#its not london but like not too far from london AFAIK

[robobee]

do I have any British mutuals do u guys have any recs on what season to visit/what not to do

[amoebo-id]

a o t d !!!

no more than 1 release per artist to keep it interesting. selection and ranking is arbitrary and would prob be wildly different if i did this tomorrow. also i only went down to #42 cause everything after that didn’t feel like real aotd status - at least as far as the specific relationships i built over the past 10 yrs with the music i was listening to

#1 laurel halo quarantine

nobody did machine-body dialectic like laurel halo in 2012. i loved everything else from her this decade too but every time i listened to Carcass it made me leave my body physically. absolutely unreal album art too

https://laurelhalo.bandcamp.com/track/carcass-2

#2 e+e the light that you gave me to see you

2012 was a good year. pop/ambient/noise/radio-dj-tag sound collage ascended to spiritual intensity. makes you feel like a child experiencing awe. also fire-gut used to have probably my favorite music video ever but i think it’s gone now

https://www.youtube.com/watch?v=-p-SSuwW9cw

#3 ilovemakonnen 5

not to be confused with Drink More Water 5, this one’s from 2010 during his mostly-forgotten diy outsider-pop phase. off-key singing and amateur beats and the sheer absolute joy of making cool songs. all 5 are perfect

https://www.youtube.com/watch?v=ORKpg_-z0Mk

#4 macintosh plus floral shoppe

would’ve made top 10 on album art alone. music, aesthetics, and cultural impact are inseparable here but going back to the album reminded me just how engaging its 2010s-updated chopped-and-screwed sound is, musically not just conceptually

https://vektroid.bandcamp.com/track/420

#5 jason lescalleet this is what i do 17

hard to pick a favorite from jason lescalleet’s semi-monthly document of his electroacoustic / field recording / tape loop practice but i’ve cried to multiple tracks on tiwid 17 so it gets the nod. couldn’t find any of them online so here’s something else of his

https://www.youtube.com/watch?v=t33x8OOm68E

#6 barrio sur बड़ा शोक (heart break)

dedekind cut guy’s weird one-off side project ended up being my favorite thing to come out of the last few years’ obsession w cowboy/western/country music/aesthetics. pure mystery

https://soundcloud.com/user-366783613/redemption-7inch

#7 cities aviv come to life

i think maybe people thought cities aviv was just another no-flow pseudo-”conscious rap” type rapper in 2014 but actually this album is nuts. hyper-energetic vaporwave rap? what if death grips were happy? idk

https://citiesaviv.bandcamp.com/track/url-irl-2

#8 beach boys the smile sessions

this cool fresh 1960s rock myth arrived fully formed and way more fun than the other ones. brian wilson’s concepts and songwriting got so unwieldy we had to wait 50 years to hear the sessions. i don’t care about conversations about his genius or whatever these songs kick ass

https://oldmasterpainter.bandcamp.com/track/surfs-up

#9 mindspring memories & intl. debris international memories

did this really only come out in 2017? i feel like i’ve been listening to it since i was born. tangential lateral kind of wormhole out of vaporwave into two meditative spiritual infinite-feeling loops that perfectly complement each other

https://noproblematapes.bandcamp.com/track/sad-horizons

#10 nyege nyege tapes sounds of sisso

absolutely obnoxiously insanely high energy high pitch high bpm dance music. i can’t believe this isn’t what people mean when they say future bass. set me down the path of historical and contemporary non-”global north” ideas about dance/rhythm/bass which i’m still on

https://nyegenyegetapes.bandcamp.com/track/mshamba-video-mster

#11 blithe field face always toward the sun

the most gorgeous implementation of the sorta-ambient guitar-looping vignette aesthetic. is this a real trope or did i listen to this album so much i convinced myself it was a thing? for me this is the sound of what its like to feel completely content with life and at ease in the moment

https://blithefield.bandcamp.com/track/zen-den

#12 anohni hopelessness

listening to this album and singing along while driving my car made me feel absolutely disgusting. unbelievable hooks, grossly hi fi sound design, and overblown drama add up to imo a scary effective type of explicitly political or ‘protest’ music

https://anohni.bandcamp.com/track/drone-bomb-me

#13 21 savage, offset, & metro boomin without warning

why is these 3 pop stars’ vaguely halloween-themed one-off collab my favorite trap album? 21 savage, offset, and metro boomin were all wildly corny in different ways but everything was perfectly balanced. i hope metro boomin makes like one seriously ambient album next decade

https://www.youtube.com/watch?v=bWv-bR_X-VM&list=PLC1uUM4twa8i6zsD_Sn1LRUq4vhl_PLCx&index=11&t=0s

#14 laura les big summer jams 2018

‘crying in the club’ type bangers with no fear of ugliness and no fear of beauty and no fear of wildly unfashionable tropes like skrillex-y dubstep and guitar solos. so much input from other trans/queer artists it felt like a big t4t party

https://osno1.bandcamp.com/track/the-river-feat-scum-yung-skrrt-and-99jakes

#15 triad god nxb

the other triad god tape from 7 years later is just as good. what was this man doing in the intervening time? i just imagine him riding london public transit while it rains or something. i love knowing that most of his cantonese spoken-word/rap parts are insults and jokes rather than like, melancholy observations

https://soundcloud.com/hipposintanks/triad-god-remand

#16 dj koze knock knock

what if pop music sounded like this? somehow every song on here is wildly danceable, wildly sing-alongable, and also wildly detail-oriented. feels like a transmission from an alternate present where things are okay

https://djkoze.bandcamp.com/track/club-der-ewigkeiten

#17  ocora world of traditional music

box set of “world music” recordings from the label that french electronic composer pierre schaeffer started in the 1950s as a project to teach people in rural west africa how to dj. ethnography can be a fucked up idea but afaik ocora is one of the good ones and if you can sorta try to disengage from the tropes/cliches that get imposed on it, the music is phenomenal. hard to find a track specific to this box set but here’s another from the label

https://www.youtube.com/watch?v=XJm8rn6gW5I

#18 oneohtrix point never replica

opn feels like an artist i’ve ‘grown out of’ i guess but samples never felt more alive or more dead than they did on replica. set a template for the kind of melancholy ‘soundscape’-y vibe that i spent years trying to find more of after

https://oneohtrixpointnever1.bandcamp.com/track/power-of-persuasion

#19 rihanna anti

the most perfect imaginable pop album. i keep trying to move it higher up. i almost put club chai vol 1 on this list purely cause of the Woo remix but then i remembered the original is better

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

#20 colleen a flame my love a frequency

colleen’s ultra deadpan singing and wriggly rhythmic synth put me in a trance. everything sounded dry as hell even though it was covered in reverb. i think maybe some people were put off by the corny song names and lyrics

https://colleencolleen.bandcamp.com/track/separating

#21 dj paypal drake edits

back when drake seemed like a sorta-shitty dude rather than seriously creepy, dj paypal used the power of footwork to expose both the melancholy-ambient modality and the serious-bass-music modality latent in his voice and beats

https://mallmusicinc.com/track/brand-new

#22 huerco s. for those of you who have never (and also those who have)

not really as ambient as it first seems imo, but rather like a really intense focus on what we mean when we describe things as ‘static’ or ‘dynamic’. i know it’s corny but i wanna say these tracks are fully both and fully neither

https://brianleeds.bandcamp.com/track/promises-of-fertility

#23 girls rituals reddishness

for a track so deliberately shitty-sounding I Know had no right to be so fucking danceable. persona and production synthesized into the only ‘singer-songwriter’ music i could really get into

https://temporaryenjoyment.bandcamp.com/track/i-know

#24 chromatics kill for love

fakeass 80s retro melancholia digitized and pushed so far past pastiche it turned into pure slime. the phone call in There’s A Light Out On The Horizon came straight from the void

https://soundcloud.com/johnnyjewel/chromatics-kill-for-love-album

#25 actress ghettoville

the only genuinely post-apocalyptic music. specifically the postapocalypse in wall-e but if there was no wall-e to clean it up

https://www.youtube.com/watch?v=QcCPdfUFq6k

#26 playboi carti die lit

every beat on this album was reducible to a 4-second loop that perpetually demanded its own repetition and playboi carti somehow knew exactly what to do with them

https://www.youtube.com/watch?v=-2pjiKmhlAI

#27 charli xcx vroom vroom

the charli xcx that came after this was fun, but there was black hole levels of power compacted into when she said vroom vroom on Vroom Vroom

https://soundcloud.com/vroomvroomrecordings/charli-xcx-vroom-vroom

#28 pacific breeze: japanese city pop, aor & boogie 1976-1986

it’s kind of amazing to think that this compilation only exists because vaporwave aesthetics made ‘japanese grocery-store kitsch from the 80s’ a marketable thing in the us. anyway every single one of these is an absolute bop

https://www.youtube.com/watch?v=jl91bvEKj20

#29 young thug barter 6

i can’t get enough of listening to young thug’s voice. i’ve seen his rhythmic-melodic-textural sensibility described as virtuosic and i don’t know really if that term means anything but it feels right to me

https://www.youtube.com/watch?v=Qg9ZxQKSDuw

#30 magic eye babylon

smeared dreamy lo-fi guitar music w wistful buried melodies pushed to an extreme. every song sounded the same and i wish there was more than the one cassette

https://magiceye.bandcamp.com/track/flame

#31 tirzah devotion

you could say this was ‘stripped down’ r&b but i think more accurately what separated it was that every sound stood exactly and only for itself

https://tirzah.bandcamp.com/track/basic-need

#32 mount eerie clear moon

it’s amazing how well mount eerie navigated the move from a lo-fi sound/mode/affect to a hi-fi sound/mode/affect. clear moon wasn’t his first attempt but it was the one that most embodied the feeling of the new possilibities that had been opened up

https://pwelverumandsun.bandcamp.com/track/through-the-trees-pt-2

#33 kelela aquaphoria

this mix was such a good idea it immediately seemed shocking nobody else had tried afaik. and kelela executed it so well you forgot the tracks already existed in other contexts

https://soundcloud.com/kelelam/aquaphoria

#34 james ferraro skid row

not sure what it means that the only james ferraro i really love is also the one i think of as the least abstract/conceptual. his recited lyrics had a rare spoken-word-poetic power

https://breakworldrecords.bandcamp.com/track/to-live-and-die-in-la

#35 salyu x salyu s(o)un(d)beams

absolutely unbounded sense of joy and creativity and possibility hovering between bangers-lite and ‘soundscape’-y electronic manipulation

https://soundcloud.com/snouu/salyu-x-salyu-s-o-un-d-beams

#36 dj rashad just a taste vol 1

double cup got all the press but it was so smoothed-over it could never have done something as absurdly beautiful as Ghost or even Go Crazy

https://www.youtube.com/watch?v=OZuHPAbte9U

#37 yves tumor serpent music

i’m sorta put off by the high-gloss sheen of music like this but serpent music somehow had the right combination of total cohesion and a ridiculous density of impactful moments

https://soundcloud.com/pan_hq/yves-tumor-the-feeling-when-you-walk-away-pan-73?in=pan_hq/sets/yves-tumor-serpent-music-pan

#38 maral mahur club

lo-fi beat collage elevated to something that could actually genuinely be called world music

https://astralplanerecordings.bandcamp.com/track/avesta-khani-reggaeton

#39 lucki ecks watch my back

did not expect this super low-stakes sadboy trap to end up on this list but i love his min-effort flow and somehow every beat is exactly the vibe even when the tracks aren’t volume balanced

https://soundcloud.com/boob7/leave-wit-you-prod-plu2o-nash-clams-casino?in=boob7/sets/watch-my-back

#40 arca stretch 2

not sure why i get more out of arca’s nonsense broken-beat non-rap than any of her later projects

https://unonyc.bandcamp.com/track/tapped-in

#41 klein only

a new way to do fucked up noise w pop leanings. ‘audacitycore’

https://klein1997.bandcamp.com/track/pretty-black-2

#42 city arcadia

another mysterious transmission, this time w lots of harp

https://soundcloud.com/halcyon-veil/city-arcadia

[coto524]

hey i just saw in your tags that you got an adhd diagnosis.. would it be cool if i asked you how you went about getting diagnosed? im welsh too and ive been dealing with the welsh nhs mental health department for years and i genuinely feel like im going nowhere with it all. its totally cool if you dont wanna talk about it tho i understand its a v personal topic! :)

heads-up: i’m still in the process of getting a medical diagnosis for adhd (not from nhs wales, i moved to england... quite a while ago). the service in cambridgeshire is, as far as i know, aware of my existence......... and that’s basically all they’ve told me so far Y E E T

i do however have an educational diagnosis! which does not entitle me to medication (hence the medical route) but is accepted by my university as sufficient evidence to justify reasonable adjustments, and...... is also apparently enough evidence for the government to give me money? but i still have to spend ages waiting on the nhs............ hmm. anyway yeah that was mostly organise thru my uni which may or may not be possible for u? idk

basically my route to diagnosis was: 

1) realise towards the end of summer between 1st and 2nd year of uni that what i had assumed was some kind of undiagnosed depression could be symptoms of adhd, thanks to a friend of mine discussing how their adhd affected them, and then realising i exhibited Other symptoms 

2) emailing the student disability centre........ not As Soon As Possible, but pretty soon after i got back to uni, in which i expressed a desire to come in and discuss assessments for potential splds (specific learning difficulties, idk if that’s jargon only used by our uni or not?) (also yeah part of this was “i did research and loads of things overlap so Who Knows What This Is” and part was “....do not want to assume i have adhd” just in case)

3) having an appointment with one of the uni specialists several weeks later, having filled out a question on Things Affecting My Life, then in the appointment doing some of the typical pre-tests and answering interview questions, which suggested probably adhd and dyspraxia and gave them enough to advise me to go get Diagnosed

this is a step that might vary from place to place bc i know for one thing that one of my friend’s unis has their own assessor, but mine doesn’t, so they tend to rely on an external one in london...... which is private. they covered most of the funds costs for the assessment but still oof

4) get the train to london during december for a 3-hour assessment with a specialist doing all sorts of fun tests, after which she said that i’d need to wait for the report to be finalised but she felt comfortable diagnosing me with co-existent adhd and dyspraxia (or the weird grey area where some of those bits might cross over with symptoms of the joint hypermobility fuckery that runs in my family but either way presents and is managed in the same way)

5) get the report about 2 weeks later (plus a bit bc christmas and new year) confirming everything and including some fun test stats and analysis, organise a GP’s appointment for the NHS route + other medical shit i need sorted and talk to the student centre to organise a student support document + other shit i qualify for like mentoring and Things That Cost Money

GP appointment ends up with a paper pack of stuff i need to post by the end of the month (which of course i delayed until the last minute and wasn’t sure if i posted on time), SSD takes a few more weeks to organise/write and then a few more to distribute to all relevant staff. eventually found out the cambs nhs clinic have apparently accepted me when they sent me info about gdpr they’d forgotten to send and the letter header said smth about “acceptance” but that’s the last i heard from them like.... a month or two ago???? idk oof

anyway yeah so i have enough of a diagnosis to qualify for student support and provide supporting evidence for nhs route when that actually finally gets going somewhere but..... it is taking a while (i think fams on the local fb page are saying like, 6 months is typical? ugh) and the only reason i’m still pushing it is bc i want to try options for treatment rather than just symptoms management.

a few people have/are considering going the private medical route just bc things are taking so long except 1) that costs Ridiculously Lots Of Money which...... afaik this time the university won’t pay for and 2) although there is a degree of transfer between private and nhs you can do, if you get your original prescription from a private doctor and it’s not effective or has side effects i think you need to go back to a private doctor to change medication or increase/decrease the dosage, you can’t just switch to your gp and be like “ay mate”. so that costs Even More. honestly i think i only know of it as an option bc i am surrounded by People With Money and it’s not cheap even for them

so yeah, TLDR: i have a diagnosis which is just enough to access adjustments at uni and potentially look into supportive things that cost money like software etc, but am unfortunately in what sounds like a similar boat to you regarding nhs, which i am pursuing to see if this is indeed an option.

[mostlysignssomeportents]

William Gibson interviewed: Archangel, the Jackpot, and the instantly commodifiable dreamtime of industrial societies

William Gibson's 2014 novel The Peripheral was the first futuristic book he published in the 21st century, and it showed us a distant future in which some event, "The Jackpot," had killed nearly everyone on Earth, leaving behind a class of ruthless oligarchs and their bootlickers; in the 2018 sequel, Agency, we're promised a closer look at the events of The Jackpot. Between then and now is Archangel, a time-traveling, alt-history, dieselpunk story of power-mad leaders and nuclear armageddon that will be in stores on October 3.

It's been nearly 20 years since I first interviewed Gibson and in the intervening decades we've become both friends and colleagues. He was kind enough to submit to an email interview again, in advance of Archangel's publication.

Cory Doctorow: This feels like an intermediate step between today and Agency, which is, in turn, an intermediate step on the way to The Peripheral. I know that when you first wrote The Peripheral, you didn't really know what The Jackpot was... Is this you taking successive runs at either side of The Jackpot, trying to get up to the edge of it so you can get a better look at it?

William Gibson: It feels like that to me now, but the whole thing’s been completely unintentional.

Mike and I (Michael St. John Smith, the actor, who’s also a screenwriter) started bouncing things around after I’d finished The Peripheral, which I assumed would be a one-off, but I found myself still in the grip of the “stub” alternative timeline thing, so Archangel wound up with a similar mechanism (rules of time travel invented, as far as I know, by Sterling and Shiner). Meanwhile, Agency was conceived as a book set in 2016 San Francisco/Silicon Valley, but treating contemporary reality there as if it were a near future (which of course it feels like to me, because I’m old). But I’m also slow, so Trump got elected before I’d finished, and suddenly I had about half of an ms that felt like it was set in a stub, a world that never happened. Extremely weird feeling! So I had this one extra thing to be pissed off with, about Trump! But then I wondered what would happen if I considered it as exactly that, a stub, but to do so I felt I needed to hook it up with the further future of The Peripheral, the London of the klept. Meanwhile, Archangel had been coming out from IDW, and when I went down to meet them at ComicCon, in 2016, the possibility of a Trump win naturally came up. So, through to November 8th, part me was looking at that, and the other part was No Fucking Way, and, well, you know.

For the record, in the graphic novel's script, pre-election, the Pilot winds up where he winds up in the comic, but it’s a nice WTF moment.

CD: You've written screenplays and novels but not, AFAIK, comics. You're on record as thinking that the comics previously adapted from your work were visually disappointing. You are one of the most visual writers I know, a font of extremely specific and striking visual details -- tell me what it was like to be able to collaborate with drawing-type people who could make visual things happen? How did it compare to screenwriting, how close did it come to your mind's eye, did this scratch some long-felt itch to conjure those visuals up and make them tangible?

WG: Well, previous attempts were well-intentioned, I don’t doubt, but comics have gotten a lot more sophisticated in the meantime.

Maybe because I'm a very visual writer, I don’t actually have any specific urge to see someone else render the things I’ve already seen, myself, in mind’s eye.

That said, the process with IDW was extremely gratifying. The talent and experience of a lot of professionals, all bent toward making this thing right. And budget not an issue, just a question of what could be drawn and fit in available space. You want an atomic explosion, you’ve got it!

CD: You once told me that Neuromancer was optimistic because it only featured a couple of limited nuclear exchanges instead of the holocaust we'd all be expecting. The futures you've written this decade all feature much more grave catastrophes, with much higher death-tolls. Is your optimism (such as it was) waning?

WG: I think I was relatively optimistic then, and remain so, but less so. I’ve never felt that my optimism, such as it was, was particularly logical. Often it felt deliberately quixotic to me.

But I’ve also observed a tendency, over my years as an sf reader, for sf writers of a certain age to give the After Us The Deluge speech, so I promised myself I’d try to be watchful of the onset of that, try to fend it off as best I could. I suspect that when people notice how much of the world they grew up has already ended, it’s quite natural to feel that the world is ending. Because the world one knew quite demonstrably is. But it always has been ending, that way. You can read the ancient Greeks, say, doing it at great length. When younger, though, this sounds like something one can simply choose to avoid, just as old people, to the young, appear to have made some sort of inexplicably terrible decision to become old.

There aren’t many catastrophes in my work, in our traditional cultural sense. There’s the California quake that forms the backstory of the Bridge trilogy, and the somewhat deliberately goofy Singularity that closes it. Otherwise, the catastrophic landscapes are simply human civilization, ongoing. The Peripheral introduced something new, for me, with the idea that our cultural model of catastrophe is still largely one of a uni-causal event of relatively short duration. We are ourselves of relatively short duration as individuals, and thus do we look at the world. Is our widespread use of fossil fuels a single extended catastrophe? Did it become one at some relatively late point? Is our species itself catastrophic (see Sterling’s “Swarm”)? Would it seem so to tigers, could they consider such things, and know that we’re on the brink of bringing about their extinction? I don’t see why it wouldn’t.

It seems to me in retrospect that Ballard’s work had a certain arc, in its employment of catastrophe. Early on, he’d unleash catastrophes of the sort our culture recognizes as such, though with wonderfully poetic results. As he continued, however, the catastrophe became humanity. Not a world made desert, or drowned, but a world made Cannes writ large, and terrible through being the very opposite of deserted.

CD: One place where this catastrophic business wraps around to touch your visual sense is in the cyberpunk aesthetic: for decades, you've been frontrunning the mainstreaming of bohemian subcultures. Archangel features gorgeous, eyeball-kicky sequences in an illegal nightclub in war-torn Berlin, with lots of well-dressed weirdos (there's also a Bowie-esque protagonist in the cast of characters). Today, it's hard to imagine a genuinely underground culture that isn't also something you can buy at the mall, with a few exceptions (e.g. extreme racist alt-right Pepe trolls who have to order their t-shirts off the internet or get them in a flea market). Can you imagine an uncommodifiable futuristic bohemian subculture that today's post-cyberpunks could deploy to make really edgy teens and young people? (Scott Westerfeld suggested that tomorrow's punks might opt for acne in a post-zit world)

WG: I accepted Sterling’s description of bohemias as “the Dreamtime of industrial societies” immediately, but I also took it (and still do) to imply that that might not be true for post-industrial societies. Bohemias were the product, if Sterling was right, of societies in which information was relatively unevenly distributed, specific information being what you needed in order to auto-other yourself into subculture. Roots of “hip”: to know, to be "with it”. A more universal, post-geographical availability of information seriously messes with that, because you don’t need to physically go to Montmartre or the Haight to get with it.

Mr. Baby’s club in Archangel is envisioned as a scaled-up version of what you get when Berlin’s Weimar bohemia becomes a platform for the postwar black market, so imagine it as primarily extra-legal, but staffed in part by pre-war counterculturists.

It’s interesting to consider the Pepe trolls as a subculture, because if they aren’t, why aren’t they? Yesterday a friend showed me a passage from Joshua Green’s book about Steve Bannon, Devil’s Bargain, describing René Guénon as an influence. So I checked out Guénon’s Wiki for the first time. Highly recommend it. Trippy, as we used to say! Guénon was, among other things, a convert to Islam (albeit a raging esotericist along with it, so not just any Islam) and otherwise deep into Egypt. So in the way of things internet I wound up diving his correspondence with Julius Evola, who kept him up to date on what Aleister Crowley was up to, and explained why this Jung character was even more dangerous than Freud. Both these guys, Guénon and Evola, were obviously total hipsters (in the original sense of the term). Subculturalists, unmistakably. With-it dudes. Whatever “it" was.

But then I never felt I truly understood many aspects of what I’d experienced in the countercultural ‘60s until I got a prof at UBC whose central interest was the mass psychology of fascism. Guénon and Evola and, hell, Bannon, come with big deja-vu, that way. Guénon also influenced Andre Breton (doesn’t surprise me). So the Pepe trolls, however distantly, have this weird lineage, which feels countercultural to me. (Is Bannon hip to the Dark Enlightenment?)

Subcultural “cool”, it seems to me, is inherently commodifiable. Subcultures may have pre-dated cool, but I wouldn’t bet on it. There was a countercultural boutique in Greenwich Village in the 1890s, called The Sorcerer’s Apprentice, the first I know of. Sold the outfit a girl needed to self-other into Village-ness (but she still needed cigarettes, too).

CD: Last question: When I first interviewed you, 20 years ago (!!), we talked about why Japan was a wellspring of cool futurity and China was (in the cyberpunk pantheon, at least), an also-ran. Now, Chinese authors are winning Hugo awards and China is projecting more heavy zaibatsu-style force into more territories (including orbit) than Japan ever dreamed of. In The Peripheral, China is a mysterious, closed technocracy that may or may not be the source of interdimensional semi-time-semi-travel. Now that you've written two more books that circle The Peripheral's future, are you homing in any more on what role China plays in this future you're playing in?

WG: In The Peripheral, I thought of China as a much more sophisticated and advanced species of klept. So that “the” klept, as Netherton thinks of it, comes out of the jackpot controlling everything still habitable that isn’t China. Which has become some sort of super-advanced sphere of its own, with little need of dealing with outsiders. Which gave me this other, unknowable realm, a sci-fi Faerie, where impossible magic can conveniently happen without my having to invent an explanation for it. But that’s not any literal prediction for China. That’s me using China as a plot device.

What I wanted from Japan, when I started writing sf, was that it was Japan. It was wonderful for me that it was Japan during the Bubble, because that slotted perfectly into my being sick of sf futures basically being America. But that was really just another excuse for me to write about Japan. The thing that makes me nuts about Japan, as near as I’ve ever been able to express it, is the way in which all of all their culture, their stuff, seems to be fractal. You can break it down into smaller and smaller bits, and each one is still Japanese. For whatever reason, I’ve never gotten that from China. For me, Japan’s gotten steadily more interesting as that Next Big World Player thing has receded. I don’t want to hang with whoever has the most money and spaceships. I want to hang with whoever has the best shadows, the most exquisitely weird and poetic history of being whacked with alien technology, becoming the first industrialized Asian nation, trying to take over their side of the world, getting nuked for their trouble, and inventing the Walkman. I think it’s probably something like you and Disneyland: I’m just so there.

https://boingboing.net/2017/09/22/the-jackpot.html

[petermorwood]

Titanic’s last tune was...?

Maybe not what you think.

This past month (April 2017) was 105 years after the “Titanic” sinking, and TV showed the usual flurry of documentaries (most of them recycled from the Centennial.)

There was one about the conspiracy theory that brand-new “Titanic” was actually collision-damaged “Olympic”, meant to be scuttled for an insurance scam when there were plenty of rescue ships nearby, except everything went wrong because an iceberg hadn’t read that script.

It’s been debunked by successive dives finding “Titanic” work numbers on parts of the ship such as propellor blades where, to match the conspiracy, the number should have been “Olympic” - unless it involved a truly manic attention to detail and a bunch of shipyard workers who never said a word in the pub about the unexpected assignment of exchanging all of these, 22 tons for the middle, 38 each for the outer...

...between two ships without any apparent reason.

There were several who-was-to-blames: White Star chairman Bruce “can’t we go any faster” Ismay, Captain E.J. “I don’t worry about ice with a ship this size” Smith, First Officer William “this ship turns really slowly and I’ve reversed engines so the rudder doesn’t work” Murdoch and of course Captain Stanley “rockets mean nothing and turning on the radio is too much trouble” Lord of the “Californian”.

Unfortunately one - “Titanic: The Band Played On” - wasn’t repeated. It was mostly about the heroic musicians, but also touched on a mystery. What was the final tune they played?

"Nearer My God To Thee”, of course! Everyone knows that!

There’s one little problem: it’s the name of the hymn itself, the lyrics, not the tune - and there are three different tunes, so which (if any) were played on “Titanic”?

The British tune is called “Horbury” and was used (of course) in the British film “A Night to Remember” (1958).  the American tune is called “Bethany” and was used (of course) in the US film “Titanic” (1997). The third tune is called “Proprior Deo” and despite being by a famous composer, Sir Arthur Sullivan (of Gilbert & Sullivan comic-opera fame) AFAIK it’s never been used as the band’s last tune in any “Titanic” fictional or factional production.

Then there are claims that they didn’t play “Nearer” at all, in any of its tunes, but a hymn referred to as “Autumn” - though once again “Autumn” is the name of the tune, while the actual hymn it usually accompanied was called “God of Mercy and Compassion”.

Walter Lord’s classic 1956 book “A Night to Remember” was the first one I ever read about “Titanic” after seeing the enormous gantry used to build her. (The gantry was torn down for scrap in 1969, about 5 years later. I bet they wish it was still standing as a tourist attraction, but nobody can see that far into the future.)

Lord refers to “the Episcopal hymn ‘Autumn’ ” a couple of times, but only name-checks “Nearer” as “one of the engaging tales born these first few days”, in other words, a myth based on the survivors of SS “Valencia” (wrecked off British Columbia in 1906) actually singing it, so no doubt about the words and title.

His later 1986 book “The Night Lives On” has a rethink not just about “Nearer” but about hymns in general - that the band was playing to keep spirits up and weren’t playing hymns at all, especially not gloomy ones. He quotes a survivor, Colonel Archibald Gracie:

“If “Nearer My God to Thee” had been one of the selections, I assuredly would have noticed it and regarded it as a tactless warning of imminent death, more likely to create the panic that our special efforts were directed to avoiding...”

Instead they played light secular music including ragtime and waltzes. One of those waltzes - a big enough hit in 1912 London that any band might be able to play it without sheet music - was called “Song of Autumn / Songe d’Automne”. (Ta-Dah, possibly.)

Its opening is a little melancholy to my ear, but that may just be the associations, and also a certain similarity to “Valse Triste” by Sibelius as used in the abandoned cartoon kitten sequence of Fantasia parody “Allegro Non Troppo”. (Have a hankie ready for that one.)

It’s an interesting little detective game, but also one of those questions where any attempted positive conclusion about the last thing played as the deck grew too steep to stand on is going to annoy someone, whether their preference is “it was a hymn / it was that hymn / it wasn’t a hymn at all.”

There were only eight men who could have answered for sure, and what they really played doesn’t matter.

What really matters is what they did.

The "Titanic” musicians weren’t part of the crew, so hadn’t been ordered to stay and play to help calm the passengers. As passengers themselves, they had as much right as any other to try for a place in the lifeboats. Choosing to stay was their own courageous decision, and they all must have been aware of what it would do to any chance for survival.

But...

Because they weren’t White Star employees, their relatives weren’t entitled to compensation from the company (who had already cut musicians’ pay by almost half and cancelled their uniform allowance.) Instead there was a final sour note when the condolence letters to violinist Jock Hume’s father included an invoice from his dead son’s musical agency:

Dear Sir: We shall be obliged if you will remit us the sum of 5s. 4d., which is owing to us as per enclosed statement. We shall also be obliged if you will settle the enclosed uniform account. Yours faithfully, C.W. & F.N. Black

Jock Hume was wearing that uniform when his body was recovered.

Mr Hume declined to pay.