#Reissue: Live in New York

[doyoulikethissong-poll]

Nirvana - The Man Who Sold the World 1993

"The Man Who Sold the World" is the title track of David Bowie's third studio album, which was released in 1970 in the US and in 1971 in the UK. Although no singles were issued from the album, the song appeared as the B-side on the 1973 reissue US single release of "Space Oddity" and UK single release of "Life on Mars?".

In his journals, Kurt Cobain of the American grunge band Nirvana ranked the album The Man Who Sold the World at number 45 in his top 50 favourite albums. Nirvana subsequently recorded a live rendition of the song during their MTV Unplugged appearance at Sony Music Studios in New York City on 18 November 1993 and it was included on their MTV Unplugged in New York album released on November 1, 1994, nearly seven months following the death of Cobain. The song was also released as a promotional single for the album in 1995.

Nirvana's cover received considerable airplay on alternative rock radio stations and was also placed into heavy rotation on MTV, peaking at number 3 on MTV's most played videos on 18 February 1995; it also peaked for two weeks at number 7 on Canada's MuchMusic Countdown in March 1995. Nirvana regularly covered the song during live sets after their MTV Unplugged performance up until Cobain's death. In 2002, the song was re-released on Nirvana's self-titled "best of" compilation.

Bowie said of Nirvana's cover: "I was simply blown away when I found that Kurt Cobain liked my work, and have always wanted to talk to him about his reasons for covering 'The Man Who Sold the World'" and that "it was a good straight forward rendition and sounded somehow very honest." Bowie called Nirvana's cover "heartfelt", noting that "until this [cover], it hadn't occurred to me that I was part of America's musical landscape. I always felt my weight in Europe, but not [in the US]." In the wake of its release, Bowie bemoaned the fact that when he performed the number himself, he would encounter "kids that come up afterwards and say, 'It's cool you're doing a Nirvana song.' And I think, 'Fuck you, you little tosser!'"

At a pre–Grammy Awards party on 14 February 2016, Nirvana band members Krist Novoselic, Dave Grohl, and Pat Smear teamed up with Beck to perform "The Man Who Sold the World" in tribute to Bowie – who had died the month before — with Beck performing vocals.

"The Man Who Sold the World" received a total of 77,6% yes votes! Dave Grohl has previously been featured in the polls with Foo Fighter's "The Pretender" at #111 and as a drummer on Queens of the Stone Age's "No One Knows" at #87, and David Bowie has been featured with "I'm Afraid of Americans" at #33.

[bitter69uk]

“Why does everybody think I’m so wild? I’m not wild. I happen to stumble onto wildness. It gets in my path.” Cookie Mueller

"Cookie looked like Janis Joplin-meets-Jayne Mansfield, a redneck hippie with a little bit of glamour drag thrown in. She never led a safe life, unsafe was her middle name. She lived on the edge, always." John Waters

Born on this day 75 years ago: vivacious bad girl, writer, go-go dancer, advice columnist, art critic, drug dealer, globe-trotter and avant-garde New York scene-maker Cookie Mueller (née Dorothy Karen Mueller, 2 March 1949 – 10 November 1989). She’s a fiercely charismatic presence in early John Waters "gutter films" like Multiple Maniacs (1970), Pink Flamingos (1972) and Female Trouble (1974). Her close confidante, photographer Nan Goldin would describe Mueller as “the most fabulous woman I’d ever seen ... She was the starlet of the Lower East Side: a poetess, a short-story writer, she starred in John Waters’ early movies. She was sort of the queen of the whole downtown social scene.” (Unsurprisingly, Goldin has an eye for vivid detail. In the wrenching 2022 documentary All the Beauty and the Bloodshed, she recalls that the first time she met Cookie in Provincetown in the 1970s, Mueller was wearing vintage Springolator heels held together with safety pins!). I highly recommend investigating Mueller’s wry and elegant autobiographical musings like Walking Through Clear Water in a Pool Painted Black or Garden of Ashes (recently reissued) – or Chloe Griffin’s excellent 2014 biography Edgewise: A Picture of Cookie Mueller. Pictured: portrait of Mueller by Bob Berg.

[brf-rumortrackinganon]

Is the divorce coming?

The Sussexes have reissued their demands to Charles. This time, through Roya Nikkah (scroll to the end for the link). Except...I don't think this is Meghan. I think this is Harry trying to negotiate the terms of returning to the UK after a Sussex divorce with ultimatums (e.g., "I'll come back like you want me to, Pa, but only if...").

Look at this quote that Roya attributes to an unnamed friend of Harry's: "Meghan seems to have decided that coming back more [to the UK] is not what she wants to do, but Harry would like to." This is probably the most obvious, if not outright, hint that Harry and Meghan are planning to separate soon, if they haven't already. Reading between the lines, Harry planning for his children to live in the US while he works as a full-time royal in the UK.

Anyway. Harry's demands.

"Diplomatic" status back via official Counsellor of State status: "[Charles's] decision to keep Harry as a counsellor of state...has created a dilemma. By law, counsellors of state are requried to have a UK domicile, but Harry has no home here...courtiers have discussed leasing a property on the royal estate"

A permanent residence in the UK: "There is work to be done here [in the UK] in terms of the charities, and there would be opportunities in the future where [Harry] will want to be here a bit more. If they could have kept Frogmore, they would have done - it was the perfect setup for them."

The return of Harry's full permanent security detail: "The prince has challenged the decision by the Home Office to remove his Metropolitan Police protection when he is in the UK, even though he has offered to pay for it himself. A legal representative for Harry has said he is 'unable to return to his home' with his family because it is too dangerous."

BRF to make amends first: "...if Charles offered the Sussexes a home on the royal estate, 'it would be an ever-so-slight softening of relations.'"

Also, Roya's article makes it pointedly clear that from the Harry's perspective, it's the courtiers and the Waleses who don't want them back despite Charles leaving the door open for them:

Throwing the courtiers under the bus: "last week, courtiers were keen to ensure that William returned to the UK from his solo trip to New York on Wednesday morning, before Charles and Camilla departed for their state visit to France on the same day."

Throwing the Waleses under the bus: "According to royal sources, courtiers have discussed leasing a property on the royal estate to Harry and Meghan to try to resolve the counsellor-of-state conundrum. One option understood to have been considered is accommodation at Kensington Palace, where the Prince and Princess of a home and their private office. They spend few nights there, having moved their family to Windsor."

Here's the archived link to Roya's article: https://archive.ph/Gr8pJ

(I'm having a lot of trouble getting this link to post. Let me know in the comments if it doesn't work for you.)

[myvinylplaylist]

KIϟϟ: MTV Unplugged (1996)

2014 Vinyl Reissue

Acoustic set recorded live at the Sony Music Studios in New York City on August 9th 1995 during the unplugged session.

Includes Peters Criss & Ace Frehley as very special guests on tracks 9-11.

Includes Poster

Mercury Records

[thekingofgear]

Thom Yorke's Guitar and Bass Pedalboard for The Smile's June 2024 Tour

A photo of Thom's pedalboard at Stadtpark Open Air in Hamburg on June 8, 2024. One can also see the back of Robert Stillman's pedalboard.

Thom playing his modified vintage Gibson EB0 at Stadtpark Open Air in Hamburg on June 8, 2024 (Stadtpark Open Air).

The Smile’s tour back in March was their first since the release of Wall of Eyes on January 26, 2024. However, much of that album had already been recorded at Abbey Road in early 2023. As such, a lot of the instruments used on the album were already known, since the band had testing new tracks on the road since 2022. Even so, the band brought plenty of surprises for the March tour, using the new gear both to play tracks off the album and for songs that are as yet unreleased.

The band’s setup for the latest July tour is quite similar to their setup in March, but Thom continues to experiment with new effects on the top row of his guitar and bass pedalboard. As we mentioned in our last post, his vocal pedalboard has remained nearly identical for the past few years. On this tour, it seems that Thom is particularly interested in experimenting with analog delays for his electric guitar. He already had an EQD Disaster Transport and an EHX Deluxe Memory Man XO back in March, but he’s now added a Fairfield Circuitry Meet Maude to the mix! (Thom’s Death By Audio Echo Dream 2 uses a PT2399 chip, which is technically digital but is meant function similar to analog delay chips, giving even more "analog" tones.)

Thom has also removed his EarthQuaker Devices Grand Orbiter V3 (he actually did so before the tour in March). That pedal was pretty essential to Bodies Laughing, so it seems unlikely that the band will play that track again, unless Thom has decided to use a cleaner guitar tone for the track.

The bottom row has remained the same since the Smile's Nov-Dec 2022 Tour (analysis of that board here). Those pedals provide his core guitar sounds, and are used consistently to perform songs off of A Light For Attracting Attention.

Complete Pedal List

Bottom Row, Right-To-Left:

Boss TU3 tuner (for bass)

Boss TU3 tuner (for guitar)

Boss RE20 Space Echo delay

Death By Audio Echo Dream 2 fuzz/delay

Pladask Elektrisk Fabrikat V3 granular sampler

Death By Audio Interstellar Overdriver

Earthquaker Devices Astral Destiny reverb

Top Row, Right-To-Left:

Earthquaker Devices Disaster Transport Legacy Reissue delay

Earthquaker Devices Plumes overdrive

Electro-Harmonix Deluxe Memory Man XO delay

Fairfield Circuitry Meet Maude delay

Earthquaker Devices Blumes overdrive

Origin Effects Cali76 compressor

Earthquaker Devices Hoof fuzz

As in the past, there also appears to be an Electro-Harmonix Hum Debugger hidden under the shelf at the back of the board (look behind the Blumes and Meet Maude). Thom uses the Debugger to reduce hum when using his vintage bass guitars with single coils.

The front edge of the Hum Debugger's silver enclosure and its footswitch can be just barely made out. The second image has increased exposure, revealing the "electro-harmonix" text on the face of the pedal.

Power Supply

Also note the evenly spaced white “blocks” in the shadows of the shelf. The white blocks are connections for power on The Gig Rig’s Distributor and/or Isolators units. These show that Thom is still using The Gig Rig’s Generator power system. Ed was the first member of Radiohead to use The Gig Rig’s power supplies back in 2014, when the company assembled their first custom pedalboard for Ed. Thom switched over around 2021, when The Smile played their first show on a Glastonbury live stream. The power supplies are clearly visible on Thom’s NPR Tiny Desk board from November 2022 as well.

Zooming in to get a better look at the Gig Rig power supply units.

Patchbay

All of The Smile’s custom black plywood pedalboards are fitted with patchbays at the back. A patchbay is just a set of jacks, which allow external cables to be plugged into the back of the pedalboard instead of connecting the cable directly to pedals on the board. The other side of the patchbay is connected to the first and last pedals in the signal chain with normal patch cables. This makes it way easier to set up the board, and also to swap out an entire pedalboard if there’s a mystery problem (as mentioned in our March Rehearsal Setup post, Thom and Jonny each have a (nearly) identical backup board).

Bass Guitar Signal Chain

The exact sequence of the guitar chain is too complex to guess at, but based on previous tours it’s possible to have a good guess about the bass signal chain.

Bass Guitar

Patchbay (input)

Electro-Harmonix Hum Debugger

Boss TU3 tuner

Earthquaker Devices Blumes

Origin Effects Cali76 compressor

Earthquaker Devices Hoof fuzz

Patchbay (output)

DI Box (sends signal to amplifier and FOH mixer)

Fender Super Bassman amplifier

Here's a bonus photo of Thom playing his vintage Fender Jazz bass during Read the Room at the Northside Festival in Aarhus on June 6, 2024 (photo by Joshua Mellin via Flood Magazine). Thom previously used his modified vintage Gibson EB0 bass for the song, but he's been using the Jazz Bass since the start of the March 2024 tour. His Hum Debugger pedal probably helps when he's playing this guitar, since the instrument features single coils.

[fredseibertdotcom]

Michael Cuscuna, photograph by Jimmy Katz

Michael Cuscuna

Michael Cuscuna, one of my great inspirations and sometime collaborator, passed away this weekend (April 19, 2024) from cancer. Being a cancer survivor  last year myself, when someone I’ve known and worked with for over 50 years it hit particularly hard.

Blue Cuscuna: 1999 promotional sampler from Toshiba-EMI [Japan]

Michael has been the most consequential jazz record producer of the past half century, a man who had not only a passion, but the relentlessness necessary to will the entire history of the music into being. Don’t believe it? Check out the more than 2600 (!) of his credits on Discogs. Substantial and meaningful he might have been, but to me, he was a slightly older friend who was always there with a helping hand. Hopefully, I was able to hand something back on occasion. 

As I said when he answered “7 Questions” eight years ago: “I first encountered Michael as a college listener to his “freeform,” major station, radio show in New York, and was fanboy’d out when a mutual friend introduced us at [an] open rehearsal for [Carla Bley’s and Michael Mantler’s] Jazz Composer’s Orchestra at The Public Theater (MC has a photographic memory: “It was Roswell [Rudd]’s piece or Grachan [Moncur III]’s. You were darting nervously around the chairs with your uniform of the time – denim jean jacket, forgettable shirt and jeans.”) By 1972 or 73, he’d joined Atlantic Records as a producer, and since that was my career aspiration, I’d give him a call every once in awhile. He’d patiently always make time for my rambling and inane questions, and I never forgot his kindness to a drifting, unfocused, fellow traveler. 

“...patiently always make time for my rambling and inane questions...” says a lot about Michael. His raspy voice could sometimes seem brusque, but ask anyone and they will tell you that he always made time to talk. Especially about jazz. 

I desperately wanted to be a record producer and Michael was one of the first professionals I encountered. He had already produced my favorite Bonnie Raitt LP when somehow or other I bullied my way into his Atlantic Records office, where he was a mentee of the legendary Joel Dorn. Over the next few years, Michael was often amused at some of the creative decisions I made, but he was always supportive and even would sometimes ask me to make a gig when he couldn’t. When I spent a year living in LA, he invited me over to the studio while he was mining the history of Blue Note Records that would define his life for the next half century. I completely failed to understand what the great service to American culture he was about to unleash. Along with Blue Note executive Charlie Lourie, Michael’s research resulted in a series of double albums (”two-fers” in 70s speak), but little did the world know what was on Michael’s and Charlie’s minds.

The Cuscuna/Lourie Blue Note “Two-Fers” that ignited Mosaic Records

“I don’t think it’s generally understood just how imperiled the musical and visual archives of Blue Note Records were at one point, and just how heroically Michael stepped in to make sure this unparalleled American music survived for future generations. If you like jazz, you owe the man.” –Evan Haga 

(Joe Maita does a great interview about Michael's career here.) 

Fast forward a few years. The air went out of my record producing tires, I became the first creative director of MTV, I quit MTV and along with my partner Alan Goodman started the world’s first media “branding” agency. Leafing through DownBeat one day I saw an ad that started a new relationship with Michael that would last, on one level or another, for the rest of his life: the “mail order” jazz reissue label Mosaic Records. 

Charlie Lourie & Michael Cuscuna at Mt. Fuji Jazz Festival, Japan 1987. Photograph by Gary Vercelli / CapRadio Music

Long story short, in 1982 Michael returned my check for the first two Mosaic  releases with a note asking for some help. Initially, Mosaic wasn’t the sure fire, instant success Michael and Charlie had hoped for, did I have any ideas? I did, but no time to do anything other than make suggestions, we were busy trying to get our own shop off the ground. This cycle repeated itself for another couple of years when this time when Michael called he said Mosaic was on death’s door. Fred/Alan was in better shape, so Alan and I, on our summer vacation, came up with the first Mosaic “brochure,” convinced the guys we knew what we were doing (I’d read a few paragraphs in a direct mail book in a bookstore) and, with nothing to lose, Charlie and Michael took the plunge with us. Success! 42 years later, the former Fred/Alan and Frederator CFO at the helm, Alan and I always answer any call from Mosaic.

The first Mosaic Record box set 1983

There aren’t many people in the world like Michael Cuscuna. The world’s culture will miss him. I will miss him. Most of all, of course, his wife and children will miss him. 

[purbleplaces]

Munson with buzzer the cat in 1915

Audrey Marie Munson (June 8, 1891 – February 20, 1996) was an American artist's model and film actress, considered to be "America's first supermodel." She was the model or inspiration for more than twelve statues in New York City, and many others elsewhere. Munson appeared in four silent films, including unclothed in Inspiration (1915). She was one of the first American actresses to appear nude in a non-pornographic film.

By 1915, she was so well-established that she became Alexander Stirling Calder's model of choice when he became Director of Sculpture for the Panama–Pacific International Exposition held in San Francisco that year. Her figure was "ninety times repeated against the sky" on one building alone, atop the colonnades of the Court of the Universe, roughly modeled on St. Peter's Square in the Vatican. In fact, Munson posed for three-fifths of the sculpture created for the event and earned fame as the "Panama–Pacific Girl".

In 1919 Audrey Munson was living with her mother in a boarding house at 164 West 65th Street, Manhattan, owned by Dr. Walter Wilkins. Wilkins fell in love with Munson, and on February 27 murdered his wife, Julia, so he could be available for marriage. Munson and her mother left New York, and the police sought them for questioning. After a nationwide hunt, they were located. They refused to return to New York, but were questioned by agents from the Burns Detective Agency in Toronto, Ontario, Canada. The contents of the affidavits they supplied have never been revealed, but Audrey Munson strongly denied that she had any romantic relationship with Dr. Wilkins. Wilkins was tried, found guilty, and sentenced to the electric chair. He hanged himself in his prison cell before the sentence could be carried out.

The Wilkins killing may even have marked the end of Munson's modeling career, although she continued to seek regular newspaper coverage. By 1920, Munson could not find work anywhere and was reported as living in Syracuse, New York, supported by her mother, who sold kitchen utensils door-to-door. In November 1920, she was said to be working as a ticket-taker in a dime museum.

In the summer of 1921 Munson conducted a nationwide search, carried by the United Press, for the perfect man to marry. She ended the search in August claiming she didn't want to get married anyway. On October 3, 1921 she was arrested at the Royal Theater (later the Towne Theater) in St. Louis on a morals charge related to her personal appearance with the film Innocence (the reissue title of Purity), in which she had a leading role. She and her manager, independent film producer Ben Judell, were both acquitted. Weeks later, she was still appearing in St. Louis, along with screenings of Innocence, enacting "a series of new poses from famous paintings".

On May 27, 1922, Munson attempted suicide by swallowing a solution of bichloride of mercury.

On June 8, 1931, Munson's mother petitioned a judge to commit her to a mental asylum. The Oswego County judge ordered Munson be admitted into a psychiatric facility for treatment on her 40th birthday. She remained in the St. Lawrence State Hospital for the Insane in Ogdensburg, New York, where she was treated for depression and schizophrenia for 65 years, until she died at the age of 104.

-Wikipedia

[fancyshooting]

Interview with Hideo Kojima [From MGS3: The Countdown]

A Tale of Fighting the Illusion of "The Times"

I wanted to create a world full of contradictions, where lives are exchanged in the great outdoors.

Metal Gear Solid 3: Snake Eater (MGS3) has the theme of survival in the wilderness. Why did you choose this theme?

Kojima: When we started working on this film, we trained in the mountains near Sagami Lake with a team led by Mr. Mōri (Motosada, military advisor for this work) 【*1】 We trained in the mountains near Sagami Lake, carrying the same equipment as the army, for two days and one night. We incorporated the tension of that time into the game. You are in the middle of nature and people are on top of each other, but if you look to the side, there are all kinds of creatures right there. If you hold a gun and keep your breath down, you can see frogs hopping around in the grass. In the midst of battle, if you listen carefully, you can hear birds singing and the buzzing of insect wings... The contradictory feeling of trying to take the life of an enemy in the midst of a forest, in the midst of nature, where life springs forth. The feeling of giving and taking life and death. I wanted to somehow incorporate that feeling into the game. Survival in the mountains is a strange story to begin with. In the midst of nature, where life is being created, it is impossible for living things to cease. Only modern people with guns die. In essence, we have to eat other lives to survive.

【*1】 Mr. Mōri (former military advisor to Sadamoto)

He was born in Hiroshima Prefecture in 1964. He has been traveling around the world since he was 19 years old, and after having experienced combat in conflict zones, he has trained and guided the SWAT, a special police anti-terrorist unit, and assisted the 14th Dalai Lama, the Nobel Peace Prize winner, in his personal security measures. He was a military advisor for the "Metal Gear Solid" series. He supervised the CQC in this work.

By setting the battlefield in the jungle, which is full of life, you have expanded the possibilities for the game.

Kojima: It has been a dream of mine to set the game in a jungle since "Metal Gear" 【*2】 on the MSX2. A real undercover mission doesn't start right next to the target building, but hundreds of kilometers away from it. You have to cross the jungle on foot to reach your destination. The first thing I wanted to do was to depict the survival part of the game. This time, instead of Alaska in "MGS" or New York in "MGS2" 【*3】, we started by illegally entering a country with which we had no diplomatic relations. We must go in under false identities and return without leaving a trace. No helicopter or plane is provided for the return trip. Even if we complete the mission, we must return safely from the Soviet Union's territory.

【*2】"Metal Gear" for MSX2

Game for MSX2 released in 1987. Director Kojima's debut work. The main character is Solid Snake. The game has now been completely reissued for mobile phones.

【*3】 Alaska in "MGS" and New York in "MGS2"

"MGS" takes place at a training base on the isolated Shadow Mosses island in Alaska. The setting of "MGS2" is an offshore decontamination facility in Hudson Bay, New York.

In many games, the last enemy to be defeated blows up the stage, or the enemies disappear. This time, you have to survive your way back home!

Kojima: Yes. The return journey is the greatest survival. That's the real thrill of adventure novels. The mission is to return to everyday reality. If the mission is all about infiltration, it is like a suicide bombing, but the real mission is to come back alive. Just as game players return to reality after being immersed in a virtual space, Snake will also come back to everyday life.

So, the hard-boiled world of adventure fiction is the motif.

Kojima: I like hard-boiled adventure novels. The hard-boiled characters move forward with only their willpower, even if their bodies are injured or they have a fever. After a good night's sleep, a hot shower, and a cup of coffee, he would be back on his feet in no time. I wanted to express that kind of hard-boiled, bottomless spirit through the game. In "MGS3," the main character, Snake, gets injured when he is attacked. Bullet holes are left in his body, and bones are broken. He can heal after eating and passing time, but he can also sew up gunshot wounds, remove bullets from his body, and heal himself. The whole body is left with wounds and if they are not treated, it will be covered with scars. If you treat them properly, they heal quickly and regain their strength. This is the "CURE" system.

In the jungle, you cut your own body and endure the pain of healing. In a world where there is no anesthesia or anything else, you have to cut yourself to save your life. It is a game of enduring pain.

Kojima: There is a sense of unity with the player. You can see the Survival Viewer screen, where you perform CURE, and it's a mirror of yourself. Seeing Snake covered in blood, you can be masochistically intoxicated by the harshness of your situation and say, "Cool!"

Previous MGS games have never used a so-called menu screen, such as the survival viewer, have they?

Kojima: Yes, in the past, we didn't dare to use this feature because it would cause a time lag in the gameplay. But this time, the theme was "the player and Snake become one," so we took on the challenge. This time Snake is hit, tortured, and beaten up quite a bit. Seeing Snake in the Survival Viewer is pretty painful 【*4】, but he never changes his convictions. He never ignores what he really believes. That's hard boiled.

【*4】 Seeing Snake in the survival viewer is quite painful

When he is poisoned, Snake bends his body in pain. You can also check the history of the food he has eaten and the history of what you have done to the body.

So the Survival Viewer is a system that allows you to see Snake, who you are controlling, and get emotionally involved.

Kojima: Also, when you save and exit the game, your energy is restored the next time you play. The time between when you quit and when you resume play is measured. So, if you saved the game the day before, when you come home from work the next day and restart the game, Snake will be fine. This system allows you to think "I wonder if Snake is doing well" when you are working at the office. It is truly as if you and Snake are one.

When not playing the game, Snake also takes a break.

Kojima: So, if you give him medicine and food before saving, he will recover a lot.

Wow! Truly one with Snake.

Kojima: When Snake gets hungry, his stomach growls. Then, strangely enough, I, the player, get hungry too (laughs). Just as a person's "yawn" is transmitted to the player, the game character's hunger seems to be transmitted to me. That's the kind of game it is.

Speaking of survival, what is the meaning behind the subtitle this time, "Snake Eater"?

Kojima: The name "Snake Eater" has many meanings. After the release of Metal Gear Solid, there were a lot of stealth games that came out. To defeat them, in "MGS2" we symbolically released the Metal Gear RAY (a mass-produced Metal Gear weapon), and now in "MGS3" we want to eat Snake himself! It means that. Also, in the slang of the Special Forces Green Berets, the army and people who look barbaric are called "snake eaters".

As a game, it is unusual for it to be set in the jungle.

Kojima: Both "MGS" and "MGS2" were set inside man-made structures, but by changing the game console from PlayStation to the high-performance PlayStation 2, we were able to depict a different world. However, "MGS3" is set on the same PlayStation 2 as "MGS2". I wanted to change the graphics fundamentally. So, I dared to use natural environment

Isn't depicting nature the most difficult aspect of computer graphics?

Kojima: It's hard to draw, and it's difficult 【*5】 because you need hit detection for all the undulating terrain and vegetation. In addition, you have to move not only the background, but also the plants and animals.

【*5】 It's hard because you need hit detection for all the undulating terrain and vegetation

The key to creating images for games is hit detection. How do CG objects react when they collide with each other? Will they bounce, turn or stop? By determining all of these reactions, a sense of reality is created.

You are daring to take on a difficult challenge. It's a challenge that is typical of the Kojima group. The place called Tselinoyarsk, where the Virtuous Mission 【*8】 takes place, is that name fictitious?

Infiltrate the fictional world where reality and lies are mixed.

Kojima: The name of the place Tselinoyarsk is fictitious. I made it up after researching the meaning of Russian words 【*6】. In a game, the first stage is ice, the second stage is magma and so on, but in a real forest there is not much difference. Once you enter a forest, it is a forest until the end. There is no such thing as a land rich in flora and fauna, with limestone caves and lakes along the way. That's why we dared to create a fictional land for the game.

【*6】 I looked up the meaning of the Russian word and made it up

Tselina = virgin land, uncultivated land. Yar = precipice. Sk = suffix.

【*8】 Virtuous Mission

Operation Virtuous. The name given to the debut mission of the covert unit, FOX. Also known as the VR mission.

In "MGS3," the mixing of reality and fiction is very well done. For example, there is the line "the first HALO drop in history", but didn't that happen much later in real history? Wasn't the incident in "MGS3" recorded in history? Or is it all fictitious...?

Kojima: There are both lies and true stories too. The CQC, for example, is still cutting edge today. I don't think the average person would understand it, but there are a lot of things in it that even military enthusiasts wouldn't understand, and that only real professionals would understand. I would love to have an audio commentary of the demo scenes 【*7】. Otherwise, there are things that would never be understood.

【*7】 I'd love to have an audio commentary on it

The booklet that will come with the limited edition of "MGS3" will include a full polygon demo commentary by director Hideo Kojima and other key staff members.

Are the fighter aircraft and armaments built like in real life?

Kojima: In our team (Kojima-gumi), there are some particular members. The members are very knowledgeable about military affairs and weapons. And since Mr. Mōri is supervising the project, so the work should be very faithful to reality.

You have a fact-checking group for military knowledge.

Kojima: The "Metal Gear Solid" series seems to have a lot of fans among real military personnel. I have personal correspondence with people who were in Afghanistan and former parachutists. I have heard from them that they played "MGS" on the front line. Well, when they come to me, they salute me and say, "I'm looking forward to Metal Gear", which is a bit of a problem (laughs).

However, even in a fictional setting, it is better to know about historical topics such as the Cuban Missile Crisis in order to enjoy "MGS3".

Kojima: Cuban Missile Crisis, Kennedy Assassination... The most important keyword is the Cuban Missile Crisis 【*9】. The Virtuous Mission is the prologue and will play a major role in the main story that follows. At the time of the Cuban Missile Crisis, President JFK (Kennedy) and First Secretary Khrushchev made a secret agreement 【*10】. The content of this agreement is relevant. There are many movies depicting the secret Cuban agreement, such as "13 Days" 【*11】, and it has been speculated that the agreement was based on the closing of a missile base in Turkey, but this is not true. Of course, it's fiction. That is the core of the story of "MGS3". What is the weapon that Dr. Sokolov is said to have been working on? And why did he defect from the Soviet Union to the United States? This is the story of the events that led to the assassination of Kennedy and the hardliners' pursuit of Khrushchev.

【*9】 Cuban Missile Crisis

On October 16, 1962, a US Air Force spy reconnaissance plane discovered a Soviet medium-range missile base in Cuba. The world was plunged into a state of tension, fearing the outbreak of war.

【*10】 President JFK (Kennedy) and First Secretary Khrushchev

First Secretary Khrushchev, who advocated a policy of peaceful coexistence with the West, held a dialogue with American President John Fitzgerald Kennedy (JFK). JFK was famous for being America's most beloved president, but he was shot dead in 1963.

【*11】 The movie "13 Days"

Released in 2000. Directed by Roger Donaldson. Starring Kevin Costner. The film depicts the 13 days from October 16 to October 28, 1962, when the Cuban Missile Crisis occurred.

Indeed, the point of contact between reality and fiction. This is where Snake's sneaking mission comes in. A history that no one has ever heard is pieced together.

Kojima: Actually, there used to be an adventure game called "Snatcher", set in a world where the Soviet Union is gone 【*12】. The story is about a weapon left behind by the Soviet Union, which plunges the world into crisis. But at the time I didn't think the Soviet Union would disappear, and I thought the Cold War would go on forever. Without a hypothetical enemy, adventure stories don't really get off the ground. That's why adventure fiction changed after the collapse of the Soviet Union. With "MGS3", we created a thrilling world by bringing real conflict back to life.

【*12】It's set in a world where the Soviet Union is gone

"Snatcher" is a science fiction adventure game directed by Kojima that was released in 1988 on the PC8801. Unfortunately, the PC8801 version of the game was incomplete, with only "ACT 2" completed. The PC Engine version of "Snatcher" was the first to complete "ACT 3". In the near future, 80% of the Eurasian continent has been wiped out by a biohazard in Moscow. The negative legacy of the Soviet Union threatens the world. At the time, of course, the collapse of the Soviet Union was unthinkable in real life.

What is the identity of the most powerful enemy in history, the Cobra Unit, full of monsters?

Kojima's games are always based on the "father-killer" motif. In "MGS," he fought a man who inherited his father's genes, and in "MGS2," he defeated his foster father 【*13】. What will Snake overcome this time?

【*13】 Solid Snake fights a man who inherited his father's genes in "MGS" and defeats his foster father in "MGS2

Solid Snake, the hero of "MGS", and his nemesis, Liquid Snake, are clones descended from the legendary hero Big Boss. Raiden, the protagonist of "MGS2", is an artificially created warrior who fights against the entity that raised him.

Kojima: Yes, that's right. My games have always depicted paternity and never motherhood. This time, however, I am going to depict "motherhood". This time, there will be many strong women. The Boss is one of them. The Boss is a legendary soldier that all men fear. When you get close to her, she will disassemble your weapons and blow you away with her CQC. She is an invincible soldier.

This time around, a number of special forces units appear. The Boss, who supports Snake, belongs to the Cobra Unit.

Kojima: The Cobra Unit is the original Special Forces unit, a covert unit that was very active during the Second World War. The members of the Cobra Unit are inspired by the emotions that arise on the battlefield. The Fear, The Sorrow, The Pain... When Colonel Kurtz dies in "Apocalypse Now" he says: "The horror... The horror..." 【*14】. That emotion! So, in my mind, the Cobra Unit is the image of a Kamen Rider monster 【*15】.

【*14】 When Colonel Kurtz dies in "Apocalypse Now", he says, "The horror... the horror..."

This film, directed by Francis F. Coppola, was released in 1979 and depicts the madness of the Vietnam War. Colonel Kurtz, played by Marlon Brando, establishes his own kingdom deep in the heart of Vietnam. The story is about Captain Willard, played by Martin Sheen, who is trying to eliminate Colonel Kurtz.

【*15】 Image of the Kamen Rider monster

A transformable hero aired on TV in 1971. The enemy was an evil modified human created by the evil secret society, Shocker. Many of them, such as the Spider Man, were converted humans who had been given the power of plants and animals.

The "Metal Gear" series has seen the appearance of monster armies such as the FOXHOUND and Dead Cell in the past.

Kojima: This time it's even more impressive. The End especially is the most intense one!

"The End" is a song by "The Doors" 【*16】!

【*16】 The End is a song by The Doors

The Doors, a band led by Jim Morrison, released the song "The End" in 1967. The song features a snake as a metaphor for the apocalypse.

Kojima: Haha! I can sing that song all the way through. Do you have karaoke? No, no, no, The End is amazing. He is a sniper who is over 100 years old.

What's that!?

Kojima: Normally, he sleeps all the time and does photosynthesis.

Awesome! I don't get it! (Laughs)

Kojima: Only when he fights does he gain the power of the forest and come back to life. It will be a sniper battle that will go down in gaming history.

A sniper in a state of hibernation! It's a formidable opponent...

Kojima: The camouflage is perfect, and even with thermal goggles on, he is undetectable. Even if you think it is an enemy and aim at it, it could still be mushrooms (laughs). That's why he's The End. If you meet him on the battlefield, you'll be killed. "It's the end!"

A true Snake vs. Cobra fight to the death!

Kojima: In "Tiger Mask" 【*17】, the last opponent the hero fights is a tiger. So, Snake's enemy is a cobra (snake). It is the strongest enemy in the series so far.

【*17】"Tiger Mask"

Animated wrestling series based on the original story by Kajiwara Ikki and Tsuji Naoki, broadcast for two years from 1969. A masterpiece that exploded with Kajiwara-ism, with a dark development and appearances by real wrestlers such as Giant Baba and Antonio Inoki. The final enemy is Tiger the Great (anime version).

I see. Then what about Snake's organization, FOX?

Kojima: "Force Operation X". Special forces. The parent organisation of the later Foxhound. After the Second World War, an Englishman, Major Zero, wanted to form an organisation that would bring together the best people regardless of race. But it was difficult to form because there was still racial discrimination at the time. So he asked The Boss, who was his colleague in the SAS 【*18】, to help him form an organisation that would combine military and intelligence activities. A small number of elites would infiltrate deep into enemy bases to conduct subversive and intelligence activities. That's why it belongs to the CIA 【*19】. The Virtuous Mission (VR mission) on which Snake was assigned was its debut.

【*18】SAS

Special Air Service of the British Army.

【*19】 CIA

Central Intelligence Agency of the United States

Wow. Snake was the first elite of FOX.

Kojima: Speaking of special forces, Ocelot 【*20】, of the Soviet Union's special forces, makes an appearance. He is a really funny guy. He chases Snake around.

【*20】 Ocelot

Ocelot is a master marksman and torturer who appears in "MGS" and "MGS2". His true identity is hidden, as he is active in various organizations as a multiple spy. In this work, his youth is depicted.

Ah, young Ocelot.

【*21】 Snake's advice was to switch pistols, and he did so

Kojima: Ocelot is a very elite man, a major at the age of 19. There is a reason for that, he has a very good pedigree. He has his own unit. But when he meets Snake, Ocelot has his first setback. So he goes after Snake and is charmed by him. He follows the advice of his enemy, Snake, and switches pistols, 【*21】 and he has a cute personality.

In his first appearance in this film, he uses an automatic pistol, but it jammed and he was defeated by Snake. However, in his second appearance, he follows the advice of his enemy Snake and appears with a revolver.

What kind of character is The Boss? Snake seems to have a fondness for her.

Kojima: She's about 50 years old.

An older woman. And she is more than a year older.

Kojima: Snake's mentor, mother figure and lover. But you see, Snake can never win against The Boss. She's so strong that she's known as the mother of special forces. She can throw you off in an instant.

The most powerful enemy ever! The Boss!

Kojima: I liked Charlotte Rampling 【*22】. That image.

【*22】Charlotte Rampling

Actress born in 1946. Her father was a soldier and an Olympic medalist. As a child, she used to play at the NATO military base where her father worked. She became popular for her decadent performance in the films "The Brave and the Damned" [Released in English as "The Damned"] (1969) and "The Storm of Love" ["The Night Porter"] (1973). She was married to musician Jean-Michelle Jarre, but they are now divorced.

"No kung fu" "no wire" "no high-speed" of adventure novels.

What books and movies did you look at when you were thinking about "MGS3"?

Kojima: I read mystery novels in elementary school, and in junior high school I read a lot of science fiction novels as an escape from reality. Then, when I was in high school, I started reading a little more realistic adventure novels. "MGS3" is filled with that trend. Alistair MacLean and Desmond Bagley... 【*23】 All of them were translations. At the time, people who had no experience with the special forces were imagining and writing, so now there are more and more novels featuring soldiers and military personnel as the main characters, but also intelligence agents (spies) and complete amateurs were being given a mission and fighting. It was a world where you didn't know if it was real or not. It was a mess at the time. There were agents escaping from enemy bases with pistols in their hands, and with their girlfriends (laughs). But that kind of "007" 【*24】 world is the base of Metal Gear.

【*23】 Alistair MacLean and Desmond Bagley

Alistair MacLean and Desmond Bagley are British adventure novelists, respectively. McLean's best-known work is "The Guns of Navarone," and Bagley's best-known work is "The Golden Keel".

【*24】"007"

The most popular spy action movie series in the world is the 007 series, More than 20 have been made since 1962's "007 Is The Number of a Killer" ("Dr. No"). This is the root of the "Metal Gear" series.

What kind of novels do you like best?

Kojima: If you are looking for an adventure novel, I would say Bagley's "The High Citadel" 【*25】. I bought a reprint of it from Hayakawa recently, but I haven't reread it yet. I wonder how it would be if I read it now. I don't remember much of the story... I think it was about a plane crash and fighting on a high winter mountain.

【*25】 Bagley's "The High Citadel"

A masterpiece of adventure fiction published by Desmond Bagley in 1965. A plane crash-lands in the Andes Mountains and is attacked by a mysterious armed group. The surviving passengers create weapons out of scrap wood and fight back.

What about recent adventure or military fiction?

Kojima: I love J.C. Pollock's "The Frontier of Trees" 【*26】. However, most of the recent novels are realistic military stories, often written by ex-special forces personnel, you know. Tom Clancy 【*27】 and the image of a spy plus a soldier. No, "MGS3" is a much older image. The "Man of the Sea" series by Ken Follett and MacLean 【*28】, Hayakawa novels with Noriyoshi Orai 【*29】 as the cover character. A.J. Quinnell's "Man On Fire" and the "Creasy" series. "The Guns of Navarone" and "Operation Blitz Flint GO! GO" 【*30】.

【*26】 J.C. Pollock's "The Frontier of Trees" [Japanese title. Released in English as "Centrifuge".]

A military novel by Pollock, a former Green Beret, published in 2000. Two Green Berets, pursued by 12 KGB members, flee into the woods to fight back.

【*27】Tom Clancy

Military novelist born in 1947. His best-known work is "The Hunt for Red October".

【*28】Ken Follett and

MacLean's "Man of the Sea" [Japanese title. Released in English as "The Lonely Sea"] series

Both are British adventure novelists. Follett's best-known work is "The Eye of the Needle". MacLean's "Man of the Sea" is a series of maritime stories set in the Arctic Ocean and other places.

【*29】 Noriyoshi Orai

Born in 1935, Noriyoshi Orai is one of Japan's leading illustrators. His international poster for "Star Wars Episode V: The Empire Strikes Back" brought him international recognition. He has also contributed wonderful illustrations to the limited edition books of the "Metal Gear Solid" series.

【*30】 A.J Quinnell's "Man on Fire" and the Creasy series. "The Guns of Navarone" and "Operation Blitz FlintGO!GO" ["Our Man Flint"]

A.J Quinnell is a anonymous author. His debut novel, "Man on Fire", brought him international recognition. The movie "The Guns of Navarone" was released in 1961. Operation Dengeki Blitz GO!GO is a spy movie released in 1966.

A time when special forces were the heroes.

Kojima: There was a time when the words "special forces" and "espionage" had a pleasant sound. It was not called "Mission Impossible" but "Operation Spy" 【*31】. In those days, a spy had a lot of secret weapons and would sneak into the enemy's headquarters by himself. I had read such novels for knowledge, so I was able to write the scenario in no time at all.

【*31】 When it was called "Operation Spy" instead of "Mission: Impossible"

A spy drama broadcast in the US in 1966. In Japan, it was broadcast as "Operation Spy". The 1996 film version was released under the title "Mission: Impossible". The movie version was not well received by fans of the TV version, as Jim Phelps, who was supposed to be a major character in the movie, was turned into the enemy.

Director Kojima, do you listen to music when you write your scripts?

Kojima: I listen to a lot of music. Especially when I write dialogue, I often listen to movie soundtracks. I write while crying. I cry easily in my fantasies. I don't need entertainment. Just thinking about it makes me cry. Whenever I come up with a sad theme, the drama spreads in my mind and I end up crying. It would be nice to have a soundtrack playing at such times.

What did you listen to during the production of "MGS3"?

Kojima: I listened to a variety of music this time. Especially Hans Zimmer and the usual Tangerine Dream 【*32】. During the original "MGS", I was listening to John Wetton 【*33】 only. I also listen to songs with vocals, but I can't write scenarios with songs in Japanese. The soundtrack is perfect. I can't get enough of it when the music happens to match the scene I'm writing about. Also... Harry (Gregson-Williams)'s 【*34】 music is good, too. For "MGS3", I listened to the songs that Harry had written.

【*32】 Especially Hans Zimmer and his usual Tangerine Dream type of music

Hans Zimmer is one of Hollywood's greatest musicians. He has composed music for blockbusters such as "The Crimson Tide," "Gladiator," and "The Last Samurai. Tangerine Dream is a German synthesizer rock band active in the 1970s. They have also composed music for films such as "Fear's Reward" ["Sorcerer"].

【*33】John Wetton

Famous bassist who has worked with bands from King Crimson to Roxy Music to Uriah Heep to Wishbone Ash to Asia. A living witness to British rock.

【*34】 Harry (Gregson-Williams)

Born in 1961, he made his film music debut as an arranger for composer Stanley Myers and has been in charge of scores for various films, including "The Rock" and "Armageddon". He is also a well-known staff member of the "Metal Gear Solid" series.

What kind of work is done after Director Kojima writes the scenario?

Kojima: We write the script into a scriptment, which is a script for the game. Then we make a dialogue script for the polygonal demo recording, and ask the staff to make storyboards for the capture design. Well, the storyboards are only for the demos. For "Snatcher" and "Policenauts", I also wrote the storyboards.

From there, you move on to video recording and audio recording.

Kojima: They would draw the storyboards and I would check them. Once we had a rough idea of what scenes to shoot and what was needed, we would record the motion capture. But you see, when I actually capture the motion capture, I almost completely disregard the storyboards. The storyboards are just for cost calculation (workload and budget calculation) and can be changed considerably when the final CG is created. With CG, depending on the model, you can turn it around and change the angle.

The video is also a pleasure.

Kojima: Director Ryuhei Kitamura created amazing visuals in the previous title, "Metal Gear Solid: The Twin Snakes" 【*35】. This time, I'm trying to create something that exceeds those visuals. I've been told that I can no longer win in the same direction, so I'm going for a low-key approach with "no wires", "no kung fu"' and "no high speed".

【*35】 Director Ryuhei Kitamura created amazing visuals for the previous title, "Metal Gear Solid: The Twin Snakes"

The polygon demos for the GameCube version of "Metal Gear Solid: The Twin Snakes," released in 2003, were directed by film director Ryuhei Kitamura. The ultimate in passionate production, it featured wire action and slow motion to show off the superheroic nature of the characters to an excessive degree.

It's like the movie "Mach!!!!!!!!" 【*36】 It's just like that (laughs).

【*36】 The movie, "Mach!!!!!!!!!" [Ong-Bak: Muay Thai Warrior]

A Thai movie released in 2004. This is a crazy movie that pursues pure physical super-action with the advertising claims of "no CG," "no wires," "no stunts," and "no rapid-fire.

Kojima: Well, I did kung fu kicks once. I used it where necessary, but it was not kung fu; it was boxing and wrestling in the 1960s 【*37】. That became CQC. The rest of the action is pretty simple. We don't do any fancy actions like somersaults with wires.

【*37】 Boxing and wrestling in the 1960s

The 1960s was a physical era. Cassius Clay (Muhammad Ali) became a hero as the heavyweight boxing world champion, and wrestling attracted much attention at the 1964 Tokyo Olympics

What is the true enemy, as depicted by the illusion of the times?

"MGS" is full of tricks that betray the player's imagination, such as reading the package and performing unbelievable operations with the controller 【*38】, and this time... are there things like that?

【*38】 "MGS" was a game where the player had to read the package and use the controller perform unbelievable operations

In "MGS", there was a radio number on the package and a scene in which the controller massaged the player's shoulders. It was shocking to see that the tricks were not limited to the game screen

Kojima: I can't say that. Hmmm... Well, at least from the very first opening demo, I have a trick up my sleeve. At least from the very first opening demo, we have at least three out of ten people who will knock the controller to the ground.

What is it!? That!

Kojima: The first trap. Well, this trap is amazing. It's the best trap ever, even better than the psychic Psycho Mantis 【*39】 in "MGS". Only open-minded players will be able to enjoy it (laughs).

【*39】Psycho Mantis, the psychic of "MGS"

The most shocking enemy in "MGS". He reads the data on the PlayStation's memory card, guesses the player's preferences, blacks out the screen to display "Hideo," and torments the player with his unlimited attack patterns. A simple strategy was to play the game with the controller on the 2P side, which was also a shocking method.

The mystery of "it's written on the back of the package" was also amazing...

Kojima: It's even more amazing. The phone lines at the customer service center were jammed. Is that an exaggeration? If I had not made "MGS," there would be no mysteries at all. There are quite a lot of them. I don't know if everything I have in mind at the moment will fit into the game, but we're working at the last minute, so it's a grand joke. The player can't help but laugh. "Ha ha ha, you did it." It's like that. But the initial shock must have been quite great. I think European players will be delighted. People overseas are more tolerant of jokes, and they think that Kojima's games must have some kind of joke in them. For Japanese players, at least, I think it's safe to say that it doesn't have the last big 【*40】 plot point of "MGS2". For those who love "MGS", there are many points to enjoy.

【*40】 The big plot point at the end of "MGS2"

At the end of "MGS2", it is revealed that all the stories (adventures) that the protagonist, Raiden, has been through have all been artificially created. This horrifying twist, which plunges the player into an emotional abyss, was met with mixed reviews

I saw in the trailer movie that Colonel Volgin grabs a young man's crotch while saying, "Kuwabara, kuwabara." The man's face... Raiden? 【*41】

【*41】Raiden?

In the trailer shown at the 2004 Electronic Entertainment Expo (E3) in the US, a character that looked exactly like Raiden appeared. Apparently, he plays an important role in the game...

Kojima: That hasn't been talked about much, has it? Ha ha ha.

Also, this time Snake vomits 【*42】.

【*42】 Snake vomits

If you rotate Snake on the Survival Viewer screen, when you return to the game, he will get nauseous and vomit.

Kojima: Kyle Cooper 【*43】 is a big fan of vomit. "I thought Hideo was going to make a vomit game!" He said. "Of course!" He said.

【*43】 Kyle Cooper

Born in 1963. Formed the group Imaginary Forces. He is in charge of producing movie titles. He has produced many internationally acclaimed masterpieces, including "Seven" and "Mission: Impossible". He is also an important staple in the "Metal Gear Solid" series.

What a conversation!

Kojima: Kyle Cooper is an old man like that. Ryuhei Kitamura went home very angry. He was like, "Damn! I've been beaten!"

It's a joke war.

Kojima: Defecation was not an option.

...The infiltration of the Virtuous Mission in "MGS3" began on August 24, 1964. This date is... by any chance?

Kojima: Haha. It's my birthday. I was born in 1963, so it is my first birthday. I was busy, so I wrote it down as I went along and it was accepted. I really wanted to set it in 1963, but after President Kennedy was shot, it was more important for the story.

The assassination of President Kennedy. It was one of the most memorable events in the history of the world. "MGS3" begins with that incident.

Kojima: The US will go astray after that incident. "Metal Gear" is a story about nuclear weapons. When the Enola Gay atomic bombs fell on Hiroshima and Nagasaki, the Americans thought the war was over. But that was the start of the Cold War, which divided East and West. What happened then was a state of tension, and what took place was espionage. Spies were born, and they worked in the dark between East and West. This is the main theme of "MGS3".

A story that was covered up during the Cold War.

Kojima: It is set in 1964, but I hope young people can play it without worrying about that. However, when I was living in the 1960s, there was a great deal of espionage activity. Just the mention of the term "KGB" made me stand up straight.

The KGB was also said to be monitoring Japan at the time.

Kojima: At that time, the Soviet Union and the United States were accumulating nuclear weapons and were in conflict as two superpowers. But now there is no Soviet Union and war is going on in Iraq. Five years ago, I had no idea that the world would be like this. And it is hard to predict what will happen five years from now. There was a time when Japan boycotted the Moscow Olympics and hated the Soviet Union, but was that really hatred? It was just the times that made it so. In truth, I don't really hate anyone. It was "the times". That is the theme of "MGS3".

Values that transcend good and evil.

Kojima: With the first "MGS", I wanted to talk about the theme of "what is the information that is engraved in our genes?" The theme of "MGS2" was "What is the information that is not engraved in our genes, such as ideas and culture? And what do we pass on and leave behind for future generations?" That should have been the end of the story, but when I thought about it, I realised something strange. Even genetic characteristics, ideology, and culture are valued differently in different periods of time. For example, women in the Heian period were considered beautiful if they had a round face. In modern times, however, a woman with a face like a flatfish is considered beautiful. The evaluation changes with the times. What is this all about? If even genetic values are influenced by the times, and their evaluation changes, then what are the times? In "MGS3", there are people fighting for the state and politics, but they are only fighting according to the values of the times, not because they really hate the other side. In different times, they can be allies or enemies. They are neither good nor evil.

So it takes place after World War II.

Kojima: During World War II, Japan hated the US. But when I watch WWII movies now, I wonder why they are fighting. The "Americans are the enemy" mentality of those days was an illusion created by the times. Even the US was influenced by the times, and after the 9/11 terrorist attacks, just mentioning the term "anti-war" was met with bashing. When Richard Gere spoke out against the war, he was stoned 【*44】. But now, there is a strong mood of pessimism, and movies like "Fahrenheit 911," made by Michael Moore, have become a hit 【*45】. Values are changing with the times. What is it that is creating this illusion? Isn't it "The Patriots" 【*46】 that "MGS2" talked about?

【*44】 When Richard Gere spoke out against the war

In February 2003, as the US was about to deploy troops to Iraq, Richard Gere said: "The animosity between Bush and Hussein is like that between Captain Ahab and the whale in "White Whale" [Moby Dick]. Bush's words on behalf of the Iraqi people are out of line."

【*45】 Films like "Fahrenheit 911" by Michael Moore have been made and are a hit

Filmmaker Michael Moore has released a film, "Fahrenheit 911", which criticises and thoroughly criticises President George W. Bush's Iraq campaign. He aims to unseat Bush in the presidential election.

【*46】 "The Patriots"

The greatest mystery of the Metal Gear Solid series. It is said that wars and conflicts are being waged in various parts of the world at their will.

"The Patriots". The huge, dark entity that appears at the end of "MGS2", controls all information, and shapes the state. Will it appear in "MGS3"?

Kojima: "The Patriots" is a metaphor for "the times". It is a skeleton, without any substance. And in "MGS3", the organisation that was the predecessor of "The Patriots" appears.

So "MGS3" is also the story of the creation of "The Patriots".

Kojima: Yes, that's right. We have built a bridge from "MGS3" to "MGS". Please enjoy it as much as you can.

[dougwallen]

The Chills feature for Inpress (2010)

By Doug Wallen

For long-suffering Australian fans of New Zealand’s iconic Flying Nun Records, the chance to see The Bats twice in less than a year was a treat that helped offset the lack of the label’s in-print releases. Now come The Chills, another landmark Kiwi band who released their fair share of great albums on Flying Nun. Playing their first Aussie shows since the mid-’90s, The Chills today have a steady lineup fronted by mainstay Martin Phillipps. In fact, the band will be a touring five-piece for the first time since 1992, thanks to singer/multi-instrumentalist Erica Stickbury, guitarist/keyboardist Oli Wilson, bassist James Dickson, and drummer Todd Knudson. The latter two have played in The Chills for the last decade, while Wilson took over for Stickbury when she moved to San Francisco. Yet she’ll bolster the band for its dates in Melbourne and Sydney.

With a violinist, backup singer, and auxiliary guitarist/keyboardist in Stickbury, The Chills should be able to revisit most of their sterling back catalogue. “We’ve been looking at which songs would suit which arrangements,” confirms Phillipps, talking by phone from his home in Dunedin. “We’ve done a cross-section that goes back to very early Chills, including some songs that weren’t even recorded, right up to new stuff.”

Asked if there are certain songs that aren’t possible to play live, Phillipps admits, “Some songs I’m less comfortable with playing. It’s easy to get into the mindset of a song like Pink Frost, which was only ever meant to be like a little Edgar Allan Poe horror story explaining the atmosphere. But [others] are more specific, like Doledrums, which was about being unemployed in a very sort of middle-class environment, just playing piano and getting the dole and going out drinking with my friends. It was actually a very good time, but I can’t honestly stand up in front of an audience [now] and sing that with any sort of conviction. So that’s one song we’re not doing.”

Both songs he mentioned date back to 1984, and each charted in the New Zealand top 20 at the time. Pink Frost is arguably the band’s signature, and along with the 1990 single Heavenly Pop Hit, has managed to get passed along through new generations since its release. It’s a breathy calling card that has sent fans seeking out stray copies of the band’s classic albums Brave Words, Submarine Bells, Soft Bomb, and the early singles/EPs collection Kaleidoscope World. (All of which will hopefully be reissued on Flying Nun now that original co-owner Roger Shepherd has regained control of the label.) The song was also the namesake of The Chills’ 1994 retrospective, Heavenly Pop Hits.

“I guess it’s on a case-by-case basis,” says Phillipps of the endurance of certain songs. “I’m not surprised with Pink Frost, because I always thought that had a timeless quality to it. But with Heavenly Pop Hit, I could never tell. It was very much a large pop song inspired by my love of not just the Beach Boys but other bands who were really trying to do something large and beautiful in the ’60s. It clicked for some people, but when it was released, it was up against the peak of grunge.”

He adds that the song is performed with much more strength live, and that The Chills overall are considerably more intense in person than their somewhat timid recordings. It helps that the band has been gigging around New Zealand the past two years, including Dunedin, which one birthed the Flying Nun-documented “Dunedin Sound.” Phillipps has lately been trying to get The Chills over to the U.S. and the UK, where the band still has a loyal following thanks to being based in London, Los Angeles, and New York between the mid-’80s and mid-’90s. In fact, The Chills were once a hot international property, signed to Slash Records in the States and cutting Peel Sessions in England. Although the band never scored a U.S. hit, it was a regular in the college rock scene at the time, and the American indie rock band Superchunk covered The Chills’ Night Of Chill Blue.

“We put a lot of work into establishing ourselves in those countries,” agrees Phillipps. “From that point of view, I’m not totally surprised there’s still some residual impact.” He says the band was invited to play SXSW last year, but the money wasn’t there to get them over there in time. Similarly, The Chills have been offered a full U.S. tour but still need to raise the money for airfare. “It’ll definitely happen,” he assures us. “To some extent, going to Australia is part of getting the ball rolling. I think people will see that we are able to travel beyond New Zealand, and I would hope the reputation would spread as we get further afield.”

Besides a lineup perpetually in flux, one thing that kept The Chills from greater commercial success was the constant evolution of its sound. Keyboard-laced post-punk and new wave gave way to jangly folk-pop and moody ballads, sometimes all on one record. “One of the best problems we’ve had,” admits Phillipps, “is that I tend to write in a lot of different styles. I love the intensity of playing good, hard rock music live, and at the same time, I love being part of a big atmospheric song. Then there’s the quirkier songs and the folk music side. The end result has been a very confused audience, wondering what the hell we are.”

For that reason, as Phillipps begins to compile demos and consider releasing new material, he’s thinking about releases that are more thematically consistent. That said, he claims to have more interest these days in music that defies traditional song structure. “I’m more interested in experimenting more with sounds,” he explains. “And then within that, using these melodies and lyrics I’ve got. I think I can find something which will satisfy myself in terms of exploration but also sound like a continuation of The Chills. That’s basically what’s about to happen. The band and I will go off somewhere and really tear the songs to pieces and see what we can do with them as a group.”

Even in what many consider today’s post-album world, Phillipps remains fond of the format. “Whatever I choose to say over the next record,” he concludes, “I’d like it to be well thought-out statements without getting too intellectual. I do believe in the spontaneity and energy of writing music. That’s part of my dilemma: I’m part Randy Newman and part Ramones. So it’s a fine line to walk.” Photo credit: Chris Sullivan

[scotianostra]

30th September 1985 saw the death in New York of Helen MacInnes, the Scottish-born author of espionage novels, some of which were made into films.

Helen Clark MacInnes was born on October 7th, 1907 in Glasgow to Donald MacInnes and Jessica McDiarmid, and had a traditional Scots Presbyterian upbringing. MacInnes graduated from the University of Glasgow in 1928 with an MA in French and German.

After a year of library work she entered the School of Librarianship of University College, London, in 1930, graduating the following year. In 1932 she married Gilbert Highet. Over the next several years they collaborated on a number of translations from German. In 1938, after Highet had taught for a year at Columbia University, he accepted a permanent post there, and the family settled in New York City.

A short time after moving to New York, MacInnes began her first book, Above Suspicion, a tale of espionage in Nazi Europe. It was an immediate success, widely praised for its suspense and humour, and it was made into a motion picture in 1943. Assignment in Brittany followed in 1942 and was also made into a movie the following year. While Still We Live and Horizon were both suspenseful tales of World War II. Friends and Lovers, a love story, was followed by a series of thrillers concerning international intrigue and Cold War tension, including Neither Five nor Three, Pray for a Brave Heart, Decision at Delphi , The Venetian Affair, Message from Málaga, and Prelude to Terror. Her final book, Ride a Pale Horse, appeared in 1984.

While MacInnes’ career was not dotted with many awards, although she did win the 1966 Iona University Columbia Prize for Literature. This is most directly related to her influence in the state of New York, seeing as her first sixteen novels (those written up to 1966) each spent time on the international best sellers’ list. Her books were frequently translated and reissued in several languages.

Critics and readers alike noted MacInnes’s skillful and credible portrayal of espionage and the characters involved in it. She credited her success to thorough research and her interest in international politics.

While researching MacInnes’s I noticed that according to IMDb, the Internet Movie Database, a remake of the 1966 film The Venetian Affair is in the offing, I wonder if it will be something like The Bourne movies and start a resurgence in her work?

[burlveneer-music]

Don King - On The Mediterranean - a vinyl & download reissue of a super-rare cassette collecting live recordings from no-wave group's 1986 European tour

The six concerts tour in 1986 were the last European appearances of the New York no wave band Don King, starting in Padua and following a wide arc around the Mediterranean, by train, through Switzerland over to Toulouse (France) and then down to Barcelona (Spain). The original cassette was a selection of the best live recordings - released by the historic Barcelona collective 4sellos. Bass Clarinet, Guitar, Vocals – Lucy Hamilton Featuring [Percussion Tape] – Arto Lindsay, Duncan Lindsay, Toni Nogueira Producer, Tape [Percussion] – John Erskine Producer, Trumpet – Mark Cunningham Mastered from the original Master Tape by Frederic Alstadt - Mont Analogue Vinyl Cut by Frederic Alstadt - Mont Analogue

[twittercomfrnklin2001-blog]

When Strangers Marry

William Castle opens his WHEN STRANGERS MARRY (1944, Criterion Channel), reissued as BETRAYED, with a lift from Alfred Hitchcock’s THE 39 STEPS (1934) as he cuts from a scream to a train whistle. In lesser hands that might seem like a cheap gimmick, but for Castle it’s the start of a film whose imagination more than compensates for its low budget.

The King Brothers, former bootleggers turned producers, were out to improve the quality of the films they were making for Monogram Pictures. So, they borrowed Castle and composer Dimitri Tiomkin from Columbia and Kim Hunter and Neil Hamilton from David O. Selznick. For their male leads, they turned to Robert Mitchum, who had already worked for them and was still a year away from stardom, and Dean Jagger, who’d worked at Monogram. The result was a surprisingly stylish piece that garnered praise from no less than Orson Welles and James Agee.

Hunter has come to New York to join the husband (Jagger) she met when he traveled through her small town in Ohio. Only she can’t find him. Old friend Mitchum tries to help her track him down, but as she learns of a murder and robbery in Philadelphia, she and we start to believe Jagger’s the killer. Will she turn him in to homicide detective Hamilton or try to save him?

There are atmospheric shots of Hunter gazing out windows at night as neon lights flash outside and a creepy scene in which she walks through a tunnel while haunted by her suspicions. In addition to Hitchcock, Castle borrows from Val Lewton’s 1940s horror films at RKO, with an obvious “bus” (a shock that turns out to be benign) when sirens herald not Jagger’s arrest but the arrival of a boxing champ in a Harlem nightclub. That scene, with some lively dancing and jazz, may go on longer than it needs to for plot purposes, yet it adds a moment of levity to the film as Castle just explores the life in that location for the sheer pleasure of it all. And there’s some crackerjack editing at the climax that can stand beside the car accident in THE POSTMAN ALWAYS RINGS TWICE and the broken suitcase in THE KILLING as an example of the workings of fate in film noir. Keep an eye out for Minerva Urecal as a crabby landlady and Rhonda Fleming, in her film debut, as a young innocent.

[bitter69uk]

Born on this day: totally unique post-punk No Wave chanteuse Cristina (Cristina Monet Palaci, 17 January 1956 – 1 April 2020) who made precisely two barbed, weird and distinctive albums - released by the cutting edge Ze label - that flopped commercially and then retired from music. Cristina’s trademark is setting scathing observations to perky music, and she mostly sings and writes within the persona of a jaded party girl or gold digger (a tradition that dates to Mae West and Eartha Kitt). Self-titled debut Cristina (1980) (reissued in 2004 as Doll in the Box) is her mutant disco album. Lushly produced by Kid Creole, it’s campy fun with Latin rhythm in its hips (if you like cowbell, this is the album for you!), but I prefer the 1984 follow-up, the tougher, darker and more cutting New Wave pop of Sleep It Off. Cristina’s venomous, spikily funny lyrics work as wry poetry already, but then she enunciates them in an alienated, deadpan can't-be-bothered snarl (she has “resting bitch voice”, occasionally punctuated with a Johnny Rotten sneer). Here’s a sampling of her wit and wisdom: “My life is in a turmoil / My thighs are black and blue / My sheets are stained, so is my brain / What's a girl to do?” from "What’s A Girl to Do?" is as lacerating as anything found on Lydia Lunch’s 1980 magnum opus Queen of Siam. “Don't tell me that I'm frigid / Don't try to make me think / I'll do just fine without you / Don’t mutilate my mink” from her punk masterpiece “Don’t Mutilate My Mink”. (In their obit, The Guardian describes it as sounding like Audrey Hepburn fronting the Sex Pistols). Like many abrasive early eighties New York punk funk musicians (see also: James Chance of The Contortions), she may initially work best in small doses and for many may be an acquired taste. But think of Cristina as analogous to Campari – once you acquire that taste, you wondered how you ever lived without it. Portrait by Jean-Paul Goude.

[thoughtportal]

Emma Silvers May 23, 2018

Liz Phair is getting into character. She’s practicing her moves. She’s doing vocal exercises every night.

“You make these sounds for a really long time, like a monk, to try to get that lower register open,” she says, demonstrating a long, low hum. “Because my range has gotten way higher as I’ve gotten older.”

She’s calling from Los Angeles, a week after her 51st birthday. And the character for whom she’s in training is a 25-year-old version of Liz Phair, the one that released “Exile in Guyville” in 1993, the album that subsequently thrust her into the national spotlight — despite the fact that she had only played a handful of live shows.

“It was a disaster,” she recalls. “That’s not how you do it! I was already famous before I’d ever played live.”

But Phair needs to channel that person to properly perform that album, she says — which she plans to do for Bay Area fans Friday, June 1, at the Swedish American Hall in San Francisco, as she tours intimate venues in support of the 25th anniversary reissue of “Girly-Sound to Guyville” (Matador), a seven-LP or three-CD box set complete with essays, interviews and remastered rarities. (The first half of the title refers to early Phair demo tapes that were, before now, mostly message board fodder for die-hard fans. This tour marks the first time she’ll perform the tracks live.)

“Exile” was a revelation when it hit the radio in 1993: sensitive and blunt, angry and funny, honest about sex and the alienation of being a creative girl in a guy’s scene. Framed as a wry response to the Rolling Stones’ “Exile on Main Street,” it stood in stark contrast to the bro-dominated grunge acts of the era, and quickly landed on critics’ best-of-the-year lists. Meanwhile Phair, a Chicago native and recent Oberlin College grad who had written most of her songs in her bedroom at her parents’ house, became an indie darling overnight.

It was in that spotlight that Phair was taken to task for her lyrics, whose sexual frankness (“I want to be your blowjob queen,” from the sing-songy track “Flower,” was among the most-quoted) barely moves the needle by today’s pop music standards. But in the ’90s, says Phair, “You were still judged according to the Slut-O-Meter.”

“I wanted it to be so outrageous and over the top that you had to talk about whether I could say it or not,” says Phair, whose penchant for performance art comes across in early interviews. “I wanted men and I wanted to have sex. I had those feelings, and I had those thoughts, so it was really about what you were allowed to exhibit. What you’re given ownership over, even in the real estate of your own inner life.”

In the 25 years since “Exile,” Phair has released five full-length albums, some to acclaim, and some — like her 2003 self-titled foray into slicker, more radio-friendly pop — to critical derision and cries of “sellout.” She also dabbles in other art forms: after finishing a double album with Ryan Adams recently (release date still to be announced), she turned her attention to a different kind of writing, inking a two-book deal with Random House in 2017. A memoir called “Horror Stories” will be published first; the second, she says, is tentatively organized around the theme of fairy tales.

Regardless of her medium, Phair’s impact and influence have grown more obvious with each passing year, especially as younger generations of feminists discover her landmark debut.

“Dude, I was ahead of my time. What can I say?” she says with a laugh, when asked about how well “Exile” has aged.

It’s 2018, and Beyoncé, whose brand is seeped in sexuality, just gave the performance of her life at age 36 — the same age Phair was when a New York Times review of her self-titled record painted her as a desperate, over-the-hill soccer mom for daring to still be sexual. Does our cultural landscape have more room for women as three-dimensional beings than it did in 1993?

“I do think we’re much further along,” says Phair. “But especially in the last couple years, with the Trump administration, it’s also shocking and deeply disturbing to realize how much further there still is to go.”

Which has, in turn, lit a fire under Phair in other ways.

“I have felt a definite need to be present, vocal and accounted for, because I need to be as strong and loud as these voices that are so horrifying to me,” she says. “We all do. The America that I believe we live in just needs to turn up its volume.”

In the meantime, those who caught Phair live circa 1993 can expect a much more technically skilled performance of “Exile” songs than the last time around. That said, Phair’s biggest strength remains the same: “It’s a testament to people’s appreciation of songwriting,” that fans stuck with her 25 years ago, she says, as she learned to play shows in real time.

“But I think that’s what I do better than other people. I don’t sing better or play better, but I have a kind of authorship. A voice.”

Emma Silvers is a Bay Area freelance writer.

[doomandgloomfromthetomb]

Sonic Youth - Noise Fest, White Columns, New York City, June 18, 1981

It's not summer yet, but I am kicking off this year's listening project — #SonicSummer! Does anyone still use hashtags?! I guess I do. For the next however-many weeks, I'm taking an expressway through Sonic Youth's live legacy, 1981-2011. Thirty years of pure Sonic Death! Join me! The band is impressively well-documented ... even from close to the very beginning.

Which is where we are with this Noise Fest tape! If I'm not mistaken, it captures the band's first gig under the name Sonic Youth. It's not quite Sonic Youth, however. Instead of Lee Ranaldo, we've got Ann DeMarinis on keyboards/vocals joining Thurston Moore, Kim Gordon and Richard Edson for a set both familiar and strange. A lot of the early SY pieces are in place: pummeled guitar and thudding drums, vocals both yelped and strangled.

But there are some serious curveballs to come, including one piece that flirts dangerously with ska. DeMarinis' keyboards are another odd wrinkle, but they're kind of cool! She wouldn't be long for the band, though — and even Edson was more focused on No-Wave funk practitioners KONK at the time. The White Columns crowd is pretty into this first glimpse of Sonic Youth though ... and that crowd did in fact include Lee Ranaldo, who would soon be drafted in time to record the band's first self-titled EP for Neutral, Glenn Branca's label. Speaking of which, you should check out the reissue of that EP, which features more embryonic live SY ...

Sonic Youth Bandcamp | Merch | Concert Chronology

[slovenlyrecordings]

Weird sounds on wax, new and old, just in at Slovenly USA!

https://store.slovenly.com/records/new-recent-arrivals-us.html

New:

BIKINI KILL "S/T" 12"

GEE TEE "Stuck Down" 7"

MODERNETTES "Eighty - Eighty Two" LP

STRANGE ATTRACTOR "Good Boy Bad Boy" LP

GEE TEE '"S/T" LP (Repress, LTD.)

WAYNE PAIN & THE SHIT STAINS "S/T" 7"

DADGAD / ZHOOP "Split" 7"

QINQS "S/T" 7"

CHEATER SLICKS "Ill-Fated Cusses" LP

EDDY CURRENT SUPPRESSION RING "All In Good Time" (WHITE/ PALE GREEN SPLIT vinyl) LP

ISS "Spikes+" LP

OH SEES "Face Stabber" (BLUE vinyl) 2xLP

VARIOUS ARTISTS "Bloodstains Across Virginia" LP

VELVET UNDERGROUND "New York Rehearsal 1966: The Factory Broadcasts" (CLEAR vinyl) (2xLP)

FUNKADELIC "Free Your Mind And Your Ass Will Follow" (BLUE vinyl) (Gatefold) LP

MISFITS "We Were 138 (San Francisco 1981 + Live Detroit 1983) (SPLATTER VINYL) LP

FRANCOISE HARDY "S/T" LP (Colored vinyl)

CRAMPS "All Aboard The Drug Train" LP

CRAMPS "Smell of Female" LP

SONICS "Here Are The Sonics" LP

DAMNED "Machine Gun Etiquette" LP

MISFITS "P.U.N.X. Los Angeles, CA April 8, 1983" LP

CHILTON, ALEX "Free Again: The "1970" Sessions" (RED vinyl) LP

FUNKADELIC "Maggot Brain" LP

VELVET UNDERGROUND & NICO "S/T" (Original Peeling Banana Jacket' Edition) LP

Back in stock:

AVENGERS "S/T" LP

CRIME "Murder By Guitar" LP  

DIRTBOMBS "Play Sparks" 7"

OH SEES, THEE "Floating Coffin" (LTD, Reissue, Red/Green/Orange Tri-Colored vinyl) LP