#capitalizing on his viral videos about the original show

[ryssabrin]

last year i decided to stop watching youtube content about media that basically amounted to "reviews" where the creator just makes fun of and dogs on whatever they're reviewing for 20 minutes. i found a new channel called mike's mic (highly recommend) that instead does these light hearted goofy videos going over media he likes that while yes might not be objectively amazing but it's fun! and he can make jokes that feel like he's laughing with and not at the media in question. he talks about things he likes through the frame of their cultural relevance to him and he's a delight to watch.

it just made me realize how much media criticism i was consuming was always more through the frame of "how can i show that i'm better and smarter than this media?" and to a lesser but no less frustrating extent, the lens of "how can my criticism show that i have the Correct Progressive Opinions on this topic?" like watching eddy burback's video on the glee pilot and seeing him lose his mind over how "problematic" it is and scratching my head because yeah? it's campy and over the top on purpose? for comedy? because it's a comedic show?

it also leads to a lot of bad faith reads on media that barely take into account authorial intent at all. all you can focus on is how you would have preferred the story go instead of thinking about why the writer wrote it the way they did and what they wanted to say. i've seen criticisms of dav that are straight up "i just can't wrap my head around this theme" essentially because it wasn't the theme and story they were expecting. and when anyone (gently) tries to explain it to them it becomes "how dare you talk down to me" as if trying to speak up for what the game could actually mean to people is somehow insulting.

social media in general fosters an environment of one-up-manship in trying to having the hottest take possible and i don't think it's actually making media comprehension or criticism any better. you don't have to outsmart the media and you won't go to jail for liking something even if it's not the most clever thing on the planet, it's fine lol.

Watching creators across the internet yap themselves into hating this game for no reason is actually so sad

[lastweeksshirttonight]

Hey uh remember when I did retrospectives of Last Week Tonight episodes? Let's bring it back to 140.

Last Lee Tonight (wherein I'm definitely showing United Passions at my next bad movie night) Season One, Episode Six

(original air date: 6/8/2014) Major topics covered: FIFA, Bashar al-Assad's incredible iTunes library

"And speaking of Germans losing things, it was the 70th anniversary of D-Day this week."

It's really nice to throw this show back on again, on a note unrelated to the purpose of this project. I don't talk much about myself but it's been a rough few months with work scheduling, my chronic illnesses, and my mental health. For every "I'm taking a very spontaneous and ill-thought-out trip to New York to see John Oliver WOOO!" moment, there's been at least five "why can't I catch a break"s. When I'm not being beaten down by the collective forces of capitalism, I genuinely haven't been watching much John at all, mainly in an effort to play the large backlog of video games and read the large pile of books lying around my house. I've been moderately successful there (hey y'all should give Cassette Beasts a go, it's delightful), but there's nothing like going back home, so to speak. (I hesitate to call LWT a comfort show for me, given that it's basically A Record of the Decline of the United States in Real Time, but it kinda serves that function to some degree. I am a psychopath.)

Where we last left off in... May, Jesus Christ, I'm so bad at scheduling and writing and content creation - when we last left off in May at Episode 5, things were finally starting to coalesce into the modern LWT experience. We had our first viral segment on Net Neutrality, the first time a segment was uploaded in full to the LWT YouTube, and an opening news roundup that was starting to feel more thoughtful and themed. This episode continues that theme and gives us our second big viral topic.

There is a variant on the desk-slapping here, where John doesn't do it to open the show, but does a milder version of it to get the audience to shut up so he can move on with doing the show. One of my favorite things about him is his constant desire to barrel through clapping or any audience praise of anything he's done at a given moment in time and this opener is a pretty good example of that.

We open on John calling the week disappointing because California Chrome, a horse competing for the Triple Crown, did not win the Triple Crown. You can tell this is an early episode of LWT because there is no prerequisite horse-fucking/bestiality joke, just John angrily saying "fuck that horse" about Tonalist, the horse that defeated California Chrome. All of these horses sound like indie bands from my college years. I feel like Tonalist opened when I saw MGMT live.

We then move into German Who Wants to Be a Millionaire. This gives John an opportunity to plumb one of his favorite comedic depths, making fun of the musicality, smoothness, and romanticism of the German language. A German man used his lifeline to call Chancellor Merkle, who, thankfully, did not answer, as she was busy running Germany.

This transitions into China hiding the events of Tiananmen Square from their populace, including by censoring the Internet.

Attempts by protestors to use different trending words - and to put facts about Tiananmen Square in a sex tape - to get around that were also clamped down on, leading to this absolutely glorious screenshot of John's hypothetical romance novel:

I feel like someone on Reddit probably wrote When Spring Turns to Summer recently.

We also learn that Friends is incredibly popular with Chinese youth. I'm not really shocked by this, Friends has a weird international reach. I know multiple Korean idols who learned English partially through watching Friends. The fact that there's a Chinese replica of Central Perk? That's wild. The show edits a Friends clip to include historical facts about the massacre, and then we move to our central story.

I'm a big fan of whenever John talks about FIFA and football in general. Recently in one of her "posts relevant to my interests", @tellthemeerkatsitsfine noted that there's a strain with John and his contemporaries with them being nerds who really wanted to be jocks, and I think that dichotomy really helps John come off credibly when he talks about the deep-rooted corruption in this particular organization. The sport is something that is literally rooted into him, hardwired as something he deeply cares about... but there's the rest of it to consider.

In my opinion, someone who deeply loves something can really be the best at describing everything wrong with it. You don't really find the grime if you're only on the surface of something. I know that critical observation of a fandom while in said fandom is in short supply these days, but I wish it was more common.

Anyways. I think FIFA's corruption and grotesqueries are pretty known in 2023, but at the time, knowledge of their fuckery wasn't as widespread. Socially, we've definitely spoken a lot more about the cost-benefit analysis of the Olympics and taxpayer-funded stadiums, which is comparative to John's opening about the issues with FIFA and claims that World Cups bring money to the areas hosting them. (Not true!) Other items I'd completely forgotten about, like FIFA Court and their boardroom looking like something out of Dr. Strangelove.

The "And Now This" is "Chris Matthews Reminds Everyone Who He Used to Work For". (Answer: Tip O'Neill.) My abiding memory of Chris Matthews is Zell Miller accusing him of beating a woman and challenging him to a duel at the 2004 Republican National Convention.

SNL had a pretty great sketch of this where Will Forte played Miller that I can't find right now. PISTOLS AT DAAAAAAAAWN MATTHEWS!!!!

The final segment is on Bashar al-Assad's campaign of terror against Syria, rigged electioneering, and chemical warfare. More importantly, al-Assad's life history and iTunes library are discussed.

This was also the subject of the classic Bugle episode 187, which has a chance to go far more in depth about his favorite music, like "Sexy and I Know It". (Andy Zaltzman describing Lil Wayne and Busta Rhymes as a doubles tennis group is one of my favorite Bugle moments of all time incidentally.)

Right Said Fred coming out to perform an anti-Assad version of "I'm Too Sexy" gives us the first time John has had a celebrity come out basically to troll one single person, and thus almost the cornerstones of modern LWT have been established. Eagerly awaiting the first bestiality joke. Also, really love the changed lyrics, they put a hell of a lot of effort into this one. I wanna see Right Said Fred live now.

Random notes:

Lee will continue sexualizing one (1) older man damn it: light blue and dark blue checked shirt, black tie, and black jacket? I know I've said red is John's color but light blue is a very close second, 10/10

I feel like I made up for not doing these for two months by writing about five year's worth of unnecessary analysis of this damn episode. Hopefully you enjoyed it!

It was amazing seeing an ESPN ad for something not handegg-related. -groan-

LWT YouTube is still a bit confused, as we did get the two major topics as their own videos... and then 1 minute of the FIFA section as its own minisode. I really would love to know the logic behind why there specific jokes were isolated like this in the beginning of the show's airing.

My sausage, if anyone cares, is the Korean idol industry. It's an absolute cataclysmic nightmare and yet there's a lot there personally that changed me and a lot that I love out of it. It's complicated. Fuck SM Entertainment.

A reminder that John's LMFAO fandom has endured for a decade longer than the band itself lasted:

[hardynwa]

Atiku tells court how Tinubu holds dual citizenship of Nigeria, Guinea

Atiku Abubakar, the presidential candidate of the Peoples Democratic Party (PDP), had said President-elect Bola Tinubu has dual citizenship of Nigeria and Guinea. Atiku, in a fresh court filing submitted to the Presidential Election Petition Court (PEPC) sitting in Abuja, also accused Mr Tinubu of not disclosing facts of his constitutional qualifications in his Form EC9 submitted to the Independent National Electoral Commission (INEC), contrary to the provisions of the law. In the response filed by his lead counsel, Chris Uche, SAN, Atiku said that his identity, comprising age, state of origin and educational qualifications had never been in dispute. He insisted that Mr Tinubu was constitutionally disabled from contesting for the office of president. The PDP presidential candidate, amongst other things, alleged that Tinubu was unfit to lead Nigeria having been indicted for drug related offences in the United States and made to forfeit a sum of 460,000 dollars as a compromise agreement. PREMIUM TIMES reported that Atiku said in the same document that the president-elect was burdened by identity and drugs scandals. According to him, Mr Tinubu holds dual citizenship of Nigeria and Guinea, having voluntarily acquired the citizenship of the Republic of Guinea. Reacting to Mr Tinubu’s response in which he described Atiku as a serial election loser, the former Vice President said that Tinubu was a giant in forfeiture, drug related offences and failure to disclose dual nationality to INEC. “The comparison of the second respondent (Tinubu) with the first petitioner ( Atiku) who had attained the eminent position of Vice President of the Federal Republic of Nigeria for eight years is totally unfounded,” he said. Atiku said that he was challenging the declaration of Tinubu as president-elect on the grounds that Tinubu and APC did not win majority of the lawful votes cast in the Feb. 25 presidential election. He said that Mr Tinubu failed part of the constitutional requirements having failed to secure 25 per cent of the votes cast in the Federal Capital Territory (FCT), Abuja, as constitutionally required. He argued that the return of Mr Tinubu as the winner of the 2023 presidential election was undue, unlawful and invalid because Tinubu did not meet the constitutional requirements. Atiku said that Tinubu deliberately chose not to answer points of substance in the petition and opted for extraneous facts, contradictory, evasive, speculative and vague assertions. A former President of Guinea, Alpha Condé, reportedly confirmed conferring what he described as “Ambassador extraordinaire” on Mr Tinubu. He said the honour was in compensation for the roles Mr Tinubu played during his election in 2015. It is not clear if the status is equated to citizenship of the country. Mr Condé, who is currently in exile in Turkey following a 2021 coup that ousted him, made the comments after a snapshot bio-data page of a Guinean passport show Mr Tinubu’s photo and details trended online. About the same time, another viral video clip, also showed Mr Tinubu the governor of Lagos State, Babajide Sanwo-Olu and the Guinean ambassador to the African Union (AU) for Agenda 2063, Ousmane Yara, in a Guinea-government-owned helicopter. Mr Yara explained to Sun Newspaper the helicopter video was taken when Mr Tinubu was a guest of the ousted president of Guinea during thr country’s independence anniversary celebration in 2016. Read the full article

[mostlysignssomeportents]

Debts that can't be paid, won't be paid

It’s been just over a year since the death of activist, writer and anthropologist Gavid Graeber — a brilliant speaker, writer and thinker who helped give us Occupy, “we are the 99%” and “Bullshit Jobs.”

On the anniversary of David’s death, his widow Nika Dubrovsky convened the first “Art Project” discussion, a fascinating debate between Thomas Piketty and Michael Hudson, a pair of political economists whose work is neatly bridged by Graeber’s own.

https://www.youtube.com/watch?v=GWT0uvBLDbo

Piketty, of course, is the bestselling French economist whose 2013 Capital in the 21st Century was an unlikely, 700+ page viral hit, describing with rare lucidity the macroeconomics that drive capitalism towards cruel and destabilizing inequality

https://memex.craphound.com/2014/06/24/thomas-pikettys-capital-in-the-21st-century/

Hudson, meanwhile, is the debt-historian and economist whose haunting phrase “Debts that can’t be paid, won’t be paid,” is a perfect and irrefutable summation of the inevitable downfall of any system that relies on household debt to drive consumption.

https://pluralistic.net/2020/03/24/grandparents-optional-party/#jubilee

Like Hudson, Graeber was obsessed with the history and politics of debt. His 2012 book “Debt: The First 5,000 years” influenced not just Piketty’s work, but the work of many non-economists, including a large group of science fiction writers.

https://www.tor.com/2012/04/16/the-best-science-fiction-ideas-in-any-non-fiction-ever-david-graebers-debt-the-first-five-thousand-years/

Like Piketty, Graeber was capable of writing extremely long books that were so engaging that people actually read them, absorbing complex and nuanced subjects. DEBT clocked in at 534 pages, and not a dud among them.

And like both Hudson and Piketty, Graeber was obsessed with long timescales and the ways that history is pressed into service to assert that various political situations are inevitable products of human nature, meaning that there’s no point in asking for a fairer system.

In Debt, Graeber reaches back 5,000 years to question (among other things), the “money story” that money was created by individuals who wanted to make barter more efficient, settling on coins as a way to make change for someone who wants a cow but only has chickens to trade.

Graeber shows the “confluence of needs” theory of money to be a fairy tale, something that orthodox economists literally made up as the “most likely” source of money, without ever asking historians about what the record tells us about the origins of money.

Which is a pity, because historians know a lot about this stuff! For example, they can tell you about the Babylonian use of ledgers to record the issuance and redemption of debt in the largely agricultural economy of the day.

This early money would be recognizable to farmers today: during planting season, a share of the eventual harvest is promised in exchange for the inputs needed to plant, nurture and reap the crops.

Like Graeber, Hudson also treats Babylonian policy as key to economics — specifically, the Babylonian understanding that “debts that can’t be paid, won’t be paid,” which is why the state would periodically declare a jubilee in which all debts were declared void.

Without these periodic jubilees, the entire productive economy is swallowed up by debt service — every poor harvest or other unforseeable circumstance drives producers (who are also debtors) further into debt, whose interest creates an inescapable gravity.

Without some way to escape debt’s gravity, all productive labor becomes oriented toward debt-service, and the economy grinds to a halt. If this sounds familiar, you’re probably paying attention to today’s political economy:

https://pluralistic.net/2021/05/19/zombie-debt/#damnation

Piketty also works in long timescales, though his historical analysis is an order of magnitude more recent that Hudston or Graeber’s. At Capital XXI’s core is a data-set, painstakingly assembled by Piketty and his grad students over more than a decade.

That data-set traces “capital flows” (the distribution of wealth and income) for 300+ years, rigorously traced and normalized, so that we can understand things like the relative degree of inequality in different societies over centuries.

Famously, Piketty concludes that no matter how fast an economy is growing — no matter how productive its makers are — that wealth grows faster, making the takers who financed growth even richer than the people whose work is propelling the economy.

This fundamental truth (expressed in economic notation as r > g, or “return on capital is greater than economic growth”) means that “meritocracy” is a lie: the richest people in a market economy aren’t the people who do the best work, it’s the people who started off rich.

Like Hudson, Piketty’s work looks at the relationship between inequality and instability: Piketty uses his data to show that inequality crises trigger political crises, and that high degrees of inequality precede upheavals like the French Revolution and the World Wars.

Given all that, a discussion between Piketty and Hudson, convened in Graeber’s memory, is bound to be fascinating, and they don’t disappoint (if you prefer text to video, check out Naked Capitalism’s transcript):

https://www.nakedcapitalism.com/2021/09/michael-hudson-and-thomas-piketty-debate-inequality-debt-and-reform.html

Here’s my highlight reel of the discussion, with commentary. Hudson opens with a skeptical take on Piketty’s conclusion to Capital XXI, in which he proposes a global wealth tax. Such a tax is nearly impossible to enforce, says Hudson — unlike a jubilee.

Hudson says the source of today’s global vast fortunes is not earnings or income — rather, it’s central banks’ subsidy of the value of stocks and bonds, through rock-bottom interest rates, bond guarantees, etc. These fuel speculative bear markets that run up asset prices.

These state-subsidized fortunes are pumped into the financial markets, becoming the loans that everyone else has to pay debt on, just to survive. As in ancient times, the finance sector eventually swallows the productive economy whole. Without jubilee, you get collapse.

This is true within rich economies, but it’s even more pronounced in the relations between poor debtor countries who were coerced into taking on massive debts by the IMF, who are going to pay an ever-larger share of their GDP to offshore creditors as the economy slows.

The only way for poor countries to service those debts is by imposing crushing austerity, which means starving domestic producers of investment, education and health services, reducing productivity, requiring more austerity — until the whole thing collapses.

Remember: debts that can’t be paid, won’t be paid. It’s an iron law, and cannot be repealed — not by austerity, not by “better management,” not by “living within your means.” Can’t be paid = won’t be paid.

Piketty doesn’t dispute any of this, saying that he’s reconsidered some of the solutions in Capital XXI in light of subsequent events, like the pathetically inadequate global minimum corporate tax of 15%, which only rich countries’ treasuries will get to participate in.

Piketty points to his followup to Capital XXI, the even weightier (and sadly less influential) Capital and Ideology for his more up-to-date thinking on the way to address inequality and instability.

https://www.theguardian.com/books/2020/feb/19/capital-and-ideology-by-thomas-piketty-review-if-inequality-is-illegitimate-why-not-reduce-it

He reiterates his thesis that inequality self-corrects, thanks to the instability it engenders. Left on their own, market economies collapse, torn apart by the bill for guards to defend lenders’ fortunes, the bill for interest payments that enrich lenders.

Impose sufficient austerity and brutality on a society and the cost of defending it exceeds the wealth its productive sector manages to produce, and boom — French Revolution, the World Wars, etc.

Piketty proposes that mounting “catastrophic climate change” might precipitate the next crisis, which is certainly a safe bet, though of course, the question is whether that crisis will come after the point of no return for a habitable planet.

Hudson has ideas about how we might hasten transformative change without risking civilizational collapse. He points out that Piketty’s work identifies inherited wealth as inequality’s wellspring and points out that estate taxes are much more enforceable than wealth taxes.

Certainly, inherited wealth is a live issue today. The latest installment of Propublica’s essential IRS Papers reporting shows how the richest Americans abuse a bizarre loophole to avoid ANY tax on indescribably vast estates:

https://www.propublica.org/article/more-than-half-of-americas-100-richest-people-exploit-special-trusts-to-avoid-estate-taxes

No one knows exactly how much tax avoidance grantor retained annuity trusts (GRATs) drive, because they are shrouded in secrecy. In 2013, the lawyer who created GRATs said they’d allowed the ultra-wealthy to evade $100b in taxes. Their use has increased since then.

Another lever for reducing inequality is political competition. Hudson points out that during the Cold War, capitalist states took steps to prevent runaway inequality in a bid to show that market economies were more stable than centralized, planned economies.

Hudson suggests that competition with China might serve that function today. Without forgiving China for its autocracy and human rights abuses, he gives favorable marks to its economic planners for reining in the finance sector.

It’s true that China intervened heavily in credit markets during the covid crisis, to prevent rentiers from destroying productive businesses that couldn’t service their debts during lockdown, preserving larges swathes of otherwise vulnerable productive firms.

He reminds us that the original meaning of “free market” was “a market free from rents,” where unproductive creditors were not allowed to lay a private tax on productive manufacturers.

https://locusmag.com/2021/03/cory-doctorow-free-markets/

Today, the meaning has been reversed — a market is “free” if creditors face no limits on rent-extraction.

But there’s good reason to be skeptical of claims that China’s economy is being well-managed, as Anne Stevenson-Yang writes.

https://www.forbes.com/sites/annestevenson-yang/2021/09/25/chairman-xi-chinas-looming-crisis-and-the-myth-of-infallibility/

Stevenson-Yang paints a picture of chaotic state management of the Chinese economy, hidden by state-owned media and its rosy outlook. Watchwords like “common prosperity” are empty buzzwords, used to paper over self-interested, corrupt business practices.

State initiatives measure progress through short-term, easily gamed KPIs, something she says is documented in Red Roulette: “a new book written by a disaffected property developer named Desmond Shum.”

https://www.simonandschuster.com/books/Red-Roulette/Desmond-Shum/9781982156152

Now, I’m willing to stipulate that for investors and property developers “corruption” or “incompetence” might be indistinguishable from what the rest of us would call good governance, but some of Stevenson-Yang’s charges seem factual and well-made.

42I found the discussion between Piketty and Hudson fascinating, and if there was anything more that I’d add, it would be a dose of technopolitics (unsurprisingly). After all, technology has a huge bearing on the timing and nature of the shifts that both economists study.

For Piketty, inequality-driven instability collapses when the cost of guard-labor rises too high to bear — other words, eventually, a society gets so unequal that it costs more to stave off guillotines than even the ultrarich can afford.

For Hudson, debt-driven instability collapses when debtors begin to default because they have no ability to service their debts.

Technology changes the nature of both of these collapses. Take guard labor: mass surveillance and technological controls make it cheaper than at any time in history to isolate and neutralize political threats to elite rule.

How much cheaper? Well, in 1989, the Stasi employed one in sixty East Germans to spy on the whole nation.

Today, the NSA spies on the whole world, at a spy:subject ratio that’s more like 1:10,000 — two orders of magnitude more efficient than the spies of a generation ago. That’s a huge productivity gain, and it’s all thanks to digital technology.

When it comes to debtor default, the tension is between coercion and ability to pay. Yes, “debts that can’t be paid, won’t be paid,” but “can’t be aid” is not a hard limit — it turns on how much the debtor is willing to hurt themselves and their loved ones to make payments.

Every mafia armbreaker knows this. When someone can’t pay their debts, you can break their arm and they’ll cash in their kids’ college fund and secretly remortgage their house to make the next payment.

When that runs out, if you threaten to break their legs, the debtor will start breaking into cars. Eventually, this comes to an end, when the debtor goes to prison for 25 years. But in the meantime, coercive force can wring a fair amount of blood from the stone.

Debtor coercion has been transformed by digital technology, from an artisanal, retail handicraft to a scaled up, industrial practice.

https://pluralistic.net/2021/04/02/innovation-unlocks-markets/#digital-arm-breakers

We don’t need the threat of repo men to keep you paying your car note — miss a Tesla payment and your car will phone home and lock its doors. When the tow arrives, it will flash its lights, honk its horn and back out of its parking space for repossession.

The ability to digitally repossess, or partially repossess (as in India, where loan-shark cellphone companies disable your most-used apps if you miss a payment) the tools you rely on for life and livelihood makes it cost-effective to apply coercion at scale.

Cheap guard-labor and cheap coercion mean that crisis can be deferred for ever-longer timescales. Thus, societies up the only kind of debt that really matters: policy debt. Lives are ruined, productive capacity tanked, the planet poisoned.

Add tech to Piketty or Hudson’s analysis and things start to look a lot less self-correcting, and the odds tilt against our civilization, our species and our planet. If a correction only comes after the point of no return, we’re in very deep shit indeed.

[theculturedmarxist]

The Bucha Provocation

The Bucha 'Russian' atrocities propaganda onslaught may have worked well in the 'west' but it lacks evidence that Russia had anything to do with it.

The former Indian ambassador M.K. Bhadrakumar calls it an outright fake:

An indignant Moscow has angrily demanded a United Nations Security Council meeting on Monday over the allegations of atrocities by Russian troops in areas around Kiev through the past month. Prima facie, this allegation is fake news but it can mould misperceptions by the time it gets exposed as disinformation.A Tass report says: “The Russian Defense Ministry said on Sunday that the Russian Armed Forces had left Bucha, located in the Kiev region, on March 30, while “the evidence of crimes” emerged only four days later, after Ukrainian Security Service officers had arrived in the town. The ministry stressed that on March 31, the town’s Mayor Anatoly Fedoruk had confirmed in a video address that there were no Russian troops in Bucha. However, he did not say a word about civilians shot dead on the street with their hands tied behind their backs.”Even more surprising is that within minutes of the “breaking news”, western leaders — heads of state, foreign ministers, former politicians — popped up with statements duly kept ready and only based on the videos, seconds-long videos and a clutch of photos, ready to pour accusations. No expert opinion was sought, no forensic work was done, no opportunity given to the accused to be heard.

I had yesterday, at 15:09 UTC, posted a timeline of the events in Bucha on Twitter. Here is an expanded version.

Mar 30 - Ru troops leave Bucha

Mar 31 - Mayor of Bucha announces town 'liberated', makes no mention of atrocities.

Bucha liberated from Russian invaders – mayor - Ukrinform The mayor of Bucha in Kyiv region, Anatoliy Fedoruk, stated that the town had been liberated from Russian troops.

Fedoruk said this in his video address posted on Facebook, Ukrinform reports.

"March 31 will go down in the history of our Bucha community as the Day of Liberation. ..."

Apr 1/2 - Azov Nazis enter Bucha

Scenes of desperation and death as the Russians retreat from suburbs outside Kyiv. - New York Times

Ukrainian soldiers from the Azov battalion walked through the remnants of a Russian military convoy in the recently liberated town of Bucha on Saturday, just outside the capital after the Russians withdrew.

Apr 3 - Ukr MinDef publishes video of 'Russian' atrocities

Here are the latest developments in the war in Ukraine. - New York Times, Apr 3

Footage posted by Ukraine’s Defense Ministry and photographs from news agencies showed the bodies of men in civilian clothes on the streets of Bucha, a town northwest of Kyiv. Images showed some corpses with hands bound behind their back.

A screenshot of the original NYT piece was attached to my tweet. It included the sentence:

The New York Times was unable to independently verify the assertions by Ukraine's Defense Ministry and other officials.

The above tweet went viral with more than 3,000 retweets and nearly 5,000 likes. People obviously recognize the importance of the above timeline for the question of who killed whom, when and how.

Gonzalo Lira, who is in Karkiv, has previously directed a professionally made movie. In this video he asserts that the main 'Russian' atrocity video, which shows cars driving down a street strewn with dead bodies, is of a professional high production quality that can only be achieved with high end equipment. He also remarks on additional evidence from the scenes that points to a false flag operation.

Lira comes to the conclusion that the Azov Nazis have killed some people in Bucha that had been too friendly with the Russian 'occupiers' and are now blaming Russia for it.

Azov gangs are known for such atrocities. Based on the above timeline I concur with Lira's conclusion.

[ill-will-editions]

Against Pandemic Capitalism. An Interview with Milan’s Emergency Volunteer Brigades

Interview conducted March 21, 2020. 

1. How are you all? Are you managing to keep in touch virtually? Are you still managing to exist as a "group" or to keep to a "common position" despite the isolation?

We are fine. The situation here in Milan has been building into a crescendo. After February 23rd, there were weeks of uncertainty, during which there were contradictory orders from the government. During the first week the government closed some businesses, then they reopened them; later the awareness of the epidemic grew, and the more drastic measures were then applied. Now that everyone is pretty much isolated, although we are keeping in touch with each other frequently, it is more complicated to come up with  common positions and to exist as a group. At the same time, various communication channels and types of reflection and action have opened up,  yes. Some of us have focused more on the conditions in prisons, while others are engaged in translating or sharing thoughts. Some others converged in the local Solidarity Brigades, and others are looking for more contacts with comrades abroad to have a broader picture of the situation.

At the beginning everyone had their own perception of things; there were those who panicked and those who claimed that it was yet another way to instill fear in the population, since in any case politicians and medical experts seemed to espouse different opinions. From the governor of Lombardy, who published a selfie video locked in his house with a mask, to the mayor of Milan, who made a video entitled #milanononsiferma (#milanwillnotclose), in which he tries to show that the hyperproductive city would keep going; to virologists, who were insulting each other on various TV programs. Then the number of infected increased and the red zone was extended from Codogno (where the so-called “patient zero” was found) to the whole of Lombardy. People started to develop a different perception of risk: by that point, we all knew someone who had been infected. As I mentioned, nobody had really understood what was happening and we continued our everyday collective routines (collective football training, meetings, assemblies, and so on). From March 9th, the government took a unified national approach; the red zone was extended across the whole of Italy. Orders were given not to leave the house, unless you had a certificate provided by the authorities. The restrictions have been very strict: an evening curfew begins at 6pm is in place. Since then, all of Italy has been “online”.

Many initiatives were born, from tutorials about how to defend against COVID-19, to new radio and streaming sites, meetings (especially on Zoom) filled with people who often have never even met, some from all over the world. The absurdity of it is that we are experiencing a more conscious use of our devices. While before we perceived them as instruments of alienation and distraction, we now use them better as ways of sharing knowledge.

As for our group, we had been facing a period of great fragmentation. Ironically, the work of the brigades and the presence of a common but invisible enemy now involves everyone, since we are all touched by the same problem.

2. What is the situation in working-class neighbourhoods? How are the cops and the army behaving? In Milan, as we know, the police are generally very aggressive, but their attitude can change according to zone, acting civil enough and "teacherly" in more well-to-do neighbourhoods, and with the arrogant and violent "colonizing" approach in more working-class neighbourhoods. 

The situation in the working-class districts of Milan changes depending on the area. In the densely-populated areas, filled with small and overcrowded houses, and mainly inhabited by foreigners, life continues to take place in the streets. Walking around in neighbourhoods like Giambellino or via Padova, you might see smaller food shops still open, creating spaces to meet for people who seem unconcerned with the directions issued by the authorities to stay at home. The police patrol the streets, but not in an overly dominating fashion, mostly trying to limit these numerous gatherings. The army was already present in some areas with an anti-terrorist function. Since the 23rd of March we've seen their number increasing and they have begun to patrol as public officials with the possibility of stopping and asking for documents or ID. It seems that for now, they don’t seem particularly comfortable in this role, showing a certain reluctance in being aggressive. In neighbourhoods where the presence of the police is usually regarded with hostility, the discouragement of gatherings and “dangerous” kinds of behaviour becomes difficult to put into practice.

Other working-class neighbourhoods on the outskirts, where people normally only go home to sleep, seem deserted. After the closing of the shops inside the shopping centres (the only places in these areas where social life takes place), life has died out, and everyone hides in their own apartments. In the last few days, media-induced fears of the dangers of walking and doing sports in parks have spread, with people looking out from their balconies and railing against neighbours who go out to take a walk in the yard, or even call the police.

And it’s obvious that the slogan #iorestoacasa (#Istayathome) is not considered relevant to everyone. Those who can afford to pay rent and have a job are locked in their homes, doing online shopping, while the rest of the population, either precarious or unemployed, working in logistics or infrastructure, experience a quite different situation. A very wide gap between the classes has opened. Confindustria (General Confederation of Italian Industry) forced workers to keep on working in factories without any health and safety precautions.

So in working-class neighbourhoods, many people are continuing to work. The increase of police and military in the streets is considerable but there isn’t a huge gap between neighborhoods: they are simply everywhere. We are seeing another phenomenon too, which is the becoming-policemen of normal citizens, which is perhaps stronger in bourgeois residential areas: there have been many episodes of people denouncing others to the police, or just people shouting “Go home!” to people walking in the street. Those who have been most affected by these severe measures have been homeless people and migrants.

3. How do the volunteer Brigades work? How do you handle the relationship between institutions (the state, local council, NGOs…)? How do you train those who participate? Where did the idea originate? How many people are involved? Are you trying to extend the idea to the whole of Italy?

The Brigades were born out of an idea that circulated as word of mouth on social media and it quickly became viral. The idea which came out of it is that we can obviously talk about who are responsible for all this, and they will have to pay the consequences, but in our current situation in which there is a diffuse sense of fear among people, we have to look out for the community, especially those of us who have experience with many different forms of organization, since we have learned in these years to manage with “extreme” situations, to act with courage, for the sake of everyone. We were inspired by several examples of mutual aid and organizations which worked throughout Italy after the earthquakes in the center of Italy (in the 2000s).

We understood pretty quickly that this situation was much larger than us, and that it wouldn’t be sufficient to do things autonomously or even on the national level, so that we would be vulnerable from multiple sides, especially vis-a-vis repression. If you’re found out of your house without any particular reason they can sanction you.

We looked for an organization that could give us the possibility of having an official status, and found Emergency, the humanitarian organization which provides aid in war situations and which has its offices in Milan. Through this we were able to construct an infrastructure which legitimates us and which mediates between us and the Milan local council. In the same way that we created the “Brigades” through our personal involvement, which began from social media and word-of-mouth, we also found individuals for each area to coordinate the groups. This structure has organized training sessions, first of all for the group leaders, who in turn started training the people in their own groups. The structure also allowed us to have passes in order to be able to move around the city freely. Currently we have more than 200 volunteers and many people on the waiting list to be trained and many others who continue to write saying that they would like to join. We are managing to cover all the 9 districts of Milan and the calls are increasing daily. In some areas we are connected to social centers or self-organized spaces which make up the base of the Brigades.

Our structures are being tested daily but it is still small and spread out, and we are being contacted by people from other parts of Italy who are beginning to organize themselves in the same way. Our goal is to create an infrastructure across the whole of Italy.

4. Can you update us on the situation in the prisons? Are there ways to stay in contact with people inside? (Here they gave a “bonus” of €40 for every inmate, which allow them to make more phone calls, and they gave free TV access to everyone, hoping in this way to placate unrest)

After the riots, and the deaths in prison, and the first case of Covid-19 in the Voghera prison, the “Cura Italia” (“Heal Italy”) decree established new orders on how to confront the pandemic in penitentiary institutions: house arrest and electronic tags for those serving less than 18 months; those under 6 months and minors are to be directly sent home, without tags.

Beyond this, it was established that those accused of having participated in the revolts of March 9th/10th will not be allowed to benefit from these alternative measures. Following the protests many sections were destroyed, and for this reason there has been a decrease of 2000 prison places, due to works that have to be carried out immediately.

News reached us (from allies and family members) of many reprisals in the Opera prison: the inmates report going hungry and fearing for themselves, they describe being denied TV, food, showers, phone calls; having only half an hour of air, and being beaten, hands and bones broken; “riot police entered the cells and beat us up in the dark”; the guards took away cooking materials and gave the inmates only water and cigarettes.

After the events of March many inmates were separated in order to put down the unrest; this was the case in Ferrara and Alessandria; 60 inmates in Melfi, 500 in Modena, 107 in Foggia, and 60 in Naples, were transported on a military boat belonging to the Italian navy to the correctional facility on the island of Procida; 650 from Poggioreale were separated and put into different jails in Brindisi, Messina, Bari, Lagonegro, Melfi, Potenza and Reggio Calabria.

Day after day the numbers of guards and inmates infected and testing positive increases.

At this link you can find the account of Nicoletta Dosio on the situation in the prison of Vallette in Turin here [in Italian].

5. Do you have any advice on how to manage – emotionally, psychologically – the fact of having to stay inside all the time? Here it is only the third day and many are still experiencing it almost as though it were a game. What are your reflections after ten days?

The first thing we believe is important is not to allow oneself to be infantilized, but to assume responsibility. Despite the state wanting the former, it is important to understand that this situation concerns us all, our loved ones, and the more vulnerable members of our society both on the social and physical level. Staying inside all the time with this awareness can really notably help our sense of self-discipline. Moreover, moments like these, which people who have experienced house arrests know well, are moments to keep oneself occupied to the utmost. It is almost redundant to say: study, train, reflect. In the end I maintain that it is important to treat it as a kind of “suspended time” when we can finally concentrate on our collective strategies (or the lack of these), also in the light of recent events, without the stress or the lack of time caused by the frenetic pace of our normal daily routines (work, militancy, etc.)

At first it seems like a game, especially for the many of us who have for a long time been trying to flee hyper-productivity. We have found ourselves obviously amused by the hysteria of people, who in the first hours became enraged at supermarkets and shops who sold face masks. Added to this is the sensation of living in an episode of Black Mirror – the streets are empty and the few people on the streets are walking around with masks on.

At first we passed the time reading, discovering things on the internet or having dinners restricted to a small number of friends, where obviously the main theme of discussion was the virus. Slowly as the days passed we began to understand the seriousness of what was happening: people are now all stuck at home and our contact with the outside world has been reduced to three or four people, which is, the people we were always in contact with. Further contact was avoided for good reason, and those with family over a certain age stopped all contact with others. For now, on the emotional and psychological level we keep struggling, perhaps because the Brigades give a practical sense to these days, and also because we are seeing the exasperating effects of the virus on capitalism: people fighting outside supermarkets in queues, or because social distancing is not being kept up, or other kinds of unrestrained egotism.

At this point the question has a global importance and we have the possibility to turn this into a potential and to grow the network we have been building for years, though, on the other hand, power also has this potential. It is not incidental that in these days we have been able to have virtual assemblies with comrades from many different places, where we have been able to discuss the experience of the Brigades.

The idea is that when our methods will have been tested a little we will also be able to go further than just helping out those who need it most. Maybe one day on the streets there will only be the brigades and the police and this could be an interesting scenario. We have to consider however that the state and global capitalism are using this moment as a kind of experiment on a massive scale and we cannot underestimate this; we have to remain attentive and to study the movements of power to try to understand what will happen afterwards. Perhaps certain things could enter into the daily lives of people, for example this question of sociality and work. The experiment that is happening is moving on different levels; from the repression of those who leave the house to “tele-working”, the many working from home. Schools are continuing to conduct courses online, thus in part people at home are being employed to “produce” in a new way.

Further, the virus, being immaterial and invisible, seems insurmountable and so it legitimates the state even more to project a voice that everyone necessarily listens to, keeping us all suspended since no one has any idea when this will end. There is an extreme pressure exerted upon individual responsibility so as to move away from all kind of social tension which might allow a realization of who the real people responsible for this are.

It’s a strange feeling leaving the house alone to go to the supermarket. Even if people don’t talk to one another, many people exchange complicit looks, since we all now have this in common, even if we’ve never known these people as friends, in the sense that they’ve never been this side of the barricade. This should make us reflect. We have to remain immersed in this situation and be strong in order to turn the situation in the right direction when the time comes.

6. Given that protests, demonstrations, and street presence are now impossible, what are ways of maintaining pressure on the authorities, in order to give voice to objections to the discourse that says “let’s save the economy at all costs”?

In this respect the most combative elements have been the militant unions such as SI COBAS (a small communist union operating on the national level), which are also the most directly involved given that, as we said, the majority of factories remain open undisturbed, in flagrant disregard of all the warnings to stay at home. So the voice of opposition has for now been principally represented by strikes, in which however, most of us don’t have the occasion to physically participate. The situation in prisons is different; groups of comrades are trying to get organised even if also here the difficulties are not at all few. After the first wave of protests in prisons, protests are continuing but they have been repressed with impunity, and the main task now is getting news out from inside, and to circulate it as much as possible.

We have to take account of people’s emotional reactions to what is happening, and acknowledge those people who have lost a relative or loved one to the virus. It’s difficult to imagine a movement exploding as yet, in this context. On top of this there is the fact that in Italy over the last years movements have suffered many setbacks and steps backward in terms of confronting power, and there is no united front, nor strong position from which to begin. Everything is very fragmented and so what we manage to bring forwards in struggle is a reflection of this pacification.

One practical example was the 8th of March – the global trans-feminist strike. Already being in the period of the quarantine we had to think what actions people could do. Hundreds of initiatives came about around the city; a new radio program, and many actions, from banners and posters, to writing, to whatever other form of protest which allowed people to feel involved. But nothing that meant direct conflict.

It’s moreover clear that contradictions have emerged; from one side the politicians who have  made many gross errors, the public health system which is falling apart (as a result of the cuts over the last years), the fact of the middle class being at home, while delivery workers are in the streets delivering food, Confindustria deciding not to close down production and the larger unions which are playing around, the logistics workers who continue to work without any safety measures, the workers with unprotected faces who are risking their lives; on the other side, the campaign emphasizing individual responsibility of #iorestoacasa (#Istayathome) which is, of course, a way of concealing the truth of the situation.

Anger is coming to the surface, the autonomous unions have begun their strikes and are distributing provisions and masks to those in need, trying to impose a stop on production; the precarious workers have opened disputes in the hope of obtaining an income during the quarantine; and people are making appeals trying to stop online shopping because it puts those people who are making the deliveries at risk. The workers at the Amazon offices in Milan went on strike. As yet it hasn’t been possible to construct a strong position on how to give a positive sense to economic failure. 25 million unemployed people are expected once this is all over, and fear is high. For now it is very difficult but we think that with the work of the brigades it will be possible to construct a strong common position.

7. Have you noticed any new forms of solidarity among generations and in neighborhoods? What’s happening out of town? Do you have any updates from comrades in the countryside?

Our comrades living in the countryside describe a much quieter picture, free from the anxiety about contagion that one feels in the city. It’s easier for people to move around because controls are limited. You can buy food and any kind of “essentials” without difficulty, and farms that are still operating still receive the supplies they need. They’re dealing with labour shortages though.

8. Have there been moments of panic, people fleeing from big cities? Leaving Northern Italy to go south? (We had a huge flow of "bourgeois" migration here. Many people have left to be isolation in more comfortable conditions in their countryside or seaside holiday home – thus threatening remote areas, typically inhabited by the elderly, with the risk of contagion)

Yes, panic broke out on the evening of March 8th. A lot of people took trains from Milan and left Lombardy. All because of leaked news about the government's decision to isolate the region. Obviously, having hundreds of people crammed into a train certainly didn’t help prevent the virus from leaving Lombardy. Sure enough it had the opposite effect, leading to an increasingly higher number of infected people in Southern Italy in the following days. This kind of panic-induced internal migration continued for some days, with such intensity that some Southern regions decided to close their borders. At the beginning many people perceived the quarantine as a holiday, rushing towards ski slopes, beach resorts and second homes.

Yes, as I said, it has been a crescendo. In Northern Italy, for example, the start of quarantine took place when lots of people were on holidays, so many were stuck in the mountains or in their country houses. We witnessed great panic when the government decided to quarantine the whole of Lombardy  – creating the so-called “red zone”. When the news came out, there was an exodus. Southern people who work or study in the North traveled back home en masse. This was a totally irresponsible thing to do, insofar as they risked bringing the virus to other areas, especially since young people can be healthy carriers with often no symptoms at all. The sheer selfishness of this gesture brought out all the counter-revolutionary power of the Italian family.

9. How does the contrast between the North and South feel now? Can we say that the tables have turned regarding the famous "Southern question"? Any thoughts?

This is not about the classic, even ironized, North-South opposition. The issue must be considered in relation to the different healthcare systems. Of course, we are not happy that the crisis broke out in the region where we live.  Still, Lombardy is the richest region, with the best healthcare system in Italy and probably Europe (despite a succession of administrations cutting its budget). So we can be kind of relieved that it happened here. The Southern healthcare system has many more issues. Some problems are related to the staff, but the biggest issue is the inadequacy of infrastructure. A crisis like the one we’re having in the North would probably have brought the South to its knees.

In the last few days, the number of new patients in other regions – mostly Puglia and Campania, respectively South and Central Italy – has been increasing. We don’t really know how they’re facing the crisis (I mean, whether there is a network of mutual aid organizations and how they work), we’d need to ask people and healthcare personnel in those areas to get a better picture of it.

Some friends and relatives told us they’re very afraid, as though the epidemic had broken out there, as though Bergamo were a Southern city, so they respect the "safety" measures carefully. I don't think we can say the tables have turned on the "Southern question”. Many thought they could get away with leaving the North and going back home as soon as the lockdown was imposed – they proved to be very selfish and harmful to those who had a chance not to be as affected by the epidemic. Because of this grave error we risk having ten Codognos instead of one. People who left the red zones are likely to infect relatives in isolated areas.

There is still a great economic and social divide between the North and the South, we know that pretty well. In Sicily, in Calabria or in Basilicata, people are very aware that hospitals do not have adequate means and tools to face this kind of emergency. As long as people have to stay at home it will be impossible to discuss these issues – we’ll probably have to wait until everything is over.

The North is the new South! Or not. Originally, the North of Italy (great center of production on an international scale) was floored by the epidemic and showed its weaknesses. It became the laughingstock of countries all around the world – nobody accepted tourists or travelers from Northern Italy. A great blow that hurt the pride of the colonizers, who had always been free to roam around the world. For once they found themselves on the ‘not welcome’ list. Obviously the North-South relationship in Italy has changed and become an object of humor. But what is actually very worrying is that the healthcare system in Lombardy, which is despite all one the most efficient in the country, is collapsing. So if the virus were to reach the South, the situation would be truly dramatic.

10. What is the general feeling about what the government is doing? Is it considered partly responsible for the situation, or are its efforts to face the crisis appreciated?

For what our perceptions are worth, the government is generally receiving good support from the people. Prime Minister Conte is considered a wise politician, and the fact that Italy acted immediately and firmly made people forget many doubts they had at the beginning. In fact, until the first weeks of March, most Northern politicians were pressured by business leaders into keeping the borders open and letting Milan run at full capacity. Moreover, the government has taken strong measures concerning healthcare and movement of goods and people, but gave in to the pressure of Confindustria. So big cities are under great restrictions, whereas in the rest of the region industries and businesses, even the non-essential ones, continue their activities adopting only laughable safety measures. No decision has been made on the issue of overcrowded prisons, despite many judges and courts asking for new policies. But people have become more aware of the situation – the current climate of emergency makes everyone more sensitive, even past the issue of hospital capacity. The stern but inspiring campaigns in favor of prisoners have moved many people as well. We should consider in this respect the old nationalist cliché about Italians selflessly coming together during hard times to fight for the community, which has resurfaced in this situation. “Sovereignist” leaders like Salvini and Meloni, surprisingly, are at the moment managing to act under the radar. Their beloved game of finding someone else to blame for every single problem and identifying an enemy cannot be played so easily in times when there are these appeals to unity, so they’re clutching at straws. The feeling is that they’re preparing for the aftermath, when the emergency will be over and we’ll have to rebuild everything from the ground up.

As I said, the situation is controversial. At first the government made some incredible mistakes, and revealed that it wasn’t able to respond to this emergency adequately. We’ve seen this in every crisis that affected the country in the last decades, from the earthquakes in central Italy to the collapse of the Morandi bridge in Genoa. There are many issues we have to deal with, most importantly budget cuts to the healthcare system and the lack of protections for logistics workers. We are talking about people dying here not because they are crushed by a crane, but because they are attacked by a virus, which actually affects everyone without distinction. People are therefore intensely focused on the issue but are “waiting for instructions from above".

Many political collectives have highlighted the link between the capitalist system and the virus, and how it is transmitted. But for the time being, unfortunately, this is all talk, with a kind of academic character, especially given that we can’t even leave our homes.

11. How are people reacting to the plans for generalized digital surveillance (as already implemented in Israel or Iran)? Is it perceived as a "necessary evil"? Are there any ideas to counter these policies? Is the issue being addressed or is the health crisis preventing it?

So far it is not being addressed that much, certainly not at the level of general public opinion. As far as activist groups are concerned, it’s a bit complicated because the debate is now quite mixed up. From the beginning, philosopher Giorgio Agamben focused on the measures relating to the “state of exception”, and their possible consequences. Maybe he did so with a certain smugness and without caring too much about being understood correctly, so he was accused of minimizing the health crisis. The result is that now most of the comrades have slipped into a somewhat sterile debate between supporters and critics of the imposition of the state of exception. The critics accuse the supporters of being too abstract in front of real emergencies such as safety conditions in factories or prisons. As a result, it’s not easy to focus on the whole picture and avoid ideological squabbles.

We can talk about what has been happening in the last weeks. On March 19th, AgCom (national regulatory authorities for Italian communication industries) issued a press release asking social networks like Youtube, Facebook and Twitter to remove videos reporting false information or information from unreliable sources. It is the first time in Italy since 1948 that some fundamental freedoms, such as the freedom of movement, of assembly, and of expression, have been suspended. We will witness the effects of this measure in the upcoming days. The risk is that, the state taking advantage of an "emergency" situation, we could emerge from the catastrophe in much worse cultural conditions than when we entered it.

Personally, I’m very worried about this question. Many people are working from home and online 24/7, and are wondering about the future of our society. We fear that our movements will be GPS-tracked to check who is respecting the quarantine and who is not. On the other hand, many people see this situation as a positive change for the environment – since traffic has slowed, we experienced a significant decrease in air pollution, which is a major issue in Milan. So many now believe that this could also solve other problems. For the time being we need our devices to remain connected, but this situation will certainly have a significant impact on our lives.

12. What’s the general opinion on how other countries are approaching the situation? Were people angry at the thoughtlessness of countries still untouched by the pandemic?

Surely one of the most widespread feelings is disbelief and amazement. Italy had watched from afar the Chinese government dealing with the pandemic, a country that seems far away but is of course not so distant in our globalized world. However, we can’t understand how it is possible that European countries did not act as soon as they sensed what was happening in Italy. The example was there, before everyone's eyes, even sometimes just a few kilometers away. This highlights once again the inadequacy of our leaders as well as our lack of preparation, awareness and independent sources of information.

Anti-European and Eurosceptic feelings are as always resurfacing. Some see the EU as a mindless bloodsucker that refuses to support Italy during this emergency. The best thing is probably the general discredit that people like Trump or Boris Johnson are suffering. In the midst of the crisis, their bullshit now sounds dangerous and crazy even to those who previously admired them as strong and charismatic leaders.

This is significant. We were very angry at first, when we couldn't understand why they kept the information about when the virus first appeared concealed. Many people were disappointed in how Germany and England responded to this emergency. There’s also fear that if the pandemic breaks out in a serious way in the US, a huge number of people will die as a result of the private healthcare system. The only positive news we saw was that Bolsonaro came into contact with someone infected with Covid-19. That could save many more lives! However, at the moment, attention remains focused on our country, with 900 deaths per day and new outbreaks.

13. Can you imagine things on a longer scale? Do you think it’s possible to predict how things will be in the longer term? It almost seems like there will be no return to normality. What do you think will happen in the next few months?

It's hard to say. It’s very difficult to make predictions while all these different newspapers and media throw news at us. It’s hard to reflect while isolated. Everyone knows that the more you stay at home, the less fresh air gets to your head. One day we experience pessimism and the next day hope, or at least you see new chances for some unexpected turn of events. Surely the months to come will be harder and harder. We’ll have to be ready to go out again and see how this situation has changed things. But how they will have changed, as I said, is impossible for us to know.

It's hard to imagine what will happen now because we don't know how long the lockdown will last. The whole world will change for sure. It's also difficult to express “cynical” or critical ideas as many people are very sensitive about the pandemic. Some issues will be affected – the Mediterranean geopolitical scenario, Italy’s alliance with China for the new ‘silk road’ in Africa, the war in Syria that brings millions of migrants to Europe. It is no coincidence that borders are now closed all over the world, this seems to us as well to be a form of experimentation. 10 years ago we were studying the NATO Urban Operations in the Year 2020 report, and now here we are.

An interesting scenario could open up for us. We spent years traveling the world to build networks wherever people tried to confront the government, often getting in trouble with local authorities. Now we are experiencing a worldwide scenario that unites us all, especially in the West. We have the opportunity to create a common model that can apply to many places in the world. Once the emergency is over, that can legitimize us to speak up against those who have created these problems. For the time being, we can’t say what our next steps will be. We know that some activist groups from all over the country are planning to mobilize, inspired by the Volunteer Brigades. In order to create a common trajectory, we will need to connect with this broader viewpoint.

[christarango]

I Interviewed the Guy Who Went Into a Museum & "Vandalized" a Picasso.

    In 2012, a man in a suit entered the Menil Collection in Houston, Texas.  That man was Uriel Landeros, a self proclaimed artist and a student at the University of Houston.   A cell phone video captured his visit to the prestigious musuem and was posted on YouTube the same day. The video quickly went viral and set the "Art World" on fire.  That's because Mr. Landeros brazenly walked up to Pablo Picasso's 1929 painting, "Woman in a Red Armchair" and spray painted directly onto the priceless piece of art.  In just a few seconds, the Picasso was altered, hanging there with a mysterious image of a bull and the word "Conquista" spray painted across the surface.  "Conquista" is a Spanish word that means "conquest" or "to conquer".  But why?  What did it mean?  The incident pissed off plenty of people worldwide and started heated debates about the true value of "art".  I had the opportunity to catch up with the artist..  vandal.. visionary.. terrorist.  or whatever it is you choose to call him.  

CT:  Who are you, where are you from?

UL:  I am CONQUISTA, the kid who conquered Picasso, but the name my father gave me is Uriel Landeros.  I was born in South Texas in the city of Edinburg, located in the Rio Grande Valley, but I consider Houston my second home because I went to art school there.  I am a Native/Mexican American.

CT:  As an artist, can you describe the work that you create?

UL:  The Majority of my work comes from my dreams and the subconscious, that other spiritual realm that most people don’t pay attention to.  I try to write down all of my dreams and create images from them. I also use all forms of meditation to influence my work, from fasting, sun gazing, prayer and psychedelic rituals. This is the spiritual side of my work but I also spend a lot of time watching news and current events, not only on TV & newspapers but also the Internet. I compare articles from different countries, independent and mainstream newspapers and bring about a conclusion of closer truth, and then I create political art from this. I try to create a voice that is a little rawer with truth trough my images; I stopped making art years ago though all I make now is art history. But both my spiritual and political work is intertwined. The world is one, everything is connected.

CT:  How did the concept to "destroy" a Picasso piece come about? Was it carefully planned or was it spontaneous?

UL:  The year 2012 was very chaotic for America and for the world, Like I said my work is influenced from all this mayhem, I meditated for so long trying to come up with an image of power and symbology. The image of the Conquista in particular came directly from a lucid dream. Once I obtained the image of the bullfighter slaying the golden bull with the all Seeing Eye, I began to plan the heist. It took about 2 months to completely plan everything; I drew blueprints, counted guards, created exit strategies, etc. It was like a hacker stealing classified information. My plan was never to destroy the Picasso painting, if I wanted to destroy it I would have slashed it with a knife or poured acid on it. The whole point was to leave a message to create a voice and spark another fire against this NEW WORLD ORDER. Believe me I know about paint, I am a professional; I knew that the painting would be easily restored.

CT:  Obviously you pissed off a lot of people. At the same time you suddenly had lots of attention on you & your work. Was that the idea from the beginning or did it accidentally happen that way?

UL:  Not everyone was pissed off, some people were very happy with what I did, many strangers clapped @ my actions & and continue to do so. Most of the people who were hating on me where so called “artists” who have never been able to break the veil of success. I did not know the future, I did not know that galleries would take interest in my art, especially not the world renown museum “The Palace of Fine Arts, MACG” in Mexico city.  When those things began to happen, I was skeptical because I thought that the museum and galleries were working with the F.B.I. and U.S. Marshalls.  But after some research I found out those opportunities were legit, so I welcomed them.  This helped me spread the message further. CT:  What's the deal with your solo art show in Houston following the incident? Apparently you were on a live video feed from Mexico. Can you tell me about that? Also, I heard some of your own artwork was destroyed.

UL:  James Art Gallery gave me a solo show in Houston; James Perez has been a friend of mine for several years. Ironically the title of the show was “ Houston, we have a problem”.  We promoted the event saying that I was going to show up at the event, I had been a fugitive for several months & already there was a $15,000 reward for me, so I knew that the cops were going to show up, but we tricked those pigs.  As you know I was there but through live video feed “Skype”.  I was logged in from an ice cream shop in Monterrey, Mexico.  I gave several interviews and said hello to all the people that attended the show.  My work was not destroyed, James and me invited all the local graffiti writers we could find and let them tag whatever they wanted on several of my paintings. The whole point of this was to show the art community that art is not about paintings but rather the message. Fuck the paintings, this is what Picasso would say “Art is a lie that enables us to see truth” For example The Guernica was not about making a pretty painting but rather transmitting the message of the horrors of genocide and war. Art is a weapon, painting and drawing is secondary to the true purpose of the art tool.  So I don’t care if people tag or graffiti my work, what matters is the message I convey. 

CT:  I definitely feel like you have a message that you're trying to convey. What are you all about, what's all this about?

UL:  First of all fuck the NEW WORLD ORDER, once more; I did this for the people who are tired of being treated like slaves. The Conquista was an artistic metaphor with much symbology.  A lot of the art community successfully digested the message although the reactions were diverse. I stenciled a bullfighter killing a bull with the word Conquista below it with spray paint in color gold on a 1929 Picasso painting. It was a lot of work to pull the heist but all the details are another story.  This graffiti was a form of protest/activism against the government and the corrupt church, who continue to abuse their power of imperial rape. A way to tell the people conquer your fear and stand up for injustice. There was much civil unrest all around the globe in the year 2012, the year of the conquista.  Remember the Occupy movement?  The anonymous organization, the immigrant protests in Arizona, and Wikileaks?  And even after I turned myself in to the authorities, it continued with Edward Snowden and the unraveling of the N.S.A. surveillance, abusing their power to infringe in our privacy. The word Conquista is my artist name, it is also the Spanish word for conquer, in reference to the conquistadores and the Spanish inquisition, the biggest unrecognized genocide in the world, because of gold and greed, “Capitalism in its cradle”. Those who converted the natives into Christianity through murder and rape, those same characters who are now looked upon like heroes such as Christopher Columbus. The word Conquista is also in reference to so many innocent kids who got raped by priest who went unpunished because pope Benedict XVI protected them by sending them to the Vatican and granting them political asylum. This was so controversial that the pope had to resign. Conquista is also in reference to the immigration reform and the dream act that president Obama promised and never fulfilled. My people my culture and my family is bullied around society because of the color of our skin because of racism and discrimination. Just look at the laws in Arizona, its as if its still the 1960s in that state. Discriminating against immigrants when in fact the only non-immigrants are the natives/Hispanics, my people. Nobody ever asked any conquistador for a passport or green card, how was this fucking hypocrisy born?  What the fuck is going on? All this seems like a big joke, nobody in power cares to make a positive difference; they are worried about policing the world and selling guns. This is the history that I have begun to convert into my story. The majority of native culture/archeology is now displayed in museums throughout Europe as trophies of genocide, and thus disables the Hispanic community to truly understand their history & culture, because that art is not in its native land. I cannot bring back all the art that was stolen by the conquistadors but I can create new history. New art, so that is what I did for my people. The golden bull represents the stock market, wall street, gold, money being idolized, The federal reserve, the biggest deceiving ponzi scheme that enslaves us all, and the president & government working for wall street banksters instead of the people. The golden bull also represents Picasso “ the Art Beast”, he who understood that art is not a painting or a drawing but rather a political tool to educate and influence the form of thinking of the masses. I am the bullfighter inspired by Picasso to use the art tool, doing the daring move to kill the golden beast. Conquering Picasso in his own game. Fighting against this whole corrupt system. The bullfighting culture and Picasso are both originally from Spain and this is the irony of a Native Mexican American conquering a Spaniard.

CT:  Whoa, thats heavy.  You were just released from jail for what you did, that's fucking crazy.  How long were you locked up?

UL:  I was in prison for 21 months, almost 2 years.

CT:  What were you thinking about while in prison? Any new concepts or artwork created during that time?

UL:  I was a prisoner before I went to prison, but it was in that dark cold place, in that cage, when I was hungry, when I meditated, that I understood what freedom was.  If your mind is free they can never imprison you. The power of the third eye is limitless, the universe is born from it. I created over 100 paintings and thousands of drawings. I will soon publish all these works online and I will exhibit them in a prison series for my next Art show. My force of creation has only gotten stronger.

CT:  What's next for you?

UL:  I am organizing my next event.  I will soon publish the date and details.  I am also in the process of publishing a book about the entire story, all the things I could not say because of lawful repercussions, how I pulled the heist (it was some oceans 11 shit) and also my life as a fugitive.

CT:  How can we follow you and see how this evolves?

UL:  I’m always accessible through Facebook that is the social media of my choice, but I also have twitter, instagram, pinterest, photobucket, vine, we heart it and email of course. Or just watch the news or Google me.

CT:  Best of luck to you!  Anything else you want to add?

UL:  Yea I just want to give a shout out to everyone out there trying to provoke and stimulate a positive change in the world, all those free hugs people, all the honest police and every activist who has put their life in danger for the benefit of the community, especially Edward Snowden, thank you.

[anneapocalypse]

Matt Hullum made the announcement in a journal entry today that Rooster Teeth is laying off 13% of its staff.

Variety has an article up about the downsizing, mostly the same info that's in Matt's journal, with a few other facts—notably to me, a mention of the fact that WarnerMedia (RT's parent company, all under the AT&T umbrella) also swallowed up and effectively killed the Machinima brand. In fact, it turns out a few Machinima properties were shuffled under the Rooster Teeth umbrella when that happened.

I was unfamiliar with Machinima the YouTube Channel and Machinima.com (as opposed to machinima, the medium) until Quinton Reviews did a Fallen Titans episode on it recently, and I'll admit I was kind of hoping he'd have more to say about Red vs. Blue as it's... really the only machinima work I care about, but his video was mainly about the Machinima brand. Still, it is informative if you, like me, know nothing about Machinima!

Anyway, from the second Variety article above, there's also this:

Warner Bros. acquired full control of Machinima in November 2016, and put Machinima under its Warner Bros. Digital Networks group. AT&T closed its $85 billion deal for Time Warner in June 2018 and since then has consolidated or killed off several digital businesses. Under AT&T’s ownership, WarnerMedia shut down FilmStruck, from Turner and Warner Bros. Digital Networks, and WBDN’s DramaFever. In addition, Turner shuttered its Super Deluxe studio.

Mm....hm.

Yeah, so AT&T seems to have an unsurprising pattern of acquiring and quietly destroying small web-based companies, particular those centering around streaming content for a somewhat niche audience.

I don't want to be a doomsayer, and it's not like I think Rooster Teeth is going to be shut down tomorrow. I do feel like this doesn't exactly bode well for the AT&T conglomerate's investment in this relatively small studio.

There are certainly other factors to be considered. Only a couple months ago Matt was responding to criticisms of Rooster Teeth related to crunch and their animation pipeline, and announcing that Gray Haddock would be stepping down as head of animation. Of course, downsizing the studio by more than 10% seems... not a strong step toward reducing crunch, unless they're drastically reducing or delaying content in kind.

In terms of content itself... this is purely speculation, but I do have some concern that gen:LOCK was not the hot property Rooster Teeth hoped it would be. I like gen:LOCK. I like it a lot, and hope we see many more seasons. But I don't exactly think it's taken off as the kind of viral hit RWBY has been for the company. gen:LOCK is a subscribers-only show. If you don't have a FIRST membership, you can't watch past the first episode... and that just might not be enough to get people hooked enough to subscribe.

Going back a little further, one of my personal favorite RT shows is the live-action apocalyptic drama Day 5. It's got high production value and some really excellent acting talent, both from Rooster Teeth regulars and outside names. It has a compelling story and great characters. And it barely has a fandom. The last post on /r/dayfive is two years old. The tumblr tags are barren. And good luck even finding a twitter hashtag. Day 5 has seven works on AO3. The show debuted three years ago.

Production was put on hold after season 2, while the show was syndicated on the El Rey network, and the episodes were temporarily removed from the Rooster Teeth site while it aired on El Rey (they're back now). But even while the show was airing, as a fan I found it was tough to find other people actively watching the show and talking about it, even among fellow Rooster Teeth fans. I didn't see gifsets pouring down my tumblr dash; I didn't see meta, or episode reaction posts.

I suppose I should've seen the writing on the wall, even then. Day 5 has not been cancelled as of now and I really hope we get a season 3, because I love the show. But I'll admit I am nervous for its future.

I bring up these examples because I think the subscribers-only content model is demonstrably not working for Rooster Teeth. And to be clear, this is not me saying that people shouldn't have to pay for things. I've had a Rooster Teeth subscription since it was called a "sponsorship" and being a sponsor meant getting episodes of Red vs. Blue a thrilling two hours ahead of the general public! And I've been lucky, because for all these years Rooster Teeth has had a policy of letting longtime subscribers be grandfathered in at their original price, which means I've been paying about a third of what an annual subscription now costs. Recently it was also announced that the grandfather policy would be coming to an end. I'm in no way surprised or angry; I figured this would happen eventually, and I sure enjoyed this gravy train while it lasted! What I will probably do, once my current pay period runs out, is subscribe month-to-month only when there's something airing that I really care about. I'm not even sure if that's going to be RvB when season 18 rolls around. (But if they announce season 3 of Day 5 I will be there with bells on.)

Anyway the upshot of all of this is:

A Rooster Teeth FIRST membership ain't as cheap as it once was.

One free episode tends not to be enough to get people hooked on a new property unless it's kickflip bananas amazing.

With fewer people watching a new property as it airs, and short seasonal runs (Day 5 had six episodes per season; gen:LOCK premiered with eight), there just isn't enough buzz to create a hit on the level of RWBY.

Without that buzz, you don't get the kind of FOMO atmosphere that the FIRST delay creates. When RT first went to the one week gap between subscribers and the public, fans were largely upset, on the grounds that this would divide the fandom and make it difficult for non-subscribers to interact with the fandom on the same level, cutting them off from discussions and general hype around each new episode. And they were right—that was the point. That's why it worked.

Day 5 and gen:LOCK are good shows. There are valid criticisms of both, of course, and both are niche genres that won't be for everyone, but they're by no means bad products. RWBY's first volume, by contrast, was messy, poorly-paced, and looked unfinished. It had charm, absolutely, but it was objectively a bad product and the show still managed to draw a huge audience in its first three volumes—because anyone could watch it. But if you subscribed, you could watch it first, and you could be one of the first to comment on it, make gifsets, theorize and speculate. You wouldn't miss out.

I mean I fully understand why Rooster Teeth didn't want to make an expensive live-action show and give it away for free. I do get that. Same with an expensive polished animated series featuring big-name voice actors. And I'm as sad as anyone to see that those shows haven't grabbed the kind of audience RWBY has.

But something's not working here, and I think the modest reception of their two most-hyped subscribers-only shows plus this layoff makes that clear. I don't know what the answer is. I wish there were an easy answer. There probably isn't.

I really do hope Rooster Teeth survives as a studio and is able to keep making cool, creative stuff. I've had plenty of criticisms of RT and their properties over the years, but at the end of the day I'm still a fan who's pulling for them. The pattern of global media conglomerates swallowing up and disappearing small, independent, web-based content makers doesn't exactly bode well, and that's... well, that's late capitalism for you. Still, I do hope they hold out for a while.

At least long enough to get us a third season of Day 5.

[smileymoth]

Hatari: Visualising the end of the world may be a healing process.

by Jaane Tomps. Published 19th September 2019 on Müürileht.

Anti-capitalistic performance art group Hatari has often turned their communication with media into a joke, but according to the founder of the group, Matthías Haraldsson, this conversation includes 0% humour.

[So here it is. I tried to translate it as correctly and as true to the base text as I could. If there are any grammatical errors or weird phrasings; my apologies, English isn't my first language. :] The interview has been translated from Estonian to English and because Tumblr hates everyone, links don’t show up in the tags, aka I can’t link the original. 

Interview is under the cut!]

Hatari, who represented Iceland this year during Eurovision have certainly been one of the more controversial participants this year, yet they haven't finished with Europe. Haraldsson, who caused a lot of politic-trouble when waving around the Palestinian flags in Israel, said that destroying capitalism is going according to plan ─ they just can't lose hope now!

How far are you with the plan to destroy capitalism?

"Everything's going according to plan. We just destroyed some capitalists in the Netherlands and soon, of course Estonia, and other northern countries, will be waiting for us. We're doing well, but next year we will try turn up the tempo a lot more. We are hoping to give out an album soon and as you probably already know, we're heading for a bigger European tour. Due to Klemens just turning into a father for the second time, we can't be as efficient as we'd like; we have to learn how to fuse destroying capitalism with our own family lives. "

The situation in the world is pretty bad, has it made reaching your goals harder?

It really has, indeed. The climate collapse is one of the bigger ordeals, with which humanity has had to deal with and I think that the governments should be more active in those fields. We can't always put all the pressure on individuals, even if they can do a lot by themselves. The situation isn't to be praised right now, but we stay hopeful and trustful to our plan.

Do you enjoy the attention you received after the Eurovision song contest or would you rather leave it all behind?

To be honest, I would love to hire a duplicate of myself for concerts and tours, so I could write more. But no, the adventure and the leap we have taken, has been partially because of Eurovision, which gave us more attention. I wouldn't like to take it all back, but it is a lot of hard work and responsibility.

Has the local music scene started to treat you any differently after Eurovision?

I think so, yes, but at the same time, we have never fit into the places we've been invited to play at. We stepped up at a festival in the Netherlands and among the metal and hardcore artists stood us, that band from Eurovision. During other events, however, are we the hardcore band. We have learned to adapt. Eurovision introduced us firsthand to a lot of people and understandably, it has changed our image.

What's the story with your anger in actuality? I dare to believe that your stage-persona isn't reality...

For sure, my stage-persona is an outlet through which I meditate and manifest the anger with, which I would usually keep inside me. I usually manage to find great balance and I don't get angry a lot in my private life. I prefer to keep my emotions repressed inside me rather than speak or show them.

Which human values are overrated in your opinion?

We live in a very individualistic society. I'd say that ambitions connected with oneself, aka a person's immature ego, are overrated. I despise petty people who can't see things from an another perspective.

What is your depiction of the most fulfilling happiness?

Happiness is to be accepted and to accept others. To feel safe in a creative and an encouraging atmosphere ─  that the concepts would be respected and that it would celebrate differences. And overall,  destroy capitalism in a family friendly atmosphere.

One local schoolgirl said in a video, which recently went viral, that "The world is an empty and a useless place and people should go extinct, because climate change along with every single politician sucks." Do you agree?

Yes. That concludes it perfectly. At least that's what we try to depict. Being in denial about problems doesn't do us good, but I believe that even in the most empty places, where there are the worst politicians, it is possible to find something, about which to be hopeful about. I believe that after crashing to the bottom we can only move upward, but while being hopeful we shouldn't forget to be realistic.

What do you think the end of the world is going to be like?

I'd prefer that the world didn't end. However,  I do think that just visualising it can be a healing process and we should all do it.

Is Hatari's long-awaited album the end of the beginning of something?

It is both. I believe, that every end is the start of something new and the album has undoubtedly been a milestone for the creation that circles around Hatari. At the same time, it is also a big relief to get it off our shoulders, because after releasing that, we can focus our attention on something new. Those things always take time. We have been planning to release the album for months now, but we want to do it when we feel that it is completely ready. But it will come one day.

What's the overall conception of the album?

In the centre of its attention is corruption and the confrontation of it. Power and powerlessness. Individuality versus collective thinking. Hopefulness and hope.  Domination and surrendering. It will bring the listener to think about death, the world, and the end of all humanity as we know of it now. It will bring people to discover their deepest fears and anguish and hopefully inspire them to dream of a better future.

How do you understand that an idea is fully complete?

You don't, actually. You could work on it forever. But at a certain point you have to say, that that's the story and if we worked on it for more, it would sound differently, but it's good even in its current shape. The end result is, sometimes, also in the hands of others, because I work on the lyrics and vocals. Klemens and Einar are the ones defining the tracks.

I liked one of the interviews, where you brought up Britney Spears as one of the inspiration sources for Hatari. In which ways does she inspire you exactly?

She's a great artist and an icon of her generation. Her lyrics overcome the word-for-word understanding of a text; it's a greater level of consciousness, where we and art are the same. And her music is also very catchy.

You'll soon be performing in Narva. How much research do you do before stepping to the stage? Are you aware of the situation in Estonia right now?

Actually, my art school teacher is from Estonia. We often discuss about the current situation and usually the locals are worried about horrifyingly similar things as everyone else. They worry about the populist rhetoric and conservative and nationalist rulers, who don't take problems with the current climate seriously. I've heard, that in Estonia's government there are climate change deniers, which is an extremely serious and a worrisome topic.

You haven't visited Estonia before, right?

I've been to Tallinn once. I sang in the choir during high school. We performed in a beautiful church. It was very cold. The old town was very beautiful and I remember the guide, who had impressive knowledge of the middle ages. I remember as well, that singing in the choir wasn't exactly my thing. My high school friends were in a jovial mood and sang Icelandic national songs disgustingly loud, while I was googling Arvo Pärt in my hotel room.

I take that you're a fan of Arvo Pärt then?

Yes, he's probably one of my most favourite composers. It would be incredible to do something together with him. We have done a collaboration with one Icelandic composer and during that time, during a concert in Reykjavík, we included him within the choir. Maybe, if I sent some texts to Arvo Pärt... We would be honoured, if he created something with us for the choir or perhaps something abstract ─  it doesn't have to be lyrical, it's his own free will. If Arvo Pärt wants to contact us, then he can always write to us on the address capitalism@hatari.is. No matter which type of a collaboration he'd wish for ─ we are very open to ideas!

[bcketts]

INTRODUCING...ALLIE BECKETT. ( @gallagherintro​ )

OK, I’M VERY EXCITED AND NERVOUS BC...what a weird time to bring in a new character ! i hope it works out, who knows ??? i guess i’ll be plotting with you all for a bit while allie is confined to the 5th floor with no phone lmao, but i have lots of plot ideas and muse so i can talk your ear off forever. so at least there’s that. 

if you’d like to plot on tumblr LIKE THIS POST and if u want to plot on discord, hmu at #kati7600 for a good time ( or just comment or something and i’ll hit u up )

click here for her stats page & here for her pinterest ! 

⌠ VIRGINIA GARDNER, 21, CISFEMALE, SHE+HER ⌡ welcome to gallagher academy, ALLISON “ALLIE” BECKETT! originally hailing from POINTSETT, ARKANSAS they were exposed to too much during the protest, and the academy is now in charge of their safe care. when i see them walking around in the halls, i usually see a flash of ( warm chamomile tea on a winter morning, a collection of polaroids stacked in shoeboxes under your bed, bare feet running through an open field, laughter until your sides hurt. ) when it’s the ( virgo ) ’s birthday on 8/28/98, on the bad nights they request their HAWAIIAN PIZZA from the school’s chefs. looks like they’re safe in witness protection. ⌿ kati, 23, est, she/her ⍀

hi i’m sorry her bio is long and in 2nd person but at least u have lots of time to read it while she’s on lockdown ??

you come into this world silent. from the moment you are born, jeremy, your twin brother, does all the screaming for you. both blonde-haired with blue eyes, things will come easy to you – but even easier for him, because red-faced and screaming, he knows how to make his mark. katherine and richard beckett are thrilled to welcome two perfectly happy and healthy babies. and as your brother screams beside you, develops colic and obstinance, you are deemed the favorite – he is deemed the problem. people underestimate how important those early years are.

it’s your first day of kindergarten and you bury yourself in your mother’s skirt, scared. jeremy runs in the room with confidence, introducing himself to the other kids and settling in the corner near the firetrucks. but you cry so much that your mother takes you home and when you finally come back a week later, all the children stare at you, like you’re going to explode at any moment. but children are resilient and within time, you make friends and you excitedly tell your mother about each new day in the car.

you go to church with your family on sunday mornings and your parents dress you up like a doll. you love the pink ribbons though, the way your parents dress you up and introduce them to all your friends. your brother is a lost cause and gets to play his gameboy on the pews but you are your parents pride and joy and you are paraded around – people love a little blonde girl and you smile widely at everyone you meet. it’s all a show though, you know that as you listen to your parents from the top of the stairs at night, yelling. they’re not happy. you clutch the railing, listening in, and you fight back the tears that threaten to stream down your face.

on your tenth birthday, your parents throw the two of you an elaborate party and you have a bouncy castle and everyone brings swimsuits for the pool. your parents can’t stop smiling. it isn’t until late that night after all the streamers have been taken out with the trash that you hear them yelling again. you listen in from the corner of the kitchen. you hear a glass shatter and you race upstairs to your brother. “i think they’re going to divorce,” you tell him. he laughs. “they’ll never do that, no matter what. we’re catholic, allie.” he flashes you a wry smile and you find yourself wondering what to believe.

your best days are spent at pointsett park. your parents often take you there after church, on sundays, and you and jeremy run around through the forests pretending to be wood nymphs with sticks in your hair. as you get older, the magic starts to fade and you feel less like a fairy princess and more like a moody teenager, but you and jeremy fill a shoebox full of things from your childhood and bury it, deep in the park, by the ugly tree. “if i were a tree, i’d be this one,” he jokes, as if all the girls at pointsett middle haven’t just sent him candy grams. “shut up,” you say, shoving him, “or put you in the ground instead of this shoebox.” he grins wryly at that. “clever.” you always were the clever one.

it’s the first day of high school and you feel like an outsider, everyone’s getting their first kisses and jumping in cars and you have to be home in time for curfew. you have friends from church, but with every glass your mother breaks, you wonder how much you really fit in with them at all. in an attempt to try something new, you go to cheerleading tryouts, but of course, you don’t make the team. at least you won’t have to beg your dad to let you wear the uniform. you trudge home and expect to be greeted by yells - you’ve come home late - but your parents are in the kitchen, berating your brother. he smells like marijuana. he gives you a lazy wink from the kitchen as you sneak upstairs.

a boy asks you on a date, a real one, your first real date ! you’re only a sophomore and wade matthews is a senior and you’re really nervous when he picks you up in his car. he tries to kiss you throughout the whole movie but you’re nervous and really, you want to watch the movie. when he pulls the car in an overhang near the mountains and kisses you, it’s rough and unwanted and he goes in with tongue. it’s hardly the enchanting first kiss you imagined and you pull back. is that what kissing’s like? really? he goes in again, saying he’s really turned on, asking if you want to have sex. you say no, but he tries to kiss you again. you push him back so hard his head hits the dashboard. “take me home,” you say. and he does. he obviously doesn’t call.

you have a few girls over for a sleepover and you’re sitting around in your pjs watching grease and passing around thermoses filled with rosé. you pass it on to the girl beside you without taking a sip. you start to raise the volume on the tv as you hear your parents fighting downstairs ( you think your mom might be sleeping with her doctor, which is all kinds of weird. )  when the thermos comes back to you, you take a swig.

you’re sitting in the basement with jeremy, head in your hands. “that’s it, i’m never drinking again.” he laughs. “allie, it’s your first hangover. you’re gonna be okay. and you’re probably going to drink again. it’s okay.” you shake your head, “this is exactly why it’s wrong, i’m so stupid.” your brother sits on the bed beside you, wraps his arm around you. “you’re allowed to be a stupid teenager, you know? fuck up a bit? mom and dad are…they’re crazy. i love ‘em, but they’re so obsessed with consequences, with image. if you don’t quit overthinking shit, you’re gonna wind up just like them.”

“COMING SOON: POINTSETT MALL” the poster is covered in icons, like a dunkin’ donuts and a macy’s. lots of people in the town talk about how excited they are, but they don’t talk about the fact that they’re tearing up pointsett park to build it, the park that holds all your best memories, all the ways you and jeremy would disappear into the woods growing up, skipping rocks in the pond and catching glimpses of magic creatures in the trees ( creatures that mostly turned out to be squirrels, ) where you buried your time capsule. you and jeremy sneak into the park late at night to dig it up, ducking under the caution tape. while you stand there digging, you get the idea: “we have to save the park!” you say, and it starts out as bake sales, town meetings, the twins who think they’re going to save a couple trees from corporate capitalism. but you make a video of the two of you, the history of playing in the park, and you talk about your dreams and memories. that’s what goes viral, and that’s what garners attention. suddenly, hundreds of people are showing up at your town hall – not because they love the park, but because they used to love their own special place, the one that’s now a walmart, a target, a gas station.

they build the strip mall. of course they do, because in the end it comes down to money. but the social media campaign that spirals, everyone sharing their own special places and what became of them, has made an impact. your project – Save Pointsett Park – is enough to get both you and your brother the interest of several prestigious schools. you have nearly the same SAT scores, even though you took two prep classes and studied for weeks and he nearly forgot about the test entirely, walked in with his shoes untied and a blunt in his shirtpocket. in the end, you both choose georgetown together, because despite your differences, you always do everything together.

you opt for a degree in global health because it combines your interests – biology and helping people, and you have dreams of working in healthcare and bringing it to parts of the world that don’t have it. you might have something of a complex, maybe something to prove. you’ve always had a diminished interest in boys, opting to put your studies first, until you meet him – richard hudson, the sort of boy you daydream about even though you stopped believing in fairy tales a long time ago. he’s the second boy to kiss you and it feels so much different than wade matthew’s sweaty car at the drive in. he’s gentle and sweet, and he makes you feel uncharacteristically special – you wish you’d had the patience to wait for a first kiss like that. jeremy only teases you a little bit when you toss your purity ring – and he never even owned one.

you’re comfortable with him in a way you’ve never been with anyone else, and his attention has you falling hard and fast. you’re obnoxiously perfect at times, all over each other and always laughing, but like most fairy tales, things end. you notice the way he looks at her, the way he talks about her, and the way his eyes linger. you’re reminded of your parents, stuck in some unhappy farce when they’d really rather be anywhere else, with anyone else. you don’t want to be like them – you don’t want to trap him like that. so, you step back where you’re supposed to, even though it hurts, and your saving grace is jeremy, who holds you through the night through your first heartbreak. you experience all your sadness together.

until you don’t. here is the first sadness you’ve ever had to process without jeremy by your side, and it happens so fast. one second, he’s alive, and the next he’s blown into nonexistence, leaving a gaping ache in your chest that doesn’t seem to sooth itself. until now, your life has always been cushy, perfect, and smooth sailing. now, you toss and turn with nightmares, a ghost of yourself, trying to understand why you’re the one who gets to survive and why you matter at all. you’ve never existed in this world without him, and you thought you’d never have to.

you don’t sleep well now. you wander the halls at night, you act a little more recklessly. after all, jeremy broke rules all the time. maybe it’s your turn. 

HEADCANONS.

sweet and pampered, maybe, but she’s still from arkansas. allie is extremely capable with a firearm and has pretty keen survival skills. she’s never actually shot anything, but she’s gone to the shooting range with her dad enough times, and she has been on frequent fishing trips. her family used to go camping quite a bit.

really a terrible driver. she’s really easily distracted and cannot focus, she’s a bit of a disaster behind the wheel, but it’s almost comical – as long as you’re not in the passenger seat.

is bisexual, although she’s never had the chance to explore that. growing up in a strictly catholic household and then spending most of her college years dating a boy, she’s never really thought about. finding girls pretty and thinking about them like that is what everyone does, right?

bakes when she’s stressed or upset. she’s got treats for everyone right now.

currently plagued by night terrors and is having a lot of trouble sleeping, so find her staying up until all hours or wandering campus with some dark circles under her eyes. she’s trying to cope, but it isn’t coming easily right now. it’s pretty disorienting, and anyone who knows her will notice the difference in disposition.

has traveled a lot for mission and/or service trips. uganda is where she usually goes, she’s been spending summers volunteering at the same women’s clinic for the past three years.

pineapple pizza advocate and WILL fight you on that 

WANTED CONNECTIONS.

someone at gallagher she has a crush on. Basically, someone at gallagher who has really caught her eye and she’s stuck daydreaming about. The purpose of this is because she’ll be super nosy about them, trying to learn more about them, and that’s probably going to make this character nervous.

a dare/challenge??? This is so cheesy of me, but I’d love a plot where a Gallagher student has a dare or something to hook up with one of the WP kids and they make Allie into their sort of conquest. Things probably won’t go as planned for them.

brother’s ex/best friend. I might submit this to the main, but I’d love a WP character who was allie’s best friend & was dating her brother. All this grief and sadness and not knowing who to comfort who, but also getting over the loss together.

crushing??? I feel like all the WP kids are pretty paired off, but...it might be fun to have a WP character that’s had a crush on Allie all those years she’s been obsessing over her ex...you know, for pining & angst

any brother connections?? Idk, I’d love WP kids to also be connected to her brother, who was also in the club, so we can probably stem something spicy off of that too. Maybe they were his best friend, or more interestingly, maybe they fucking hated him.

someone from the past. someone at gallagher who knows her prior whether from school, volunteering, etc.she travels a lot and her parents have too, so there’s some flexibility, but maybe someone she knows or used to be close to and they grew apart, but they have the chance to rekindle things now. she probably really wants to.

a close friend. they have been at gallagher for a hot minute now, and I’d love for her to have bonded with a few of the people there. from my understanding, shit’s going to hit the fan, so a few close relationships would be spicy. people at gallagher who were actually really there for her about her brother, probably could relate to losing a loved one, and probably opened up to her. people at gallagher to worry about her safety now. 

hook up? she’s really going through it, and although hookups aren’t typical, ithink it wouldn’t be weird for her to look for a warm body or seek comfort in the first person to smile at her at gallagher...not to mention she’s rooming with her ex and his crush, so a distraction is super welcome. i would also imagine that it’s against the rules for a gallagher student to hook up with a WP kid, so. the drama !

^ on that same vein, maybe a repeated hookup.

a girl to help her realize her sexuality.

someone totally lying to her. a gallagher student practicing their skills and getting to know allie using a totally fake backstory and identity, blatantly lying to her about things. and she’s naively playing into it? and maybe your character is realizing they’re actually fond of her and like hanging out with her, but they’ve lied about legit everything lol.

someone she’s suspicious of. there’s something off about this person, and allie is determined to find out what it is about them that just doesn’t fit.

someone to help her solve her problems by denial. someone who wants to break allie out of her shell and believes that the best way to get over it is to have a good time ! someone to be a bit of a bad influence on her, basically, get her partying, introduce her to some unhealthy coping mechanisms.

someone who recognizes how sad she is? aka someone who’s been in that same position and can really tell she’s faking it every time she says she’s “fine.” this person probably has a sort of fondness for her and keeps reaching out when she pushes away because they know what it’s like. 

[rxyllum]

Some Rayllum headcanons I have

— Their relationship is incredibly slow-burn, since in canon the two of them take such a long time to trust each other. Even by the end of season one, when Rayla is able to have a heartfelt and meaningful conversation and open up abt her insecurities with Ezran, she never does so with Callum. It’s a relationship that’ll have to develop slowly over each season.

— When they both originally realize the have feelings for each other, they try to deny it at first, and are hesitant to even acknowledge them for the longest time since it’s unheard of for elves and humans to even socialize.

— After the war, the two of them begin to constantly find reasons to visit the other, whether Rayla starts staying in Katolis for long periods of time for “peace negotiotiations”, or Callum tagging along on trips to Xadia for diplomatic meetings (he never attends any of the meetings)

— After they finally give in and start dating, they try to keep it as secret as possible, with it being a whole “Romeo and Juliet” type feel. They of course tell Ezran (and Bait), but no one else. Ezran acts as a wingman and always has a cover story for whenever the two of them disappear (he also shows them the best secret passages/hidden rooms so they don’t have to worry about someone finding them and discovering they’re dating)

— When Runaan first finds out, Rayla avoids him for a week, every time she saw him in a hallway or room she’d turn the other way. It finally ended after a high-speed chase, ending in Runaan giving her a long lecture, explaining the consequences that come with dating a human, but in the end ultimately supporting whatever decision she decides to make.

— When they make their relationship public knowledge, there is an unavoidable outrage from both elves and humans, but the two of them are surprised when the negativity is in the minority. Most of those who are against it are the older citizens, ones who’ve fought at the breach, and those who practice black magic. The younger generation, on the other hand, adores their newfound “royal couple”, and it is suspected that a black market dedicated to fanfiction and fanart has opened up in the back streets of Katolis’ capital.

— One time, when walking through the city together (in disguises, of course), Callum sees a painting of a moon shadow elf and a human boy in the window of an art shop, the tag reading “Forbidden Love”. Rayla convinced Callum to buy it and it’s been hanging in Rayla’s bedroom in Xadia ever since.

— It eventually gets to the point where the two spend more time together than apart. Their excuses for visiting each other being ridiculous and often times not making any since.

— Their reunions always play out the same way, similar to the viral “internet friends meeting” videos. As soon as they see each other they start running and embrace each other.

— Rayla became Callum’s favorite art model, and he has several sketchbooks filled with nothing but drawings of his girlfriend.

— Despite them dating, Ezran is never the third wheel. If anything, Callum becomes the third wheel when Ezran is involved, Ezran, Rayla, and Bait are the best at stealing jelly tarts from the kitchens. Every full moon they launch a full-out attack, every time managing to break into the pantry and stealing the sweets prepared for the next day. The baker eventually just stopped making jelly tarts the days surrounding a full moon.

— On Callum’s 18th birthday, Ezran asked him when he was going to propose to Rayla. This turned him into a stuttering, blushing mess. For the next several weeks, the thought of the question turned him into such a dishevled state that he spent several days hiding in his room. Thankfully, in this time, Rayla had to return to Xadia, leaving the day after her boyfriend’s birthday, so she didn’t witness the mess he was in. The thought was so heavy on his mind that he wasn’t able to get the thought out of his head until he’d planned every bit of how he would (possibly) eventually ask her.

— Callum is nineteen when he makes the decision to ask Rayla to marry him. He spent a month going over everything and making sure everything would be perfect. Of course, nothing goes according to plan, and when they were walking through the castle halls that morning he panics when they walk past the area where they first saw each other and accidentally asks her right then and there. She laughs and says yes, of course.

— They get married in June, abiding to the superstition that those who are married in June live a long and happy life together. Their wedding is a royal wedding (as well as the first known marriage between an elf and human in who knows how long) and it’s much, much bigger than both of them would have liked. They had a mix of both Xadian and Katolis wedding traditions, and Rayla began living in Katolis full-time. Callum is about to turn 21, and Rayla is 21.

— When the subject of children is finally brought up, the two don’t really know what to think. They didn’t even know if it was possible for an elf and human to have kids together.

— It took forever for them to have kids, and at several points they thought they’d just have to live a life without them. When Rayla was finally pregnant, they thought it was too good to be true, and waited several months before they told anyone outside of their family. They had a little girl, and named her Sarai.

*feel free to reply with any headcanons you have abt rayllum*

[930club]

GET FAMILIAR: Weeks of July 22 and July 29, 2019

COMING SOON: Tyler Childers

Release Title: Country Squire (LP)

Release Date: Friday, August 2, 2019

What To Expect: 28-year-old Kentucky native Tyler Childers has been masterfully blending elements of bluegrass, country, and folk music together for nearly a decade now. He grew up in a blue-collar town located in the heart of coal country, and he began writing his own music at the age of 13 after singing in the church throughout his early years. He experienced massive commercial success in 2017 with his breakthrough album, Purgatory, which was produced by the legendary Sturgill Simpson and released under Amoeba Music on the Hickman Holler label. 

Following the release of Purgatory, Rolling Stone even went so far as to dub him “the 21st Century Voice of Appalachia,” and the rising star has even bigger plans in store for 2019 with the release of his next full-length album titled Country Squire. He’s put out two singles from the record so far, “House Fire” and “All Your’n,” and both tracks show a more refined side to the traditionally raw nature of Childers’ voice. He has also delivered visuals for each of the two songs and the themes of the videos seem to be loosely connected, perhaps hinting that the album will possess a cohesive theme of its own. Whatever the case may be, one thing is for certain, - Childers is primed to build upon his status as the new King of Bluegrass when Country Squire comes out Friday, August 2nd. 

Don’t miss Tyler Childers at The Anthem on December 13th, snag your tickets now!

WEBSITE ● TWITTER ● FACEBOOK ● MUSIC

LOCAL LEGENDS: YBN Cordae

Release Title: The Lost Boy (LP)

Release Date: Friday, July 26, 2019

What To Expect: For the past 12 months, YBN Cordae has been the undisputed hardest working MC from the DMV. He’s scored cosigns from the likes of Dr. Dre, H.E.R., and Logic as well as snagging a Chance The Rapper feature on “Bad Idea,” the nostalgia-inducing lead single from his upcoming project, The Lost Boy. After joining the emerging “internet rap clique” YBN collective in early 2018, Cordae blew onto the scene with his poignant remix of Eminem’s classic “My Name Is” and the somewhat controversial “Old n****s,” a song that was made in response to J. Cole’s “1985 - Intro to ‘The Fall Off’” and one that comments on the older generations’ perceived lack of respect for the young rappers trying to make a name for themselves in the modern era of hip-hop. 

The Lost Boy will serve as Cordae’s first solo full-length effort (he and the rest of the YBN crew dropped YBN: The Mixtape back in late 2018) and the album’s first offerings have been nothing short of fantastic. The aforementioned “Bad Idea” is great in its own right, but true hip-hop heads should give the album’s other single, “Have Mercy,” a spin ASAP if they want to see Cordae’s songwriting talents and masterful wordplay on full display. The young Marylander uses the song’s chorus to ponder aloud:

“I don't know where I'm goin' (Huh) But I hope I'm on the right path Life'll hit you with a light jab Mike Tyson, strike back”

They’re potent lyrics that grapple with some of the more pressing issues facing a young star trying to make his own way in the world, and it utilizes a patented Cordae metaphor to help make it digestible and relatable for the listener. Amazingly, the PG County product is still less than three years removed from his days of roaming the halls of Westlake High School in Suitland, but that hasn’t slowed him down from becoming one of the most prolific pound-for-pound lyricists in the game at the moment. Cordae and the YBN boys are slowly becoming a force to be reckoned with the likes of which we haven’t seen from a rap collective in some time.

WEBSITE ● TWITTER ● FACEBOOK ● MUSIC

WILD CARD: Burna Boy

Release Title: African Giant (LP)

Release Date: Friday, July 26, 2019

What To Expect: Before one can fully understand the enigma that is Burna Boy, one must understand the subtle distinction between Afrobeat and Afrobeats. Afrobeat is the “sound of brass and percussion blending big-band bravado with traditional Nigerian yoruba, highlife, jazz and funk” (HuffPost) that was pioneered in Lagos, Nigeria by the legendary musician Fela Kuti. The modern “Afrobeats is both the evolution and in many ways antithesis of its prefixed forebear. Having slowly emerged over the past several years, it exists in diametrical opposition to all Kuti and his movement stood for, a mutated spawn in flat cap and British accent.” Now, enter Burna Boy, the Nigerian native at the forefront of the Afro-Fusion revolution currently sweeping the globe. He’s directly connected to the original sounds of the movement (his maternal grandfather actually  managed the great Fela Kuti), and he’s acutely aware of the influential nature of his music and the staying power it holds with listeners. When asked by Billboard about his thoughts on the surging popularity of the Afrobeats genre, he claims, “everything started from Africa, and so music started from Africa. It’s all going to come back to its roots eventually. When you hear our music, it resonates in the soul.” 

“Most Americans don’t even understand what I’m saying in my records, but they pick up on the vibe, the vibration,” says Burna in the same interview. Put simply, whether it be mellowed-out tunes like his smash-hit “Ye” or spirited bops like “Pull Up,” the lead single from his upcoming project, African Giant, he makes music that you feel. Burna and his team, which is lead by his mother and manager Bose Ogulu, were looking to capitalize on his current virality by announcing that African Giant would be dropping a mere two weeks before its release date. It’s a risk that most artists wouldn’t be willing to take, but what’s the point of drawing out a rollout when “there are more eyes on me,” as Burna coyly told Billboard. Be on the lookout for the project when it drops this Friday, July 26th, and don’t sleep on Burna as he continues to dominate the global charts.

WEBSITE ● TWITTER ● FACEBOOK ● MUSIC

- Matt Singer

[bijouhqs]

hi rats, i made another muse, don’t judge me, but i worked hard on her so you better appreciate her ok thnx.

「 SOFIA CARSON, CISFEMALE, 20, HEY VIOLET. 」┈ did you read that latest viral gossip issue on BIJOU ‘BEBE’ PEREZ?  she is the LEAD SINGER in CHERRY SODA, one of my favorite POP groups. they’ve been releasing music for a YEAR AND A HALF now, but viral gossip has only been talking about them for the last YEAR.  get this, i think i heard SHE’S SCARED THAT HER FAME IS JUST A FLUKE AND THE BAND WILL BE A ONE HIT WONDER. they’re known as the EFFERVESCENT of the music industry, since they have a rep for being VIVACIOUS but IRRESPONSIBLE, but who knows. maybe that will change once they become #1.  ( KAT, 19, EST, SHE/HER. )

- this is bijou but she tends just to go by that professionally and if she lets you call her that she’s probs in love or some shit so most people just call her bebe

- she’s from nyc and her parents own a pretty high end restaurant and the business is grueling so the whole family pretty much spent more time at the business than at home

- bebe would go there from school and do her homework at a table or help wipe down menus and do menial tasks to avoid or put off said homework but like she had fun hanging with her parents and the staff and growing up in a fast paced environment

- despite her talented parents she’s actually a garbage disposal and will eat most anything that isn’t good for her. she likes sweets and fast food a lot and she’s the friend who drinks that green baja blast from taco bell while everyone else is making a big show of saying how nasty it is ok

- she learned guitar and bass from a neighbor when she was young and music was always a constant presence in her life, a stress reliever, but she didn’t take it too seriously

- her sophomore year of high school she formed what could tentatively be called a band with some of her friends and they’d get together a couple times a week, goof off, play covers and if someone from her school was having a party, they’d play live for their classmates.

- by the time she was ending her senior year not much had changed except she was working at a bakery instead of her parents’ restaurant bc girly wanted to start getting paid

- she was hanging with the band one day and venting about her boy troubles and soon enough they were writing a song about it which was totally unprecedented considering until then they only played covers and never considered writing their own stuff

- a couple weeks later they were doing a set at someone’s graduation party and threw the original song into the mix which someone filmed and posted online. it basically went viral. the song which they titled fuqboi was a kicky tune with a humorous narrative about…fuck boys. suddenly all these industry people were trying to contact the band, desperate to sign them and capitalize on the popularity of their song.

- they were wooed by A&R reps and eventually, they signed a deal. it took a little convincing for her parents to get on board but she had grown up watching them chase their dreams and take opportunities when they were presented with them so eventually they were supportive.

- the band was moved out to la where they suddenly had to become an actual band. they needed a name, an image, a sound. they were put in the studio to record fuqboi and it did just as well on the charts and on the radio than it did online, spending a pretty long time in the top 10. the song was everywhere even though cherry soda, as they had decided to call themselves afte bebe’s penchant for sugary drinks, had popped up out of nowhere. there were tv performances, a music video filmed, awards won and it all happened in a little over a year. it was the kind of song that people liked to mock as cringey and make fun of and even tho it’s warranted to an extent it didn’t stop them from listening to it all the time.

- once the hype from fuqboi died down, it was time for cherry soda to write an album which they’re currently working towards.

- bebe never predicted or aimed for a career in music, it was just handed to her, and now she’s worried she’s in over her head. she’s not sure she’s talented enough to lead the band to success and she fears they’ll just be a one-hit wonder so she’s trying to enjoy the ride now in case it doesn’t last

i have some lil plots and such over HERE and if you wanna plot just like this or message me, preferably on discord bc tumblr hates my IMs ugh.

[onestowatch]

Meet the Asian Hip Hop Collective Breaking Western Music Barriers

While 60% of the world’s population lives in Asia, Asian artists’ representation in Western popular music is remarkably scarce. Though examples of Asian artists breaking the Western pop music barrier do exist, such as K-pop artist PSY who was responsible for the 2013 hit “Gangnam Style,” most of these acts have become passing fads or niche artists. Enter 88rising. Founder of the collective, Sean Miyashiro, noticed this alarming underrepresentation and has since championed bridging the gap between Eastern & Western pop cultures through music, specifically hip hop.  

88rising began humbly in 2015, after Miyashiro resigned from his position at VICE, started utilizing his car as an office for phone calls, and took up a night job at Dunkin’ Donuts. In a mere three years, Miyashiro steadily built his empire by showcasing Asian artists’ ability to create a tangible and enduring mark on Western music and culture. Miyashiro elaborated on his cause with CNN stating, "We want to push the culture forward. We're not trying to break stereotypes or change people's mindsets. We're showing people what we can do, by doing what we do." Fast forward to 2018, and Miyashiro has proven to the world that the trajectory is only upwards for 88rising.   

88rising has grown exponentially since its modest establishment, becoming a hybrid-multimedia company/record label, a sort of 360-degree management group, a trend reflective of the present industry. Yet, though Miyashiro’s company and impressive roster of individual artists had been making waves in both the Western and Eastern pop music markets for several years now, the collective group had not released a collaborative project, that is until June 7, 2018.

With the release of the mystical summer love anthem “Midsummer Madness,” 88rising mesmerized audiences across the globe, amassing over 16.6 million plays on Spotify and counting. Following the smashing success of “Midsummer Madness” came a slew of other standout singles and their highly anticipated debut collaborative album Head In The Clouds, released July 23.  The album as a whole is a blissful testament to summer, hosting a plethora of lighthearted jams and fun, youthful feels. In addition to their first collaborative album, the group announced their first festival also titled Head In The Clouds, a 16-city North American tour featuring the bulk of the collective’s roster.

As fascinating as 88rising’s mission and concept is the unique elements each artist brings to the collective’s synergic sound. From the deep timbre of Rich Brian’s flow to NIKI’s angelic musings, 88rising represents the true beauty of diversity. So, without further ado, in the spirit of paying homage to the artists that make up this inspirational collective, we would like to introduce to you a handful of 88rising’s most promising members.

Rich Brian

Indonesian-born rapper, Brian Imanuel’s childhood was spent in Jakartra, helping with the family business while being homeschooled by his parents. At age 10, he began learning English by watching videos on YouTube and simultaneously fell deeply in love with the wonders of the internet. By 15, his fascination with the internet led him to create dark-humored comedy sketches that he would post daily on Vine. It was from this platform that Miyashiro and Imanuel made their initial connection. After watching a collection of his videos Miyashiro offered to pay for Imanuel’s flight to perform in SXSW. Upon receiving his parents’ permission, he made the long journey to Austin, TX, to confront his destiny or at least perform for the first time in the United States. From there things took off quickly, with his comedic hit "Dat $tick" whose visual companion featured Rich Brian (then known as “Rich Chigga”) clad in a pink polo and fanny pack, singing about “pop(in’) shells for a living” and not giving “a fuck about a motherfuckin’ po.” The track and video were as hilarious as they were shocking and borderline offensive. To combat criticism and capitalize off of the world’s obsession with the track, 88rising produced another viral video “Rappers React to Rich Brian” featuring Ghostface Killah, Desiigner, Tory Lanez, 21 Savage, and more, most of whom reacted relatively positively to Rich Brian’s unique sound. Since the “Dat $tick” days, Imanuel changed his official stage name from Rich Chigga to Rich Brain, after publicly recognizing how his former name was highly problematic. Earlier in 2018, he released his debut album Amen and is featured in 5 of the 17 tracks on Head In The Clouds, including popular single “History,” a rare solo track on the album featuring Imanuel’s hypnotically gruff voice.

Higher Brothers  

Chinese rappers MaSiWei, DZ, Psy. P, and Melo make up the eccentric hip hop group Higher Brothers. Hailing from Chengtu, the group is famous for their bold street wear, mixing Mandarin and English lyrics, and their electric approach to what they call “Chinese trap.” Upon reaching an unprecedented level of success internationally, the Chinese hip hop group has continued to break language barriers and preconceived notions of Asian hip hop artists. Since their 2017 break out singles “Made In China” and “WeChat,” the group has blessed the world with three EPs and a debut album titled Black Cab. A standout on the 88rising roster, the group is also featured on 5 of the 17 tracks on Head In The Clouds including the second single on the album, “Let It Go” where they pair with BlocBoy JB to serve up a dance-inducing banger, perfect for any wild summer house party.  

Joji

Japanese-born entertainer, George Miller first became known for his comedic sketches on YouTube featuring alter egos Filthy Frank and Pink Guy. In 2013, he began a viral sensation through video meme “DO THE HARLEM SHAKE” featuring the Pink Guy and pals performing an array of peculiar dance moves to electronic producer Baauer’s track “Harlem Shake.” Though famous for his off the wall humor, Miller had secretly been experimenting in emotive trip-hop, combining melancholic lyrics with elements of hip hop, R&B, and electronic music. His original encounter with Miyashiro concerned collaborating with 88rising to make viral videos, but when he heard Miller’s beautiful sound, Miyashiro was far more interested in the music. Miller’s gorgeous voice and relaxed style adds an essential element to Head In The Clouds. As the lead on “Midsummer Madness,” Miller’s voice is both tranquil yet enticing and becomes a familiar sound by the conclusive title track, enhancing the overarching enchanting vibes of the album. 

NIKI  

Born Nicole Zefanya, NIKI was also raised in Jakarta, Indonesia and knew Imanuel from childhood. Zefanya grew up on sounds of Destiny’s Child and Aaliyah like many of her musically-inclined Indonesian peers. Yet unlike her peers, Zefanya’s soulful crooning was first noticed internationally in her teens through her YouTube covers which garnered her thousands of followers and kick started the young vocalist’s career. Zefanya was the first female to break up the boy’s club that originally made up 88rising, therefore making a substantial contribution to the collective. Though one of the newer artists on the roster, her luscious R&B vocals become a welcomed change of timbre, as they provide a necessary layer of beauty to the often-hip hop-heavy album. Zefanya opens the album with Joji in “La Cienega” with her signature angelic sound as she questions the “glitz and glamour” of Los Angeles. Additionally, her solo track, “Warpaint,” is an anthemic toast to self-empowerment and is steadily becoming a favorite among fans.  

Keith Ape

Korean-Japanese rapper Lee Donghean, better known as Keith Ape, named himself after his favorite artist Keith Haring and his self-proclaimed spirit animal. Born in Bundang, South Korea, Donghean was a trouble child in school, but found an outlet for his rebellious energy in his hip hop idols, Nas and AZ. After realizing his future did not concern academia, he dropped out of school to pursue music and in 2010 adopted his moniker “Kid Ash.”  His raucous, shrill style over trap beats did not hit off until his 2015 with release “It G Ma,” which was followed by a remix featuring A$AP Ferg, Waka Flocka Flame, Father, and Dumbfounded and became a #1 hit. Though he only appears once on Head In The Clouds, his verse on “Japan 88” is a standout due to Donghean’s seamless blend of English and Korean lines, resulting in a mesmerizing cross-cultural flow.

AUGUST 08

Ray Jacobs is a Los Angeles bred, longtime R&B songwriter, arranger, and producer but relatively new under his moniker AUGUST 08.  His stage name was inspired by his tumultuous relationship with his father who was born on August 8; additionally his debut EP titled FATHER focuses on the difficulty of growing apart from one’s family. His highly emotive music covers difficult, heartbreaking topics with grace and relatability. Jacobs’s dazzling voice and songwriting chops caught the attention of the collective, making AUGUST 08 the first non-Asian member of the group, confirming 88rising platform of diversity not exclusivity. His smooth R&B features in “Midsummer Madness,” “Poolside Manor,” “Disrespectin’,” and “I Want In” add additional colors to this group’s sonic palette, contributing greatly this unprecedented masterpiece.   

Be sure to listen to the full album below and don’t forget to grab your tickets HERE for the first 88rising festival featuring all the artists mentioned above and many more! 

[spotifypremiumapks]

Who is Zoe Roth? Wiki, Biography, Age, Family, Disaster Girl Meme, Video, Instagram

Zoe Roth Wiki - Zoe Roth Biography

Zoe Roth was 4 years old when her father took this photo in front of a building in Mebane, North Carolina, as part of a local department's training exercise. The photo came from the well-known meme, Disaster Girl. She is now 21 years old and a student at UNC-Chapel Hill. Disaster Girl” is now a non-fungible token (NFT), a unique digital signature, which allowed it to be sold like a piece of art. “I’m a part of history,” said Zoe Roth, now 21, who first ignited the World Wide Web at 4 years old after she was photographed smirking devilishly outside a burning building. Wait, still confused about what a meme is after all these years — let alone a newfangled NFT?

Zoe Roth Age

Zoe Roth is 21 years old.

Disaster Girl’ selling original photo behind viral meme for $473K

“A meme is a picture or video with crazy captions that people share widely because they think it’s funny and they can relate to it,” Roth explained to The Post. In Roth’s case, her viral visage became the face of deviant youths everywhere. “In 2005, my dad took a picture of me standing in front of a house fire,” she told The Post. “I was standing there looking evil, as if I started the fire — but oh my gosh, no, I didn’t.” Fast-forward 16 years: The modern-day Mona Lisa sold for a whopping 180 Ethereum — the equivalent of $473,000 — to a collector simply known as @3FMusic, reported Daily Mail. It’s speculated that the buyer is in fact Farzin Fardin Fard, CEO of a Dubai-based music production company, according to Gizmodo. The owner has since anonymously released a statement to Gizmodo: “Our management team is always in cooperation with some highly knowledgeable and experienced art advisers who believe that we must grow with technological movements that help us to not only promote our business but also to support artists and the art market.” Read Also: Who is Disaster Girl? Wiki, Biography, Age, Family, Meme, Video, Instagram This marks a major breakthrough for the photo, which was snapped when Roth and her family lived near a firehouse in Mebane, North Carolina. The fam was scoping out a controlled burn — a fire that’s set intentionally for the purpose of land management — when Dave snapped a photo of his daughter fiendishly smiling in front of the inferno. The photo won Dave JPG magazine’s “Emotion Capture” contest in 2008, whereupon it set the net ablaze. Roth, now a senior at the University of North Carolina at Chapel Hill, told The Post, “The best part was being flown to LA to be a part of National Geographic’s series on the history of the internet.” Determined to capitalize on their internet fame, they turned “Disaster Girl” into an NFT, which is coded in such a way that Roth and her dad can reap 10% of profits whenever it is sold in the future. The dynamic duo apparently plan to divide the earnings while the former child star is reportedly “researching nonprofits” she can donate to. In doing so, the team actually has ownership of their online opus, unlike so many other viral meme makers. “Being able to sell it just shows us that we do have some sort of control, some sort of agency in the whole process,” gushed a grateful Roth. With this latest NFT sale, “Disaster Girl” joins other digital-age da Vincis, including the immortal “Overly Attached Girlfriend” ($529,798), the 2011 pop tart-kitten meme “Nyan Cat” ($590,000), Grumpy Cat ($100,894.54), and even an NFT of Chris Crocker’s infamous “Leave Britney Alone” rant from 2007 ($43,000). FOLLOW US ON FACEBOOK Read the full article

[aion-rsa]

How the Pokémon Trading Card Game Boom Brought Back Pokémon Fever

https://ift.tt/eA8V8J

This story is presented by

The popularity of the Pokémon Trading Card Game was not an accident. While some might be quick to call it an overnight sensation, that actually sells short the effort that went into the Pokémon TCG (and the games it was based on).

Released in Japan in October 1996 (just 8 months after the debut of the first Pokémon games), the Pokémon TCG was one of the first major additions to what would become a vast pipeline of Pokémon merchandise. While clearly inspired by the incredible success of the Magic: The Gathering franchise, as well as Pokémon collectible cards released by Bandai earlier that year, the Pokémon TCG was no mere copycat. Along with being more accessible than other TCGs on the market, the Pokémon card game proved to be a natural extension of the things that made millions fall in love with the original games.

“Ishihara-san, President of The Pokémon Company, loved tabletop/card games and wanted to create a card game which would act as a ‘Physical’ Pokédex and give players another way to experience the Pokémon brand,” said Pokémon TCG director Atsushi Nagashima in an Evening Standard interview. “The idea of a trading card game fit perfectly in line with Pokémon‘s tenets of play, trade, and collect. It also encourages face-to-face play which has been key to the product’s success and longevity.”

By Nagashima’s own admission, though, nobody predicted what happened in late 1998 and early 1999 when Wizards of the Coast brought the Pokémon TCG to North America with the release of the Base Set. Despite the increased availability of the cards, the growth of the Pokémon TCG during this time was partially driven by their scarcity. Mobs of fans stormed stores at the mere suggestion of a new shipment while the value of intentionally manufactured rare cards quickly soared. 

While the Pokémon TCG only grew more successful as the years passed, its dominance on the public consciousness seemed to fade for a while. No, it’s not like we’d look back on an old binder of Pokémon cards and shake our flushed faces in embarrassment, but for a time it felt like the Pokémon TCG had maybe reached its peak in the ‘90s, a pop culture moment meant to be cherished and preserved in our memory. 

But the Pokémon TCG’s story is far from over… In fact, Pokémon fever is back with a vengeance and has taught us all a little more about the true value of nostalgia.

Gotta Collect ‘Em All

“The market right now is insane,” says Peter “Arcashine” Chipouras, a mod on the r/PKMNTCGTrades card trading subreddit and professional card grader. “Stores used to be relatively full of product, and, if you were lucky, something lucrative might still be available. Nowadays, there’s nothing. Everything is bought out. Online retailers can’t restock quickly enough, and even if they do have the product in stock, they price it high to meet the secondary market.”

“Insane” is certainly the word for the sales records being set at the moment. A recent eBay report revealed that Pokémon trading card sales had increased by 574% from 2019 to 2020. Last year, a 1st Edition Charizard card sold for over $295,000. An even rarer version of the card commanded a price of over $350,000. In November 2020, Heritage Auctions sold a box of 1st Edition Pokémon booster sets for $360,000. A similar set had gone for $198,000 just two months before. 

You expect older cards to become more valuable over time. What’s impressive, though, is that this buying craze has extended to modern Pokémon TCG cards, too 

“Even at the lowest level, we’re seeing sets that are normally printed to demand facing huge droughts of product,” Chipouras says. “Regular pack prices are typically $4.00 at retail stores, and usually around $3.00, give or take, on the secondary market. Recently, they’ve been pushing $7-$8.00 each.”

The extent of this shortage even impacted a recent McDonald’s promotion that offered limited supply Pokémon TCG cards with every Happy Meal. Across the country, stores were mobbed by enthusiastic buyers willing to buy dozens of Happy Meals simply for the card packs in their containers. Things have gotten to a point where The Pokémon Company has had to issue a rare statement regarding these shortages alongside a promise that more cards are on the way. 

This too may seem like it came out of nowhere, but that’s not really the case. As of March 2020, over 30 billion Pokémon TCG cards have been sold worldwide. Mobile game Pokémon GO has generated over $4 billion in revenue since 2016. The latest Pokémon games (Sword and Shield) have sold over 20 million units in a little over a year. The consistent success of the Pokémon franchise means it’s always been more “susceptible” to spikes that elevate the already impressive baseline popularity of the series. Millions are ready to become obsessed with Pokémon again at a moment’s notice.

But why is the Pokémon TCG specifically experiencing such a resurgence right now? It seems to come down to a couple of key factors. 

“One side is financial, where you’re seeing a lot of kids that grew up with the first Pokémon games finally hitting an age where they’re well into their careers and have access to disposable income,” Chipouras says. “Pair that with stimulus checks, and there’s a massive amount of capital available for those who want to invest in the hobby.”

There’s certainly something to be said about the influence of Covid-19 lockdowns on the growth of the Pokémon TCG market given the timeline of the boom. Last year, fans on Reddit were debating whether or not it was better to wait out the quarantine price surges and availability drops. Many suggested waiting things out, but the hype never really settled down.

Pokémon as a long-term investment may sound about as solid as the recent GameStop stock boom, but it’s more than that. Beyond short-term sales meant to make the most of the current market, periods of Pokémon popularity spikes such as this one strongly suggest that cards can (and often do) retain value. That’s likely a big part of the reason why professional grading service Collector’s Universe was acquired for $700 million by an investment group.

The idea that the current market is being propelled by fans who now have the disposable income to spend on cards really is the most interesting and impactful factor at play, though. It’s a movement that many older Pokémon fans are contributing to, but there’s a specific group of buyers who are clearly leading the charge.

“Influencers [are] coming into the space and exposing, or re-introducing, a huge number of people to the hobby,” Chipouras says. “Not only are they driving prices for the most expensive collectibles in the hobby sky high, they’re also creating highly edited, viral content about doing just that.”

The Celebrity Factor 

In 2017, a man known as Gary “King Pokémon” appeared on Pawn Stars with a collection of Pokémon cards that can only be described as one of a kind.

While he asked for $500,000 for the collection, he insinuated he wasn’t really interested in selling the cards for even that amount. He was right to hesitate. Some of the individual cards in that collection now command prices close to that $500,000 figure.

Cut to 2020 when controversial vlogger Logan Paul decided to visit that Pokémon card trader with $150,000 in cash. After a highly produced spectacle topped off by negotiations, Paul was able to convince Gary to part with one of his Charizard cards. Earlier that month, Paul had posted a video that showed him unboxing a $200,000 box of 1st Edition cards. It’s one of the most notable examples of the kind of slick content that has propelled the market to often absurd heights. 

The role of influencers certainly tracks with the timeline of TCG’s market resurgence. While YouTubers such as Derium and UnlistedLeaf have built careers off unboxing videos, card discussions, and similar Pokémon TCG content, it’s when some of the more mainstream names in the streaming and vlogging world got into the action that we saw prices and popularity skyrocket. Remember that box of cards that Paul bought for $200,000? It’s similar to the one that sold for nearly $400,000 a couple of months later. 

Sadly, that celebrity-assisted boom also unearthed some of the unfortunate elements of the scene. Consider, for instance, the story of Jake “JBTheCryptoKing” Greenbaum who was introduced to many people by Paul as a Pokémon card expert. Some who watched early Paul videos with Greenbaum expressed their concern that he was overvaluing cards either due to a lack of knowledge, a desire for personal gain, or a combination of both. In October 2020, Greenbaum helped the YouTube channel Dumb Money acquire what was described as a box of 1st Edition Pokemon TCG booster packs for $376,000. Shortly into the opening process, it was discovered that the box was fake. Examples of such scams and incompetency have been around for years, but the potential costs are higher than ever. 

Yet, the most prevalent negative impact of the Pokémon TCG resurgence is one that will be all-too-familiar to anyone who has tried to purchase high-profile items online, especially in the last couple of years. 

“One class of purchaser that’s come to the forefront this year are the botters,” Chipouras says. “Even normal collectors who just wait for a product to go live may miss out because the bots can immediately checkout hundreds or thousands of products in seconds.”

Again, the role of scalpers is nothing new, but just as with the PlayStation 5 and Xbox Series X last year, a new generation of bot technology can make online purchases of Pokémon TCG cards from certain outlets nearly impossible. Scalpers and scammers aren’t necessarily misrepresenting the popularity or value of the Pokémon TCG market, but much like the online celebrities throwing unheard of amounts of money at these cards, they are contributing to a raised barrier of entry for more casual collectors who must navigate low inventories, high prices, and delayed productions just to get their hands on a few packs. 

cnx.cmd.push(function() { cnx({ playerId: "106e33c0-3911-473c-b599-b1426db57530", }).render("0270c398a82f44f49c23c16122516796"); });

Yet, it must be said that the role of celebrities and influencers has been far from a universal negative. The publicity generated by their content reminded people of the love they still harbor for the Pokémon TCG scene and gave many a new way to experience a sense of community during quarantine. Stories of such extravagant purchases may make your eyes roll, but they also open your eyes to a movement that is inherently fascinating.

Besides, the pleasure of watching someone open and discover Pokémon cards goes beyond guilt. Dr. Pamela Rutledge of the Media Psychology Research Center says that part of the appeal of unboxing videos can be attributed to our “mirror neurons” which ensure that “people watching someone can experience the same emotions.” Incredibly, they can also trigger “the muscles in your body that would be required if you were trying to open the box.” Those of us who watched one of the many Pokémon TCG unboxing videos over the last year can attest to the unique thrill of that sensation. 

And yes, while there are some celebrities who undoubtedly only got into the scene to follow trends or flex their success, many more are just trying to recapture something important to them — or perhaps make up for lost time. There’s no better example of that than the rapper Logic, who posted these words to his Instagram account shortly after spending $183,812 to acquire a rare Charizard card:

“When I was a kid I absolutely loved Pokémon but couldn’t afford the cards. I remember even trying to trade food stamps for theirs and now as an adult who has saved every penny he has made being able to enjoy something that I’ve loved since childhood now as a grown man is like buying back a piece of something I could never have, it’s not about the material it’s about the experience.”

That’s what we mean regarding the value of nostalgia. It’s not just about money; it’s about our shared emotional investment in these cards and how the money strangely represents it.

Pokémon Party Like It’s 1999

Have you wondered why Charizard pops up so often as the star of the most valuable Pokémon cards? Some of it has to do with the power level of the cards in question and their relative rarity, but the most amusing contributor to their value is the simple fact that people love Charizard. 

In a 2019 poll that saw over 52,000 Reddit users cast a vote for their favorite Pokémon, Charizard was ranked number one. A 2020 poll conducted by the Pokémon Company named Charizard as the fourth most popular Pokémon following an extensive fan voting competition. Numerous outlets have named Charizard the coolest Pokémon or awarded the character similar distinctions. 

The authors of the book Pikachu’s Global Adventure: The Rise and Fall of Pokémon theorize that Charizard may be most popular with older male fans drawn to the character’s comparative toughness and the idea that this evolution cycle represents a departure from childhood. This theory meshes with the comments and demographics of notable top Charizard buyers, but when you get to the heart of it, there’s just something about Charizard’s design that has resonated with Pokémon fans and stayed with them throughout the years. 

There’s also something to be said about the impact of the 30-year nostalgia cycle. As noted by Patrick Metzger in an article for The Patterning, it generally takes about “30 years for a critical mass of people who were consumers of culture” to turn to the art and culture that “helped them achieve comfort and clarity in their world.” More importantly, creators will “indulge in the ‘new’ nostalgic trend that’s being repurposed” in an attempt to “revive that same zeitgeist.” It’s part of the reason why the 1950s were big in 1980s America, why the 1980s were big in the 2010s, and it’s almost certainly part of the reason we’re seeing Pokémon re-emerge in such a big way now. 

It’s not just Charizard either. In the eBay sales report that revealed Charizard was the top-selling Pokémon card, the most popular athlete among sports trading card collectors was none other than Michael Jordan, another legendary figure from the ‘90s who recently experienced a popularity resurgence as a result of the success of The Last Dance documentary series. 

There’s something funny about Charizard and Michael Jordan sharing this pop culture moment. Both were superstars of their era, and both remain the faces of their respective fields: Pokémon and the golden age of ‘90s basketball. 

So before you begin to feel like you’re just caught under the wheels of nostalgia, consider that two of the earliest beneficiaries of what will almost certainly be a prolonged ‘90s revival never really lost value in the first place. We don’t look back on them solely because of nostalgic memories: we look back on them because their greatness never really left us. 

As a kid, you probably tried to justify your Pokémon collection to someone on the basis that it would one day grow in value. It’s not that it wasn’t true (it clearly was) but if you were really only thinking about the monetary value of Pokémon, you would have kept everything in mint condition rather than play with it all. It was really always about much more than that. 

It feels like something similar is happening today. Yes, there are people who purchase Pokémon cards solely as an investment, but there’s a real sense that even some of those fans who talk about these cards as an investment are under the same spell as in the ‘90s. Pokémon cards do often go up in value, but if it’s just about the money, there are better investments out there. On some level, people are “investing” six figures in Pokémon cards because they want a shiny cardboard dragon and they’ve wanted it for a long time. 

That’s the true value of nostalgia. It’s not just about sales themselves but how these cards still make us feel decades later.

The high prices of Pokémon cards don’t speak to us just because they make us wish we’d kept those binders full of cards. Those absurd figures are also an easy way to convey how we felt when we shared the excitement of combing over those cards with friends all those years ago. 

The post How the Pokémon Trading Card Game Boom Brought Back Pokémon Fever appeared first on Den of Geek.

from Den of Geek https://ift.tt/3gLHMBt