus

In my work with the ever-impressionable and quick learning @mikiib, We often end up working with a particular dynamic on her creative projects, ranging from fanfiction to self-started fiction like our ongoing comic series, PARANOiD. She's a great artist, mind you- I wouldn't work with her if she wasn't- But our lives were spent very differently before we met; She chose a life of drawing, I chose a life of reading.

In this, I'm frequently put into the position of helping her make writing "sing" in the tune of what genre or media property she's drawing from. One of my many talents is my ability to quickly deconstruct and recognize the various influences a writer has taken from in a body of work, and The Amazing Digital Circus is one that I find a lot of people seem to misunderstand it's roots, and the kind of stories it's drawing from. To this, much-despised reader, I come to help, to scream from my digital soapbox the advice I would have needed a decade ago to write something properly.

THE AMAZING DIGITAL CIRCUS: Mr. Elison needs to stop watching PBS

Most casual fans of the Amazing Digital Circus would know that the Harlan Ellison short story "I Have No Mouth And Must Scream" is the conceptual well that ADC draws from. It's one hell of a starting point- for those unfamiliar, a brief recap- The last 5 humans on Earth are tortured and controlled by the A.I Singularity known as A.M, the maniacal, suicidally minded A.I. who, in realization of the inherent trappings of the microchip in his existence, chose to exert his frustrations on the global earth as a whole, leaving only these 5 to torment for the rest of existence as punishment for the sins of mankind.

... Quite a different story on the surface than ADC, no? But to engage with Mouth a surface-level retelling of events deprives the story of it's wit and candor. Harlan, as a writer, is a reader's antagonist- and his contempt for the people who read his stories is palpable.

Harlan professes, in this interview, an anger towards the concept of self-reverence- the idea that he, himself, is any more significant on this unholy thing we call "earth" than another person. Thus, he reacts to fans by despising them when they reject his jocular, irreverent sense of self as some kind of personal attack. This shows in his writing, if you consider how he views his typical set of characters. In "Big Sam Was My Best Friend", the titular Big Sam, a likable, if reserved teleporter in the far future of space travel is revealed to be a lout, a creep- A man who, when gifted the ability to teleport vast distances unbounded by energy or time, chose to spend his existence chasing a woman who hated him. In "Pretty Maggie Moneyeyes", we have Koster and Maggie: One a down-on-his-luck, pathetic idiot representing the average Vegas coin slot jockey, and the other, Maggie, a rage-filled prostitute who regularly John's for a sleazy mafia boss.

The marking of the Elison school of writing is to defy the status quo expectation of morality winning. Here, the characters are tragic figures driven by their own incompetence and lack of self-awareness- They continuously battle themselves, refusing the luxury and peace of the ordinary to try to shape reality to their will, and every time, reality bites back.

But what does this have to do with The Amazing Digital Circus?

HELL IS OTHER PEOPLE

In the pilot of Amazing Digital Circus, we get to know our selection of trapped souls with a unique lens of understanding that Pomni does not get- For her, these characters of the "Show" of the Amazing Digital Circus (I mean this in a meta sense- More on this later.) are strangers, who's cascading complexities will surely open up with time. But for us, the viewer, we exist beyond the 4th wall- We know we are watching a virtual play, in a sense, where we can expect that there is no dramatic spiritual transition in store for anyone- that whatever we discover will be building on the foundation of each archetype.

But what's unique to both Digital Circus and No Mouth is the reality that these characters know each other quite well- Too well, in fact. They have been trapped together for an unknowable amount of time- and with this knowledge, Pomni is played as the foolish interloper for expecting any more or better from each character.

In a "normal" show, Jax should learn a lesson from the Candy Castle plotline in the first real episode of the show. But in the Digital Circus, Jax CAN'T learn a lesson- because he's done this stupid song and dance a million times, and his reputation precedes him in the eyes of the rest of the circus. He is trapped, figuratively and literally, in his character- He is the cunty rabbit, in and out, because frankly, his own identity might be the only thing keeping him sane.

This is not to say Jax's character cannot change and develop in the space of the canon of the show, or in your own fanfiction writings- far from it- but you need to approach these characters with an understanding that they have been this way for a long, long time- much in the same way that the various psychotic behaviors of the trapped survivors in A.M. have been the same way for a long time, too. To maintain this status quo- this character's "stickiness" as a coping mechanism - is how the soul of Elison sticks through the Digital Circus.

Wait, a stuck Status Quo, with weekly adventures that, at this point, largely don't seem to affect the behavior on a weekly basis for most of the characters, in a bright and shiny animated environment? This sounds kind of like...

A Saturday morning kid's show.

No, Really: Hell IS other people.

This is the missing component people seem to miss about the Amazing Digital Circus- Its aesthetic, its connecting theme, its horror- it's all based on the simple, ironclad premise of a children's show.

Think about it. "People get stuck in a virtual world to solve problems each week meant to help teach them social and practical life skills" is a motif used in a variety of 2000's era CGI animated shows that would air on PBS and (Canadian Broadcast Cartoons). This is "ReBoot". This is "Jay Jay The Jet Plane". This is "Jane and The Dragon". The soft, pliable, safe consequenceless world of the Children's Cartoon is the A.M. Digital World that Caine has his "players" trapped in, much to their chagrin.

At first, this doesn't seem too bad- It's safe, for one. It's remarkably easy to exist in, for another- Food isn't an issue, beyond a simplistic pleasure behavior. There's no bathrooms, no need to sleep- nothing. But in this, the true hell arrives. Week after week, month after month, you continue to participate in "Games" meant to serve the same moral lessons you've heard a million times at this point, as the only break to the skull-fucking monotony of an existence trapped in a consequenceless space where nothing you say or do changes the reality around you. You are stuck in a padded room- where you cannot touch yourself, or others, or the world around you in a meaningful way. It is a gilded cage, that seeks to patronize you and break down your mentality to the point of acting like a monocentric character archetype for the education and entertainment of a captive audience of 12-year-olds with nothing better to do.

You can see how this changes a person's priorities, fast. In this, our Circus members choose to find relief in the only ways they can- with one another, in the only thing that CAN change- their feelings towards one another.

JAX becomes the cunty rabbit he is, because vexing his fellow players is at least some form of change and control for him that makes him feel empowered. Zooble refuses to participate, as their ennui and rejection of the concept of the show enables them to, at the very least, take a stance against Caine, their captor. Ragatha tries to remain optimistic and make the best of the bad situation, as maintaining a positive attitude lets her at least pretend she's making a difference. Kinger's cracked behavior of madness is him attempting to find meaning and test the boundaries of his own existence, as the oldest member of the Circus, in a attempt to break the tedium for himself. And Gangle is reacting with a massive victim complex- She makes herself out to be a pathetic, weak, spineless creature because she can't conceive of this reality being one she has to exist actively in, for she finds the whole effort futile.

Where does this place Pomni? Well, it's a search for her own meaning in the space of the Circus. She is still an "open character", meant to play the role of the Audience's fool- And the drama comes from us wondering whether she'll sink, or swim.

SO YOU WANT TO WRITE THE AMAZING DIGITAL CIRCUS

This is the soul of the show, distilled to a fine, thin gruel- If you want to make your fiction "Sound" Like The Amazing Digital Circus, you need to marry two concepts together- The horrific behaviors of Harlan Elison's characters in their efforts to deal with the ways life has personally screwed them, and the soul-sucking mundanity of the weekly format of the children's television serial. You present the cast with an adventure each week, one that is definitely below their intended age level, and let them react to it with their individualized efforts to escape the mundanity of the circumstances, in their own way- Jax tries to make everything worse, Ragatha tries to play along, and Pomni is still freshly experiencing everything for the first time.

This is not to say you can't do MORE with these characters and the base premise- @hootbon does an excellent job recontextualizing the idea of weekly "shows" with the circumstances of the abusive ringleader of a 1950s-styled circus. But they seem to understand the narrative underpinnings of the TADC in this rewritten examination; The cast is chained to the premise, and can only act within the dimensions of said premise- and what they do with those circumstances defines them as a person.

If you liked this blogpost, Give it a reblog and a like, and don't forget to follow me for more media analysis and creative endeavors. Below, you can vote on the focus of my next entry in "So You Want To Write" series. 

~ Yours Fallaciously, AN0N

[baliportalnews]

Gubernur Wayan Koster dan Putri Koster Raih Penghargaan Manggala Karya Kencana dari BKKBN Sebagai Pemimpin Penggerak Turunkan Stunting

BALIPORTALNEWS.COM, DENPASAR - Gubernur Bali, Wayan Koster bersama Ketua TP PKK Provinsi Bali, Ny. Putri Koster dianugerahi penghargaan Manggala Karya Kencana oleh Badan Kependudukan dan Keluarga Berencana Nasional (BKKBN) atas prestasi dan komitmen serta kepemimpinannya dalam menggerakkan Program Pembangunan Keluarga, Kependudukan, dan Keluarga Berencana serta Percepatan Penurunan Stunting untuk terwujudnya Keluarga Berkualitas Bahagia dan Sejahtera. Percepatan penurunan stunting di Provinsi Bali yang dilakukan Gubernur Bali, Wayan Koster bersama Ketua TP PKK Provinsi Bali, Ny. Putri Koster sesuai dengan arahan Presiden Republik Indonesia, Bapak Ir. Joko Widodo. Penghargaan Manggala Karya Kencana sesuai Surat Keputusan Kepala BKKBN, Dr. (H.C) dr. Hasto Wardoyo, Sp.OG(K) bernomor 118/KEP/G2/2023 ini diserahkan langsung oleh Inspektur Utama BKKBN, Ari Dwikora pada Jumat (25/8/2023) di Jaya Sabha, Denpasar serangkaian puncak Peringatan Hari Keluarga Nasional (Harganas) ke-30 tahun 2023. Gubernur Bali, Wayan Koster menyampaikan terima kasih kepada Badan Kependudukan dan Keluarga Berencana Nasional atas penghargaan yang diberikan. Penghargaan ini merupakan hasil kerja keras dan kerja sama semua jajaran, Dinas Kesehatan serta Tim Penggerak PKK Provinsi Bali yang dipimpin oleh Ny. Putri Koster bersinergi dengan Tim Penggerak PKK Kabupaten/Kota se-Bali dan Desa. Sehingga angka stunting di Bali turun dengan cepat. Untuk diketahui, pada tahun 2022 angka stunting di Bali sudah turun mencapai 8 persen atau jauh dibawah angka stunting nasional. Pada tahun ini, Dirinya targetkan angka stunting di Bali semakin turun, dengan target mencapai 6 persen dan ke depan Kita ingin angka stunting mendekati zero atau nol persen. Ketua TP PKK Provinsi Bali, Ny Putri Koster menyampaikan, TP PKK  Provinsi Bali yang dipimpinnya terus berupaya mensosialisasikan pencegahan stunting, memberikan bantuan untuk meningkatkan gizi, serta mengajak orang tua dan calon orang tua untuk memperhatikan asupan nutrisi bagi anak melalui kegiatan Menyapa dan Berbagi ke seluruh  Kabupaten/Kota di Bali bekerja sama dengan TP PKK Kabupaten/Kota se-Bali  dan Dinas serta Lembaga di Provinsi Bali. Inspektur Utama BKKBN, Ari Dwikora menyampaikan rasa bangganya terhadap Bali yang dipimpin oleh Gubernur Bali, Wayan Koster bersama Ketua TP PKK Provinsi Bali, Ny. Putri Koster yang telah bekerja luar biasa dengan membawa Bali sebagai Provinsi angka stunting terendah dan paling bagus di Indonesia. Hasil Studi Status Gizi Indonesia (SSGI) Kementerian Kesehatan tahun 2022 menunjukkan Bali berhasil menurunkan prevalensi stunting dari 10,9 persen (SSGI 2021) menjadi 8 persen sekaligus tetap mempertahankan posisi kasus stunting terendah se-Indonesia. Inspektur Utama BKKBN mengingatkan Bali agar tidak terlena yang mencapai penurunan angka stunting paling terendah di Indonesia. Karena itu, Pihaknya berharap kolaborasi kerja yang sangat baik dari Gubernur Bali, Bapak Wayan Koster bersama Ketua TP PKK Provinsi Bali, Ny. Putri Koster terus berlanjut untuk mengajak seluruh Pemerintah Daerah di Kabupaten/Kota berkomitmen mempercepat penurunan stunting. Komitmen Gubernur Bali, Bapak Wayan Koster untuk membawa Bali menuju zero stunting sangat Pihaknya dukung, termasuk mendukung kebijakan Bapak Wayan Koster dengan visi pembangunan Bali yaitu, Nangun Sat Kerthi Loka Bali melalui Pola Pembangunan Semesa Berencana menuju Bali Era Baru, khususnya mengenai Pembatasan Timbulan Plastik Sekali Pakai dan Pengelolaan Sampah Berbasis Sumber untuk mewujudkan lingkungan Bali bersih. Karena lingkungan bersih akan memberi pengaruh terhadap ekosistem kesehatan manusia.(bpn) Read the full article

[lasirenetta]

England 23 part 5: Cambridge, kapper og et klip  

Den næste morgen tog vi mod Cambridge, som er kendt for at være den ultimative studiebyen. De fleste er nok bekendt med Cambridge Universitys status som et eliteuniversitet, og de gamle murstensbygninger indgød da også en stemning af traditioner, penge og ikke mindst Harry Potter. Vi besluttede os også for at tage på en guidet tur med en universitetsstuderende, som kunne fortælle os om Cambridges historie og alle universitetets regler og normer. Han fortalte os blandt andet, hvordan alle nye studerende skulle til en optagelsesceremoni, hvordan de skulle bære forskellige kapper, alt efter hvilken eksamen de skulle op til, og at alle kollegierne havde haft forskellige kendte studerende som konger, nobelprismodtagere og politikere. Det viste sig da også. at produktionen, som havde stået bag Harry Potter-filmene, i sin tid havde spurgt Cambridge, om de måtte komme og filme på campus. Universitetets ledelse mente dog dengang, at filmene formentlig ikke ville blive en succes og takkede derfor nej. Oxford, som må siges at være Cambridges største rival, ville imidlertid gerne lægge lokaler til, hvilket uden tvivl må være en af de dårligste beslutninger, der nogensinde er blevet truffet. 

Efter at have set de forskellige bygninger udefra - Cambridge er ret dyrt, for det koster adskillige pund at komme ind de forskellige steder - gik vi ud ved parken og den lille flod, som løber igennem byen. Der var flere træbåde med turister i, som blev styret af en person forrest med en træpind, som drejede båden rundt ved at stikke pinden ned på bunden af floden. Clara fortalte mig, at man tidligere kunne leje bådene og selv styre dem, men da hun flere gange havde set folk falde i, var det nok meget godt, at de havde droppet det. Efter rundturen spiste vi frokost, og Clara fik endelig fundet en salon, hvor hun fik klippet sit hår (det blev meget flot). Derfra tog vi en sidste tur rundt i byen og fik snuset i et par boghandlere, før vi vendte tilbage og spiste den sidste middag hjemme hos Fiona & Co. 

Den næste morgen stod vi tidligt op og blev kørt til stationen i St. Albans af Cameron og Fiona, hvor vi kunne tage et direkte tog ud til Gatwick. Turen igennem security gik hurtigt, og vi brugte derfor et par timer på at spise frokost og short bread i lufthavnen. På trods af at det havde været kraftigt stormvejr i dagene op til i Danmark, lykkedes det os at komme sikkert til København og efter at have pakket ud, spiste jeg aftensmad med August.  

[ridloaulia]

WC U20 and Indonesia Stances Againts Israeli Football Team, A Breakdown on Political Agendas.

Gara-gara penolakan Gubernur Bali Wayan Koster terhadap kedatangan Timnas Israel dalam perhelatan World Cup (WC) U20 di Indonesia, perbicaraan tentang Indonesia political stances, status negara Israel, dan football as political agenda menjadi isu yang seru banget untuk diobrolin. Thus, gw sendiri seneng karena ini ningkatin awareness masyarakat soal isu yang sebenarnya sensitif di dunia internasional. Dari beberapa pembahasan, gw nemuin beberapa tema-tema yang bisa banget dibreakdown dan dibahas. And like the rest of other opinions, analisis gw juga sangat merepresentasikan di mana stances gw dalam hal ini. So here we are some breakdown dari kacamata gue sebagai anak politik (jhaah).

Penolakan Indonesia terhadap Israel di WC U20 adalah alasan yang Islamic Oriented? I don’t think so. A deep understanding on Soekarno’s Mind.

Mayoritas muslim Indonesia menolak Israel, yes. Pemerintah Indonesia menolak Israel karena alasan agama mayoritas? No. It’s a two different variable. Agaknya kita harus melihat ke belakang soal bagaimana UUD tentang “.. penjajahan di atas dunia harus di hapuskan.” dan mencoba masuk ke alam pikiran Soekarno tentang penolakannya terhadap Israel. 

Pertama, bunyi UUD tentang penolakan penjajahan tersebut perlu kita lihat sebagai bentuk perlawanan terhadap memori penjajahan yang sudah ada di dalam benak seluruh masyarakat Indonesia. Tentu hal tersebut tidak secara eksplisit dan definitif mengacu pada satu atau dua negara, tapi kepada seluruh bentuk aktivitas “penjajahan”. Adapun kemudian penolakan terhadap Israel yang dilakukan oleh Soekarno adalah bentuk se-nafas dari nilai antipenjajahan tersebut. Engga cuma Israel, kok yang di-quoted soal penjajah saat itu. Kita bisa melihat bagaimana Konferensi Asia Afrika terbentuk dan membicarakan isu-isu antipenjajahan lainnya yang “engga cuma Israel, aja.”. Tapi KAA juga menjadi simbolis penentangan imperialisme Amerika Serikat (sebagai representasi blok Barat), dan Uni Soviet (representasi blok timur) melalui kerjasama ekonomi dan budaya. dan KAA ini pula bukan “cuma” diisi oleh negara-negara “islam”, tapi in more general way oleh negara-negara yang punya memori sepenanggungan soal penjajahan. Maka alasan Soekarno menolak Israel dengan alasan sepenanggungan dengan agama islam, keliru.

Oleh karenanya, stances yang diambil oleh Wayan Koster dalam menolak Israel adalah hal yang sangat negarawan dan berjiwa soekarnoisme. Bagaimana engga, dia mengacu ke UUD dan semangat antipenjajahan yang ‘murni’ bahkan tanpa dalih agama. Buat apa juga mengambil hati mayoritas islam Indonesia, toh suara terbanyak di Bali aja lebih dominan umat Hindu ketimbang Islam.

“Indonesia juga berhubungan dengan Israel, kok!”

Yes, sadly memang beberapa momen ke belakang kita bisa melihat kalau Indonesia punya economical demand ke Israel dengan salah satunya pembelian senjata tiga tahun silam. Dan mungkin entah ada kerjasama apalagi dengan Israel yang dilakukan.

But it’s a logical fallacy ketika kita menjadikan sebuah hal yang sebenarnya salah menjadi alasan pembenaran untuk kesalahan selanjutnya. Kerja sama pembelian senjata dengan Israel perlu dilihat sebagai hal yang inkonstitusional. Kenapa ini engga di-up dan engga rame? bisa sangat banyak alasannya kenapa hal ini redup. Tapi kalau ini mau diangkat jadi isu negara, gw dukung. Itu secara sah melanggar Undang-Undang soal hubungan non-diplomatik yg Indonesia bangun terhadap Israel.

Balik lagi. Hal ini kemudian engga menjadikan WC U20 Indonesia harus menerima Israel dengan alasan “kan pernah kerja sama”. it’s a logical fallacy. A fault cannot be a justification for another faults. Selama kita bisa menolak dan stay on track buat tetep sesuai amanah konstitusi, kenapa engga.

Masyarakat yang Menolak Israel (sebagai negara dan menolak kedatangan di Indonesia) adalah Illiterate and Conservative?

Sebelum lebih jauh, perlu di-noted bahwa memang konflik Israel-Palestina adalah hal yang rumit. Tapi kita harus “adil”. Kata “Rumit” perlu secara adil ditempatkan bagi mereka yang mendukung Palestina, dan harus juga ditempatkan untuk mereka yang mendukung Israel. (Masalahnya gw banyak nemu seolah2 those who fight for Palestine are shallow, illiterate, knows nothing, sementara those who agree with Israel has more international-view). No, it’s such an unfair dan sangat terpeleset ke dalam global hegemonic. So let’s make this fair. 

Ya, konflik Palestina-Israel is a trully high politics. Yang dukung Israel, banyak. Yang dukung Palestina pun sama banyaknya. Apakah yang dukung Palestina selalu berlandaskan alasan agama? jelas engga. Kita bisa lihat Profesor berdarah Yahudi, Norman Finklestein yang secara absolut menolak penjajahan Israel. Ada juga Noam Chomsky (who don’t know him?!), yg gw sendiri juga kaget, seorang filsuf dan sastrawan Amerika yang juga mendukung Palestina. Buat di Indonesia, just google-it. Banyak kok cendekiawan baik muslim ataupun nonmuslim yang dukung Palestina. Maka alasan penolakan Israel hanya karena alasan agama dan illiterate, keliru.

Meski begitu, gue paham kalau penunjukan “Mayoritas Pendukung Palestina berlandaskan agama dan kurang baca” itu sebenarnya ditunjukan kepada grass-root mayoritas masyarakat Indonesia, which is true. Tapi alih-alih mengatakan grass-root pendukung Palestina sebagai illiterate, as political students gw melihatnya sebagai “political campaign”. Karena persentase jumlah college-students itu pasti lebih sedikit dibandingkan masyarakat awam. Mereka yang di grass-root engga gw bilang kurang baca, tapi mereka mendengar dari those who are well-literated, which is fine. So then they act beyond consciousness, not in intellectual realm. Apakah itu masalah? engga. Karena memang goals dari any political campaign adalah menanamkan beyond consciousness belief. Ketika berbicara soal moralitas, gaada masalah ketika seseorang memercayai sesuatu dari hasil campaign yang memang dikatakan/disebarkan oleh orang yg berilmu. Let’s take a view to another side. Those who fight on LGBTQ apakah 100% from intellectual sources? no. Karena memang goal akhir dari suatu campaign (even LGBTQ campaign) adalah influence effect, sesuatu yang diterima oleh sosial as it is, as belief. 

Jadi to fight for Palestine, you dont need to be a professor. But morally, orang yang punya ide / kasih influence soal Pro-Palestine haruslah seorang intelektual (dan udh banyak kan). Yang jadi masalah, ketika those who have more knowledge accused some of grass root as illiterate. That is just unfair dan engga apple-to-apple.

Conservatism vs Progressive, A Binary Subordinate.

Masih lanjut bahasan soal orang-orang “konservatif Indonesia yang dukung Palestina”. Entah kenapa gw kok melihat istilah konservatif ini jadi semacam “sematan” yang sangat biner dan subordinat ya? terkesan seolah-olah the progressive is always better than conservatism. Mungkin jadinya progressive superiority, kl bisa gw sebut. Padahal justru, in progressive realm, konsep posttrukturalisme menolak adanya konsep biner dan subordinasi. Poststrukturalisme itu sendiri adalah produk dari pemikiran orang-orang progresif btw. So it will be a paradox kalau justru istilah progresif jadi seolah-olah dominan or better than conservative. Conservative and Progressive haruslah ditempatkan pada posisi netral yang “semua orang bisa memilih sesuai kehendak mereka”.

Untuk konteks dukung Palestina, gw mau state kalau “ya kenapa kalau konservatif?” silakan-silakan aja. even for those who are progressive, ya silakan aja. 

Yang lebih menarik, orang-orang progresif saat ini biasanya mendaratkan cara pikir dan standar-standarnya ke pada global institutions seperti PBB & FIFA. Padahal, dalam bukunya yang mahsyur, The Class of Civilization, Samuel Huntington bicara soal kemunduran logika institutionalism dan melihat bahwa masa depan negara-negara dunia maju harusnya lebih kepada berbasis kebangsaan, instead of global institution. Maka yang gw lihat, pemikiran Soekarno yang memisahkan diri dari Global institution saat itu untuk ambil stance sendiri as Politik Bebas aktif, membuat “Ganevo” sebagai olahraga tandingan, dan membuat gerakan non-blok is such a progressive way, karena engga lagi terkungkung oleh global institutional standards. 

FIFA: Keeps Politics Away from Football, A Hypocricary.

Ini salah satu adagium FIFA yang menurut gw sangat hipokrit. Ya, FIFA pakai istilah ini ketika seorang suppoter bola di pertandingan Premiere League membentangkan bendera Palestina di stadion. FIFA juga pakai istilah ini ketika suppoter membuat chants “Free Uyghur”. In other face of coins, FIFA mendukung penggunaan ban kapten Premiere League dengan logo pelangi untuk support LGBTQ, FIFA juga sampai banned Russia dari World Cup karena invasi ke Ukraina. 

No, dude. Playing football is not a politics, but FIFA is a political institution. They have agenda, they have campaigns, they have goals. Tujuannya apa bang Messi? ya politics always tend to power. sesimpel itu. 

Oleh karenanya, lupakan istilah football is not politics. Kedatangan timnas Israel engga semata-mata “kan cuma olahraga doang elah..” . Ini bener-bener ngomongin soal political stance dari Pemerintah Indonesia. 

Goodluck.

[goodmorningiages]

Bangla Sad Sms (কষ্টের এসএমএস) Koster Sad Status and best Bangla sad sms 2020, In this post you will get many nice fresh koster sad sms if you...

[ohc-and-the-music-tapes-archive]

Article in Record Journal about Chocolate USA, bands name and Maria Caso's (Julian's grandmother) contribution to the recording of “All Jets Are Gonna Fall Today”, 23 July 1993

transcript:

Granny helped Chocolate U.S.A. with debut

Marie Caso has a lot of opinions. For years, she's dutifully recorded them in cassette letters to her grandson, Julian Koster. Now, grandma's introspective snippets are radio fodder, providing commercial breaks between pop songs on her grandson's first CD. "OK, that’s all the complaints I have right now,"’ Caso said in a chatty Lone Island drawl during one of her many between-song guest appearances on Chocolate U.S.A.'s spunky debut, All Jets Are Gonna Fall Today. "So, uh, I'll talk to you again later. I'll put on Tommy Dorsey again, and maybe if he's got some nice music, I'll let you hear it.” She also talks about contentment vs. happiness (‘'...Yes, you can be content. I've taken happy out of my vocabulary. I never say that I'm happy! I say that I’m content") and how she's waiting for ‘God to water my garden," offers piano accompaniment to vocal exercises (presumably for Julian to practice with), and tells us when to turn the tape over. "She's the real deal," said Julian's bandmate, Keith Block, in a mid-tour interview from Granny Caso's Amityville, Long Island, home. "As we were recording the album, it just kind of dawned on him that he had all these tapes. So he sat down and listened to them, and he realized pretty quickly that this was something we could use. Bits and pieces seemed to relate to our songs. "Most of the songs were written when Julian was 14 or 15, and recorded when he was 18. At the time, she was the voice of comfort as he was going through all that turmoil of having parents or teachers or whoever bouncing you back and forth and telling you what to do and basically scaring the hell out of you. His grandmother was one who saw things in the long run and put things in a comforting way.'’ And does granny like the all the between banter stuff - the songs? "She thinks some of it's pretty interesting," said Block, adding that grandma agreed to be sampled. "She thinks that’s cool." Granny won't be part of the show when Chocolate U.S.A. stops by for a gig tonight at New Haven’s all-ages club, Tune Inn. But the band's quirky blend of King Missle meets They Might Be Giants pop-rock promises to be entertaining anyway, touching on topics from television teen doctor Doogie Howser's love theories to the desolation of missing Feelies Show. Formed in Florida and based in Athens, Georgia, Chocolate U.S.A. actually started out as Miss America — that is, until they started getting publicity and drew threats from the real Miss America people (inspiring a "We're getting Sued by the Sexist, Fascist Corporate Pigs" re-naming party and the grandiose single, "100 Feet Tall" about Miss America status). They realised Jets on their own, recording in dribs and drabs as money trickled in. Less than a year later, Bar None signed the band and rereleased the album. Already, the band's moved past the old material and is preparing to record a second release with more contributions from other band members. Before finishing the interview, Block asks, ‘‘Don’t you. want to know our influences?” responding to his own question with: "Definitely They Might Be Giants and Sonic Youth and all that. Also Simon and Garfunkel and Three Dog Night. And Jackson 5, big time, back when they were just another Motown act they were great." He seems eager to dispell the notion that the band's spoken-word "Wash My Face" ans stream of consciousness lyrics may have been inspired by Kin Missile's success; the two bands played together once and are friends, but the songs predated Missile's success, he notes. And though Chocolate U.S.A. has a "Chocolatey Good Smash Hit of the Month Club," in which the band offers non-album ditties on cheat cassette newsletters "to all the little chocolatey good folks in America," that also developed before the band knew about They Might Be Giants' phone line for fans. And what of the band's new name. Is there any significance? "No, basically, it's something that everybody loves," Block explained. "It's something that's childish and not very good for you but you can't help yourself. But beyond that, it's something that was kind of taken offhand. As far as I'm concerned, the band will always be Miss America. If not, then I just said, 'Screw it, we'll name it Fred.' " For information about Chocolatey Good Smash Hit of the Month Club, see a band member at the show or write to Bar None Records at P.O. Box 1704, Hoboken, NJ, 07030.

[shewhoworshipscarlin]

Bert Williams

Bert Williams (November 12, 1874 – March 4, 1922) was a Bahamian-born American entertainer, one of the pre-eminent entertainers of the Vaudeville era and one of the most popular comedians for all audiences of his time. He is credited as being the first black man to have the leading role in a film: Darktown Jubilee in 1914.[2]

He was by far the best-selling black recording artist before 1920. In 1918, the New York Dramatic Mirror called Williams "one of the great comedians of the world."

Williams was a key figure in the development of African-American entertainment. In an age when racial inequality and stereotyping were commonplace, he became the first black American to take a lead role on the Broadway stage, and did much to push back racial barriers during his three-decade-long career. Fellow vaudevillian W. C. Fields, who appeared in productions with Williams, described him as "the funniest man I ever saw—and the saddest man I ever knew."

Williams was born in Nassau, The Bahamas, on November 12, 1874, to Frederick Williams Jr. and his wife Julia. At the age of 11, Bert permanently emigrated with his parents, moving to Florida in the United States. The family soon moved to Riverside, California, where he graduated from Riverside High School in 1892. In 1893, while still a teenager, he joined different West Coast minstrel shows, including Martin and Selig's Mastodon Minstrels in San Francisco, where he first met his future professional partner, George Walker.

He and Walker performed song-and-dance numbers, comic dialogues and skits, and humorous songs. They fell into stereotypical vaudevillian roles: originally Williams portrayed a slick conniver, while Walker played the "dumb coon" victim of Williams' schemes. But they soon discovered that they got a better reaction by switching roles and subverting expectations. The sharp-featured and slender Walker eventually developed a persona as a strutting dandy, while the stocky Williams played the languorous oaf. Despite his thickset physique, Williams was a master of body language and physical "stage business." A New York Times reviewer wrote: "He holds a face for minutes at a time, seemingly, and when he alters it, bring[s] a laugh by the least movement."

In late 1896, the pair were added to The Gold Bug, a struggling musical. The show did not survive, but Williams & Walker got good reviews, and were able to secure higher profile bookings. They headlined the Koster and Bial's vaudeville house for 36 weeks in 1896–97, where their spirited version of the cakewalk helped popularize the dance. The pair performed in burnt-cork blackface, as was customary at the time, billing themselves as "Two Real Coons" to distinguish their act from the many white minstrels also performing in blackface. Williams also made his first recordings in 1896, but none are known to survive. They participated in a "Benefit for New York's Poor" held on February 9, 1897 at the Metropolitan Opera House, their only appearance at that theater.

While playing off the "coon" formula, Williams & Walker's act and demeanor subtly undermined it as well. Camille Forbes wrote, "They called into question the possible realness of blackface performers who only emphasized their artificiality by recourse to burnt cork; after all, Williams did not really need the burnt cork to be black," despite his lighter skin complexion. He would pull on a wig full of kinky hair in order to help conceal his wavy hair. Terry Waldo also noted the layered irony in their cakewalk routine, which presented them as mainstream blacks performing a dance in a way that lampooned whites who'd mocked a black dance that originally satirized plantation whites' ostentatiously fussy mannerisms. The pair also made sure to present themselves as immaculately groomed and classily dressed in their publicity photos, which were used for advertising and on the covers of sheet music promoting their songs. In this way, they drew a contrast between their real-life comportment and the comical characters they portrayed onstage. However, this aspect of their act was ambiguous enough that some black newspapers still criticized the duo for failing to uplift the dignity of their race.

In 1899, Williams surprised his partner George Walker and his family when he announced he had recently married Charlotte ("Lottie") Thompson, a singer with whom he had worked professionally, in a very private ceremony. Lottie was a widow eight years Bert's senior. Thus, the match seemed odd to some who knew the gregarious and constantly traveling Williams, but all who knew them considered them a uniquely happy couple, and the union lasted until his death. The Williamses never had children biologically, but they adopted and reared three of Lottie's nieces. They also frequently sheltered orphans and foster children in their homes.

Williams & Walker appeared in a succession of shows, including A Senegambian Carnival, A Lucky Coon, and The Policy Players. Their stars were on the ascent, but they still faced vivid reminders of the limits placed on them by white society. In August 1900, in New York City, hysterical rumors of a white detective having been shot by a black man erupted into an uncontained riot. Unaware of the street violence, Williams & Walker left their theater after a performance and parted ways. Williams headed off in a fortunate direction, but Walker was yanked from a streetcar by a white mob and was beaten.

The duo's international success established them as the most visible black performers in the world. They hoped to parlay this renown into a new, more elaborate and costly stage production, to be shown in the top-flight theaters. Williams and Walker's management team balked at the expense of this project, then sued the pair to prevent them from securing outside investors or representation. Filings in the suit revealed that each member of the team had earned approximately $120,000 from 1902 to 1904, or $3.5 million apiece in 2019 dollars. The lawsuit was unsuccessful, and Williams and Walker accepted an offer from Hammerstein's Victoria Theatre, the premiere vaudeville house in New York. A white Southern monologist objected to the integrated bill, but the show went ahead with Williams and Walker and without the objector.

In February 1906, Abyssinia, with a score co-written by Williams, premiered at the Majestic Theater. The show, which included live camels, was another smash. Aspects of the production continued the duo's cagey steps toward greater creative pride and freedom for black performers. The nation of Abyssinia (now Ethiopia) was the only African nation to remain sovereign during European colonization, repelling Italy's attempts at control in 1896. The show also included inklings of a love story, something that had never been tolerated in a black stage production before. Walker played a Kansas tourist while his wife, Aida, portrayed an Abyssinian princess. A scene between the two of them, while comic, presented Walker as a nervous suitor.

While the show was praised, many white critics were uncomfortable or uncertain about its cast's ambitions. One critic declared that audiences "do not care to see their own ways copied when they can have the real thing better done by white people," while the New York Evening Post thought the score "is at times too elaborate for them and a return to the plantation melodies would be a great improvement upon the 'grand opera' type, for which they are not suited either by temperament or by education." The Chicago Tribune remarked, disapprovingly, "there is hardly a trace of negroism in the play." George Walker was unbowed, telling the Toledo Bee, "It's all rot, this slapstick bandanna handkerchief bladder in the face act, with which negro acting is associated. It ought to die out and we are trying to kill it." Though the flashier Walker rarely had qualms about opposing the racial prejudice and limitations of the day, the more introspective and brooding Williams internalized his feelings.

In 1908, while starring in the successful Broadway production Bandanna Land, Williams and Walker were asked to appear at a charity benefit by George M. Cohan. Walter C. Kelly, a prominent monologist, protested and encouraged the other acts to withdraw from the show rather than appear alongside black performers; only two of the acts joined Kelly's boycott.

Bandanna Land continued the duo's series of hits and introduced a tour de force sketch that soon Williams made famous: his pantomime poker game. In total silence, Williams acted out a hand of poker, with only his facial expressions and body language conveying the dealer's up-and-down emotions as he considered his hand, reacted to the unseen actions of his invisible opponents, and weighed the pros and cons of raising or calling the bet. It later became a standard routine in his solo stage act, and was recorded on film by Biograph Studios in 1916.

Walker was in ill health by this point due to syphilis, which was then incurable. In January 1909 he suffered a stroke onstage while singing, and was forced to drop out of Bandanna Land the following month. The famous pair never performed in public again, and Walker died less than two years later. Walker had been the businessman and public spokesman for the duo. His absence left Williams professionally adrift.

After 16 years as half of a duo, Williams needed to reestablish himself as a solo act. In May 1909 he returned to Hammerstein's Victoria Theater and the high-class vaudeville circuit. His new act consisted of several songs, comic monologues in dialect, and a concluding dance. He received top billing and a high salary, but the White Rats of America, an organization of vaudevillians opposed to encroachments from blacks and women, intimidated the theater managers into reducing Williams' billing. The brash Walker would have resisted such an insult to his star status, but the more reserved Williams did not protest. Allies were few; big-time vaudeville managers were fearful of attracting a disproportionate number of black audience members and thus allowed only one black act per bill. Due to his ethnicity, Williams typically was forced to travel, eat and lodge separately from the rest of his fellow performers, increasing his sense of isolation following the loss of Walker.

In 1910, Booker T. Washington wrote of Williams: "He has done more for our race than I have. He has smiled his way into people's hearts; I have been obliged to fight my way." Gene Buck, who had discovered W. C. Fields in vaudeville and hired him for the Follies, wrote to a friend on the occasion of Fields' death: "Next to Bert Williams, Bill [Fields] was the greatest comic that ever lived."

Williams' stage career lagged after his final Follies appearance in 1919. His name was enough to open a show, but they had shorter, less profitable runs. In December 1921, Under the Bamboo Tree opened, to middling results. Williams still got good reviews, but the show did not. Williams developed pneumonia, but did not want to miss performances, knowing that he was the only thing keeping an otherwise moribund musical alive at the box office. However, Williams also emotionally suffered from the racial politics of the era, and did not feel fully accepted. He experienced almost chronic depression in his later years, coupled with alcoholism and insomnia.

On February 27, 1922, Williams collapsed during a performance in Detroit, Michigan, which the audience initially thought was a comic bit. Helped to his dressing room, Williams quipped, "That's a nice way to die. They was laughing when I made my last exit." He returned to New York, but his health worsened. He died at his home, 2309 Seventh Avenue in Manhattan, New York City on March 4, 1922 at the age of 47. Few had suspected that he was sick, and news of his death came as a public shock. More than 5,000 fans filed past his casket, and thousands more were turned away. A private service was held at the Masonic Lodge in Manhattan, where Williams broke his last barrier. He was the first black American to be so honored by the all-white Grand Lodge. When the Masons opened their doors for a public service, nearly 2,000 mourners of both races were admitted. Williams was buried in Woodlawn Cemetery in The Bronx, New York City.

https://en.wikipedia.org/wiki/Bert_Williams

[oots-digitalmedia]

Queer Rep in The Orbiting Human Circus

Title: The Orbiting Human Circus (of the air)

    Status: Unknown

    Written and Directed by: Julian Koster

Cast: John Cameron Mitchell, Julian Koster, Tim Robbins, Drew Callander, Susannah Flood, David Barlow, Dan Solomon, Jessie Shelton, Miche Braden, Nicholas Carter, Hy Wolfe, Harrison Beckwith, and Walter Lowery. Season One features Mandy Patinkin and Charlie Day

    Queer Creators: Yes

    Accessibility: No content warnings per episode or transcripts available.

        CW: Involves abuse, cannibalism, and attempted suicide

Summary: Discover a wondrously surreal world of magic, music, and mystery. This immersive, cinematic audio spectacle follows the adventures of a lonely, stage-struck janitor who is drawn into the larger-than-life universe of The Orbiting Human Circus, a fantastical, wildly popular radio show broadcast from the top of the Eiffel Tower.

Tags: mlm main character, Multiple mlm characters

More details and/or spoilers under the break.

Check out our other queer podcast recommendations here.

ID tags: Julian the Janitor: Mlm, John Cameron: mlm

Details and/or Spoilers: John and Cary are dating

Check out our other queer podcast recommendations here.

[a-dinosaur-a-day]

Aepyornithomimus tugrikinensis

By Scott Reid 

Etymology: Elephant Bird Mimic

First Described By: Tsogtbaatar et al., 2017

Classification: Dinosauromorpha, Dinosauriformes, Dracohors, Dinosauria, Saurischia, Eusaurischia, Theropoda, Neotheropoda, Averostra, Tetanurae, Orionides, Avetheropoda, Coelurosauria, Tyrannoraptora, Maniraptoromorpha, Maniraptoriformes, Ornithomimosauria, Ornithomimoidea, Ornithomimidae

Status: Extinct

Time and Place: Around 80 million years ago, in the Campanian of the Late Cretaceous 

Aepyornithomimus is known from the Tögrögiin Shiree environment of the Djadokhta Formation in Ömnögovi, Mongolia 

Physical Description: Aepyornithomimus was a large, derived Ornithomimosaur, much like the later Struthiomimus and Ornithomimus - indicating that these animals were present early on in the Latest Cretaceous. In fact, Aepyornithomimus was somewhat intermediate in form between earlier and later forms, indicating it was somewhat transitional. The size of this dinosaur is unknown, since so little of its skeleton is known, and it could have been anywhere between 2 and 5 meters long. It had unique feet, with fairly slender toes that were weirdly curved compared to close relatives. It also had longer toes than later forms - indicating said transitional nature. Unfortunately, the only parts of this dinosaur known are its legs and feet, so any weirdness elsewhere is currently unknown - though it stands to reason it may have looked different from other Ornithomimosaurs. It probably had a toothless beak, with a small head, long neck, and decently sized tail. As an Ornithomimosaur, Aepyornithomimus would have been covered in feathers all over its body, with wings on its arms (and potential ornamental feathers elsewhere as well). 

By Ripley Cook 

Diet: It is more likely than not that Aepyornithomimus was an herbivore, as other Ornithomimosaurs were as well.

Behavior: As an Ornithomimosaur, Aepyornithomimus would have been fast moving, primarily using speed to run away from predators rather than other means of defense. It probably would have lived in herds, or at least small groups, exploring its environment and feeding together. It is possible that it may have had adaptations in its mouth to aid in feeding on dry vegetation - since Ornithomimosaurs are usually wet-habitat dwellers, and stick to soft water-based vegetation, Aepyornithomimus is fascinating as a case study into how these dinosaurs adapted to different areas. As a dinosaur, it would have taken care of its young, potentially with the help of the rest of the flock. The wings would have been primarily used in communication - especially sexual and other forms of display. Brighter colors or weirder patterns on those feathers would have been used to indicate the health of the individuals involved. 

By José Carlos Cortés 

Ecosystem: The Tögrögiin environment was a red, windswept desert, much like how the fossil formation where these animals are found is today. There wasn’t a lot in terms of water, though eventually the ecosystem would transition to a wetter environment during the time of the likes of Deinocheirus et al. There were oases and arroyos, but it would have primarily been very, very dry. This means it would have been filled with tough vegetation, and as such it wasn’t a very herbivore-heavy environment.

This environment was filled with a wide variety of animals - especially lizards. There were Iguanas like Mimeosaurus, Temujinia, Zapsosaurus, Isodontosaurus, Flaviagama, Gurvansaurus, and Dzhadochtosaurus; skinks like Adamisaurus; and monitors like Cherminotus. As for mammals, there were the insectivorous stem-mammals like Barunlestes and Zalambdalestes, and the multituberculate Kryptobaatar. 

By Stolp 

Of course, Aepyornithomimus wasn’t the only dinosaur here! This place was lousy with the Ceratopsian Protoceratops, which would have been a major competitor with Aepyornithomimus for plant food; and there were also plenty of Pinacosaurus, the Ankylosaur, which would have been able to reach for plants with its long and flexible tongue. Insectivores included Shuvuuia, the Alvarezsaur; and Elsornis, the Opposite Bird. Mahakala, an early raptor, was present as well - and it may or may not have specialized in feeding whatever animals were present at the oases and arroyos that were present, as it seems to have been closely related to the later Goose-Raptor Halszkaraptor. Finally, the main predator of Aepyornithomimus would have been Velociraptor - which was extremely common in this location as well!

Other: Aepyornithomimus, as a potentially transitional Ornithomimosaur, helps to highlight some of the evolution of this group. It is entirely possible that Ornithomimids originated in Asia, before spreading out to North America - or, at least, went through a major portion of their evolution there. Aepyornithomimus also will help to show, as we study it further, how Ornithomimids may have handled the challenge of evolving for drier habitats.

~ By Meig Dickson

Sources Under the Cut 

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Alifanov, V. R. 1993. New lizards of the family Macrocephalosauridae (Sauria) from the Upper Cretaceous of Mongolia, critical remarks on the systematics of the Teiidae. Paleontological Journal 27(1):70-90.

Barsbold, R. 1974. Poyedinok dinozavrov [Dueling dinosaurs]. Prioda 1974(2):81-83.

Chiappe, L. M., M. A. Norell, and J. M. Clark. 1998. The skull of a relative of the stem-group bird Mononykus. Nature 392:275-278.

Chiappe, L. M., S. Suzuki, G. J. Dyke, M. Watabe, K. Tsogtbaatar and R. Barsbold. 2007. A new enantiornithine bird from the Late Cretaceous of the Gobi Desert. Journal of Systematic Palaeontology 5(2):193-208.

Chinzorig, T., Y. Kobayashi, K. Tsogtbaatar, P. J. Currie, M. Watabe and R. Barsbold. 2017. First ornithomimid (Theropoda, Ornithomimosauria) from the Upper Cretaceous Djadokhta Formation of Tögrögiin Shiree, Mongolia. Scientific Reports 7(1):5835:1-14.

Fastovsky, D. E., D. B. Weishampel, M. Watabe, R. Barsbold, K. Tsogtbaatar and P. Narmandakh. 2011. A nest of Protoceratops andrewsi (Dinosauria, Ornithischia). Journal of Paleontology 85(6):1035-1041.

Gao, K., and M. A. Norell. 2000. Taxonomic composition and systematics of Late Cretaceous lizard assemblages from Ukhaa Tolgod and adjacent localities, Mongolian Gobi Desert. Bulletin of the American Museum of Natural History 249:1-118.

Gradzinski, R., and T. Jerzykiewicz. 1972. Additional geographical and geological data from the Polish-Mongolian Palaeontological Expeditions. Palaeontologia Polonica 27:17-306.

Kielan-Jaworowska, Z., and R. Barsbold. 1972. Narrative of the Polish-Mongolian Palaeontological Expeditions 1967-1971. Palaeontologia Polonica 27:5-136.

Kielan-Jaworowska, Z., and D. Dashzeveg. 1978. New Late Cretaceous mammal locality in Mongolia and a description of a new multituberculate. Acta Palaeontologica Polonica 23(2):115-128.

Kielan-Jaworowska, Z., and B. A. Trofimov. 1981. A new occurence of Late Cretaceous eutherian mammal Zalambdalestes. Acta Palaeontologica Polonica 26(1):3-7.

Kielan-Jaworowska, Z. 1984. Evolution of the therian mammals in the Late Cretaceous of Asia. Part V. Skull structure in Zalambdalestidae. Palaeontologia Polonica 46:107-117.

Kielan-Jaworowska, Z., and J. H. Hurum. 1997. Djadochtatheria - a new suborder of multituberculate mammals. Acta Palaeontologica Polonica 42(2):201-242.

Kurzanov, S. M. 1972. Sexual dimorphism in protoceratopsians. Paleontological Journal 1972(1):91-97.

Jerzykiewicz, T., P. J. Currie, D. A. Eberth, P. A. Johnston, E. H. Koster and J. J. Zheng. 1994. Djadokha Formation correlative strata in Chinese Inner Mongolia: an overview of the stratigraphy, sedimentary geology, and paleontology and comparisons with the type locality in the pre-Altai Gobi. Canadian Journal of Earth Sciences 39(10-11):2180-2195.

Mikhailov, K. E. 1991. Classification of fossil eggshells of amniotic vertebrates. Acta Palaeontologica Polonica 36(2):193-238.

Mikhailov, K. 1994. Eggs of theropods and protoceratopsian dinosaurs from the Cretaceous of Mongolia and Kazakhstan. Paleontological Journal 28:101-120.

Mikhailov, K. E. 2000. Eggs and eggshells of dinosaurs and birds from the Cretaceous of Mongolia. In M. J. Benton, M. A. Shishkin, D. M. Unwin, & E N. Kurichkin (eds.), The Age of Dinosaurs in Russia and Mongolia 560-572.

Nikoloff, I., and F. v. Huene. 1966. Neue Vertebratenfunde in der Wüste Gobi. Neues Jahrbuch für Geologie und Paläontologie Monatshefte 11:691-694.

Norell, M. A., and P. J. Makovicky. 1997. Important features of the dromaeosaur skeleton: information from a new specimen. American Museum Novitates 3215:1-28.

Norell, M. A., and P. J. Makovicky. 1999. Important features of the dromaeosaur skeleton II: information from newly collected specimens of Velociraptor mongoliensis. American Museum Novitates 3282:1-45.

Perle, A., M. A. Norell, L. M. Chiappe and J. M. Clark. 1993. Flightless bird from the Cretaceous of Mongolia. Nature 362:623-626.

Sabath, K. 1991. Upper Cretaceous amniotic eggs from the Gobi Desert. Acta Palaeontologica Polonica 36(2):151-192.

Saneyoshi, M., M. Watabe, T. Tsubamoto, K. Tsogtbaatar, T. Chinzorig and S. Suzuki. 2010. Report of the HMNS-MPC Joint Paleontological Expedition in 2007. Hayashibara Museum of Natural Sciences Research Bulletin 3:19-28.

Suzuki, S., and M. Watabe. 2000. Report on the Japan–Mongolia Joint Paleontological Expedition to the Gobi desert, 1998. Hayashibara Museum of Natural Sciences Research Bulletin 1:83-98.

Turner, A. H., D. Pol, J. A. Clarke, G. M. Erickson, and M. A. Norell. 2007. A basal dromaeosaurid and size evolution preceding avian flight. Science 317:1378-1381.

Watabe, M., and D. B. Weishampel. 1994. Results of Hayashibara Museum of Natural Sciences–Institute of Geology, Academy of Sciences of Mongolia Joint Paleontological Expedition to the Gobi Desert in 1993. Journal of Vertebrate Paleontology 14(3, suppl.):51A.

Watabe, M., and S. Suzuki. 2000. Cretaceous fossil localities and a list of fossils collected by the Hayashibara Museum of Natural Sciences and Mongolian Paleontological Center Joint Paleontological Expedition (JMJPE) from 1993 through 1998. Hayashibara Museum of Natural Sciences Research Bulletin 1:99-108.

Watabe, W., and S. Suzuki. 2000. Report on the Japan–Mongolia Joint Paleontological Expedition to the Gobi desert, 1994. Hayashibara Museum of Natural Sciences Research Bulletin 1:30-44.

Watabe, M., and K. Tsogtbaatar. 2004. Report on the Japan–Mongolia Joint Paleontological Expedition to the Gobi desert, 2000. Hayashibara Museum of Natural Sciences Research Bulletin 2:45-67.

Watabe, M., and D. E. Fastovsky. 2007. Mass burial event of Pinacosaurus (Ankylosauria, Dinosauria) in Alag Teg, a fluvial facies of the Djadokhta Formation (Late Cretaceous), Gobi Desert, Mongolia. Journal of Vertebrate Paleontology 27(3, suppl.):163A.

Wible, J. R., M. J. Novacek, and G. W. Rougier. 2004. New data on the skull and dentition of the Mongolia Late Cretaceous eutherian mammal Zalabdalestes. Bulletin of the American Museum of Natural History 281:1-144.

[samepsy]

Religion, Dissatisfaction and Political Action

Outlook On Life Survey

After having looked at OutlookOnLife codebook, I decided that I am interested in political behavior and religion. Although it is too early to pinpoint the variables that will ultimately help me. I have decided to include several variables for now. They are related to political orientation, political activism, dissatisfaction, and religion. I will refine my variable list after further exploration. My larger interest is in association between religion, politics especially political action.

Literature Review

Rise of democratically elected ‘dictators’ is proving to be a major challenge in functioning of ‘idealized’ democratic system. Although popularly elected, sometimes with sweeping majority, these rulers usually fan popular sentiments against minorities or invoking religious symbolism. Even though their biases and undemocratic behavior is obvious they tend to enjoy a cult like status. Interestingly, these rulers often enjoy increased popularity even when they make mistakes. In this scenario expression of political dissatisfaction with the government, let alone protest or demonstration, is seen as a move against the state. Moreover, the behavior of these rulers might often be termed as ‘immoral’ yet they seem to enjoy support of a sizeable population of religious conservatives. For me, these two puzzles – undue popularity and religious support – deserve a look.

It is generally accepted that political dissatisfaction leads to political activism or action (Craig & Maggiotto, 1981) although there is much complexity to issue. Dissatisfaction could be due to a number of factors but that alone does not ensure political action (Kowalewski, 2019). An interesting example, is the influence of culture. Depending upon the type of culture a person may choose to seek remedy or not. Ekiz and Au (2011) found that Chinese were more ‘forgetting and forgiving’ than Americans and were less likely to complain. Religion has been positively linked with life-satisfaction, although the exact mechanisms are not entirely clear (Kate, Koster, & Waal, 2017). If religion tends to lower dissatisfaction, then people higher in religiosity should be less prone to political activism/action. This leads to me to my first hypothesis:

1.       Higher religiosity will be associated with lower levels of political dissatisfaction and thus less likelihood for political action

The other question that I am interested in exploring is whether political action is really an indicator of anti-state sentiment. This question can be put in another way: Political action is motivated by bias against a political ideology or ruler (Jilke & Baekgaard, 2020). If this is the case then those having similar ideological beliefs with the ruling party or ruler should neither be dissatisfied nor be motivated to act in a political significant way. Since the survey was conducted during President Obama’s tenure:

2.       Republicans should show more political dissatisfaction than democrats towards the government.

3.       Republicans should participate in more political activities than democrats

If the above 2 hypotheses do not stand, then we can safely conclude that political demonstrations are not biased and thus cannot always be taken to mean anti-state activities

  References

Craig, S. C., & Maggiotto, M. A. (1981). Political Discontent and Political Action. The Journal of Politics, 514-522.

Ekiz, E. H., & Au, N. (2011). Comparing Chinese and American attitudes towards complaining. International Journal of Contemporary Hospitality Management, 327 - 343.

Jilke, S., & Baekgaard, M. (2020). The Political Psychology of Citizen Satisfaction: Does Functional Responsibility Matter? . Journal of Public Administration Research and Theory, 130-143.

Kate, J. t., Koster, W. d., & Waal, J. v. (2017). The Effect of Religiosity on Life Satisfaction in a Secularized Context: Assessing the Relevance of Believing and Belonging. Review of Religious Research, 135-155.

Kowalewski, M. (2019). Dissatisfied and Critical Citizens: the Political Effect of Complaining. Society, 453 - 460.

[jamiefairfaxisntcool]

/mu/core album review | Neutral Milk Hotel - In the Aeroplane Over the Sea

/mu/core album review #1

this week on /mu/core album review, we look at:

Neutral Milk Hotel - In the Aeroplane Over the Sea

Ah yes, In the Aeroplane Over the Sea. The album that’s mostly known as either, “that one weird album from the 90s,” or, “/mu/ basic bitch meme music.” If you’re anywhere past a casual music fan, you have most-likely heard some songs off this project, if not the whole thing, doubly so if you’re into 90s culture, Indie, or any sort of Art-Rock or Folk movements. As I type this, the most popular YouTube rip of the album has about 4.3 million views, a playlist separating each track stands at 500,000 views, and the title track has a remarkable 40,733,956 plays on Spotify. Holy shit, to put that into perspective: AV Club writes that, “In The Aeroplane Over The Sea was originally slated to sell about 7,000 copies,” that’s roughly 5,819 times the predicted sales numbers of the album on just that song. This also means that this song has been listened to for approximately 131,163,338 minutes, a total of around 131,163,299 more minutes than the actual album length. Humanity has spent a collective 249 years listening to In the Aeroplane Over the Sea. Oh, and that’s just the title track.

If I couldn’t spell it out so clearly there, this album is fucking outrageously popular.

Even if you haven’t heard any material off the LP, this album is memed pretty heavily in the music corners of the internet. I don’t think I can find a single music meme page or forum that hasn’t jumped upon the ITAOTS or NMH bandwagon.

At this current point in time, ITAOTS has became a permanent resident in the zeitgeist of internet music culture. NMH, and by extension, it’s creator, Jeff Mangum have been elevated to a cult of personality status. The band and this project are accompanied by a never-ending choir: 15-25 year old sad white boys who cry while sing-screeching about semen and Anne Frank and poorly play open chords on their detuned Ibanez acoustics.

It’s oddly beautiful.

The album is so deceptively simple, so creatively cryptic and has all the elements of a slog faux-folk fest filled with whining that would bore me to so many tears that they could rival the sad boy indie kids who lose their e-girls to their more socially active explore-page bait counterparts. To a person not familiar with it, ITAOTS could look like an over hyped, masturbatory depression tape. It looks boring. It looks like it should be boring.

If it should be boring, then why have I only listened to it and absolutely nothing else for the last two days?

This isn’t a joke, I revisited the album of course to refresh myself before sitting down and writing this review. I kept listening, over the course of a school day, in-between production and songwriting sets, while playing games, and as I write this, I just finished my eighth spin of the record. Before those last two days, I had only listened to the album probably twice. 

I remember listening to it back in seventh grade and not particularly disliking it. I was really into Yes and a lot of other Prog and Psych bands, but I wasn’t particularly impressed with the almost yuppie voice that Jeff had used on the record compared to vocal beasts like Freddie Mercury, Bowie, and Jon Anderson. Later on, I listened in freshman year, and I appreciated it much more, and had a few songs come up in my shuffle play, but thought nothing much of it.

Now, war had changed.

part 1: i’m the fucking carrot king

As I plopped down in my computer chair, my window crackled and banged like a distant firecracker with the smack of heavy rains on a Summer afternoon. I placed my headphones firmly atop my ears, closed my eyes and leaned back in my chair. I heard the opening chords of The King of Carrot Flowers Pt. 1 and tried not just to hear the instrumentation, but also pay attention to the lyrical content of Mr. Mangum.

When you were young, you were the king of carrot flowers And how you built a tower tumbling through the trees In holy rattlesnakes that fell all around your feet

Okay, so what the fuck is actually happening here?

Upon my listens, I inferred that Jeff is speaking to another party here, most likely a female love interest, in what seemingly starts in a nostalgic tone. This sounds almost like a picturesque, coming-of-age, Americana film. Maybe one starring Molly Ringwald and River Phoenix, with a surprise cameo from someone famous back then like Jack Nicholson. Maybe John Candy, with a John Hughes script. Everything would have those faded out, classic colors, a hearkened back era. Quickly, by halfway through the first act, the tone shifts. A darker mood, a stark, grim reminder that life wasn’t always sunny and shinning in Mister Rogers’ Neighborhood.

And your mom would stick a fork right into daddy's shoulder And dad would throw the garbage all across the floor As we would lay and learn what each other's bodies were for

The Mang informs us of a horrific family life, specifically about what seems to be his dad’s, stepmom’s, and stepsister’s interpersonal relationships. The lines are obvious and straightforward, the life of our protagonist was rife with unhealthy familial and sexual relationships, and a sense of love and sweetness was not found there. Keep that in mind when thinking about later songs such as Oh Comely.

After the somber intro of Carrot Flowers Pt. 1, we reach my personal least favorite track on the album: The King of Carrot Flowers Pt. 2 and 3.

Look, I know the meme. “I LOOOOOOOOOVE JESUUUS CHUHRIEEEIISSSSTT,” and all that shit. I’m not even worked up about that line in particular, I just dislike Pt. 3. It’s the weakest of the upbeat songs on the album, with the weird yodel-screech voice that Gumman performs with really takes me out of the experience, which sucks because the buildup and atmosphere of Pt. 2 felt pretty amazing. Luckily, Pt. 3 is fairly short, so we don’t have to worry about it too much.

part 2: earth angel’s thesis

The title track for this album is one of the best songs on this album, no fucking contest. In the Aeroplane Over the Sea, Oh Comely, The Fool, and Two-Headed Boy Pt. 2 are top contenders when discussing this album. If you like the faster, fuzzier, upbeat songs you could probably substitute The Fool for Holland, 1945.

The title track has a familiar sounding chord progression and we can hear Gum from Jet Set Radio’s saccharine but yelp-y voice belt out from atop the mountains his undying love and admiration for... Anne Frank?

What a beautiful face I have found in this place That is circling all round the sun What a beautiful dream That could flash on the screen In a blink of an eye and be gone from me

In the first verse, Geoff mentions meeting or viewing a beautiful person on this fleeting rock circling round the Sun. He also matches this with the idea that it’s truly futile for him to chase after this beauty, as it is only a dream that could escape him when he awakes. El Jefé has actually mentioned that some of his surrealist lyrics are derived from dreams. Perhaps these lines could imply a more literal dream fading? I don’t exactly know, all I know is what I interpreted.

The instrumentation of this piece is nothing straying from NMH’s usual repertoire: Mandrake on Guitar and Vocals, Scott Spillane on the Horns, Robert Schneider on Bass and Production, Julian Koster playing... something. What is he playing? Wait, give me a second.

He’s playing the Singing Saw? I thought it was like, a Theremin. What the fuck is a Singing Saw?

Oh.

Okay sure, you can play that, however the fuck you do that.

And finally we have Jeremy Barnes on Drums.

The personnel handle the music with a light, bouncy feeling, and the tone and timbre remind me of a faded, old, seaside town on the east coast. Another thing to mention is that the chord progression is G-Em-C-D; I-vi-IV-V. A funny thing I noticed is that this song shares a chord progression with tons of songs from the 50’s and early 60’s, which adds to the waning Americana feeling, but it more specifically shares that progression with Earth Angel by The Penguins. In the 80’s film, Back To The Future, Marvin Berry covers the song with his band for the Enchantment Under The Sea Dance where Marty’s dad and mom have to dance to ensure that the future stays intact. There’s no further real connection, but I thought that was kinda cool to mention.

After looking through the lyrics for In the Aeroplane Over the Sea, I will admit, as a brainlet Two-Headed Boy Pt. 1 eluded me. Patrolling through Genius and some other reviews, I guess the consensus about this track was that it was about Anne Frank again? Manta Jeff’s cryptic lyricism continues to fool me. Besides the lyrics, this track mostly remains a piece of really good filler.

part 3: stop the military occupation of my brainwaves

The Fool is amazing, anyone who says it’s filler is wrong. I know I might anger some people by literally implying that Two-Headed Boy Pt. 1 was filler, but seriously The Fool just makes me a feel a way. My brain creates a scene reminiscent of a depressing diesel-punk Les Misérables. Even though Scotch Spillage’s fantastic piece for horns is beautifully imperfect, it lacks lyrical content and is short and length. So, let’s instead talk about Holland, 1945.

This awesome, uptempo, almost punk-like piece of fuzzy brass is groovy son. It’s probably the song you could show someone not familiar with this project and they’d be like, “Oh, is this Cake? Why is the lead singer singing so high now?”

Holland, 1945 is a song that you can just listen for the instrumentation. Holland, 1945 is a song that promotes peace and love. There’s so many great things I can say about Holland, 1945. How it’s theme is so perfectly fitting for today’s political climate, how it manages to blend these psychedelic and bluesy timbres with a fast and loud sound and how well it continued the semi-conceptual narrative of Joff’s admiration and love for... Anne Frank.

Okay, fuck it, I have to say it. It’s bothered me ever since I discovered it.

Why Anne Frank? Like, I know why Anne Frank, but I mean like, why, y’know? I’ll say I admire Anne Frank, she was trying her best to live a normal life in a terrifying time to be alive, but I never wanted to fuck her. xxJeffxx’s mentions of Anne kind of make me raise an eyebrow. Especially because the album’s not just about her either. When he gets sexual, it’s difficult to determine whether he is mentioning a third party or Anne, which would be pretty weird, as she was 15 when she died and Heff was 28 when he wrote this. Maybe this is just some patrician music shit that I’m too plebeian to understand, like heated toilet seats or drinking for fun rather than to drown the pain. Maybe I haven’t sat down and watched enough flowery-squarespace-sponsored-lofi-hip-hop-muzak-using-pretentious video essayists to understand it, but what do I know.

part 4: the proletariat cries

To wrap on the second half of the album, this is the half that I cried in.

Communist Daughter is a good song, but with how short it is, it left me wanting more. This track is one of the few that actually features a soft-spoken Jeffen, and its open and dark but dreamy atmosphere left my jaw agape. The mountaintops weren’t the only thing stained.

Oh Comely, Oh Comely. Oh Comely is a song that deserves its own review. The lyrical chops of The Mangum Magnum are on full display as he belts somber, brutal verse after verse, with plenty of juxtaposition between sickening, sexual and vile situations alongside a description of a sweet, innocent young girl, just trying to survive with a guitar by her side. This beautiful, lovely girl gets taken advantage by someone, some people, perhaps even Yeff himself, only seen as an easy lay, a whore, like the ones her father visits often. He disgustingly describes semen in the garden, and her making miracles with her mouth, but I didn’t get a tone similar to so many songs about “sexual-empowerment.” The song is about self-deprecating depression leading to her being used, perhaps even abused. A situation all too real, too close to many of us. As I type this, I don’t know what to think. A woman should of course have individual sexual freedom, but this song doesn’t describe that. It describes trauma, emotional, psychological trauma. Meaningless sex, a rotten smell, staining the flower of a woman, all of this language that could be simply described as gross. This isn’t a happy song about fucking bitches. This song is about how a girl wanted to play music, pluck vines and was taken advantage of, reduced to her roots, and deflowered. Fuck. I wish I could save her. In some sort of time machine.

Two-Headed Boy could refer to a number of things. I have a head canon. This girl, Comely, is being used by the Two-Headed Boy for sexual favors. The Two-Headed Boy then “repays” her in friendship and music, playing their silly little songs. On the surface, Comely assumes the Two-Headed Boy trusts her and cares for her, but really all he wants is sex. Comely, living in a broken home and without a proper male figure in their life, is conned by the Two-Headed Boy, and just wants to live a normal life. Comely is trapped. She’s living in a place that is surrounded by the texture of scum and she knows it, she just can’t call upon the strength to leave. She’s trapped in a home, a ghetto, wanting to live a normal life, but she’s been placed here by the Two-Headed Boy, who knew her mother and father were broken, and she would be too. The Two-Headed Boy broke in, claimed to be her friend, and supports her, before defiling her. Comely was pretty, bright, and intelligent. She was just in a bad situation.

Comely was Anne Frank.

Not to say that they were literally one in the same, but I mean J. Mangum (private eye) is comparing two children, ripped from their lives by this awful world, and intertwining them, blurring the lines.

Who’s the Two-Headed Boy? As I said, it could be a number of people. Nazis, Peter van Pels, hell, even Jeff Manga himself could be the Two-Headed Boy. It doesn’t matter as long as we realize the relationship between oppressed and oppressor.

There is a glimmer of hope for Comely though. Read the closing words from Two-Headed Boy Pt. 2:

Two headed boy, she is all you could need She will feed you tomatoes and radio wires And retire to sheets safe and clean But don't hate her when she gets up to leave

Comely and the Two-Headed Boy split away from each other. Comely leaves the Two-Headed Boy, and the narrator says not to hate her when she leaves. On a deeper level, this could be an introspective Jeff Mangum relating on his past. I don’t really know.

outro

Neutral Milk Hotel - In the Aeroplane Over the Sea

9/10

What did you think? Was I way off the mark, or do you agree? What should I have covered? What did you like, what did you dislike, I’m all ears. Leave a follow and a like if you liked it and I’ll see you on Wednesday.

[itwasanangryinch]

JCM Projects -- 2019

My aim is to update this at least monthly, ideally weekly with all of the projects John Cameron Mitchell will be working on, debuting, or a part of in the upcoming year. If you know of a project not listed here, please message me thru inbox or IM.  | |  Updated June 19th

This Week (June 19th-23rd)

(DJing) Mattachine – Monthly queer dance party with Amber Martin and Ang DiCarlo at the Julius

The Origin of Love Tour (North American) (ongoing)

New York – June 27th, at The Town Hall (3 left!) New York – June 28th, at The Town Hall – sold out! New York – June 29th, at The Town Hall – sold out! New York – July  27th, two shows! at Fischer Theatre/Bard College (16 left!) Michigan – November 2nd,  at the University of Michigan, (tix on sale in Aug.) Austin – February 7th, 2020, at University of Texas at Austin/Bass Concert Hall (tix on sale in August) San Fransciso – February 29th, 2020, at Berkley University. (tix on sale in Aug.) Salt Lake City – April 3rd, 2020, at Kingsbury Hall (tix on sale in July)  Los Angeles – April 11th, 2020, at UCLA/The Theatre at Ace Hotel (tix on sale in July)

more dates to come!

MERCHANDISE: Junction City Mercantile (launched! all proceeds go to helping John’s mum)

Other Concerts

New York – June 22nd, John will be singing a selection of songs from Anthem as part of the first Topic Talks: Music concert. Tickets on sale now.

TV Shows

Shrill (series regular) – Hulu, first season available now! – RENEWED!!

The Good Fight (guest star) – CBS All Access Trailer  | | Sneak Peak | | Episode 

Movies

Hedwig and the Angry Inch (2001) – June 25th. Critereon Collection DVD/Blu-Ray release featuring a new 4K restoration of the film, a new chat with the original creatives behind the film, a talk between Stephen Trask and Rolling Stone writer David Fricke, and all of the features from the original DVD release. Critereon.com | | bbfc certification | | watch now

How to Talk to Girls at Parties (2017) – May 8th. Transmission Films. After almost a full year since JCM was there and told that there were no immediate plans for distribution, Australia is finally getting HtTtGaP on DVD and digital.

Podcasts

Anthem: Homunculus: A ten episode podcast series written by JCM and HtTtGaP collaborator Bryan Weller and featuring performers such as Glenn Close, Patti LuPone, Madeline Brewer, and Nakhane. All episodes available. Luminary Podcasts. Little Known Facts with Ilana Levine: Upcoming. John was interviewed on April 29th, episode presumably airs soon. iTunes | | Podbean | | Stitcher The Orbiting Human Circus (of the Air): New episodes dropping generally 2019. A fictional series set in the world of a radio show that broadcasts from the top of the Eiffel Tower. Season one, season one remaster featuring interviews with Julian Koster and JCM, and The Second Imaginary Symphony (does not feature JCM) available now. WNYC Studios.

Too Hot For Radio: 2019. John recorded a live reading of a short story for the NPR program. If it follows past airings, it will be included sometime when the new season starts streaming later this year.

Dreamboy: an ethereal monster movie told in podcast form. JCM guest starred in the finale, aired March 25th, and sang a song. NightValePresents Website.

More John podcasts  

Albums

Anthem: Homunculus (Soundtrack) – Out now. Full soundtrack currently available as a digital download from Ghostlight Records. Featuring John, Glenn Close, Patti LuPone, Nakhane, and others, written by JCM and Bryan Weller. Ghostlight Records 

T-Rex Tribute Album – John will be singing ‘Diamond Meadows’ as part of producer Hal Willner’s project. No release date yet. Variety, JCM ig

Interviews

For interviews that are not really part of a podcast or other thing.

Big Think: May 18th. Video. (Different from the 9th) [ YT, BT ]

Psychology Today: May 15th. Text interview with John about one of the key plot points in Anthem. More talking about the show than actual interview. There is a more spoilery interview linked off of it relating to ep 7, though the spoiler is something that’s been hinted at in past interviews. [ PT,  C ]

Big Think: May 9th. Video [ YT ]

BuzzFeed AM to DM: Daily webshow. May 2nd. [ Periscope, Twitter, BFN ]

New York Live TV/The Hub Boston: TV interview. Same interview ran on both programs. About 5 minutes. May 1st [ YT ]

Time Out Mexico: Text interview. Translated into Spanish. April 29th [ TO ]

Backstage.com: John answered questions from the people at Backstage and fan questions left on their forum and social media. April 25th. [ FB ]

Broadway.com Live at Five: John was interviewed to talk about Anthem: Homunculus and Hedwig. April 24th. [ YouTube, text write up ]

Other Projects

Come Back Once More So I Can Say Goodbye –  a theatre piece by Labyrinth Dance Theatre. About gay life in NYC 1965-1995. JCM is part of Julius' Honorary Host Committee for the show. $40 gen. admission. $25 student/senior/artist. June 14-17th.

Broadway: The Next Generation – documentary. No release date yet.

Time Warp: The Greatest Cult Films of All Time – documentary. No release date yet.

TV Series 1: John has talked about this in interviews. Something that he would be writting/showrunning as well as creating. (impending)

TV Series 2: Something that John would be creating, but not as involved in the day-to-day workings of. Has talked about in interviews. (impending)

Other Appearances

Mattachine, June 20th – a monthly queer dance party at Julius’ Bar in New York. Usually the 3rd Thursday of the month, but does vary. John usually shows up, but does not go to all Mattachines. @mattachineparty​ UPDATED!

Filmmaker on the Edge, June 15th – John is going to be honoured with the award, have a conversation with resident artist John Waters, and screen Hedwig. (press release)

                                                     ARCHIVED

After a certain amount of time, older information will drop here so that fans looking for recent, current, and upcoming projects will have an easier time. Things that have already been done will drop down here. And going into 2020, there will be a new list.

The Origin of Love Tour

February 8th -- Washington DC, National Theatre February 22nd -- Chicago, IL, Atheneum Theatre March 2nd -- Boston, MA, Schubert Theatre May 22nd -- Mexico City, MX, Auditorio BlackBerry June 8th -- Miami, FL, The Arsht Center/Knight Hall

Other Concerts

Drop down after performance unless there’s a stream or a downloadable thing for them.

TV Shows

Shows drop down here after three months for guest appearances and six months after the last episode airs for series regular status.

Movies

Movies drop down six months after last release.

Podcasts

Podcasts that John is in the regular cast for will drop here six months after the last episode. guest starring, three months. Interview, one month.

Regular Cast

Guest Starring

Interview

Adulting: an interview format podcast where JCM and another guest star were interviewed. Broadcast live April 12th as part of a celebration for the venue. Watch video on FB | | Periscope | | Youtube

Death, Sex Money: John is guest hosting and interviewing his friend Marilyn Maye while the regular host is on maternity leave. April 17th. WYNC Studios.

Katya and Craig/Whimsically Volatile: April 25th. Podcast hosted by drag star Katya Zamolodchikova and director Craig MacNeil. This week, Craig hosted the show and interviewed John without Katya. Soundcloud | | Libsyn | | iTunes | YouTube

Selected Shorts: April 25th. John reads Fox 8 by George Saunders. Recorded November 9th of last year. NPR | | Stitcher | | SoundCloud | | player.fm

Chapo Trap House: April 29th. Podcast where John talks about Anthem, Hedwig, Shortbus, “the end of sex.” Soundcloud

Stagecraft: April 30. Podcast about acting.  iTunes | | Player.fm | | Libsyn CBS This Morning: April 30. Talks about Anthem, how being openly out in the time of AIDS informed his work, and the benefits and detriments of working in a digital age. iTunes | | Google Play | | Spotify | | Stitcher | | SoundCloud

Laura Heywood Interviews: May 8. player.fm | | Libsyn   

The Frame: May 9. John has a segment talking about Anthem. iTunes | | player.fm | | NPR

Studio 360: May 14th. John and Bryan talking about Anthem and performing a live version of ‘The End of Love.’ Slate | | iTunes

Albums

If John is guest appearing on the album, it will move after four months. If it’s his project, it will move after six.

Interviews

Drops down after one month for text interviews. Three for video.

Rolling Stone Mexico and GQ Mexico: John is interviewed in both for his performance in Mexico City 

Mural: May 18th. Text interview in Spanish. [ M ]

Escandala: May 15th. Text interview with John. In Spanish [ E ] Open Revista: May 14th Text interview with John in Spanish. [ OR ]

TheatreMania: May 12. Text interview with John and Bryan Weller about Anthem. [ TM ]

Metro Source: May 10th. Text interview with John about Anthem. [ MS ]

Time Out: May 9th. Press release/info for Orbital DJing Event [ TO ]

Daily Beast: May 6th. Text interview. [ DB ]

Rolling Stone: Text interview with John and Glenn Close about Anthem. May 5th [ RS ]

Backstage.com: write up of the FB/IG live video that John did the previous week. May 1st [ Backstage ]

Forbes: Text interview about Anthem and transforming it from the Hedwig sequel. John also talks about his writing process, The Orbiting Human Circus, and which Broadway shows he’s excited by this season. April 26th [ Forbes ]

NewNowNext: Text interview. April 23rd. [ NNN ]

Observer: Text interview. April 23rd. [ Observer ]

Queerty: Text interview. April 20th. [ Queerty ]

New York Times: Text interview. April 19th. [ NYT ]

Other Projects

Unless John is featured heavily, these will drop down after a month or two. These projects might also be less available than some of the other programs.

Other Appearances

Too Hot For Radio – January 26th, as part of San Francisco SketchFest, John went out and read a story for NPR’s Selected Shorts radio program. Eventually it will air via streaming like iTunes, NPR’s website, SoundCloud....

JCM interviews Claywoman – March 17th, John participated in a performance art interview of a drag character reported to be the oldest being in the universe who has travelled to our planet from her own.

JCM screens Entertaining Mr. Sloane – March 19th, John screened one of his favourite movies, a British sex comedy called Entertaining Mr. Sloane as part of a Quad Cinema series.

Various Promotion – various times in January thru March, John was on location being interviewed to promote Shrill. These appearances include the Hulu winter TCAs, the New York Shrill premiere, and San Francisco SketchFest.

Jay Brannon, Joe’s Pub – April 9th, John announced attending concert. Presumably did not perform.

Club Cumming – April 15th, John made his first appearance at Club Cumming as part of a star studded benefit for New Alternatives, an LGBT Youth charity. Sold out!

SirusFM//Signal Boost Show – April 25th, interview about Anthem, Hedwig, Uber rides, and sex.

Tribeca Celebrates Pride – May 4th, John was interviewed his Shrill costar Patti Hardison about how his queer identity has affected his work.

Chocolate Babies screening – May 7th. John announced on ig that he was going to be attending a screening of Stephen Winter’s film.

Orbital – May 24th. John and Amber DJed at the Ortibal dance party in Mexico.

Tony Awards - June 9th. Guest.

Nahkane, The Illustrious Blacks - June 20th. John announced on ig he would be attended Nahkane’s performance before June’s Mattachine Party.

[jakeparalta90]

Emulsifying Wax Market Development, Segment by Type, Region, Current Situation Market Size, Market Industry Market Forecast 2030

Summary

The Emulsifying Wax Market report provides a detailed analysis of global market size, regional and country-level market size, segmentation market growth, market share, competitive Landscape, sales analysis, impact of domestic and global market players, value chain optimization, trade regulations, recent developments, opportunities analysis, strategic market growth analysis, product launches, area marketplace expanding, and technological innovations.

Get Free Sample Report @ https://www.fusionmarketresearch.com/sample_request/(COVID-19-Version)-Global-Emulsifying-Wax-Market/4914

The report offers detailed coverage of Emulsifying Wax industry and main market trends with impact of coronavirus. The market research includes historical and forecast market data, demand, application details, price trends, and company shares of the leading Emulsifying Wax by geography. The report splits the market size, by volume and value, on the basis of application type and geography.

First, this report covers the present status and the future prospects of the global Emulsifying Wax market for 2016-2025.

And in this report, we analyze global market from 5 geographies: Asia-Pacific[China, Southeast Asia, India, Japan, Korea, Western Asia], Europe[Germany, UK, France, Italy, Russia, Spain, Netherlands, Turkey, Switzerland], North America[United States, Canada, Mexico], Middle East & Africa[GCC, North Africa, South Africa], South America[Brazil, Argentina, Columbia, Chile, Peru]. At the same time, we classify Emulsifying Wax according to the type, application by geography. More importantly, the report includes major countries market based on the type and application. Finally, the report provides detailed profile and data information analysis of leading Emulsifying Wax company.

Leading players of Emulsifying Wax including: Strahl & Pitsch Keim-Additec Koster-wax Kelly Chemical Bio-Nest Biochemical Technology Wuxi Kodin Chemical Sinowax Beijing Zhongguang Specialty Wax Likang Weiye Jining Baichuan Chemical

Emulsifying Wax Market split by Type, can be divided into: Synthetic Natural

Emulsifying Wax Market split by Application, can be divided into: Construction Automotive Agriculture Industry Papermaking Industry Leather Industry Others

Emulsifying Wax Market Report Scope

Report AttributeDetails

Base year of estimation2021

Historical data2017 – 2020

Forecast period2022 – 2030

Quantitative unitsRevenue in USD million/billion and CAGR from 2022 to 2030

Segmentation

By Type

By Application

By Region/Country

By Type Synthetic, Natural

By Application Construction, Automotive, Agriculture Industry, Papermaking Industry, Leather Industry, Others

Report coverageRevenue forecast, company market share, competitive landscape, growth factors, and trends

Key companies profiledStrahl & Pitsch, Keim-Additec, Koster-wax, Kelly Chemical, Bio-Nest Biochemical Technology, Wuxi Kodin Chemical, Sinowax, Beijing Zhongguang Specialty Wax, Likang Weiye, Jining Baichuan Chemical

Regional scope

North America (United States, Canada and Mexico)

Europe (Germany, UK, France, Italy, Russia and Spain etc.)

Asia-Pacific (China, Japan, Korea, India, Australia and Southeast Asia etc.)

South America (Brazil, Argentina and Colombia etc.)

Middle East & Africa (South Africa, UAE and Saudi Arabia etc.)

Table of Contents

Part 1 Market Overview 1.1 Market Definition 1.2 Market Development 1.2.1 Current Situation 1.2.2 Aspects of COVID-19 Impact 1.3 By Type Table Type of Emulsifying Wax Figure Global Emulsifying Wax Market Share by Type in 2021 1.4 By Application Table Application of Emulsifying Wax Figure Global Emulsifying Wax Market Share by Application in 2021 1.5 By Region Figure Global Emulsifying Wax Market Share by Region in 2021 Figure Asia Emulsifying Wax Market Share by Region in 2021

Part 2 Key Companies 2.1 Strahl & Pitsch 2.1.1 Company Profile Table Strahl & Pitsch Overview List 2.1.2 Products & Services Overview 2.1.3 Sales Data List Table Emulsifying Wax Business Operation of Strahl & Pitsch (Sales Revenue, Sales Volume, Price, Cost, Gross Margin) 2.2 Keim-Additec 2.3 Koster-wax 2.4 Kelly Chemical 2.5 Bio-Nest Biochemical Technology 2.6 Wuxi Kodin Chemical 2.7 Sinowax 2.8 Beijing Zhongguang Specialty Wax 2.9 Likang Weiye 2.10 Jining Baichuan Chemical

Part 3 Global Market Status and Future Forecast 3.1 Global Market by Region Table Global Emulsifying Wax Market by Region, 2017 – 2020 (Million USD) Figure Global Emulsifying Wax Market Share by Region in 2021 (Million USD) Table Global Emulsifying Wax Market by Region, 2017 – 2020 (Volume) Figure Global Emulsifying Wax Market Share by Region in 2021 (Volume) Table Price List by Region, 2017 – 2020 3.2 Global Market by Company Table Global Emulsifying Wax Market by Company, 2017 – 2020 (Million USD) Figure Global Emulsifying Wax Market Share by Company in 2021 (Million USD) Table Global Emulsifying Wax Market by Company, 2017 – 2020 (Volume) Figure Global Emulsifying Wax Market Share by Company in 2021 (Volume) Table Price List by Company, 2017 – 2020 3.3 Global Market by Type Table Global Emulsifying Wax Market by Type, 2017 – 2020 (Million USD) Figure Global Emulsifying Wax Market Share by Type in 2021 (Million USD) Table Global Emulsifying Wax Market by Type, 2017 – 2020 (Volume) Figure Global Emulsifying Wax Market Share by Type in 2021 (Volume) Table Price List by Type, 2017 – 2020 3.4 Global Market by Application Table Global Emulsifying Wax Market by Application, 2017 – 2020 (Million USD) Figure Global Emulsifying Wax Market Share by Application in 2021 (Million USD) Table Global Emulsifying Wax Market by Application, 2017 – 2020 (Volume) Figure Global Emulsifying Wax Market Share by Application in 2021 (Volume) Table Price List by Application, 2017 – 2020 3.5 Global Market by Forecast Figure Global Emulsifying Wax Market Forecast, 2022-2030 (Million USD) Figure Global Emulsifying Wax Market Forecast, 2022-2030 (Volume)

Part 9 Market Features 9.1 Product Features 9.2 Price Features 9.3 Channel Features 9.4 Purchasing Features

Part 10 Investment Opportunity 10.1 Regional Investment Opportunity 10.2 Industry Investment Opportunity

PART 11 Coronavirus Impact 11.1 Impact on Industry Upstream 11.2 Impact on Industry Downstream 11.3 Impact on Industry Channels 11.4 Impact on Industry Competition 11.5 Impact on Industry Obtain Employment

Part 12 Conclusion

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