#he did it several times throughout the concert from the clips I saw

[sunshineandlyrics]

🇹🇭 Harry spoke Thai at the beginning of his speech:

“สวัสดีครับ / Sawasdee* khrap** ส่งเสียงหน่อย / Soung sueang noi" meaning "Hello, make some noise".

*Sawasdee can also be used to say goodbye. **Khrap is used by males (ka by females), and is added to the end of a sentence to make it more polite and to show respect to the listener.

Also when Harry said Hello he gave a 'wai' (a wai is a traditional Thai greeting gesture -> 🙏🏼) and bowed his head slightly.

❤️🤍💙🤍❤️Love on Tour Bangkok, x x x

[old1ddude]

Harry Styles, Seattle

My Experience and Perceptions 

My daughter and I got in line for security at about 7:15.  Ever mindful of demographics I took note of the crowd.  Mostly (75% maybe?) women somewhere from late teens to twenty something.  I was encouraged to see quite a few dads in line as well as women closer to my age.  Many of the dads were with their wives, but did not appear to have daughters near them.  (Either they were hanging back, giving their daughters some space, or they were actual Harry fans.)  There appeared to be a good number of young men, certainly more than in my demographic.  Many were obviously with girlfriends many alone, or maybe with female “just friends.”  (Just my gut from what I saw.)  I saw a group of 4 young guys in line ahead of us - nothing about them clued me as to their sexual orientation.  I only saw a few guys who were very obviously gay™ (I don’t claim to have great “gaydar.”)

Once inside, we decided to get our merch, even though it meant probably missing the first song or two from Musgraves.  My daughter and I were chatting about the shirts on display and the young man in front of us turned and answered a question we were asking ourselves.  He was very nice and seemed very gay, or camp, in the way he spoke.  Everyone we came in contact with seemed to be taking “treat people with kindness” to heart.  The whole atmosphere felt warm, inviting, safe and friendly.  I had planned to get the Treat People With Kindness shirt, but they were out of XXL. 

I ended up buying a black shirt with this picture on the front and a list of all his tour stops on the back.  (Disregard special guest Warpaint and everything below that.)  I can’t find a pic of the actual shirt, but I quite like it.  Those hollow body Gibsons are almost as pretty as he is!

We got some Harry Styles guitar picks from the Seattle Children’s hospital table.  I think the people staffing the table were from the hospital foundation - they were very happy and effusive about Harry’s generosity.  (We’ll give a few picks to my son.  He likes Harry’s music and plays guitar.)  They were also surprised at how many fans knew all about his support of a local charity in each tour city.  My daughter and I had our picture taken by the charity table, in front of a big yellow banner and holding a “Treat People With Kindness” sign.  We were giddy, excited and soaking the whole experience in.

I have seen some very credible, pro Harry blogs lament that he has monetized TPWK, by selling merch with the slogan.  I understand their concerns, but I think the only way Harry can cheapen TPWK is by failing to live it.  From everything I see, he lives it as well as any mere human could be expected to.  I think it’s lovely we have a chance to literally buy into TPWK.

Kacey Musgraves has a pretty voice and was very pleasant to listen to.  (I do not care for much country twang, her’s is subtle.)  Follow Your Arrow is a very nice, positive song, but it is a bit of a sermon.  I feel the real power of art is in evoking emotion, empathy, or telling a compelling story, not sermonizing.  I shouldn’t complain.  I just feel her message would be stronger if the song told a story.  I quite liked the song she did featuring a trumpet.  My daughter thinks that may have been a cover??  

For fellow oldsters, or people who value their hearing, I highly recommend:

This is the brand I got (black case for me and red for my daughter) but there are many similar to chose from.  I tried pulling one out a few times and the volume was punishing.  These cut the decibels without the muffled sound from normal hearing protection.  Harry sounded BETTER and I could hear HIM better with the plugs in!  We used the “High” protection filters.

The few empty seats we observed earlier were filling in.  From what I saw, very few spots went unused.  We were amped when the screen dropped and the Rubik’s Cube animation started.  When the screen finally lifted, revealing iconic, wide leg, white trousers, everyone was cheering on their feet.  (Seats were only for the opener, I saw no one sitting after Harry appeared.)  He was absolutely magnetic.  The staging and lights were beautifully done.  Nothing felt cheesy, or gimmicky.  I can’t imagine Harry doing a show with dancers, or any of the normal pop/rock/etc. gimmicks and distractions.  Everything felt just right.  Everything felt, looked and sounded real and authentic.  (I always loved 1D’s rejection of the gimmicks too.  I love Liam, but he’s wrong on that one!  Who cares about the noise, narratives and PR?  This was Harry - a real and genuine side of Harry.) 

Harry’s voice was incredible live.  My daughter, who was only a casual fan, wished he had done a few more of his big, high notes.  I’m fine with him preserving those vocal cords - I would kill to protect them.  I tried to observe more about the band, but mostly I didn’t want to take my eyes off Harry.  The screen was nice for capturing his facial expressions, but I was finally seeing him with my own eyes.  I’ve been watching him on screen for years!  The interaction between Harry and Mitch was cute.  I think Harry is slowly turning Mitch into more of a performer, rather than only a highly skilled guitarist.  The blue-green lights during JaLBoYH were lovely.  I wish I had known about them ahead of time.  The quality of sound for the band and Harry’s vocals were positively exceptional.  There are precious few performers in this world who can equal it.

We were looking directly down at Harry’s profile when he moved to the B stage.  It felt a lot closer than I would have thought from the seating map.  Harry looked our way and we all (in my general area) excitedly waved, but there was no eye contact, or acknowledgment, despite my very bright Hawaiian shirt!  (It’s okay, I knew it was a long shot given the distance and relative darkness of the crowd.)  He was in fine form for IICF, pausing before Louis’ part and a long, dramatic shushing!  I had a bandanna in my pocket, in case I got emotional, but the whole atmosphere was so happy and warm, even during his heavy songs.  

A straight couple was sitting directly in front of my daughter and I.  The boyfriend was FULLY invested in the concert and videoed many songs on his phone.  As I said earlier, I didn’t notice anyone disengaged, from where I was sitting.  

When Harry moved back to the main stage, his audience interaction game kicked in.  I’m sure you’ve seen the gifs and clips already.  He was charming, delightful and sassy.  He was really sweet to a young girl (14) at her fist concert.  The half birthdays aren’t a thing bit was gold.  The one who found their soulmate.  Charlie’s gay birthday.  It was all delightfully sweet and entertaining. 

There were a lot of tiny rainbow flags in the pit and a few throughout the stadium.  I saw several women wearing LBGT+ shirts, of various types, in my area.  The whole atmosphere felt very safe and welcoming to all.  Harry ENTHUSIASTICALLY waved several flags during WMYB (I’m sure you’ve seen the videos.)  Harry’s message of kindness and love was palpable, but the show didn’t feel political, or heavy handed, to me.  (I think that strengthens his message and appeal.)

My daughter loved What Makes You Beautiful and Kiwi most of all.  She’s never been a hard core 1D fan, but always loved WMYB.  Kiwi is her favorite from his album.  Seeing him go so hard for Kiwi live really was a treat.  I loved the whole experience very much.  Standouts for me were:  The dramatic open with Only Angel (screen coming up - the whole experience.)  MMitH isn’t my favorite on the album, but hearing it live was beautiful - Mitch played the 12 string acoustic which had the most beautiful sound (other than Harry’s voice.)  Sweet Creature and If I Could Fly on the B stage went directly to my heart.  The audience interaction was pure gold.  The heartfelt gratitude he expressed several times.  Kiwi live really was a sight.

This was supposed to be a brief recap - guess I got carried away!  :)

[bambyeol]

This Band (p.1)

B.A.M SEQUEL

pairing/s: band! park jihoon x oc ; band! bae jinyoung x oc ; doctor! hwang minhyun x oc 

character/s: park jihoon, park woojin, bae jinyoung, ong seongwoo, kim jaehwan, ha sungwoon, lai guanlin, kang daniel, yoon jisung, hwang minhyun

genre: angst, fluff, music (band) 

summary: never date your band mate. 

warning : a sequel so I’d appreciate it if you’ll read B.A.M first. though you can always live dangerously and read this immediately. 

This Band (p.2) This Band (p.3) This Band (p.4) This Band (p.5) This Band (p.6)  This Band (p.7) This Band (p.8) This Band (p.9)  This Band (p.10)  This Band (p.11)   This Band (p.12)  This Band (p.13) This Band (p.14) This Band (p15) This Band (final)

B.A.M p1 // B.A.M p2 // B.A.M p3 // B.A.M final 

wanna one masterlist

song inspiration : Saved by Khalid 

“But I'll keep your number saved 'Cause I hope one day you'll get the sense to call me “ 

“Good evening, ladies and gentlemen. Welcome aboard flight 3B7 en route to Seoul, Korea. Kindly fasten your seatbelt and secure all baggage underneath….” the standard announcement played out. She rested onto her seat and stared at the distant city lights as the plane took off.

Five years.

That was how long she was gone, and that period of time was more than enough for many things to change - for herself and for others.

“Ah. We’re finally going home.” Seulla spoke up while wrapping a blanket around her chest, reclining her seat in childlike amusement.   

“Oh, right. Jinyoungie told me that since you’re coming back they’re thinking whether you guys should have a reunion. You know, like the old days in the band?” she relayed her boyfriend’s message.

“Seulla. You know to yourself that it will not be anything like the old days.” Riseul replied, a scowl forming on her face. Before Seulla could even reply, she closed her eyes, an action that meant that the topic was over.

A reunion was the last thing she’ll ever want between them.

In the busy city of Seoul, tens of screens were plastered on buildings, displaying a man around his 20’s shining brightly onstage. A smile so captivating it stopped anyone from their tracks. His brown hair slicked back, sweat dripping down his face. He winked and left a random passerby squealing on the sidewalk.

But she couldn’t care less as she plugged the earphones to her phone and maxed the volume as she walked away from the lined screens that broadcasted the same performance.

It was a successful comeback with him as the center, and it frustrated her how he had the ability to haunt her without even meaning to do so.

The years may have murked the memories, but the feelings remained for her, and it still leaves a bitter aftertaste on her mouth whenever she was reminded.

It was too good to be true anyways. Their relationship that is. Everything seemed like a fairytale except they didn’t live happily ever after. Instead, her 12 midnight struck before she even realized it.

Often, she would wonder if she just fabricated their whole relationship. Time was blurring it all away too, but at times like these when she hears his voice sing another song and catch a glimpse of him on the television, she is reminded that it did happen.

Bae Riseul dated Park Jihoon, her ex-bandmate and currently one of the most popular idols in the industry.

But really, she didn’t have any energy left to waste on the old times. Not now nor ever. Besides, they lived on two different worlds. He was too popular for her own good. An idol and a doctor? It was destined for failure. They’ll never be able to meet given how grueling their jobs were.

You’re still considering it.

A small voice whispered on her head.

Her face sourly crumpled when she caught herself immersed in thoughts of him yet again.  It was long over. Reminiscing wouldn’t change a thing.

It was 5 years ago.

No use in crying over spilled milk.

So she returned to her apartment, brewed herself hot tea, changed to the most comfortable set of pajamas she had, played the most soothing music on her phone, unplugged the tv (just in case she forgot that Jihoon would be in any channel), and closed her eyes.

Tomorrow, she’d spend her day-off and have her long-awaited reunion with B.A.M.  

Park Jihoon wore a black beanie, a black face mask that engulfed over three-quarters of his face. He made sure to wear the largest sweater in his wardrobe to hide his built. He chose to dress up nice and plain for once to deviate from his fashion disaster self.

It’s been over 2 years since he’s last seen them, his former band. Frankly, he missed them dearly. Nostalgia always hit him, and he’d be immediately reminded of their high school days. Jinyoung playing the keyboard, Woojin playing the bass, Seongwoo with the drums, and Jaehwan with his singing.

He missed the run-down Underground, and all the events that happened within its walls.

He misses her the most.

He texted his manager upon his arrival and began scrolling through hundreds of notifications. Jihoon didn’t notice his path until he collided with someone, causing his phone to bounce off.

“Ah, I’m sorry..” He instinctively bent down and stretched his hand towards the direction of his phone, but before he managed to, a woman of significantly smaller built picked up his phone. She held it briefly to check whether there were any cracks before handing it to him with a small smile.

“No worries. Your phone’s fine, by the way,” her tone polite, and her voice warm. She craned her neck to meet his eyes.

And it was as if the heavens have heard his musings that she was right there and then.

Five years have passed.

Many things changed like how her hair was longer, or how she stood with certainty and maturity.

Yet, some things remain.

He is still captivated by her.

But before he could even call out for her name over something that she dropped, she turned around to walk towards the long queue of people lined up near the entrance of the stadium.

She was still the first to turn her back.

But this time around, he will chase after her.

After all, Park Jihoon had a lot to explain to Bae Riseul even if he didn’t know where to start.

For now, it started with a lost ticket.

The ticket was missing. Riseul realized when she took out all the contents of her bag for the 10th time. She flapped open her wallet, removed the case of her phone, felt her pockets, and asked around, but no one knew.

Worse, the tickets long sold out.

She groaned in annoyance as the place was beginning to be packed with more people, and the sky slowly dimmed.

How could she have been so stupid to drop the ticket?

"Excuse me!" someone rushed after her and grabbed her arm. She turned around and saw a towering man. He looked very shady with his face mask and black beanie. She must have forgotten to mask her glare that the man retreated immediately and raised his hands defensively.

“I think this is yours..” he held what looked like a ticket, and her eyes widened. Her hands covered her gaping mouth and she bowed several times, and jumped in glee though modestly.  

“I can’t believe this. I thought I’d never find it!” she shouted amongst the horde of people walking and chattering. “Ah. Thank you so much. You saved me.”

“No worries. You dropped it when you picked up my phone after all.”  He replied.

“Can I line up with you instead? The line’s pretty long already and it would be hard to get a nice view in the back..” He requested, and she laughed at his honesty.  

“Sure. After all, you ran after me and I even mistook you. Apology accepted?” she asked and offered a handshake.

His eyes crinkled and Riseul assumed that it was him smiling, “Apology accepted.”

He reminded her of someone.

It felt strange to watch the band as a member of the audience. New songs and new faces. They all moved forward, and reached for greater heights. One that they never dared to imagine before.

What started as a band of the Underground was now the most famous band in Korea. And now, they were beginning to take the international stage by storm.

“Bul ane maeum (B.A.M)! Bul ane maeum! Go with a B.A.M!” everybody chanted.

The first time she came across them was when she was 19 years old, and she grew with them for 2 years as Jaehwan’s partner vocalist.

In those two years, she noticed a lot about the habits of each member that they still haven’t let go of.

Seongwoo still likes to flaunt his angular jaw by rotating his head to the side and twirl his drumsticks before proceeding to his solos.

Jinyoung still bobs his head to the beat and plays arpeggios whenever the cameraman focuses on him.

Woojin still thinks it’s cool to do a guitar jump, and Jaehwan still exaggerates his soulful look by closing his eyes and pairs it with slight head shake as he clutches to the mic whenever he sings mellow songs.

The speakers blasted their performance throughout the concert hall and the large screens projected the band for the people in the back. Everyone raved by swaying their light stick to the beat of the song.

Woojin noticed her near the front of the stage, and nodded to her, pleased with her attendance.

“Hey. Jinyoung heard from Seulla that you’re returning to Korea next week already?” Woojin greeted as she answered her phone while folding her clothes.

Riseul clips on her earphones,  “Yeah. The scholarship is over, and we’ve decided to continue our residency there.”

“Then schedule a day-off on September. B.A.M’s having a concert. I got you a VIP ticket.” Woojin replies with an air of demand. She wasn’t allowed to say no.

“I don’t think I should even…” she pauses with reluctance to continue her words. “I left the band after all.”

“You didn’t leave the band. You just graduated from it because of reasons that we all accept.  Now, don’t be so stubborn and just say you missed us too. We missed you, by the way. It’s not fun to have an all-guy band. Everyone stinks.” Woojin laughs and Riseul heard from the background Jaehwan’s shrill voice scolding Woojin. “That’s Riseul right? Oh, God. Take back what you said, you ape. You stink the most! You fart during practice!”

“We miss you, Riseul. Remember, September!” Seongwoo’s cool voice was on the phone, and Riseul could imagine how he casually snatched the phone from Woojin and pushed him away with his arms.

“Oops. We’re going back to practice now. See you soon, Ri.” Woojin’s raspy voice bade goodbye without any change to his attitude from when they first became close.

“I miss you all too,” she laughed and immediately realized her defeat as Woojin and the other howled. “Oh God, you had that on speaker didn’t you?”

“Can’t say for sure~” Woojin replied teasingly before cutting off the line.

It has been over an hour since the concert started, and everyone in the band was sweating profusely with the heat from the spotlight, the singing, and the intense playing of their instruments. The first set was almost over before they slipped into a small break.

Suddenly the stage lights dimmed down, and Jaehwan cleared his throat.

“Everyone knows that at each concert, B.A.M performs a song not listed within the setlist. This one’s an old song composed by our former member.  Title is ‘Letting Go’ “

Woojin strummed his bass and there was the familiar rising harmonization.

It would be a lie if she told herself that she didn’t want to perform with them again like the old days.

“Only Jihoon and I are missing,” she tugged the sleeves of the person beside her unable to catch herself before the words flowed out of her mouth.

The two jolted and stepped back for their own reasons.

Hearing herself utter his name rattled her.

Hearing his own name from her lips rattled him.  

“Ah. I’m sorry. I didn’t realize what I was saying,” she retreated her hands away from him. He nodded understandingly trying to brush everything off until someone grazed her lightstick on his beanie, flicking it away and unstrapped the right part of his face mask from his ear.

The young girl immediately noticed what she had done and turned to apologize. “It’s okay.” Jihoon tried to stop her, but as the lightstick illuminated his face, with the face mask half-dangling because it got removed from his right ear, and his brown hair shining, it was only a matter of time.

Then there was recognition in her eyes.

“Aren’t you Park Jihoon?!” she exclaimed and her voice echoed down the concert hall because the song the band was performing was mellow and accompanied by silence from the crowd.

People turned around. Jihoon tried to pick up his beanie and salvage it, but even before he was able to reach it, people came forward, swooping their phones, and turning on their cameras.

He tried to find Riseul in the crowd and saw her being pushed towards the back as she stood there dazed as she stared at his face. He clicked his tongue in annoyance, and removed his face mask to mouth off something as he looked at her intently.

“The ticket! Look at the back of ticket,” he mouthed silently hoping Riseul would catch it.

“Phone number… Your ticket… at the back!,” he mouthed again, as he kept being jostled by the crowd. The noise kept attracting more people.

The commotion pushed the security to temporarily stop the concert, keeping them from finishing the song..

She stared at him, and at her hand before flipping the ticket. It was his phone number.

She looked at the ticket, then to him and back to the little piece of paper where he wrote his number. He smiled with relief finally turning to his fans and mumbled apologies.

When he noticed that she stood at the same spot, he looked at her again.

Their eyes locked, and he recognized anger from her narrowed lips and drawn down eyebrows..

She raised her palm holding the ticket before crumpling it and ripping it into small pieces never breaking contact from his eyes.  

notes: the title’s a play on the pronunciation of the dreaded “D” word. Also, because people will kill me if I did use that as the title.

This will be the longest post ever for this fic. I just needed to establish until that part or else the pacing would be awkward. It’s been awhile, but I’m glad to be back. 

Hope you continue supporting me ~ 

[americanahighways]

Billy Strings Streaming Tour 2020 — photos by Jesse Faatz Photography; screen edits by David Nowels Photography

This slideshow requires JavaScript.

This slideshow requires JavaScript.

I’ve never been a huge fan of the “couch tour” concept, and in fact, even watching a one-off livestream has been somewhat alien to me. When I’m home, I tend to have what seems like a million things to do, and focusing on a live show on a computer monitor or even the TV screen is something I find hard to do. I prefer to be right there in the thick of things and taking it all in live and in person. For me, even as somewhat of an introvert, I really miss the live concert experience. The sights, the smells, the energy. I even miss the drunks, show talkers and outrageous beverage prices. Okay, the last sentence might be a stretch, but the rest does rings true. I really miss it.

So what’s a live music lover jonesing for a fix supposed to do except step up, get with the technology, and dive head first into an online tour. Enter Billy Strings, who announced a nine date streaming tour last month. I’ve been a fan of the music for about a year now, having been fortunate to review the band’s album, “Home” last year. (See that review here: https://americanahighways.org/2019/12/26/review-billy-strings-home-this-is-music-of-destination-rather-than-just-a-method-of-travel ) I’ve always been a fan of bluegrass, though I’ve fallen off the bus here and there, having never really gotten excessively into the String Cheese Incident and other modern bluegrass bands. That all changed as I dug deeper into Billy Strings, their music and community. I’m an old Deadhead, and there’s more than a few similarities with the Grateful Dead and Billy Strings that I find immensely intriguing. The community, the musicianship, the mind numbing “X-factor” connection between the band members on stage, and especially the uniqueness of setlists each night. A lot of Deadheads were fanatical about setlists. First-time played, last time played, song segues, teases etc. I fall into that category, and decided that this tour was a good way to see what the hype was all about, all while chronicling the tour in print. So, what will be follow will be a brief glance at the first four dates of the tour beginning in Nashville, with two nights at the Brooklyn Bowl and then two nights at the legendary and iconic Station Inn.

Leading into the opening night of the tour, Apostle revealed there would be special guests throughout the run. Additionally, there would be a featured special, limited poster via Half Hazard Press commemorating each night. Sure, there’s been a handful of glitches and ghosts in the machine here and there. But, the Billy Strings camp, the poster crew and each venue have done an outstanding job putting all of this together. The first two nights were aired via the FANS streaming site and the next two nights through The Station Inn. The streams ran a very affordable $9.99, and I assure you, you’ll get your monies worth. The day prior to the tour opener, the band dropped a free surprise viewing of their soundcheck live from the Brooklyn Bowl. It was certainly a welcome taste of things to come and showed a band not missing a step due to the forced time off.

7/15/20 Brooklyn Bowl Soundcheck This Heart of Mine Tipper Train That Carried My Girl From Town > Black Mountain Rag Slow Train Train 45

Night one at the Brooklyn Bowl was really solid overall but there did seem to be a bit of timidness as they worked to get their ���stage-legs” and chemistry back to form. There were definite highs, but really no lows to speak of. The band kicked off the tour with a very timely “Watch it Fall” opener to the first set. The FANS live stream included the ability to share live video throughout of fans enjoying the show from their home set-ups. The monitors over the Brooklyn Bowl’s bowling lanes displayed these, giving the band some semblance of normality in regards to an audience. Still, it was really, really odd to see an empty venue while a band played. On the social medias, the fan clips were met with mixed opinion, but I found them mostly tolerable, and actually enjoyed some of the band banter they initiated. Early on, several fans danced with their pets, prompting Billy to state,“We love good boys and good little girls…” quickly adding the intended “dogs and cats.” for clarification as mandolin picker extraordinaire Jarrod Walker stated: “You kinda need to clarify that statement”. You just can’t be too careful these days. During the pandemic, Billy’s really gotten into fishing, which is a sport that’s been socially distancing successfully for eons. So, there’s been a fishing theme throughout that started mid-way in the first set Thursday night with the debut of Doc Watson’s “I’m Going Fishing”. Speaking of the Grateful Dead, the melancholy “China Doll” followed, seguing into a smoking “So Many Miles”, one of two lead vocals so far for Billy Failing during the first four nights. Failing made the most of it, leading the band through the first real exploratory jams of the night. As the song rolled through another segue into “Dealing Despair”, it became obvious that this was the conduit the band was looking for, the moment were everything fell into place. The timidness fell away, and from here on out the band seemed to really, “click”. My favorite tracks from “Home” closed out the first set with a one-two punch of “Enough to Leave” and a blistering “Away From the Mire.”

The second set was just plain fire. Opening with “Dust in a Baggie” and followed by an absolutely epic “Pyramid Country”> “Ride Me High” the band delivered a trifecta of jams that snaked here and there and back and forth. One of my favorite moments so far. The first guest of the run was none other than Marcus King, who joined in following “Must Be Seven” for a bluesy“Summertime” and added vocals to a robust first time played “Big Boss Man”. After King left the stage, the boys wrapped things up with a smoking “Ernest T. Grass”> “Little Maggie”. I found it somewhat surprising that the band forgoes the encore here, instead unceremoniously concluding the show. Undoubtedly, leaving the stage, only to walk back on to an empty room seems, well, a bit ridiculous. But, it also didn’t seem like a return to normal without an encore. Often the band will encore with a specially chosen song, a cover or what have you, a capella. Many times, we’ve seen the band have to do their best to shush the audience in order to pull this off. So here, with the empty room it seemed like a squandered opportunity. But, even without the encore, the first night proved to be quite enjoyable, and even memorable. Other than Youtube videos, to this point I haven’t had a chance to catch Billy Strings live. I had hoped to catch a handful of shows sometime this year, but alas, it wasn’t meant to be. This would have to do, and I was already looking forward to the next night.

7/16/2020 Billy Strings Brooklyn Bowl Nashville, TN

Set 1: Watch It Fall Slow Train While I’m Waiting Here Doin’ My Time I’m Going Fishing (ftp) China Doll> So Many Miles> Dealing Despair Enough to Leave Away from the Mire

Set 2: Dust in a Baggie Pyramid Country> Ride Me High Must Be Seven Summertim# Big Boss Man #^(FTP) Ernest T Grass > Little Maggie

(FTP) First-time played debut # w/ Marcus King ^ Marcus Vocals

The second night at Nashville’s Brooklyn Bowl was in my opinion even better. Despite some log-in and buffering issues causing me to miss the openers “Taking Water”> “Thirst Mutilator,” word on the fan socials was that they were hot. Well, dang. I joined in as “Thirst Mutilator” ended, but caught enough of the closing jams to realize that night one’s exploratory nature was present again. Highlights of the first set for me started with “Home of the Red Fox” and its jazzy themed jam into “How Mountain Girls Can Love.” While I thought things tamed a bit during “New Camptown Races,” the set ending “Turmoil & Tinfoil” more than made up for it building on the energy and abstractedness of the song.

Set two launched with an outstanding rendition of John Hartford’s “All Fall Down”, followed by “Long Forgotten Dream” and a memorable take on “A Robin Made a Nest on Daddy’s Grave” which is best known from performances by the Stanley Brothers. Sierra Hull, the night’s special guest joined in for vocals and “mandolin sandwich” on “Walk On Boy”, “She Makes My Love Come Rolling Down” and “Train, Train.” The jams fired up again with an incredible debut cover of Post Malone’s “Circles.” Didn’t see that coming, but hot damn, it was fun! Hull finished up her guest spot with “Daybreak In Dixie” before Billy and the boys melted minds with “Meet Me at the Creek. Again, there wasn’t an encore, but somehow after the frenzy of “Creek,” one wasn’t really needed this time.

7/17/2020 Billy Strings Brooklyn Bowl – Nashville, TN

Set 1: Taking Water > Thirst Mutilator This Heart of Mine — Hollow Heart Home of the Red Fox > How Mountain Girls Can Love Pretty Daughter I Only Exist New Camptown Races Turmoil & Tinfoil Set 2:

All Fall Down (1) Long Forgotten Dream A Robin Built A Nest On Daddy’s Grave Walk On Boy (2) She Makes My Love Come Rolling Down (3) Train Train (3) Circles (3)(4) Daybreak In Dixie (3) Meet Me at the Creek (1) Jerusalem Ridge Tease (2) Sierra Hull vocals and mandolin (3) Sierra Hull (4) FTP Post Malone

Night three saw the boys moving over to the historic Station Inn. After two nights of “couch tour” my wife was becoming a bit curious, and I’m always trying to turn her onto the music and bands I love. So, I talked her into watching night three with me. She’s a late bloomer of a Dead/jam band fan, and while her tendencies lean more to just enjoying the music, dancing and the vibe, she knows enough to understand the intricacies involved and why I love the exploratory nature of the jams. But, as a whole she’s not really a big fan of traditional bluegrass. In hindsight, this really wasn’t the night to try to introduce her to Billy Strings, as traditional bluegrass was the theme of this night. She liked it okay, but didn’t really get where all my excitement for the band came from.

The first set began with “Train 45” and then another debut, this time Jimmy Martin’s “Tennessee”. If you aren’t familiar with Martin, but you really dig colorful characters, Martin is that and more. He was also one hell of a picker and deserves to be heard. Really, it shouldn’t have been a surprise that a night at the Station Inn would be packed full of traditional songs and covers from Doc Watson (Black Mountain Rag” , Bill Monroe (“The First Whipoorwill”, Letter From My Darlin’” “Salt Creek”> “Bill Cheatham”), the Stanley Brothers and more. As Billy stated, “If you don’t like bluegrass gospel music then you got something cockeyed somewhere.” That’s true. Perhaps a result of less familiarity with the songs, there was a more laid back approach to both sets. While really well played, there really wasn’t a lot of heat maintained consistently. There were definite highlights, and I thought this was bassist Royal Massat’s best night in the mix so far. The set two opener, “Freedom” was another odd symptom of the pandemic. Often done as an encore with a single shared microphone, this one seemed a bit out of place opening the set, and even more-so with four mics. It was an abnormality that the band even felt compelled to mention at the song’s conclusion. Night three’s special guest was the lovely and gifted picker Molly Tuttle, who very nearly stole the show with a standout version of “Cold Rain and Snow.” It’s a song with special meaning for me, as it was the first song played at my very first Grateful Dead show way back in 1988. Without question, this was one of the best versions of the song I’ve ever heard and easily my favorite moment of the night. Tuttle also contributed on “Black Mountain Rag,” “Rank Stranger,” “Goodbye Old Pal” and “Don’t Let Your Deal Go Down”. The band rolled on through a standout “Shenandoah Valley Breakdown,” another pair of Monroe covers, “With Body And Soul” and “Kentucky Mandolin” before shutting it down with the appropriate, “Long Gone.” The night was a fun and respectful nod to traditions and left a lot of curiosities for what the second show at the Station Inn would hold.

7/18/2020 Billy Strings Station Inn – Nashville, TN Set 1:

Train 45 Tennessee (1) Likes of Me Dusty Miller First Whippoorwill Good Woman’s Love Down the Road Love Like Me Salt Creek > Bill Cheatham Letter from my Darlin’ (2) Sophronie Lonesome Moonlight Waltz The Springtime of Life (3) Nobody’s Love is Like Mine Sunnyside of the Mountain

Set 2: Freedom (4) Southern Flavor I’ll Remember You Love In My Prayers Black Mountain Rag (5) Cold Rain and Snow (5) Rank Stranger (5) Goodbye Old Pal (5) Don’t Let Your Deal Go Down (5) Shenandoah Valley Breakdown With Body and Soul Kentucky Mandolin Long Gone (1) FTP Jimmy Martin (2) FTP Bill Monroe (3) FTP Ola Belle Reed (4) 4 mic style (5) With Molly Tuttle

This was the show I should have watched with my wife, as I think this was the best night of the run so far. The band was particularly dialed in. In fact, it seemed like everything really fell into place. The lights, the camera work and in particular, the music was done with absolute precision. Tonight, instead of any timidness there was assured confidence and as a result, the whole dang show is spectacular. “Dark Hollow” got things going and really set the bar high. Flatt and Scruggs songs “Farewell Blues” and “My Cora is Gone” led to David Grisman’s “Fanny Hill.” My favorite song of the first set though was an insane “Ol’ Slewfoot,” an old Johnny Horton song that’s always a highlight when delivered. Flatt and Scruggs returned with “Salty Dog,” then “Big Sandy River” led to Jim and Jesse’s “Bringing in the Georgia Mail.” Next, the Stanley Brothers’ “White Dove,” Monroe’s “True Life Blues,” Dr. Ralph Stanley’s “Clinch Mountain Backstep,” and then back to the Stanley Brothers with “Sharecropper’s Son” and another first time played debut of “Let Me Love You One More Time.” “Paul & Silas” continued a streak of Stanley Brothers’ tunes before wrapping up the first set with Jayne/Webb written classic, “Old Home Place.”

Second set picked up right where its predecessor left off with a Dr. Ralph Stanley tune, “Riding That Midnight Train,” Tony Rice’s “Tipper” and “Nellie Kane,” a song I know best from the Dillards. Queue in the evening’s guest at this point, which is the incomparable Bryan Sutton on guitar. There seemed to be a friendly rivalry present, as the two extraordinary guitarists strove to push each other. Beginning with Bill Monroe’s “I’m Coming Back, But I Don’t Know When” and “Goldrush,” the two pickers plain tore it up. Larry Sparks’ “John Deere Tractor” and Flatt & Scruggs’ “I’ll Go Stepping Too” continued the momentum with a Norman Blake & Tony Rice cut, “Texas Gales.” Sutton played on to the set’s conclusion, lending contributions to the Stanley Brothers’ “Think of What You’ve Done” and an absolutely brilliant and fiery rendition of The Osborne Brothers’ “Ruby.” Things finished up with another Monroe song, “I’m Blue, I’m Lonesome” and finally traditional flat-picking gem, “June Apple.”

7/19/20 Billy Strings Station Inn – Nashville, TN

Set 1: Dark Hollow Farewell Blues Cora is Gone Fanny Hill Ol’ Slewfoot Salty Dog Big Sandy River Bringing in the GA Mail (1) White Dove True Life Blues Clinch Mountain Backstep Sharecropper’s Son Let Me Love You One More Time (2) Paul & Silas Old Home Place

Set 2: Riding On That Midnight Train Tipper Nellie Kane I’m Coming Back, But I Don’t Know When (3) Gold Rush (3) John Deere Tractor (3) I’ll Go Steppin’ Too (3) Texas Gales (3) Think of What You’ve Done (3) Ruby (3) I’m Blue I’m Lonesome (3) June Apple (3) (10 Jerusalem Ridge Tease (2) FTP (3) With Bryan Sutton

So, here we are four shows into a nine show tour, with a total of 92 songs played, no repeats. Yeah, you read that right. No repeats. Night one was 18 songs, night two had 19, night three had the most with 28, and night four brought serious intensity with 27. There was essentially a night of music to suit just about everyone. Dig the traditional tunes? Either night at The Station Inn should do the trick. Like a good mix with a little more music exploration prominent? Go with the second night at the Brooklyn Bowl or the second set from the first night. With all that in mind, I would rank the first four shows of the tour as such:

1. 7/19/20 Station Inn 2. 7/17/20 Brooklyn Bowl 3. 7/16/20 Brooklyn Bowl 4. 7/18/20 Station Inn

Monday saw the streaming tour take a break before moving on to Nashville’s City Winery for two nights on July 22nd & 23rd, the Exit/Inn the 24th and 25th and finally, wrapping up the tour at 3rd & Lindley on Sunday the 26th. But, that doesn’t mean the music stopped as Billy was joining Marcus King’s band’s live stream and was also to have a previous performance highlighted on the Tonight Show with Jimmy Fallon on Monday night as well. I’ll be sharing my thoughts on the remainder of the streaming tour in a pair of follow-up pieces including a full tour recap. But I recommend you drop into Billy Strings’ webpage for all the details on grabbing tickets for the remainder of the tour. I don’t think you’ll be disappointed. Visit here: https://billystrings.com

I’d like to call out the Billy Strings Setlist page on Facebook. For someone still learning all the songs in the repertoire as well as the history behind them, it’s been a valuable resource and a friendly spot to drop in and research.. Thanks for doing what you do. Additionally, the Billy Strings Fanpage (Official) on Facebook is equally vital, and a fun growing community.

Photos used in this article include official photos by Jesse Faatz Photography and stream captures edited by David Nowels Photography.

Show Review: Billy Strings Multi-Night Streaming Tour 2020, nights 1 - 4 of 9 @billystrings @mollytuttle @bryand28sutton #americanamusic #livestreamtour Billy Strings Streaming Tour 2020 -- photos by Jesse Faatz Photography; screen edits by David Nowels Photography…

[whatupwiththelists]

List Christmas Letter 2018

Dearest Family & Friends,

I’m going to cut right to the chase. YES. I managed to hold down a job at the same place for more than a year. I’m still with Kijiji. Feel free to keep reading if you wish, but honestly that little nugget of information is by far the highlight of the letter. Like... by far.  

I’m not sure I agree with your decision to continue reading, but I will respect it. Here we go…

I should also note that some of you may not have received a letter last year. We decided to try something new to determine our mailing list. We took all of the names of our closest friends and family (all of you) and then we simply didn’t write a letter. In hindsight, the fact that you may not have received a letter probably has less to do with the mailing list and more to do with our lack of writing it. Hmmm. We may need to reflect on this more. On the plus side, the fact that you’re reading this, is an indication that a letter was in fact written for 2018. Further to being written, it must have also been shared with you in some way. Magical!

So what’s new with us? 2 years of awesomeness!!! That’s what!

We’re still happy and healthy. Physically that is. Mentally we’re a mess, but if you’re on this mailing list you know us well enough that this info won’t surprise you.

Lucy is still at TELUS. For another few days at least. She moved from the Koodo team in 2017 to become a superstar at TELUS. There she created a very successful design system and was flown to Vancouver these past couple of summers to be on a panel with brands like Google, Twitter  and Shopify to talk about their success. Speaking of Shopify, she’s starting to work there in January. She did such a great job creating TELUS’ design system, that Shopify asked her to help them with their new marketing design system. It’s a great opportunity, but in truth, she’s moving so that she’s working closer to me (literally 300m away). There is also the added perk of catered breakfasts AND lunches. Guess who’s visiting her at work twice a day, every day?? (it’s me).

She was also in Vancouver for a half marathon last summer. She amazes me. With almost no training she wasn’t far off her best time. Running a half marathon cold at 41 years old (note that awesome rhyme)… an interesting choice but she completed it, and after an afternoon nap she was as good as new. I joined her in Vancouver as well to celebrate our anniversary. We had a blast exploring Stanley Park, The Capilano Suspension Bridge, Grouse Mountain (yes, we did the Grind), and Whistler/Blackcomb. We really had a great time. Where were the kids you ask? All we know is that they weren’t with us and we’ll leave it at that.

For me, seeing Lucy run the half marathon last year,  inspired me to get into running this year. I decided that I wanted to run a fast 10k (under 40 minutes). I was excited to finish a MEC 10k in 39:17 and 2 weeks later I ran a 19:11 5k which was also a personal best. Sorry if these numbers mean nothing to you, but for runners, our numbers define us :) In 2019 I’ve set some bigger goals. I’ll be running 2 full marathons (one in Ottawa in May and the other in Toronto in October) and I’m going to try and finish one in less than 3 hours. It’s a lofty goal that I’ve been considering for literally 15 years. Age isn’t on my side, but wisdom and a healthy dose of enthusiasm is. Lucy thinks I’m obsessed. Guess there could be worse obsessions...

As mentioned, I’m still with Kijiji. If you use Kijiji and like some of the things that have happened over the past few years, it was probably me. If not, well, best not to talk about it. For those of you in the UK, I know a few of the Gumtree Product Managers so if you’re upset about anything please let me know. I’d love to give them a hard time. I also need to state that I’m just a little bit famous at eBay Classifieds. The CEO of eBay visited the Kijiji office and I gave him a demo of our new homepage. Well, one thing led to another and before I knew it an article was written, I was quoted as it being a career highlight on the eBay internal blog even though I wasn’t even interviewed, and a picture of me pointing at my screen turned into a bit of a phenomenon. Branded Jerememe, “Jeremy Pointing” is now my claim to fame.

Our side gig (Me in a Nutshell) we launched 2 years ago is now fully on life support. We have seen slow and steady growth. The problem, is that it’s really, really slow. For those of you who can't remember what its was about from our christmas letter 2 years ago.. you're essentially looking at it. Our family page was built using the product. Me in a Nutshell (meinanutshell.com) is still kicking and we’re hopeful that at some point somebody famous will create a page to give us the kick start we need. Wishful thinking, but unfortunately at this point, wishful thinking is our best marketing plan ;)

I’m going to talk about kids now so feel free to skip to the end...

Sophie turned 6 this summer but she’s still super cute despite her old age. She dresses herself every day and, holy smoke, she’s creative. Some of her outfits are really quite amazing. Who knew you could have that many patterns & colours at the same time?

She was in gymnastics last year with Cadence, but both girls have decided to take a pause and focus on ice skating. They’re in lessons every Saturday and all the kids love it… well at least for now. Stay tuned.

She also learned to ride her bike this summer and is a superstar on 2 wheels. My job as a father is officially done now that all 3 kids can ride a bike. I may come back part time to help the kids with their running form, but at this point Lucy has been advised not to expect any significant help from me moving forward. Mic drop.

Cadence is still very much into drawing, painting, and anything crafty. Especially slime! Sigh. She’s addicted to making slime.  We have no shortage of slime supplies and little containers with slime scattered throughout the house. Green slime, blue slime, we have every slime you could possibly imagine. Seriously, if you need slime please call me. If you can get it out of the carpet/clothes/hair/teeth, it’s all yours.

My personal favourite “Cadence craft” has turned into a bit of a tradition. Every holiday she will lead the family to create window art. It started off as some quick sketches, then focused on Taylor Swift, but since halloween, the quality of the art has become quite impressive. Thanksgiving followed and we now have a wonderful xmas scene on our front window.

For those of you who caught that Taylor Swift reference above, yeah… she’s obsessed. Lucy took the girls to a concert this past summer and since then Taylor is practically a member of our family. Without her knowing of course... Which makes it a little creepy, but whatever. I’m not sure if it’s Taylor inspired, but Cadence has also taken to Black. She loves all colours, as long as it’s black. Every now and then you’ll see her wearing a colour accent, but for the most part, she’s black, on black, on black… on black (with pet hair covering 90% of her wardrobe).

Jayden is 12! Almost a teen :( He continues to do better in school but this year we’re back to a teacher that doesn’t have as much patience with him. He’s a great kid but fitting him into the school system is still a challenge. That said, he’s making great progress and we believe if we can get him through highschool without the system breaking him, he’ll be successful. He’s a super smart kid.

He’s also a curious fellow. He’s often found taking his Nerf guns apart to see how they work. Our Christmas project last year was to convert his battery powered guns from 6V to 8.4V. More power! Yay YouTube! This year he was a NERF superpower and feared by his friends [evil laugh]. He also builds some pretty impressive guns with lego. Normally I don’t like to talk about his interest in guns, but his lego creations are really quite amazing. With removable magazines, a safety switch, and chambering mechanism, it’s quite the piece of engineering.

He also got really good on his scooter. He wasn’t enjoying karate, so we decided to let him focus on his scooter. It was a good decision. He’s learned so much over the past 2 years. Seeing him is really quite impressive. He’s learned several tricks including a tail whip, 180, 360 and many more. He’s not into it as much anymore, but I loved that he found something so motivating. Now he’s focused on parkour. With this new focus, he’s getting more into running with dad and weights to help him jump around easier. He, and the girls, have also found a love for skating. Jayden, has found yet another medium to jump around and do tricks. He has great technique and has been progressing very well. Seeing all of the teachers drool over the potential to have a gifted MALE who’s interested in figure skating is really quite funny. I wouldn’t be surprised if all 3 kids continue on with skating as one of their sporty passions. They’re all having a wonderful time.

Most exciting with Jayden is that he continues to play the piano. He’s been focused on a few core songs this year and we’re excited to see his progress. We recently bought him a synthesizer and are excited to see him get his music into Garage Band and eventually upload his creations to SoundCloud. He’s composed his own music using other peoples sound clips, but now he has the ability to create music entirely by himself. He’s good. Like, really good. I can’t wait to start listening to his songs.

This year we celebrated Sophie’s 6th birthday in Barcelona. Our first family trip over an ocean. It was also a nice celebration of our 15 year wedding anniversary. We had a blast. Starting in Barcelona, we spent a few days enjoying the city and seeing the sights. From there we rented a Jag SUV and headed up the coast toward France. On our 7 day road trip we saw some amazing places and had a wonderful time. It’s truly a spectacular part of the world and we are already trying to figure out how to get back. I think Lucy plans to retire there with, or without me :(

We also have a new addition to the family! Arctica joined our family earlier this year in May and she’s been wonderful for us. Were not exactly sure how she got here… and one day we had a dog.  We had a weekend of panic thinking what have we done? but we are truly happy we kept her. The kids love her to death and Lucy & I find ourselves more active and excited to get out and walk. She’s really a sweetheart and SOOOOOOO fast. My goodness when she wants to run she can move. She’s also a very good guard dog. If you’ve visited our house… you know. Sorry, she’s just really protective. It’s the shepherd in her.

Our neighborhood is still fantastic. We’ve seen some great neighbours leave, but we’ve also had some amazing people join. We continue the annual Easter egg hunt on our lawn, Canada celebrations, birthday parties, post Santa Claus parade after party and a whole ton more of neighborhood gatherings. We love every minute with them. Each year we are so thankful to have found such a great community. Our neighbors are known to bring us goodies, watch our kids, shovel our driveway and generally just put up with us. We are so thankful to have these wonderful people surrounding us.

Life is still hectic and crazy for Lucy and I but we still manage to find some time to do the things we love to do. We hope you have a joyful start to 2019!

Wishing you health and happiness for 2019

xox

The Lists

[robertkstone]

2019 Acura NSX First Drive: Complicated Emotions

As the chief engineer of the 2019 Acura NSX program, Satoshi Mizukami’s main goal of this year’s refresh is, as he puts it, “more emotional involvement.” Judging by my brief time with him, I’d say he’s living evidence of accomplishing this goal.

I’m riding shotgun with Mizukami as he pilots a 2019 Acura NSX around the Winding Road course at Honda’s Takasu Proving Ground in Hokkaido, Japan. Inspired by the mother of all test tracks—the Nurburgring—Winding Road is a deviously treacherous course. It features 17 corners (many of them blind) and 188 feet of total elevation change, with the majority of the circuit cloaked under a claustrophobic canopy of trees.

There’s also plenty of road imperfections, as I’m about to discover. We’re approaching a curve at a rapid clip. Mizukami stabs the brakes, saws the wheel left, then just as quickly tugs it hard to the right. The NSX straightens out just as we crest a hill and take flight.

“Jump!” he cries, as the NSX launches several feet before returning to the pavement. But the NSX, like Mizukami, is unflappable. The suspension absorbs the impact with little drama, and Mizukami rolls back on the throttle. That he’s enjoying this romp is obvious. What’s less obvious, he hopes, is the technology conspiring to make it possible.

Three years after its introduction, the NSX heads into 2019 with a raft of improvements across the board. Exterior changes are subtle: The lip of the beak above the grille is now body-colored instead of silver, while high-gloss trim replaces the previously matte finishes found throughout the body. Want even more glossy trim? Opt for one of the exterior carbon fiber packages for the ultimate in shiny, woven flair. If that’s not enough, a retina-searing Thermal Orange paint color is now available. Complete the look with orange calipers on available carbon-ceramic brakes—a $10,600 option. Gulp.

At least four-way power seats are now standard and can be outfitted in a swanky new Indigo Blue theme. Other previously optional equipment, including premium audio and satellite navigation, are also now standard, though frustratingly, there’s still no volume knob.

But, one might argue, why the need for a volume knob when there’s a 500-hp twin-turbo V-6 bellowing just inches from your head? This sensorial immediacy has always been the hallmark of a mid-engine sports car. As before, the V-6 is paired with a nine-speed dual-clutch automatic and electric motor, both driving the rear axle. Two smaller electric motors (known as TMU, or twin-motor unit) are housed in the front axle to offer additional thrust, giving the NSX a total power output of 573 hp. Operating independently, these motors can infinitely vary the torque to each front wheel in order to enhance turn-in precision around corners. This dual-axle power delivery gives the NSX through-the-road all-wheel drive.

Although power output remains the same as before, Acura made a number of handling tweaks. Stabilizer bars are larger at both ends, increasing front stiffness by 26 percent and the rear by 19 percent, augmented by rear toe link bushings that are 21 percent stiffer. New Continental SportContact 6 tires, developed exclusively for the NSX, take advantage of this stiffer setup. Acura claims that all of these improvements add up to net a lap time around the Suzuka Circuit that’s nearly 2 seconds faster than the 2017 model.

When Mizukami discusses the importance of driver involvement, it’s hard not to compare the current NSX to its groundbreaking predecessor (especially when Acura has a 2001 Type S on hand for me to sample). Although it might be most famous for being billed as the world’s first “everyday supercar,” the original NSX is also a brilliant communicator, featuring a taut chassis and a hungry-sounding, high-revving, naturally aspirated engine. Simplicity rules—there’s no barrier between the driver and the performance potential of this superb combination. But today, the rubric has changed. Demanding the simplicity of the original NSX in 2019 is like wanting a Shamrock Shake to taste the same as it did when you were 6 years old. It’s not going to happen.

Yet it evokes a sensation of raw tactility that Mizukami still wants to deliver within this high-tech package. Hybrids can be funny creatures: Those electric motors, so potent with torque, can also act as a filter to these feelings, especially when asked to play nicely with an internal combustion engine. Economy-minded cars dial in some elasticity between the two as a solution. But with the NSX, the opposite is required. Every input should feel direct, consistent, and predictable. Particularly on the track.

So in addition to the hardware, Mizukami and his team also dove into the software, fine-tuning the programming of the hybrid powertrain, magnetic-ride suspension, power steering, and stability control systems to improve, as Mizukami says, “the feel-good factor.”

As before, the NSX offers a big, fat knob in the console labeled “Dynamic Mode” with four settings: Quiet, Sport, Sport+, and Track. Track mode is the only choice here if I want to have any chance of keeping up with Mizukami as we play lead/follow around Winding Road—it quickens shifts by 40 milliseconds compared to Sport+ and administers a tranquilizer dart to the stability control intervention. Pressing the stability control button for 6 seconds would deliver a total knockout to the systems, but I’m merely feeling competitive, not suicidal. The safety net remains, albeit loosened.

Mizukami wastes no time, expecting that I’ll keep pace. I have a general rule in lead/follow situations: If the car ahead of me doesn’t brake, then I don’t, either. It’s easier said than done, especially since he knows every single one of these curves intimately, including that jump.

Oh, and about those road imperfections: They’re all done on purpose. Anyone who’s driven the Nurburgring knows that the quality of the road surface can quickly change between corners—sometimes even midcorner. It’s as much a challenge for the driver as it is for the car, and here on Winding Road, it’s designed to replicate a real-world track experience rather than the usual test-track utopia.

It’s also the perfect place to put the hybrid system to the test. A hard stab to the pedal in the first heavy braking zone is punctuated by the chop of rough asphalt. Still, the NSX tracks straight. Six-piston Brembos up front work in concert with the TMU to provide a combo of traditional and regenerative braking. Pedal feel and modulation is excellent, with no discernible transition between the two modes.

Back on the throttle to chase Mizukami on the next straight. The aural nature of the V-6 is enhanced in two ways: Mechanically, a tube connected directly to the intake manifold splits into two pipes as the sound is routed to behind the outboard of each seat. That’s augmented by active exhaust valves, transmitting full exhaust flow through all four pipes in Track mode. Feel-good factor, indeed. But the addition of electronic enhancement on top of these mechanical touches layers on a decidedly flatulent note inside the cabin at full throttle. It’s wholly unnecessary in a mid-engine car, especially when compared to the full-throated howl of an Audi R8 or the flat-plane-crank wail of a McLaren 570S. Inches from your head, remember? This added digital flourish is akin to a comedian explaining a joke.

The first seven gears of the transmission are closely spaced, cracking off shifts instantly at the 7,500-rpm redline—also the engine’s power peak. It’s nice that Acura took advantage of the spacing to keep the engine in the powerband instead of using the higher gears as impossibly tall fuel savers—I’m looking at you, Lexus LC 500. Top speed is achieved at the height of eighth gear, with ninth reserved for relaxed highway cruising.

Then—the jump. Knowing that I need to be pointed straight before I sail over the edge, I set myself up for the quick left–right combo to put me in line, where I discover that I’ve turned in too early. The active torque vectoring of the TMU sharpens my initial angle, so I pull back to correct my approach. The NSX prefers a later turn-in for a more precise attack. The effect is predictable, but it takes some getting used to. By the end of our laps, I’m charging through the corner with the same delighted fervency as Mizukami.

It’s important to note that Takasu offers more than just a diabolical road course. Also nestled within the 2,000-acre campus are replicas of European and American roadways. Honda went so far as to import native soil, grasses, and foliage to accurately re-create environments that one might find in, say, Germany or California. The patchwork nature of the asphalt I discover in the “Carpool Lane” of the American circuit is insultingly accurate. It’s also here where I test Quiet mode, which enables the NSX to cruise up to 50 mph for brief periods of time. In practice, this electrical serenity is short-lived, far below the advertised speed threshold. The V-6 kicks in even at partial throttle, acting as nothing more than a really loud generator to keep the batteries charged.

Like the origins of the proving ground itself, the 2019 NSX is but a faithful reinterpretation of the real thing, a simulacrum of what our senses see, hear, and feel. With a base price of $159,300, it might not provide a totally raw, visceral experience, but then again, it’s not designed to—at least not in the traditional sense. If Mizukami’s joy on the track is any indication, technology and emotion can happily coexist, counterintuitive as that might seem.

IFTTT

[media-valtimes]

THE BALLAD OF CLEOPATRA

On April 27, 2017, The Lumineers released a 24 minute video on their VEVO channel. This video is a compilation of four music videos released by the band between February 11- November 17, 2016, with additional clips, filling in the pieces of the storyline that carries throughout. The songs released as their own music videos are:

1.“Ophelia”

2.“Cleopatra”

3. “Sleep on the Floor”

4.“Angela” (& “Patience” an instrumental)

However, the 24 minute cut also includes My Eyes, and Patience is relocated to follow My Eyes, which is how it is heard on the album. 

THE STORY LINE

The videos follow Cleopatra as she reminisces in her past, thinking of all the things that she has done, and all she would’ve done differently. This song (and video series), is based on a real person that Wesley Shultz, the lead singer, met while riding in her taxi in Georgia. He said, 

It's inspired by a true story about a female taxi driver who, when she was younger, was proposed to. But her father had just passed away, so she didn't give her boyfriend an answer. So he left the village broken-hearted and rejected and never returned again. He was her great love and she wouldn't wash the footprints off the floor after he had left.

The lyrics of Cleopatra are as follows:

I was Cleopatra, I was young and an actress When you knelt by my mattress, and asked for my hand But I was sad you asked it, as I laid in a black dress With my father in a casket, I had no plans And I left the footprints, the mud stained on the carpet And it hardened like my heart did when you left town But I must admit it, that I would marry you in an instant Damn your wife, I'd be your mistress just to have you around But I was late for this, late for that, late for the love of my life And when I die alone, when I die alone, when I die I'll be on time While the church discouraged, any lust that burned within me Yes my flesh, it was my currency, but I held true So I drive a taxi, and the traffic distracts me From the strangers in my backseat, they remind me of you But I was late for this, late for that, late for the love of my life And when I die alone, when I die alone, when I die I'll be on time And the only gifts from my Lord were a birth and a divorce But I've read this script and the costume fits, so I'll play my part I was Cleopatra, I was taller than the rafters But that's all in the past now, gone with the wind Now a nurse in white shoes leads me back to my guestroom It's a bed and a bathroom And a place for the end I won't be late for this, late for that, late for the love of my life And when I die alone, when I die alone, when I die I'll be on time

The Lumineers use this story and apply it to the other songs featured in the video. Whether or not the songs themselves follow a cohesive story line is up for debate, but Cleopatra is the protagonist for all of the songs in the video (other than “Ophelia”, which is about the band themselves). “Cleopatra” shows her at age 55, “Sleep on the Floor” at age 25, “Angela” at age 35, and “My Eyes” at age 75. 

OPHELIA

The first music video released from the new album was “Ophelia”. This video isn’t directly connected to the story of Cleopatra, but it does introduce some concepts that become important in the videos that follow. The first important concept being the body splitting that happens for the first time at 0:41. This is seen throughout the video series, and I interpret it as separating where you are physically with where you are mentally. Daydreaming is a common theme that is carried through in each video which is represented visually with this body splitting. The other concept that is in all of the original videos, but not “The Ballad of Cleopatra” is the changing of aspect ratio to symbolize the difference between real life and fantasy. When the black bars are visible, the world around is boring or mundane for the protagonist. To me, this is a representation of feeling stuck in your life, and like you’re letting your life live you. The Lumineers have said that this song is about being distracted by fame,

“Ophelia” is a vague reference to people falling in love with fame. That spotlight can seem like an endless buffet, but in reality, you’re just shiny, bright, and new to people for a quick moment—and then you have the rest of your life to live.

At around 1:00 in the video, Wesley Shultz exits the concert hall and starts doing his little dance in the streets, and at this moment the aspect ratio changes.

At the end of the video, the aspect ratio closes back in again as his fantasy is over. The two usually happen within a couple seconds of each other, first the body splitting and then the aspect ratio change. I think that using these visual symbols helps the audience to track what’s real and what’s imagination. Like I said before, they opt out of using the aspect ratio change in the full 24 minute video, most likely because it would look odd and choppy to have see the size of frame changing every couple of minutes, even though they do it very smoothy (I didn’t even notice it until this project and I’ve seen all of these videos a handful of times- each). 

The music video to “Ophelia” sets up the rest of the series quite nicely, but it also works as a stand-alone. The original video has no ties to the plot, but in “The Ballad of Cleopatra” there’s an extension to the end which shows Wesley Shultz getting into Cleopatra’s cab, and she drives him to The Three Ladies Motel, a location that we see several times in the series. A nice little easter egg considering the series focuses on Cleopatra at 3 ages (the 75 year old only featured briefly at the end). Side note, I could watch Wesley’s awkward dancing for hours.

CLEOPATRA

This video was released on July 7, 2016, making it the second video posted from the newest album.  “Cleopatra” is the video that introduces the audience to Cleopatra at the 4 different stages of her life. This video starts at the aforementioned Three Ladies Motel. Cleopatra starts her day as a taxi driver, and in the backseat we see people in all walks of life, but three of these people are Cleopatra herself. When this video first came out, it wasn’t confirmed that all four women were Cleopatra, but I was so excited to notice the similarities between these characters. The most obvious, to me anyway, was the 25 year old Cleopatra who enters the cab with the love of her life. At the time that she is shown in the cab the lyrics talk about her being proposed to right around the time of her father’s funeral when she was young. A pregnant 35 year old Cleopatra also enters the cab in the very beginning of the video. Additionally we see a 75 year old Cleopatra in the yellow cardigan. We also see other characters who will reappear in the series, most notably Anthony, the young man with the 25 year old Cleopatra, but also the male nurse who takes care of 75 year old Cleopatra, and the husband of 35 year old Cleopatra, Julius.

Since I pointed it out, I’m hoping that you saw the aspect ratio changes occurring at 0:32 and 3:30, as well as the body splitting that happened at the end of the video, when we saw one Cleopatra join her son and ex husband inside their home, and the real Cleopatra reenter her taxi. 

Despite the uptempo and happy vibe the song presents, the lyrics are quite sad, and express deep regret and longing for a different life. One of the lines of this song that perfectly represents the series is:

So I drive a taxi, and the traffic distracts me From the strangers in my backseat, they remind me of you

With each new person who enters her cab, Cleopatra is reminded of the life she could have lived if she had made different decisions. Even the chorus is very haunting, “When I die alone I’ll be on time”. She feels like she missed out on all the important things in life, but inevitably will die regardless of her feeling like her life was unfulfilling. 

This song reminds us to take risks, and get what we want out of life. Live life with #noragrets.

ANGELA

The music video for Angela was released on September 13, 2016. This part of the story is about 35 year old and pregnant Cleopatra. This video has a much simpler concept than Cleopatra. She wakes up in the middle of the night, gets out of bed, and one half of her leaves her husband, going for a drive by herself. This song and video is about escapism, and having the courage to leave a negative environment.  For Cleopatra, that means escaping her failing marriage, even if only for a day. One of the lines in the song Cleopatra is:

And the only gifts from my Lord were a birth and a divorce

With the video series it can be inferred that the birth is of her son, and the divorce is between her and her husband Julius. While very simple, this video says a lot about the state of their marriage. It seems as though she has the time of her life alone, just dancing in a parking lot, instead of waking up next to her husband, and father of her unborn son. Another subtle detail that speaks volumes, happens at the end of the video. She falls asleep in the hotel room with a big smile on her face, and when she wakes up that smile slowly fades. The dream is over, she returns to reality, and the aspect ratio closes back in on her.

Also, this video probably has the most seamless aspect ratio change, to the point that you don’t even notice it, even when looking for it. It took me quite a few viewings to see exactly where it was changing.

SLEEP ON THE FLOOR

This is by far my favourite music video of them all. I think it may also be my favourite song of the ones that were featured in this series. Sleep on the Floor was released on November 17, 2016. This video combines beautiful shots, with a breathtaking colour palette, which are accompanied by a compelling storyline, and a great song. It contrasts the urgency of young love with the reality of living on the road. I think that the vibrant colours of this video show how fond Cleopatra is of her youth and how beautiful her relationship with Antony was before she let him slip away. While this is all a fantasy, the colours are vivid showing how honest and pure this dream is to Cleopatra. The song itself is about a road trip, just as the video depicts, but it’s also about choosing each other in hard times.

If the sun don't shine on me today If the subways flood and bridges break Jesus Christ can't save me tonight Put on your dress, yes wear something nice Decide on me, yea decide on us Oh, oh, oh, Illinois, Illinois

The video and song are so heartwarming until the end, when you realize she stayed home the whole time. A line that is both spoken and sang in the song is 

Cause if we don't leave this town We might never make it out

She stayed. And she never made it out.

The final POV shot shows something described in the song Cleopatra.

And I left the footprints, the mud stained on the carpet And it hardened like my heart did when you left town

The stain remains as a constant reminder of what she missed out on by letting Antony leave her behind after her father’s funeral. It serves as the only symbol of their once unbreakable love.

The video is filled with so many beautiful moments, and so I’m just going to leave them here in gif form instead of over-explaining them and ruining the moment.

THE CLUES

There are a few major giveaways that the different women in every video are one and the same. The first of these details is the scar that appears on Cleopatra’s left cheek. I think this was a real scar on the 25 year old Cleopatra, that they used to their benefit instead of covering up.

The second clue that the viewer gets is the wave tattoo that the 25 year old Cleopatra gets in the Sleep on the Floor video. It doesn’t appear until the Angela video, but by that point, the tattoo is like a final confirmation that they are the same person.

And obviously the biggest clue of all is THE LYRICS! Listening closely to the lyrics of Cleopatra would allow for anyone to see the storyline that is carried throughout the videos in the series. From the funeral, to the mud stains, to the baby, to the divorce it’s all found in the lyrics of Cleopatra. 

THE LUMINEERS’ PRESENCE

The Lumineers found clever ways to insert themselves into the story of each music video. Due to the complex storyline, there isn’t much room for them to be standing and playing for the camera if it doesn’t advance the plot. We see them very briefy in the Cleopatra video as Cleopatra makes eye contact with Neyla while waiting for her son at the airport.

We see them performing in the Angela music video, only to later realize that this is the same party that they’re playing at in the Sleep on the Floor video, and a young Cleopatra and Antony are even visible.

We see similar shots of the party in the Sleep on the Floor video, but we also see Cleopatra meet the band.

Of course, the Ophelia video is mostly composed of the band playing, but other than that, the story of Cleopatra takes priority, which I think is really cool.

THE BALLAD OF CLEOPATRA

Finally, I give you The Ballad of Cleopatra. I do encourage you to watch it all the way through, but the new conclusion to the story starts at 18:05. However, there are little filler clips that make the story more cohesive throughout. Disclaimer: I always cry at the hallway shot, so get ready for the epic conclusion.

[deandraepowellintellectualm-blog]

Politics and Resistance 3/28

For politics and resistance, I decided to go with NWA’s “F*k Da Police”. This song has been relevant throughout the years, and made one of the world biggest political movements through music. This song focuses on police brutality toward African Americans, and how racial profiling was killing African Americans. This protest rap was released in 1988 during this time period, it was prevalent with what was going on in society. The late ’80s L.A. was bleak for many lower-income residents, after the outsourcing of union jobs to overseas left 45% of African-American males in South Central L.A. unemployed, according to journalist Chris Moore. In 1987, Los Angeles Chief of Police Daryl Gates launched Operation Hammer, a large-scale attempt to crack down on gang violence. On August 1, 1988, one week before the release of Straight Outta Compton, 88 LAPD officers raided two apartment buildings in southwest L.A. “to deliver a strong message to the gangs.” The cops smashed furniture, destroyed family heirlooms, ruined food and clothing, and humiliated and beat residents of the buildings, causing so much damage that the Red Cross stepped in to provide aid to the survivors. Not only where blacks being harassed in LA, but this was going on all throughout America and specifically Black Men were beginning targeted and profiled.  Dr. Dre (N.W.A. group member) was hesitant about releasing the song because he understood the controversy in the piece. It wasn’t until Eazy – E (N.W.A. group member) was harassed by the police for shooting paintball guns, which pushed the group to release the protest rap.

Group member Ice Cube, was a huge advocate for the song, and believed the song was a voice for the people which is stating everything that the people have been wanting to say. After the release of this song, the group received a lot of back lash from the content of the piece and from law enforcement. The song was so controversial, some law enforcement refused to work as security for their concerts, and even tried to place limits on the group to keep them from performing the record. The song even caught the notice of the federal government, as N.W.A. discovered when their label, Ruthless Records, received a letter from Assistant Director of the FBI Milt Ahlerich. “Advocating violence and assault is wrong, and we in the law enforcement community take exception to such action,” the letter read. “Recordings such as the one from N.W.A. are both discouraging and degrading to these brave, dedicated officers”, according to Alex Gale from Billboard.

The music and lyrics are hardcore and liberating, the song begins creating a visual image of a trial taking place on court room. The lyrics state, “Right about now, N.W.A. court is in full effect Judge Dre presiding In the case of N.W.A. vs. the Police Department; prosecuting attorneys are: MC Ren, Ice Cube, and Eazy-motherfucking-E”. Ice Cubes verse is the most lyrical in this piece, he describes how in that time Black boys were harassed by the police just for being Black. Some of my favorite lines in the crime are, “Searching my car, looking for the product, Thinking every nigga is selling narcotics, You'd rather see, me in the pen, than me and Lorenzo rolling in a Benz-o” These specifically describe how Black men were profiled then and now. There have been serval times when I’ve been driving and had to encounter law enforcement, due to either traffic stops or profiling. Major of the times that I’ve been stopped, I received some type of harassment just because I am a black man driving a nice car. I like to think that song was written for my generation based on all of the issues we face from law enforcement but actually this piece is a generation song where the message will always be relevant.  

This song may have been released in 1988, but it’s still has been used as a resistance song blacks even in 2017. For several years now police brutality has been inflicted to minority races, majority being of African American decent, have been targeted, profiled, beat, and even killed because of police officers stepping out of their code or over reacting. Though the song may not always be played, the phrase “F*k Da Police” is still used to this day.

[MC Ren as Court Officer] Right about now, N.W.A. court is in full effect Judge Dre presiding In the case of N.W.A. vs. the Police Department; prosecuting attorney's are: MC Ren, Ice Cube, and Eazy-motherfucking-E [Dr. Dre as The Judge] Order, order, order Ice Cube, take the motherfucking stand Do you swear to tell the truth, the whole truth and nothing but the truth so help your black ass? [Ice Cube as Witness] You god damn right! [Dr. Dre] Well won't you tell everybody what the fuck you gotta say? [Ice Cube] Fuck the police coming straight from the underground A young nigga got it bad cause I'm brown And not the other color so police think they have the authority to kill a minority Fuck that shit, cause I ain't the one for a punk motherfucker with a badge and a gun to be beating on, and thrown in jail We can go toe to toe in the middle of a cell Fucking with me cause I'm a teenager with a little bit of gold and a pager Searching my car, looking for the product Thinking every nigga is selling narcotics You'd rather see, me in the pen than me and Lorenzo rolling in a Benz-o Beat a police out of shape and when I'm finished, bring the yellow tape To tape off the scene of the slaughter Still getting swoll off bread and water I don't know if they fags or what Search a nigga down, and grabbing his nuts And on the other hand, without a gun they can't get none But don't let it be a black and a white one Cause they'll slam ya down to the street top Black police showing out for the white cop Ice Cube will swarm on ANY motherfucker in a blue uniform Just cause I'm from, the CPT Punk police are afraid of me! HUH, a young nigga on the warpath And when I'm finished, it's gonna be a bloodbath of cops, dying in L.A. Yo Dre, I got something to say [cut and scratched 4x] "Fuck the police" Example of scene one [Cop] Pull your god damn ass over right now [NWA] Aww shit, now what the fuck you pulling me over for? [Cop] Cause I feel like it! Just sit your ass on the curb and shut the fuck up [NWA] Man, fuck this shit [Cop] Aight smartass, I'm taking your black ass to jail! [Dr. Dre] MC Ren, will you please give your testimony to the jury about this fucked up incident? [MC Ren] Fuck the police and Ren said it with authority because the niggas on the street is a majority A gang, is with whoever I'm stepping and the motherfucking weapon is kept in a stash box, for the so-called law Wishing Ren was a nigga that they never saw Lights start flashing behind me But they're scared of a nigga so they mace me to blind me But that shit don't work, I just laugh because it gives em a hint, not to step in my path For police, I'm saying, "Fuck you punk!" Reading my rights and shit, it's all junk Pulling out a silly club, so you stand with a fake-assed badge and a gun in your hand But take off the gun so you can see what's up And we'll go at it punk, and I'ma fuck you up! Make you think I'ma kick your ass but drop your gat, and Ren's gonna blast I'm sneaky as fuck when it comes to crime But I'ma smoke 'em now and not next time Smoke any motherfucker that sweats me or any asshole, that threatens me I'm a sniper with a hell of a scope Taking out a cop or two, they can't cope with me The motherfucking villain that's mad With potential, to get bad as fuck So I'ma turn it around Put in my clip, yo, and this is the sound [BOOM, BOOM] Yeah, something like that but it all depends on the size of the gat Taking out a police, would make my day But a nigga like Ren don't give a fuck to say [cut and scratched 4x] "Fuck the police" [Cop] [knocking on the door] [NWA] Yeah man, what you need? [Cop] Police, open now [NWA] Aww shit [Cop] We have a warrant for Eazy-E's arrest [Cop] Get down and put your hands up where I can see 'em (Move motherfucker, move now!) [NWA] What the fuck did I do, man what did I do? [Cop] Just shut the fuck up and get your motherfucking ass on the floor (You heard the man, shut the fuck up!) [NWA] But I didn't do shit [Cop] Man just shut the fuck up! [Dr. Dre] Eazy-E, won't you step up to the stand and tell the jury how you feel about this bullshit? [Eazy-E] I'm tired of the motherfucking jacking Sweating my gang, while I'm chilling in the shack, and shining the light in my face, and for what? Maybe it's because I kick so much butt I kick ass - or maybe cause I blast on a stupid-assed nigga when I'm playing with the trigger of any Uzi or an AK Cause the police always got something stupid to say They put out my picture with silence Cause my identity by itself causes violence The E with the criminal behavior Yeah, I'm a gangsta, but still I got flavor Without a gun and a badge, what do ya got? A sucker in a uniform waiting to get shot by me, or another nigga And with a gat it don't matter if he's smaller or bigger ([MC Ren:] Size ain't shit, he's from the old school fool) And as you all know, E's here to rule Whenever I'm rolling, keep looking in the mirror And ears on cue, yo, so I can hear a dumb motherfucker with a gun And if I'm rolling off the 8, he'll be the one that I take out, and then get away While I'm driving off laughing this is what I'll say [cut and scratched 4x] "Fuck the police" The verdict [Dre] The jury has found you guilty of being a redneck, white bread, chickenshit motherfucker [Cop] But wait, that's a lie! That's a god damn lie! [Dre] Get him out of here! [Cop] I want justice! [Dre] Get him the fuck out my face! [Cop] I want justice! [Dre] Out, RIGHT NOW! [Cop] FUCK YOU, YOU BLACK MOTHER-FUCKERS! Fuck the police! [3x]