#mark 11 result for today 2019

[queersatanic]

She deserved better than this

In 2019, Ta'naja Barnes, a 2-year-old girl, was neglected and abused by her mother and mother's boyfriend, and died as a result.

In 2020, while transporting her urn, Springfield police pulled over the father, and tested Ta'naja's ashes, claiming they tested positive for drugs.

You may remember this story when it broke in 2021 because the video was heart-wrenching:

However, today Judge Lawless just dismissed all the claims and terminated the case in federal court as part of a summary judgment.

(That's not an insult or mean pun, by the way. That's her name: Colleen R. Lawless.)

V. CONCLUSION Defendants’ Motion for Summary Judgment is GRANTED. Counts I, II, and III are dismissed with prejudice. Counts IV, V, VI, and VII are dismissed without prejudice. The Clerk will enter Judgment and terminate this case.

Dartavius Barnes, meanwhile, was indicted on a charge of "aggravated battery of a peace officer" for something that happened April 2022:

He pleaded down to "obstructing a peace officer" a couple weeks ago in Sangamon County, Ill., Case No. 2022-CF-000559

Someone else will have to actually analyze the federal judge's ruling to see how much sense it makes on its own merits.

But what a shit fucking country, regardless.

Cops can't protect a helpless child being abused in her home. All they can do is hassle her grieving father, desecrate her remains, and be sure to fuck with his life afterward if he has a problem with it.

And the courts say these thugs have no responsibility to help anyone, or responsibilities after they've hurt someone.

And every politician of every stripe falls over themselves to throw more money at cops, try to hire more of them, and make them less accountable to anyone else.

What a shit fucking country for anyone to have the misfortune to be born into.

[black-arcana]

POWERWOLF Releases Cinematic Music Video For '1589' Single From 'Wake Up The Wicked' Album

POWERWOLF has released the long-awaited first single from its upcoming studio album, "Wake Up The Wicked", due out July 26, 2024 via Napalm Records. "1589" tells the story of Peter Stump, who lived near Cologne, Germany in the 16th century and is known today as the Werewolf Of Bedburg. After being defamed as a werewolf, the farmer confessed to several murders under torture and was cruelly executed on October 31, 1589. This morbid story has fascinated people all over the world ever since and has been picked up by National Geographic, among others.

For the video for "1589", POWERWOLF traveled to England to stage Stump's fate in the dark woods in a cinematic way. With carefully selected locations, countless actors and crew members, and impressive special effects, it marks the most elaborate music video production in the band's history to date — and thus offers a worthy first taste of what fans can expect with "Wake Up The Wicked".

"Wake Up The Wicked" — the highly anticipated follow-up to the extremely successful "Call Of The Wild" (2021) — will arrive just in time for the award-winning band's first-ever full North American tour, starting in August 2024, followed by their biggest European headline tour to date, the "Wolfsnächte 2024".

"Wake Up The Wicked" was once again produced by Joost Van Den Broek at Sandlane Recording Facilities and marks a new benchmark and undisputed career highlight for the band. The new album is hard, surprising and full of variety. While staying true to their established, loved sound, POWERWOLF go one step further and showcase a different facet of their deft musical and technical skills. This is evident, for example, on the outstanding single "1589", which is based on a true story from the 16th century.

20 years after their formation in 2004, POWERWOLF are expanding their repertoire with the highest quality and adding many future live hits to their extraordinary discography. "Wake Up The Wicked" is yet another statement cementing the status of the band as a leading force in the world of heavy metal

"Wake Up The Wicked" track listing:

01. Bless 'Em With The Blade 02. Sinners Of The Seven Seas 03. Kyrie Klitorem 04. Heretic Hunters 05. 1589 06. Viva Vulgata 07. Wake Up The Wicked 08. Joan Of Arc 09. Thunderpriest 10. We Don't Wanna Be No Saints 11. Vargamor

POWERWOLF are undoubtedly one of the most celebrated and successful heavy metal bands of the last decade. Multiple No. 1 album chart entries, gold and platinum records, huge sold-out arena shows, as well as headline slots at the biggest festivals have paved their way. In less than 20 years of band history, POWERWOLF has made it to the very highest league of heavy metal.

POWERWOLF has conquered countless stages at the world's biggest summer festivals, and their last "Wolfsnächte" headline tours (2019, 2022),as well as their aforementioned North American debut in early 2023, were almost completely sold out — resulting in a massive triumph. They have performed headlining sets at Wacken Open Air and Summer Breeze, as well as held premium slots at genre festival giants such as Hellfest, Graspop Metal Meeting, Masters Of Rock and many more, captivating enormous audiences. No other German metal band has been able to write a success story even remotely comparable in recent years.

Following their onslaught of North America, POWERWOLF will embark on their most impressive European tour yet in celebration of their highly anticipated 2024 studio album. Amid 16 shows in total, the tour will visit colossal venues in Munich, Paris, Amsterdam, Berlin, Prague, Hamburg and Antwerp. POWERWOLF will be accompanied by Swedish heavy metal legends HAMMERFALL as special guests, with support from viral rising stars, dwarven metallers WIND ROSE.

The story of the frontrunners of today's German metal scene, POWERWOLF, began in 2004 and only knows one direction: ever upwards. Their trajectory may seem like something out of a fairytale, but it is the result of the band embodying the highest quality of heavy metal in the universe. Outstanding album production, bombastic live shows and a tireless drive for perfection on and behind the stage are what this exceptional band is known for around the world.

Over the course of their career, the band has not only fascinated metal fans, but has also won over international press and critics. Countless cover stories in the most important magazines, critics' awards such as the Metal Hammer Award, and effusive album and concert reviews underpin POWERWOLF's outstanding international status.

POWERWOLF is:

Attila Dorn - vocals Falk Maria Schlegel - organ Charles Greywolf - guitar Matthew Greywolf - guitar Roel van Helden - drums

Photo credit: VDPictures

[7grandmel]

Todays rip: 05/01/2024

Plastic Love of the Stars

Season 4 Episode 2 No Album Release (Read More) Game Over (JP Version) - Kirby's Dream Land 3

Ripped by Pinci

I feel like its hard to overstate just how much people fell in love with Mariya Takeuchi in 2019. Her introduction to the King for Another Day Tournament to me initially left me scratching my head, because it seemed to be referencing a part of YouTube's algorithm of recommended videos that I had personally never encountered. Nevertheless, I saw a lot of people happy with her inclusion, and just sort of shrugged and kept watching the SiIva Direct in which she was unveiled. That complete apathy toward her inclusion persisted for me, and likely many others, until we got a tease of her full powers in the final SiIva Direct, held on the 21st of September leading up to the Tournament's premiere (hey, September! Remember that?). Aside from that one arrangement, we'd be teased with the introduction of character mash-up rips through one with Mariya herself in it - The Whims of Plastic Love. The rip positively exploded when it was uploaded on its own two months later, and it to me marked the point when Mariya Takeuchi's popularity in the tournament truly spiked.

The year therafter, the tournament had long since concluded, and we were all waiting for DJ Professor K's takeover event to begin. We all knew the results, and at least personally I'd finally accepted that the tournament would only have one winner. Yet we all still loved all the contestants - their impact hadn't gone away just from not reaching first place. And so, it didn't take long for rips like Plastic Love of the Stars to become appearing - rips that reminded us that these contestants were now forever part of SiIva's legacy, even if they wouldn't get a day to themselves.

Keep in mind, this was long before 11 Minutes of City Pop, and long before the DJ Professor K takeover itself would remind of us just how much the team also loved all of the tournament's contestants, with rips like Agent H (HOBaRT the Funny Mixer Theme). So really, it was stuff like Plastic Love of the Stars that sort of stealth-started the celebrations that were to come later in the year, bringing everyone together after all those months of excitement in the year that had just passed.

It helps, of course, that Plastic Love of the Stars is a fucking banger of an arrangement! It follows suit with rips like Aquadial or Beyond the Floating Isles, where it truly is just as simple as the ripper wanting to explore the unique soundscapes that Kirby games feature by arranging another song in it, and like those two the picks suit the Kirby game in question damn near perfectly. Kirby's Dream Land 3 in particular, much like Kirby 64, sounds completely unlike anything else out there, and is probably my personal favorite Kirby soundtrack out there? It's the equivalent of listening to pastel colors, and that relaxing cheerfulness paired with the enchantingly deep bassline suits Plastic Love like a glove. It came as no surprise to learn that Pinci is a guest contributor who otherwise has a career in making remixes and rearrangements with the SNES sound in particular - the guy's work is absolutely incredible, and his range of coverage for Kirby in particular is fantastic. Please check this rip out, and when you're done, check out his YouTube channel - his arrangement of Door into Summer from Knuckles' Chaotix has been stuck in my head all day.

[jaydemayo]

(Central Virginia Sport Performance The Podcast)

Season 4 Episode 25 Justin Landry- “Before you can check a box you need to know where you’re starting from”

Today I am so excited to welcome Justin Landry to The Podcast. Justin is doing some absolutely great work with the development of basketball players. He’s had a really great path to get him to Atlanta that has molded a unique philosophy with his training. Throughout this aweseome 30-minute conversation Justin and I get into:

1)     Driving factors behind the directions of the programming he utilizes for his athletes

2)     Simple evaluations of common sequences that help him drive programming decisions

3)    The role of still photos and video in his practice

4)    Examples of his progressions in different mobility and stability situations

5)    Autonomy’s role in his program

6)    What the transfer portal has changed in his programs

7)    How he defines functional training, and how that definition impacts how he evaluates and trains his guys

8)    Monitoring/Tracking of practice as an evaluation of preparation

A great conversation with a fantastic practitioner who has a unique perspective on developing the athlete’s he gets to work with. Justin is really doing great work, and I’m so grateful for his open and candid sharing today. Make sure you give him a follow on The Gram at @jland_perf. I truly hope you took as much from this discussion as I did, and if so, please share this with a colleague that would find value in the episode. Also, if you haven’t subscribed on your favorite podcast platform yet and could do that for us, we would greatly appreciate it.

Who is Justin Landry?

With more than 13 years of experience in the athletic strength and conditioning field, Justin Landry joined the Georgia Tech men’s basketball program as its director of strength and conditioning in May of 2023. Landry spent the last three years supporting the men’s and women’s basketball teams, as well as women’s golf, at San Diego State.

Landry was a key member of a men’s basketball team that reached the national championship game in Houston in 2023 and played in the NCAA Tournament all three years he worked with the Aztecs’ men’s team. The SDSU women developed into a 23-win team with a WNIT appearance in 2023.

A native of Oakland, Calif., Landry spent the previous 16 months as assistant strength coach at Georgia State University in Atlanta. He worked primarily with the men’s basketball as well as men’s and women’s golf teams, and in that time, he developed individual programs to improve athletic performance through agility training, weightlifting, core exercises and regeneration sessions.

As a result, in 2019-20, Georgia State completed its fourth straight men’s basketball season of at least 19 wins. Two of the student-athletes he worked with were recognized as All-Sun Belt Conference performers, with one earning National Association of Basketball Coaches (NABC) All-District 24 designation.

Before joining the staff at Georgia State, Landry spent three years at UC Davis as its associate strength and conditioning coach, working with five sports including men’s basketball. The basketball team won the 2017-18 Big West Conference regular-season title as well as the 2016-17 Big West Tournament championships. In each of those years, the team advanced to the postseason: the NCAA Tournament in 2016-17 and the NIT in 2017-18. The 2017-18 team, which finished 22-11, boasted the Player of the Year, Sixth Man of the Year, and Newcomer of the Year in the Big West. Posting a 23-13 mark in 2016-17, five student-athletes were named All-Big West performers.

He was on the strength and conditioning staff at Troy University for the 2015-16 school year where, working with men’s basketball, two student-athletes earned Sun Belt Conference Player of the Week honors and one earned All-Sun Belt Conference designation. Landry began his major college professional career at the University of Texas in Austin.  There he worked as the performance coach for the basketball program during the 2014-15 season in which the Longhorns went 20-13 and competed in the NCAA Tournament.

Prior to his year in Austin, Landry completed an internship at Baylor University in Waco, Texas, and was a graduate assistant coach with the women’s basketball team at Tennessee State University in Nashville, Tenn.

In addition to his college experience, Landry was the founder/owner of a strength and conditioning business in Oakland, Calif., where he worked with athletes from high school to the professional ranks.

A 2012 graduate of Cal State East Bay, with a degree in pre-athletic training, he completed his master’s degree in education in sport science from Tennessee State in 2014. In addition, Landry has earned Certified Strength & Conditioning Specialist (CSCS) designation from the National Strength and Conditioning Association (NSCA).

[mycryptosuite]

All Midweek Lotto Results - Today Lotto Result

All Midweek Lotto Results – Today Lotto Result

All Midweek Lotto Results – Today Lotto Result All midweek lotto results is now ready midWeek lotto result for today, midWeek results for tonight. Ghana lotto results including midWeek winning numbers. Some lotto players choose them specifically because of the frequency, believing that their reappearance in Mid Week results is only a matter of time. (more…)

[religion-is-a-mental-illness]

By: Carly Cassella

Published: Aug 29, 2021

More Americans are coming to accept Charles Darwin's "dangerous idea" of evolution, according to thirty years' worth of national surveys.

Researchers have found that public acceptance of biological evolution has increased substantially in the last decade alone, following twenty years of relative stagnancy.

Between 1985 and 2010, roughly 40 percent of surveyed adults in the US agreed that "human beings, as we know them today, developed from earlier species of animals". Taking into account the small number of fence-sitters, this suggests much of the nation was evenly divided on the theory.

By 2016, that percentage had, at last, become a majority, reaching 54 percent.

As it turns out, education has played a crucial role in that shift. When researchers began to analyze the demographics of survey respondents over the past thirty years, they noticed the completion of one or more college science courses was the strongest predictor of evolution acceptance.

"Almost twice as many Americans held a college degree in 2018 as in 1988," says Mark Ackerman, who studies collective intelligence at the University of Michigan.

"It's hard to earn a college degree without acquiring at least a little respect for the success of science."

In the current analysis, the proportion of American adults with scientific literacy increased from 11 percent in 1988 to 31 percent in 2019.

That rise in knowledge can also easily spread to others. For instance, research suggests fewer students are exposed to creationism in the science classroom due in part to new teachers replacing a generation of educators less suited to teaching evolution.

Still, even a healthy dose of education can only go so far. Some researchers, for instance, think religious beliefs are a stronger predictor of accepting evolution than educational attainment. But this is an area of research that is still hotly debated. It could be, for instance, that education only works for some individuals who don't interpret the Bible literally.

In the US, evolution has become a highly politicized topic, especially among supporters of the Republican party, which tends to align its policies with evangelical Christian values.

The result is that today, the US has some of the lowest acceptance rates for evolution in the developed world, with only Turkey scoring lower.

Even now that a majority of Americans do not reject evolution, the rate of acceptance is still low compared to other nations and much lower than scientific consensus.

In recent years, religious adherence has begun to decline in the US, but the political divide on evolution still very much exists.

In 2019, researchers found 83 percent of liberal Democrats accepted evolution, whereas only 34 percent of conservative Republicans felt the same.

The driving force behind this huge difference is probably not ideological partisanship, experts say, but fundamental religious beliefs, which Republicans tend to hold more.

For instance, roughly 30 percent of American adults hold fundamental religious beliefs that directly contradict evolutionary theory, which is almost the same percentage of conservative Republicans that rejected evolution in the current analysis.

The authors of the current study are not ruling out religion as an influential factor. Their analysis still shows that fundamental religious beliefs can change the acceptance of evolution among American adults. But at least according to their analysis, it seems that educational attainment is the more influential factor.

According to their analysis, the recent increase in acceptance mostly comes from American adults who were previously unsure about the theory. Only some who outright rejected evolution had their mind's changed over time.

"Although scientific literacy has grown, and science continues to have pervasive influence in American society," the authors write, "a tension between religious fundamentalism and evolution remains."

While religion clearly remains a barrier to further public acceptance of evolution, that's gradually beginning to change. In 1988, the current analysis found only 8 percent of religious fundamentalists accepted the theory of evolution. Whereas in 2019, nearly a third did.

Along with growing exposure to scientific courses, a decline in religious fundamental beliefs will no doubt see the minority of Americans that reject evolution continue to shrink.

Last year, Pew conducted a more global survey that showed a slightly higher acceptance of evolution in the US at around 64 percent.

It's a number that nonetheless falls far below nations such as Canada (77 percent), Germany (81 percent), and Japan (88 percent), showing the US still has some catching up to do.

The study was published in Public Understanding of Science.

==

While this is good news, the study doesn't distinguish the nature of the evolution that people accepted; whether it's actual evolution ("secular evolution"), or evolution by supernatural selection ("goddidit", aka magic).

[sarcasticcynic]

Since 1947, the "Doomsday Clock" has symbolized the likelihood of a man-made global catastrophe (represented by midnight). As of January of 2022, the Clock remains as close to midnight as it has ever been in history. Why? Didn't the United States replace Donald Trump, who pretty much single-handedly drove the Doomsday Clock forward from 11:57:00 in 2016 to 11:57:30 in 2017, then to 11:58:00 in 2018 (and 2019), and then to 11:58:20 in 2020?

No question, the Biden administration did improve things:

"In 2021 the new American administration changed US policies in some ways that made the world safer: agreeing to an extension of the New START arms control agreement and beginning strategic stability talks with Russia; announcing that the United States would seek to return to the Iran nuclear deal; and rejoining the Paris climate accord. Perhaps even more heartening was the return of science and evidence to US policy making in general, especially regarding the COVID-19 pandemic. A more moderate and predictable approach to leadership and the control of one of the two largest nuclear arsenals of the world marked a welcome change from the previous four years. ...

"The February 2021 agreement between the United States and Russia to renew New START for five years is a decidedly positive development. This extension creates a window of opportunity to negotiate a future arms control agreement between the two countries that possess 90 percent of the nuclear weapons on the planet. The United States and Russia also agreed to start two sets of dialogues about how to best maintain 'nuclear stability' in the future: the Working Group on Principles and Objectives for Future Arms Control and the Working Group on Capabilities and Actions with Strategic Effects. These groups have met and in early 2022 are expected to report on initial results of the consultations, aimed at shaping future arms control agreements.

"Another bright spot was the Biden administration's announcements that it would seek to return to the Joint Comprehensive Plan of Action (JCPOA) with Iran and offer to enter strategic stability talks with China. Although no talks between North Korea and the United States took place in 2021, the North Koreans have not resumed testing of nuclear weapons or long-range intercontinental ballistic missiles (ICBMs). (Tests of shorter-range missiles have continued.) Finally, when the Biden administration began its Nuclear Posture Review (NPR) process, it announced that one specific goal would be to 'reduce the role of nuclear weapons' in US national security policy. ...

"US president [Biden] 'acknowledges climate change as a profound threat and supports international cooperation and science-based policy,' and we've seen a dramatic change in tone from the previous presidential administration. Recognizing that '[t]he effects we are seeing of climate change are the crisis of our generation,' Biden has indeed attempted to move forward quickly, reentering the United States in the Paris Agreement and announcing the United States' updated Paris emission pledge of a 50 percent reduction by 2030. He has also signaled an attentiveness to the connection between climate action and environmental justice, in both the domestic and international contexts. He has committed to making climate investments in disadvantaged communities within the United States, and at the UN General Assembly meeting he pledged to double climate financing to developing countries. ...

"The new US administration has done much to reestablish the role of scientists in informing public policy, and even more to minimize deliberate confusion and chaos emanating from the White House. Thoughtful deliberation—merely a promise in January 2021—appears to be realized more often today."

But this simply isn't enough to reverse the innumerable disasters that Trump caused, and is still causing:

"Despite laudable efforts by some leaders and the public, negative trends in nuclear and biological weapons, climate change, and a variety of disruptive technologies—all exacerbated by a corrupted information ecosphere that undermines rational decision making—kept the world within a stone's throw of apocalypse."

That "corrupted information ecosphere"? It means that Trump is still creating new disasters despite being out of office. Most notably, his endless lying about the 2020 presidential election has undermined both U.S. democracy and global security:

"While the new US administration made progress in reestablishing the role of science and evidence in public policy, corruption of the information ecosystem continued apace in 2021. One particularly concerning variety of internet-based disinformation infected America last year: Waves of internet-enabled lies persuaded a significant portion of the US public to believe the utterly false narrative contending that Joe Biden did not win the US presidential election in 2020. Continued efforts to foster this narrative threaten to undermine future US elections, American democracy in general, and, therefore, the United States' ability to lead global efforts to manage existential risk."

Additionally, the now-infamous January 6 insurrection that Trump incited over this "utterly false narrative" exposed how quickly such a falsehood could lead to a nuclear disaster:

"As the January 6, 2021 insurrection at the US Capitol demonstrated, no country is immune from threats to its democracy, and in a state with nuclear-weapons-usable material and nuclear weapons, both can be targets for terrorists and fanatics. Notably, the insurrectionists came close to capturing Vice President Mike Pence and the 'nuclear football' that accompanies the vice president as the backup system for nuclear launch commands. More than 10 percent of those charged with crimes during the January 6th insurrection were veterans or active service members."

Of course, Trump's disinformation campaigns are not limited to the 2020 election. He's spent years spreading false conspiracy theories and spearheading attacks and accusations against everyone and everything that failed to demonstrate unquestioning support for him, including (but not limited to) scientists, doctors, schools and universities, the judicial system, the intelligence community, and the free press. Innumerable conservatives and other partisans have gleefully continued to promulgate his disinformation, with far-reaching negative consequences:

"Disinformation fomented outside the executive branch—including from some members of Congress and many state leaders—appears to have taken root in alarming and dangerous ways. Large fractions of Congress and the public continue to deny that Joe Biden legitimately won the presidential election, and their views on these matters appear to be hardening rather than moderating. Similar trends regarding COVID-related disinformation are apparent around the world, crippling the ability of public health authorities and medical science to achieve higher vaccination rates. Mask-wearing and social distancing are similarly discouraged by disinformation. ... Political attacks on institutions that provide societal continuity and store hard-won knowledge about how best to deal with problems continue apace."

The risk of a nuclear disaster remains a heightened concern. One area of particular concern was Russia's continued aggression towards Ukraine... and this was back on January 20, 2022, before Russia actually went ahead and invaded:

"Ukraine remains a potential flashpoint, and Russian troop deployments to the Ukrainian border heighten day-to-day tensions."

Trump's repeated refusal to impose sanctions on Russia, and his unilateral withdrawal from two of the three arms treaties with Russia (and his stated intention to let the third expire), are just some examples of how Trump spent his entire term in office allowing Russian aggression to grow essentially unchecked. But Russia is not the world's only nuclear threat. Trump's persistent incompetence in dealing with North Korea--plus his fawning over Kim Jong Un--allowed North Korea to continue to pursue its nuclear ambitions. Iran similarly ramped up its nuclear program after Trump unilaterally withdrew from the Iran nuclear deal. Both countries are contributing to the Doomsday Clock's current setting:

"Other nuclear concerns, including North Korea's unconstrained nuclear and missile expansion and the (as yet) unsuccessful attempts to revive the Iran nuclear deal contribute to growing dangers. ... Iran continues to build an enriched uranium stockpile, insisting that all sanctions be removed before returning to talks with the United States on the JCPOA. The window of opportunity seems to be closing."

Finally, Trump managed to ruin President Biden's laudable progress on climate change, because Trump's conduct in office made it depressingly clear that such progress can be very short-lived:

"Progress achievable through the US political process is highly constrained and fragile, as any subsequent president may try to swing the pendulum backward."

Elections have consequences.

[1962dude420-blog]

Today we remember the passing of Daniel Johnston who Died: September 11, 2019 in Waller, Texas

Daniel Dale Johnston (January 22, 1961 – c. September 11, 2019) was an American singer-songwriter and visual artist regarded as a significant figure in outsider, lo-fi, and alternative music scenes. Most of his work consisted of cassettes recorded alone in his home, and his music was frequently cited for its "pure" and "childlike" qualities.

Johnston spent extended periods in psychiatric institutions and was diagnosed with bipolar disorder. He gathered a local following in the 1980s by passing out tapes of his music while working at a McDonald's in Dobie Center in Austin, Texas. His cult status was propelled when Nirvana's Kurt Cobain was seen wearing a T-shirt that featured artwork from Johnston's 1983 cassette album Hi, How Are You.

Beyond music, Johnston was accomplished as a visual artist, with his illustrations exhibited at various galleries around the world. His struggles with mental illness were the subject of the 2005 documentary The Devil and Daniel Johnston. He died in 2019 of what is suspected to have been a heart attack.

Johnston was born in Sacramento, California, and grew up in New Cumberland, West Virginia. He was the youngest of five children of William Dale "Bill" Johnston (1922–2017) and Mabel Ruth Voyles Johnston (1923–2010). He began recording music in the late 1970s on a $59 Sanyo monaural boombox, singing and playing piano as well as the chord organ. Following graduation from Oak Glen High School, Johnston spent a few weeks at Abilene Christian University in West Texas before dropping out. He later attended the art program at Kent State University, East Liverpool, during which he recorded Songs of Pain and More Songs of Pain.

When Johnston moved to Austin, Texas, he began to attract the attention of the local press and gained a following augmented in numbers by his habit of handing out tapes to people he met. Live performances were well-attended and hotly anticipated. His local standing led to him being featured in a 1985 episode of the MTV program The Cutting Edge featuring performers from Austin's "New Sincerity" music scene.

In 1988, Johnston visited New York City and recorded 1990 with producer Mark Kramer at his Noise New York studio. This was Johnston's first experience in a professional recording environment after a decade of releasing home-made cassette recordings. His mental health further deteriorated during the making of 1990. In 1989, Johnston released the album It's Spooky in collaboration with singer Jad Fair of the band Half Japanese.

In 1990, Johnston played at a music festival in Austin, Texas. On the way back to West Virginia on a private two-seater plane piloted by his father Bill, Johnston had a manic psychotic episode; believing he was Casper the Friendly Ghost, Johnston removed the key from the plane's ignition and threw it outside. His father, a former U.S. Air Force pilot, managed to successfully crash-land the plane, even though "there was nothing down there but trees". Although the plane was destroyed, Johnston and his father emerged with only minor injuries. As a result of this episode, Johnston was involuntarily committed to a mental hospital.

Interest in Johnston increased when Kurt Cobain was frequently photographed wearing a T-shirt featuring the cover image of Johnston's album Hi, How Are You that music journalist Everett True gave him. Cobain listed Yip/Jump Music as one of his favorite albums in his journal in 1993. In spite of Johnston being resident in a mental hospital at the time, there was a bidding war to sign him. He refused to sign a multi-album deal with Elektra Records because Metallica was on the label's roster and he was convinced that they were Satanic and would hurt him, also dropping his longtime manager, Jeff Tartakov, in the process. Ultimately he signed with Atlantic Records in February 1994 and that September released Fun, produced by Paul Leary of Butthole Surfers. It was a commercial failure. In June 1996, Atlantic dropped Johnston from the label.

In 1993, the Sound Exchange record store in Austin, Texas, commissioned Johnston to paint a mural of the Hi, How Are You? frog (also known as "Jeremiah the Innocent") from the album's cover. After the record store closed in 2003, the building remained unoccupied until 2004 when the Mexican grill franchise Baja Fresh took ownership and decided that they would remove the wall that held the mural. A group of people who lived in the neighborhood convinced the managers and contractors to keep the mural intact. In 2018, the building housed a Thai restaurant called "Thai, How Are You". Thai How Are You permanently closed in January 2020. The building remains empty

In 2004, he released The Late Great Daniel Johnston: Discovered Covered, a two-disc compilation. The first disc featured covers of his songs by artists including Tom Waits, Beck, TV on the Radio, Jad Fair, Eels, Bright Eyes, Calvin Johnson, Death Cab for Cutie, Sparklehorse, Mercury Rev, The Flaming Lips and Starlight Mints, with the second disc featuring Johnston's original recordings of the songs. In 2005, Texas-based theater company Infernal Bridegroom Productions received a Multi-Arts Production/MAP Fund grant to work with Johnston to create a rock opera based on his music, titled Speeding Motorcycle.

In 2006, Jeff Feuerzeig released a documentary about Johnston, The Devil and Daniel Johnston; the film, four years in the making, collated some of the vast amount of recorded material Johnston (and in some case, others) had produced over the years to portray his life and music. The film won high praise, receiving the Director's Award at the 2005 Sundance Film Festival. The film also inspired more interest in Johnston's work, and increased his prestige as a touring artist. In 2006, Johnston's label, Eternal Yip Eye Music, released his first greatest-hits compilation, Welcome to My World.

Through the next few years Johnston toured extensively across the world, and continued to attract press attention. His artwork was shown in galleries such as in London's Aquarium Gallery, New York's Clementine Gallery and at the Liverpool Biennial in 2006 and 2008, and in 2009, his work was exhibited at "The Museum of Love" at Verge Gallery in Sacramento, California. In 2008, Dick Johnston, Johnston's brother and manager, revealed that "a movie deal based on the artist's life and music had been finalized with a tentative 2011 release." He also said that a deal had been struck with the Converse company for a "signature series" Daniel Johnston shoe. Later, it was revealed by Dick Johnston that Converse had dropped the plan. In early 2008, a Jeremiah the Innocent collectible figurine was released in limited runs of four different colors. Later in the year, Adjustable Productions released Johnston's first concert DVD, The Angel and Daniel Johnston – Live at the Union Chapel, featuring a 2007 appearance in Islington, London.

Is and Always Was was released on October 6, 2009, on Eternal Yip Eye Music. In 2009, it was announced that Matt Groening had chosen Johnston to perform at the edition of the All Tomorrow's Parties festival that he curated in May 2010, in Minehead, England. Also that year, Dr. Fun Fun and Smashing Studios developed an iPhone platform game called Hi, How Are You. The game is similar to Frogger, but features Johnston's art and music. Johnston played it during its development and liked it, although he was not familiar with the iPhone.

On March 13, 2012, Johnston released his first comic book, Space Ducks – An Infinite Comic Book of Musical Greatness at SXSW, published by BOOM! Studios. The comic book ties-in with the Space Ducks album and an iOS app. Johnston collaborated with skateboarding and clothing company Supreme on numerous collections (consisting of clothing and various accessories) showcasing his artwork.

On March 1, 2012, Brooklyn-based photographer Jung Kim announced her photo book and traveling exhibition project with Johnston titled DANIEL JOHNSTON: here, a collaboration that began in 2008 when Kim first met Johnston and began photographing him on the road and at his home in Waller, Texas. On March 13, 2013, this photography book was published, featuring five years of documentation on Johnston. The opening exhibition at SXSW festival featured a special performance by Johnston along with tribute performances led by Jason Sebastian Russo formerly of Mercury Rev. The second exhibition ran in May and June 2013 in London, England, and featured a special performance by Johnston along with tribute performances by the UK band Charlie Boyer and the Voyeurs with Steffan Halperin of the Klaxons. On October 10, 2013, Jason Pierce of Spiritualized hosted the New York City opening of the exhibition, which included special tribute performances led by Pierce and Glen Hansard of The Swell Season and The Frames.

In November 2015, Hi, How Are You Daniel Johnston?, a short documentary about Johnston's life, was released featuring Johnston as his 2015 self and Gabriel Sunday of Archie's Final Project as Johnston's 1983 self. The executive producers for the film included Lana Del Rey and Mac Miller.

In July 2017, Johnston announced that he would be retiring from live performance and would embark on a final five-date tour that fall. Each stop on the tour featured Johnston backed by a group that had been influenced by his music: The Preservation All-Stars in New Orleans, The Districts and Modern Baseball in Philadelphia, Jeff Tweedy in Chicago, and Built to Spill for the final two dates in Portland and Vancouver.

On September 11, 2019, Johnston was found dead from a suspected heart attack at his home in Waller, Texas, a day after he was released from the hospital for unspecified kidney problems. It is believed that he died overnight.

[bananaofswifts]

For Women's History Month 2021, GRAMMY.com is celebrating some of the women artists nominated at the 2021 GRAMMY Awards show. Today, we honor Taylor Swift, who's currently nominated for six GRAMMYs.

When we met Taylor Swift in 2006, it was immediately apparent that her songwriting approach was like ripping a page out of her diary.

"Just a boy in a Chevy truck/ That had a tendency of gettin' stuck/ On backroads at night/ And I was right there beside him all summer long/ And then the time we woke up to find that summer gone," she lamented in the first verse of her debut single, "Tim McGraw(opens in a new tab)." The way the then-16-year-old Swift could turn personal anecdotes into instantly memorable hooks mirrored the prowess of an industry veteran, appealing to more than just the teenage girls that could relate to a short-lived high school romance.

Now, nearly 15 years later, Swift has introduced another layer of intrigue with a foray into indie folk, unveiling a pair of albums, folklore and evermore, last year. Recorded entirely in isolation after the COVID-19 pandemic hit in March 2020, folklore has been widely acclaimed(opens in a new tab) as Swift's best album, touted for its intimate songwriting and cinematic dynamics; evermore has received similarly glowing reviews(opens in a new tab).

folklore was 2020's best-selling album(opens in a new tab) and earned Swift five GRAMMY nominations at the 2021 GRAMMY Awards show, including her fourth Album Of The Year nod. (evermore will be eligible for the 64th GRAMMY Awards in 2022.) As her 10 previous GRAMMY wins suggest, though, this new chapter isn't an abrupt departure for the star—it's a masterful continuation of her evolution as a singer/songwriter.

If there's one thing that Swift has proven throughout her career, it's that she refuses to be put in a box. Her ever-evolving sound took her from country darling to pop phenom to folk's newest raconteur—a transition that, on paper, seems arduous. But for Swift, it was seamless and resulted in perhaps her most defining work yet. And folklore’s radiance relies on three of Swift’s songwriting tools: heartfelt balladeering, autobiographical writing, and character-driven storytelling.

While there was always a crossover element to Swift's pop-leaning country tunes, her transition from country starlet to pop queen began with Red. The album’s lead single, the feisty breakup anthem "We Are Never Ever Getting Back Together(opens in a new tab)," was Swift's first release to reach No. 1 on the Billboard Hot 100 (and, ironically, scoffed "indie records much cooler than mine"). She declared a full pop makeover with 2014's 1989, but the response proved that her bold move was the right one: Along with spawning three more No. 1 hits, the project won Swift her second GRAMMY for Album of the Year.

From there, 2017’s Reputation, a response to media scrutiny, and 2019’s Lover, an often bubbly exploration of all facets of affection, followed. Although they shared similarly grandiose production, Lover featured a handful of poetic ballads, including "The Archer(opens in a new tab)," a self-reflective love song that teased Swift's folk sensibilities through storybook lyrics and ambient textures.

Swift’s ballads are key in understanding the full essence of folklore. They’ve regularly marked standout moments on each of her albums, both thanks to her poignant vulnerability and rich tone. Fearless standout "White Horse" earned Swift two GRAMMYs in 2009; Red's painstaking "All Too Well" was an instant fan favorite; 1989's "This Love" and Reputation's "New Years Day" provided tenderness amid otherwise synth-heavy sounds.

The raw emotion she puts into her downtempo songs comes alive on folklore, introducing a new wave of neo-classical sonics that elevate her fanciful penmanship to an ethereal level. Whether or not Swifties saw a full indie-pop record coming—at least not yet—the shift isn't all that surprising. Folklore’s romanticized lyrics and relatively lo-fi production are arguably what many fans have been patiently waiting on.

Lyrically, the super-personal nature of Swift’s music has always captivated fans and naysayers alike; diehards and critics dissected each of her albums for its real-life subjects and hidden meanings. While she played into those conspiracies at the time—whether she was revealing names in titles like "Hey Stephen(opens in a new tab)" and "Dear John(opens in a new tab)" or scathing the other girl on "Better Than Revenge(opens in a new tab)"—even Swift herself admits that her teenage method had an expiration date.

"There was a point that I got to as a writer who only wrote very diaristic songs that [it] felt unsustainable for my future moving forward," she told Apple Music's(opens in a new tab) Zane Lowe in December of 2020. "It felt like too hot of a microscope ... On my bad days, I would feel like I was loading a cannon of clickbait when that's not what I want for my life."

That realization is what helped make folklore so memorable: Swift stripped away the drama to let her artful storytelling shine. Sure, there are occasional callbacks to personal happenings ("invisible string(opens in a new tab)" references sending her exes baby gifts and "mad woman(opens in a new tab)" alludes to her legal battle with Scott Borchetta and Scooter Braun). Still, she largely shies away from her autobiographical narratives to make way for her imagination.

"I found myself not only writing my own stories, but also writing about or from the perspective of people I've never met, people I've known, or those I wish I hadn't," Swift wrote in a letter to fans(opens in a new tab) on social media the day folklore arrived. "The lines between fantasy and reality blur and the boundaries between truth and fiction become almost indiscernible."

folklore might be her first full project dedicated to creating characters and projecting storylines, but Swift has shown a knack for fantasy from the start. Tracks like "Mary's Song (Oh My My)(opens in a new tab)" on her self-titled debut and "Starlight(opens in a new tab)" on Red saw Swift craft stories for real-life muses ("Mary's Song" was inspired by an old couple who lived next door to Swift in her childhood; "Starlight" was sparked from seeing a picture of Ethel and Bobby Kennedy as teens). Even when songs did pertain to her real life, Swift often had a way of flipping memories into whimsical metaphors, like the clever clap-back to a critic on Speak Now's "Mean(opens in a new tab)" or the rebound relationship in Reputation's "Getaway Car(opens in a new tab)."

To think that we wouldn't have folklore without a pandemic is almost surreal; it's already become such a fundamental piece of Swift’s artistic puzzle. There was no telling what may have come after the glittering "love letter to love itself” that was Lover, but it seems isolation made the singer rethink any plans she may have had.

"I just thought there are no rules anymore because I used to put all these parameters on myself, like, 'How will this song sound in a stadium? How will this song sound on radio?' If you take away all the parameters, what do you make?" she told Paul McCartney in a November (opens in a new tab)Rolling Stone(opens in a new tab) interview(opens in a new tab). "And I guess the answer is folklore."

Even if she hasn’t been making indie music herself, Swift has shown an affinity for the genre over the years through curated digital playlists(opens in a new tab). Those included four songs by The National including "Dark Side of the Gym," which she references on folklore single "betty(opens in a new tab)," and "8 (Circle)" by Bon Iver, Swift's collaborator on folklore's gut-wrenching "exile(opens in a new tab)" as well as evermore’s title track. (“Exile” is one of folklore’s GRAMMY-nominated cuts, up for Best Pop Duo/Group Performance.)

The National’s guitarist Aaron Dessner co-wrote nine and produced 11 of folklore's 16 tracks, soundtracking Swift's imaginative tales with sweeping orchestration and delicate piano. Their partnership started with "cardigan(opens in a new tab)," a melancholy take on teenage love(opens in a new tab) that's up for Best Pop Solo Performance and the coveted Song of the Year. The team-up was a dream come true for Swift, a self-proclaimed National superfan and a career highlight for Dessner, who shared in an Instagram post(opens in a new tab) about folklore that he's "rarely been so inspired by someone." He sees the album as a pivotal moment for both Swift's career and pop music.

"Taylor has opened the door for artists to not feel pressure to have 'the bop,'" Dessner shared with (opens in a new tab)Billboard(opens in a new tab) in September. "To make the record that she made, while running against what is programmed in radio at the highest levels of pop music—she has kind of made an anti-pop record. And to have it be one of the most, if not the most, successful commercial releases of the year that throws the playbook out.

"I hope it gives other artists, especially lesser-known or more independent artists, a chance at the mainstream," he continued. "Maybe radio will realize that music doesn't have to sound as pushed as it has. Nobody was trying to design anything to be a hit. Obviously, Taylor has the privilege of already having a very large and dedicated audience, but I do feel like it's having a resonance beyond that."

Swift's other primary folklore collaborator was Jack Antonoff. He has been her right-hand man since they first paired up on 2013's promotional single "Sweeter Than Fiction(opens in a new tab)" (Swift referred to him as "musical family" in her folklore announcement(opens in a new tab)). Even after years of creating stadium-ready pop smashes, Antonoff said in his own folklore Instagram post(opens in a new tab), "I've never heard Taylor sing better in my life / write better."

As Swift recognizes herself, folklore ushered in a new way of thinking for the superstar that not only brings out her best, but sets a promising precedent for what's to come. "What I felt after we put out folklore was, 'Oh wow, people are into this too, this thing that feels really good for my life and my creativity,'" Swift added in her interview with Lowe. "I saw a lane for my future that was a real breakthrough moment of excitement and happiness."

Her enthusiasm is tangible on both folklore and evermore. Dubbed folklore’s sister record, evermore further expands Swift’s newfound mystical atmosphere. Much to the delight of many Swifties, the follow-up also calls back to her country beginnings on tracks like the HAIM-assisted “no body, no crime(opens in a new tab),” as well as her pop expertise on more uptempo cuts like “long story short(opens in a new tab).”

Together, the albums are a momentous reminder that Swift is a singer/songwriter first. Her wordcraft is some of the most alluring of her generation, and that’s never been lost on her music, regardless of the genre she’s exploring. But now that Swift also feels she's at her best, it’s evident folklore was just the beginning of Taylor Swift in her finest form.

[winterrose527]

have you done an Ella - museum curator, Robb - investor on a tour work??

Ummmm no I had not! And wow was this one cathartic to write. It came out way longer than expected because this is a subject near and dear to my heart...

Thank you for this prompt!!

***

She was so sick of this shit.

Over a year of it. Ever since the governor’s order in April 2020. Back then she’d almost believed it was just a blip, a couple of weeks. A vacation, almost.

But then the ban on gatherings. The shutdowns. Finally the masks.

Every museum in the country had shut its doors along with libraries, movie theaters, and every other place desperate parents could take their children on a rainy Saturday.

Theirs had been luckier than most. An endowment a few years prior, which had been earmarked but not mandated for an expansion had been used to keep the lights on and the staff fed - literally. Their programming had gone virtual and understandably attendance had dropped but not entirely – thanks to a few local artists that had generously donated their time for a last minute plug.

Ever since restrictions had lifted, the crowds had returned somewhat. A rainy spring and summer had helped, but they were nowhere near their ‘pre-pandemic’ levels (and with the Delta variant on the rise she wasn’t super comfortable with the term ‘post-pandemic’ to describe their current state of affairs).

She wouldn’t say that today though.

No, today everything would be rosy – not just the botanical gardens that abutted the museum and had been started in 1853 – no, 1854.

Not that she imagined the potential donor would be fact checking her but nevertheless there was no room for error. She needed to represent the museum well. Her colleagues were counting on her – not to mention the collection itself depended on her.

The board had decided at its most recent meeting if they didn’t get an influx of donations within this quarter they were going to sell off a few pieces from the collection.

There was nothing sadder to a museum than deaccessioning. The staff all loved and protected the collection, and they truly felt the impact they and it had on the community. Myrcella loved to walk through the galleries on Thursday afternoons to see the regulars who’d come to visit the paintings like old friends of theirs, stopping by to say hello to a Baroque oil here or an Impressionist watercolor there.

So if schmoozing yet another prospective donor was what it took to mean that Mr. Poole’s favorite still-life stayed put for his bi-weekly Wednesday morning visit, then she would schmooze. She would schmooze Sansa Stark like her life depended on it.

She knew Sansa Stark sort of. It was the sort of thing where pre-pandemic they had run into each other at half a dozen events every year and always had a lovely chat and discussed getting together and then never did. The North was a small world and they ran in similar circles. But they weren’t friends.

Still, she was her best bet. From the wealthiest and most philanthropic family in the North, of course she was.

And she had to deliver.

The board had all made it clear that they expected results, and it had been suggested that really Myrcella Baratheon shouldn’t have such a hard time finding donors. But all her usual suspects had come to her with their own sob stories full of please tell me you won’t shut your doors but without any promise of relief, and the people she knew down south – the sort that profited from the world being in such dire straits had no interest in a little regional museum. No matter how much she marketed it as a hidden jewel.

To them, there was little worth in a jewel hidden, and they had no interest in having their act of charity buried under the northern snows.

So Sansa Stark was it.

She smoothed her dress, chosen carefully for the occasion. Sansa was always impeccably dressed and favored ladylike, tailored dresses for daytime, just as Myrcella did. Today, which had turned out to be a gorgeous one, she’d chosen a pale blue scallop trim knit dress, her grandmother’s wristwatch her only accessory. Feminine but appropriate. More comfortable than the clingier dresses she only ever so occasionally wore when taking around a male potential benefactor.

“Good luck,” Gilly, their glum registrar said as she raised her wrist to her nose to make sure she could still smell the scented oil she’d spread there that morning.

“Thanks baby,” Myrcella sighed, “Lunch from that naughty salad place when I’m done? My treat?”

Gilly smiled at that, “My treat if you get her.”

“Oh, now the stakes are really high,” she teased and blew Gilly a kiss and walked through the halls.

She felt eyes on her as she went. It was a small, tight-knit team, and it made it all the harder every time she received a sheepish regret. If she couldn’t succeed, one of them might lose their job if the board couldn’t decide what to sell. Even if they could, depending on how long this lasted.

Game face, Baratheon.

She took a deep breath and then smiled for fifteen seconds. She let it drop, knowing that it would still be in her eyes when she walked outside and it felt a little more genuine when her heels clacked along the gorgeous marble floor.

Walking over to the security desk, the smile reappeared on her face.

“Morning Roddy,” she grinned.

“Good morning to you Miss Myrcella,” Rodrick greeted her, “You see the game last night?”

“You’ve known me for four years,” she noted, “When in all of that time have I ever seen the game?”

He chuckled, “There was that one time in 2018.”

“Oh no, I totally lied about that,” she assured him, shrugging, “I wanted you to think I was cool.” She then looked around the empty lobby, “No Miss Stark?”

He grimaced, “Not yet. Traffic is back though, folks still aren’t used to it.”

She nodded, picking at a non-existent thread on her dress and looked around. Her eyes narrowed in on something and she crossed the lobby and picked up a tiny scrap of paper, crumbling it in her hand and then walking back over and tossing it in the trash behind Roddy’s desk.

“I’ve been sitting here for two hours, didn’t see it,” he noted.

She smiled, “Well you’ve been doing less important things like making sure no one robs the place.”

He opened his mouth to say something to her but then his gaze was directed behind her, “I’m sorry, sir, we don’t open until 11 o’clock on Tuesdays.”

“I sort of have an appointment,” the man said.

She knew that voice. She’d heard it before. In a coat closet at Alys Karstark’s birthday party. At the next table over at a charity even in 2019. Deep, stubbornly Northern, as unyielding as Valyrian steel.

She felt her palms sweat and forced herself not to rub them on her dress, rubbing them together instead and then turning around with a bright smile.

“You’re not Sansa Stark,” she greeted him.

He grinned sheepishly, though she wasn’t sure this man had ever had occasion to be sheepish in his entire life, “Afraid not. Myrcella, right? We met at that thing – that um… save the…whatsits.”

She giggled, and she heard the sound echoing garishly on the marble, “I believe that evening we were saving the seals. Or the… tulips, maybe.”

His smile spread slowly across his face, a dimple marking its end like an exclamation point, “Well we did our part even if we can’t remember what it was, I’m Robb Stark.”

She liked that he introduced himself. He’d done so every time they’d met, as though he in no way expected her to remember him. Sansa had done it the first five or so. Must have been how they were raised.

On the other hand, she’d been raised to act as though someone was foolish for not knowing who she was, introducing herself had been something she’d had to learn when she moved north, like parallel parking and salting her stoop.

Her hand extended and his met it, taking hers in his larger one and shaking it firmly as he looked her in the eyes briefly and then her lips slightly longer before purposefully going back to her eyes, “Myrcella Baratheon, and I remember you, Mr. Stark.”

“Well if that were true you’d remember I prefer Robb,” he noted, releasing her hand.

She shrugged, leaning forward conspiratorially, “Old habits. Can I get you something to drink before we begin our tour?”

“No thank you, I’m fine,” he shook his head.

She nodded, “Well it’s beautiful out now, why don’t we start in the botanical gardens. There’s been a bumper crop this year, we recently had the Cerwyn wedding here, did you attend?”

He fell into step next to her and said, “No, I didn’t. I was meant to but they reduced it to just family.”

She nodded, “Right, seems to be happening quite a bit. Will you do the same for your wedding?”

He stopped walking briefly and before she could stop too he had started again, “No… uh, rather than reduce the guest list we decided not to have it at all. We called the engagement off in January.”

“I’m so sorry!” she internally stabbed herself in the throat, “I didn’t know.”

He shrugged, “The nice thing about there not being any events over the past year is that the press didn’t really get wind of it.” Then stopped abruptly, “Not that… it’s not like that makes up for the past year or anything.”

She laughed, “Don’t worry, I know what you meant. I am sorry though, about your engagement.”

“As am I,” he agreed, “But it’s for the best. We parted as friends. Had we gotten married, I’m not sure we could have done so, so I’m grateful for that, and for her.”

A gentleman.

So many men played the part. Opening doors, buying flowers. So few of them realized that manners mattered very little when they were offered without grace.

“That’s lovely,” she noted, pleased for once not to have to lie.

It was a gorgeous day, a perfect seventy-nine degrees and clear blue skies. As though they’d understood the importance of the occasion, the Phlox stood proudly in battle formation and the scent of honeysuckle surrounded them.

“Sansa wanted me to apologize for missing your meeting,” Robb noted.

“I hope nothing’s the matter?” she asked.

A grin overtook his face, “No nothing at all. She’s in labor.”

She smiled, grabbing his forearm briefly. They both looked down at her hand on it and she pulled it back as gingerly as she could.

“That’s wonderful,” she told him, “Her second, right?”

He nodded, “A girl. And I’ve convinced her out of the name Corona.”

She chuckled, “Oh come now, you could call her Corrie for short.”

“And her parents idiots for long,” he noted. Then told her, “They weren’t really going to call her Corona.”

She smiled, “And here I was about to tip off the press…”

He smirked, “Narrow miss, then.” He looked around, “So. Flowers.”

“Not just flowers,” she pointed out, “We have a community garden to the left and down that lane local beekeepers keep their hives.”

“My mistake,” he allowed with a close-lipped smile.

That smile annoyed her. It was the same one she’d heard in the voice of every southern donor she’d called when they’d offered her good luck with her little country museum.

It was the smile someone gave her when she’d already lost.

“Perhaps we should go inside,” she noted, “I can show you our contemporary wing which we’ve recently devoted to elevating female and underrepresented artists. Or perhaps that’s a bit too avant-garde for you. Would you like to see our hall of armor and weaponry? I believe we have a few pieces that your ancestors left on one battlefield or another.”

“I’m sorry,” he noted, rubbing his jaw, “I told Sansa we should just cancel this meeting but she insisted.”

“With all due respect, Mr. Stark –“

“Robb,” he corrected her.

“No, I’m addressing Mr. Stark right now,” she argued, all of the frustration and helplessness of the past few months bubbling up inside of her, “May I ask what exactly it is about this that you find amusing? Is it the painting that we’re going to have to sell so that it can end up in someone’s climate controlled storage unit and never looked at again? Or is it the leaky roof? Perhaps the pay cut we asked all senior employees to take? Or how about the summer interns who had gone through a rigorous hiring process only to be told we couldn’t take them on at all? I certainly hope it’s not the seniors who used to come here for their Saturday afternoon watercolor classes which we had to cancel because we didn’t have anything to pay the instructor even though it would have been the perfect activity for them because it is outdoors and safe. Or maybe it’s the after-school programs you find so laughable…”

“I’m not laughing,” he pointed out. “But you’ll forgive me if I take your righteousness with a grain of salt.”

“I’m not sure that I will, actually,” she argued.

“No?” he asked, “Well let’s talk about those seniors? Don’t you think that funding is better spent ensuring they have free and safe access to the vaccination that can actually save their lives? Or what about those kids? Sure, the after-school program is great, but how about providing computers to allow them to do remote learning? Now I’m sorry if you have to lose one of a thousand paintings in this place, but if money can be better spent giving people what they really need then I’m sorry – sell the damn thing.”

That was hard to argue with.

But not impossible.

“So you’ve drained your coffers?” she asked.

There was only room for one of them on the moral high ground and she’d always enjoyed the view.

His cheeks had turned blotchy in anger but they paled now, “Excuse me?”

“Are you in the red?” she asked, “Declaring bankruptcy? Let’s not go that far - Taking out loans? Leveraging assets?”

His jaw clenched, revealing a muscle in his left cheek that might have been attractive if she wasn’t about to rip his head off.

“No,” he noted, “But my family’s company and my family have given an exceptional amount this year already.”

“Well,” she pointed out, “It has been an exceptional year already.”

“Are you always this haughty with potential donors?” he asked, stepping ever so slightly closer to her.

A flash in her mind of his hand ghosting across the back of her neck as he secured her coat over her shoulders. That smell.

“Never,” she admitted, stepping ever so slightly towards him, “But you’re not a potential donor, are you? And tell me, is it really because you don’t think it’s worthwhile or because it doesn’t sound worthwhile?”

His face contorted in anger, “You think we’re giving so that people will write songs about us? We want this country back on its feet. We want to return to normal and if we can’t do that, we want to make sure to give people as comfortable an existence until it reverts on its own. Tell me, Miss Baratheon, can you actually find fault in that?”

She shook her head, “No, I can’t.” He looked surprised and she shrugged, “It’s a flawless argument. Just an incomplete one. Giving an exceptional amount right now isn’t enough. You have to give until it hurts, because you can. It is wonderful, exceptional, heroic, to be doing all that you have done so far. But what comes next? What comes after? What happens when the dust settles? When things open? When we get things under control? What happens when people are ready to return to what was before and none of it is left because it wasn’t deemed essential. Because it’s just flowers and amateur beekeepers and pretty watercolors? I understand that we are not on the top of the list and we shouldn’t be. But we should be on the list. We need to do more than survive, Robb. There are things apart from us that we need to endure. Things we need to protect.”

His mouth twitched at that.

“I’m sorry to say I don’t have time to see the armor,” he told her.

She felt the defeat trickle through her veins slowly.

She held out her hand, “Thank you for letting me rant at you.”

He shook it once again, narrowing his eyes at her, “Something tells me you’ve still got some left in the tank. I’d quite like to hear it. Have dinner with me tonight and convince me.”

It was happening to all of her girlfriends. After a year in isolation, their ability to detect a creep from a mile away had withered. She hadn’t thought that hers had too. He’d seemed like one of the good ones.

She pulled her hand away, “That’s not the way I do business, Mr. Stark.”

His eyes widened in horror, “No, that’s not what I meant. I don’t get to make these decisions.”

“You’re the CEO,” she pointed out.

“Yes I am but Sansa insisted on inserting a clause into her contract that she gets final say over any philanthropic decisions,” he sighed, “I literally am not even allowed to choose the location of a book drive.”

She couldn’t help but laugh at that, a tiny bit of hope bubbling inside of her, “So when you said you should have cancelled the meeting…”

“It’s because Sansa’s already decided that we will be giving a donation, she wanted to discuss the structure of it with you – you know whether you’d prefer a lump sum, or whether you want it in increments, if you wanted it to be public to inspire other donors or whether you wanted it to be private so that they couldn’t use it as an excuse not to give…” he waved his hand, “She’s better at the specifics and I’m sure she’ll be calling you in between contractions to fine tune them.”

She laughed, “Please tell her not to. A pledge is more than enough to take to my board, we can map out the nitty gritty whenever she or whomever will be replacing her in the interim has time.”

He nodded, “You’ll have them within the week.”

She was about to thank him but the words caught in her mouth, “So wait a second… did you just wind me up for the sake of it?”

He grinned, a chuckle present in his voice though it hadn’t yet broken, “I’d like to point out that it took very little to wind you up.”

She laughed, because he was right and admitted, “It’s been a tough year.”

He nodded, “For everyone. So, now that you know I have absolutely no control and can hold absolutely nothing over you… have dinner with me.”

“Why?” she asked.

“Because I enjoy arguing with you,” he told her, then grinned sheepishly, “And because I lied. Sansa told me that I could cancel the meeting and I insisted on coming because I wanted to see you. The bad thing about this year is that there were no events where I could have a chance of bumping into you…”

“Oh that’s the bad thing about this year?” she asked.

“Well,” he grinned, then did a scarily good impression of her, “Maybe it shouldn’t be at the top of the list, but it should be on the list.”

[black-arcana]

POWERWOLF To Release New Studio Album, 'Wake Up The Wicked', In July

POWERWOLF will release a new studio album, "Wake Up The Wicked", on July 26, 2024 via Napalm Records.

"Wake Up The Wicked" — the highly anticipated follow-up to the extremely successful "Call Of The Wild" (2021) — will arrive just in time for the award-winning band's first-ever full North American tour, starting in August 2024, followed by their biggest European headline tour to date, the "Wolfsnächte 2024".

"Wake Up The Wicked" was once again produced by Joost Van Den Broek at Sandlane Recording Facilities and marks a new benchmark and undisputed career highlight for the band. The new album is hard, surprising and full of variety. While staying true to their established, loved sound, POWERWOLF go one step further and showcase a different facet of their deft musical and technical skills. This is evident, for example, on the outstanding single "1589", which is based on a true story from the 16th century.

20 years after their formation in 2004, POWERWOLF are expanding their repertoire with the highest quality and adding many future live hits to their extraordinary discography. "Wake Up The Wicked" is yet another statement cementing the status of the band as a leading force in the world of heavy metal

"Wake Up The Wicked" track listing:

01. Bless 'Em With The Blade 02. Sinners Of The Seven Seas 03. Kyrie Klitorem 04. Heretic Hunters 05. 1589 06. Viva Vulgata 07. Wake Up The Wicked 08. Joan Of Arc 09. Thunderpriest 10. We Don't Wanna Be No Saints 11. Vargamor

POWERWOLF are undoubtedly one of the most celebrated and successful heavy metal bands of the last decade. Multiple No. 1 album chart entries, gold and platinum records, huge sold-out arena shows, as well as headline slots at the biggest festivals have paved their way. In less than 20 years of band history, POWERWOLF has made it to the very highest league of heavy metal.

POWERWOLF has conquered countless stages at the world's biggest summer festivals, and their last "Wolfsnächte" headline tours (2019, 2022),as well as their aforementioned North American debut in early 2023, were almost completely sold out — resulting in a massive triumph. They have performed headlining sets at Wacken Open Air and Summer Breeze, as well as held premium slots at genre festival giants such as Hellfest, Graspop Metal Meeting, Masters Of Rock and many more, captivating enormous audiences. No other German metal band has been able to write a success story even remotely comparable in recent years.

Following their onslaught of North America, POWERWOLF will embark on their most impressive European tour yet in celebration of their highly anticipated 2024 studio album. Amid 16 shows in total, the tour will visit colossal venues in Munich, Paris, Amsterdam, Berlin, Prague, Hamburg and Antwerp. POWERWOLF will be accompanied by Swedish heavy metal legends HAMMERFALL as special guests, with support from viral rising stars, dwarven metallers WIND ROSE.

The story of the frontrunners of today's German metal scene, POWERWOLF, began in 2004 and only knows one direction: ever upwards. Their trajectory may seem like something out of a fairytale, but it is the result of the band embodying the highest quality of heavy metal in the universe. Outstanding album production, bombastic live shows and a tireless drive for perfection on and behind the stage are what this exceptional band is known for around the world.

Over the course of their career, the band has not only fascinated metal fans, but has also won over international press and critics. Countless cover stories in the most important magazines, critics' awards such as the Metal Hammer Award, and effusive album and concert reviews underpin POWERWOLF's outstanding international status.

POWERWOLF is:

Attila Dorn - vocals Falk Maria Schlegel - organ Charles Greywolf - guitar Matthew Greywolf - guitar Roel van Helden - drums

Photo credit: VDPictures

[duggardata]

The Next 6 Months:  December 2020–May 2021

Here’s your monthly installment of the Next 6 Months.  Just ahead—

What has happened in November 2020?  Was it early, late, or what?

Did anyone miss a deadline in November?  Who?  For what?

Overall, who’s late, and for what?  What’s their next due date?

What’s expected to happen from now through May 2021?

Latest Events—

Predictor 2021 is here!  This Predictor 2021’s “Next 6 Months” debut.  Throughout this Post, I’ll highlight any changes attributable to the New Predictor.  As a result, the Post might be longer than usual!

Denver Bontrager + Praise Helferich are engaged!  The Bontrager Blog shared the news late yesterday (November 30, 2020).  No information yet on when, exactly, Denver proposed.  (Duggar Data will use November 30, 2020 as an Estimated Engagement Date, for now.  The Bontragers like to announce right away.)  We suspected Denver + Praise were involved, but we didn’t have official confirmation until now.  Under the Bontrager Data, Denver started courting ~899 Days (2.5 Years) and 0.98 SD Early.

Joe + Kendra (Caldwell) Duggar finally, finally did a Sex Reveal (via E! Online) for Duggar–Caldwell #3 on November 30th.  It’s a girl!  Kendra is due in February.  Depending on when in February, exactly, Joe + Kendra were 44–71 Days (1.4–2.2 SDs) Late in revealing the baby’s sex.

Rogers #11, Caris Audrey, was born to Courtney + Christopher Rogers.  Courtney was induced late Friday, and likely delivered on November 28, 2020.  She announced the birth (via Instagram) on November 28.  There were serious complications during delivery.  (See Also.)  As for timing of the birth...  Under the Prior Predictor, the Projected DOB was November 10 (9 Days Early).  Under Predictor 2021, it was November 22nd (3 Days Late), due to the exclusion of Callie and Colt / Case’s early deliveries as outliers.  Predictor 2021’s guess was 6 Days ‘off.’

Jinger (Duggar) + Jeremy Vuolo welcomed their 2nd Child—a second daughter, Evangeline Jo—on November 22, 2020.  They announced the birth (via TODAY Parents) on November 25th.  Both Predictors guessed that Jinger would deliver 1 Day Early on November 18th.  (She was due on November 19th.)  Both Predictors were ‘off’ by 4 Days.

Zach + Whitney (Perkins) Bates announced Pregnancy #4 (via People) on November 24th.  Whitney is due in June 2021.  Duggar Data will use June 16, 2021 as an Approximate Due Date.  Their Announcement was early under both Predictors:  Predictor 2020 expected it in March 2021, while Predictor 2021 expected it in June.  (This shift is again caused by Post–Loss Spacings; with their unusually–short Loss–to–Khloé Spacing removed, Zach + Whitney’s pace shifted from 688 to 788 Days.)

Justin Duggar + Claire Spivey are engaged.  They shared the news (via Us Weekly) on November 16th.  Duggar Data is using November 10th as an Approximate Proposal Date.  Before they announced, both Predictors thought Justin would propose on December 22, 2020—having begun the courtship on May 19, 2020.  But on the Announcement Date, we learned from Claire that they’d started courting much earlier than that.  Based on a new Approximate Courtposal Date of September 16, 2019, Justin was actually ~295 Days (3.1 SDs) Late to propose, by Duggar standards.

More...  After the jump!

Just Missed A Deadline—

Katie Bates + Travis Clark didn’t get engaged on November 15, 2020, as expected.  (Technically, the Prior Predictor forecast November 14th.  This isn’t a data shift, but rather a tiny change in how and when data is rounded.)  The Rescheduled Date is February 3, 2021 (+0.5 SD).  

Jed and Jer Duggar.  This month, we learned that Justin + Claire began courting in September 2019, rather than May 2020.  This shifted the Age at CS Data such that Jed and Jer, 21, are ‘late’ to court.  They should’ve started courting on October 10, 2020.  (That’s per Predictor 2021...  The  Prior Predictor would’ve forecast February 3, 2021, since it didn’t factor in Si + Marjorie or Jim Bob + Michelle.)  The Rescheduled Data for each of them is October 27, 2022 (+0.5 SD).

Josiah + Lauren (Swanson) Duggar were due to announce Pregnancy #2 on Election Day (November 3, 2020), under the Prior Predictor.  With Predictor 2021, they are actually even later to announce because Post–Loss Spacings—including Loss of Asa to Bella—don’t factor in.  Under Predictor 2021, they should’ve announced in August.  At any rate, they are late.  Their Rescheduled Date is January 18, 2021 (+1 SD).

Kaylee Rodrigues is late to court, thanks to Predictor 2021.  (Predictor 2021 has the Average Rodrigues Female Age at CS at Age 19.20—i.e., the average of Nurie and J–Rod’s Ages at CS.)  She should’ve entered into a courtship on September 17, 2020, but didn’t.  The Rescheduled Date is May 18, 2021 (+0.5 SD).   

Carlin (Bates) + Evan Stewart should’ve announced Pregnancy #2 on October 24, 2020, but didn’t.  (Exclusion of Post–Loss Spacing moved their forecast slightly, as with Josiah + Lauren.  In this case, the shift is caused by excluding a few Post–Loss 1st and 2nd Spacings, which in turn shifted the Bates 2nd Child Multiplier.)  Their Rescheduled Date is December 23, 2020 (+0.5 SD).

Who’s Late (+ For What)?

Running List, listed alphabetically by last name—

Katie Bates + Travis Clark for Engagement.  Initially due on November 15, 2020.  Now expected on February 3, 2021 (+0.5 SD).

Lawson Bates for Courtship.  Initially expected October 1, 2015.  Now forecast for January 5, 2021 (+2.5 SDs).    

Trace Bates for Courtship.  Initially due on April 7, 2020.  Now forecast for April 27, 2021 (+0.5 SD).

Sierra + Mark Dominguez for Pregnancy #8.  Initially due on August 28, 2020.  Now expected on January 14, 2021 (+1 SD).

Jana Duggar for Courtship.  Initially forecast for January 13, 2010.  Now expected on January 23, 2021 (+4 SDs). 

Josiah + Lauren Duggar for Pregnancy #2.  Expected August 20, 2020, initially.  Now expected January 18, 2021 (+1 SD).

Jedidiah Duggar for Courtship.  Initially expected on October 10, 2020.  Now expected on October 27, 2022 (+0.5 SD).

Jeremiah Duggar for Courtship.  Initially expected on October 10, 2020.  Now expected on October 27, 2022 (+0.5 SD).

Anna Maxwell for Courtship.  Initially expected on May 28, 2016.  Now forecast for March 13, 2021 (+2 SDs).

Mary Maxwell for Courtship.  Initially forecast for March 18, 2020.  Now expected on May 30, 2021 (+0.5 SD).   

Kaylee Rodrigues for Courtship.  Initially expected September 17, 2020.  Now forecast for May 18, 2021 (+0.5 SD).

Jessa + Ben Seewald for Pregnancy #4.  Initially due on September 19, 2020.  Now expected February 1, 2021 (+0.5 SD). 

Carlin + Evan Stewart for Pregnancy #2.  Initially expected for October 24, 2020.  Rescheduled for December 23, 2020 (+0.5 SD).

(Note—All dates listed are per Predictor 2021, as of November 30, 2020.)

What’s Next?  (Dec. 2020–May 2021)—

12–01–20   Bontrager–Leppert #2 born to Mitchell + Bryn.

12–19–20   Nathan Bates proposes to Esther Keyes.

12–23–20   Carlin + Evan Stewart announce Pregnancy #2.  (Late!)

12–27–20   Erin + Chad Paine announce Pregnancy #5.

01–01–21   Paul + Christina do a Sex Reveal for Caldwell #9.

01–01–21   Collins #9 (Anthym Bliss) born to Karissa + Mandrae Collins.

01–05–21   Lawson Bates starts courting.  (Late!)

01–08–21   Nathan + Nurie Keller announce Pregnancy #1.  (Her Data)

01–14–21   Sierra + Mark Dominguez announce Pregnancy #8.  (Late!)

01–18–21   Josiah + Lauren Duggar announce Pregnancy #2.  (Late!)

01–23–21   Jana Duggar starts courting.  (Late!)

02–01–21   Jessa + Ben Seewald announce Pregnancy #4.  (Late!)

02–03–21   Travis Clark proposes to Katie Bates.  (Late!)

02–04–21   Zach + Whitney do a Sex Reveal for Bates–Perkins #4.

02–08–21   Duggar–Caldwell #3 born to Joe + Kendra Duggar.

02–11–21   Jesse + Anna Maxwell announce Pregnancy #1.

02–13–21   Justin Duggar marries Claire Spivey.

02–15–21   Webster #4 (Maci Jo) born to Alyssa + John Webster.

02–19–21   Tori + Bobby Smith announce Pregnancy #3.

02–28–21   Nathan + Nurie Keller announce Pregnancy #1.  (His Data)

03–13–21   Anna Maxwell starts courting.  (Late!)

03–15–21   Denver Bontrager marries Praise Helferich.

03–17–21   John + Abbie Duggar announce Pregnancy #2.

03–31–21   Esther + John Shrader announce Pregnancy #13.

04–23–21   Nathan Bates marries Esther Keyes.

04–27–21   Trace Bates starts courting.  (Late!)

05–08–21   Caldwell #9 born to Paul + Christina Caldwell.

05–08–21   Courtney + Christopher Rogers announce Pregnancy #12.

05–12–21   Allison + Jeremiah Helferich announce Pregnancy #1.

05–18–21   Kaylee Rodrigues starts courting.  (Late!)

05–21–21   Stewart #2 born to Carlin + Evan Stewart.

05–29–21   John + Chelsy Maxwell announce Pregnancy #3.

05–30–21   Mary Maxwell starts courting.  (Late!)

05–31–21   Paine #5 born to Erin + Chad Paine.

Nothing New For—

Bateses   Michaela + Brandon, Josie + Kelton, Jackson to Jeb 

Bontragers   Carson + Carolina, Joshua + Cassidy, Taylor to Rebecca

Caldwells   Lauren + Titus, Micah to Isaiah  

Duggars   Josh + Anna, Jill + Derick, Jinger + Jeremy, Joy + Austin, Jed to James, Jackson to Josie

Kellers   Priscilla + David, Anna + Josh

Maxwells   Nathan + Melanie, Christopher + Anna Marie, Sarah, Joseph + Elissa

Rodriguii   Timothy, Renee to Janessa

Others   Kristen + Justin Young

[gdwessel]

Kizuna Road 2021 Night 5 - 6/20/2021; State Of Emergency Now Lifted In Nine Prefectures; NJPW Resurgence In Los Angeles With Fans, Moxley, Jay, Good Brothers, Shooter, Lio Rush 8/14/2021; NJPW Strong Episode 44 - 6/18/2021: Josh Alexander Debuts, Tag Team Turbulence w/ Good Brothers In July on Strong

The tour continued today, in another show that was not streamed. Meanwhile, the state of emergency is now lifted in nine prefectures, with Okinawa remaining under the order until 7/11/2021. Seven of those nine, including Tokyo and Osaka, will have quasi-emergency measures taking place (as detailed in an earlier post), but also, there are claims that the vaccinations will be accelerated during this not-state-of-emergency period by the government. We’ll see if that actually takes place. So far they have seemed more willing to try to hold the Olympics than to take care of the needs of the people. (One wonders if this modern IOC would have forced the Games to go on during World War II, but then, they literally did hold the Games in Nazi Germany in 1936, so...)

Results:

- 6/20/2021, Ibaraki Lily Arena MITO

El Desperado & Yoshinobu Kanemaru [SZKG] d. Ryusuke Taguchi & Yuya Uemura (Desperado > Uemura, Numero Dos, 10:49)

Hiroyoshi Tenzan, Satoshi Kojima, Yuji Nagata & Master Wato d. Hiroshi Tanahashi, Togi Makabe, Tomoaki Honma & Yota Tsuji (Tenzan > Tsuji, Anaconda Vice, 11:15)

Hirooki Goto, Tomohiro Ishii, YOSHI-HASHI & Toru Yano [CHAOS] d. EVIL, Yujiro Takahashi, Dick Togo & Jado [Bullet Club] (Ishii > Togo, DQ, 11:26)

SHO, YOH & Kazuchika Okada [CHAOS] d. Taiji Ishimori, El Phantasmo & Gedo [Bullet Club] (Okada > Gedo, Money Clip, 12:11)

Tetsuya Naito, SANADA, Shingo Takagi & BUSHI [Los Ingobernables] d. Taichi, Zack Sabre Jr., Minoru Suzuki & DOUKI [SZKG] (Takagi > DOUKI, Last Of The Dragon, 16:40)

I had the last match listed incorrectly (twice) in earlier posts, oops. EVIL, Yujiro and Togo attacked the CHAOS team following the DQ and declared they would be the next NEVER 6-Man Comedy champions.

Last night, New Japan of America announced Resurgence, taking place on 8/14/2021 at The Torch At LA Coliseum in Los Angeles, California. This will be NJPW’s first show in the USA with fans since the last night of The New Beginning USA 2020 in Atlanta, GA on 2/1/2020. (Several shows had been planned, including Lion’s Break: Project 3 during Wrestlemania Weekend and Wrestle Dynasty in Madison Square Garden but obviously the pandemic put those plans on hold.)

The talents announced are quite something. Both IWGP US Heavyweight Champion Jon Moxley and NEVER Openweight Champion Jay White are listed for the event, as is Shota Umino, marking his first NJPW match since the 12th Young Lions Cup final day on 9/22/2019. Speculation is rife that we will see a reunion between Mox and Shooter, and it seems quite likely!

Also listed are the Good Brothers, “Machine Gun” Karl Anderson & Doc Gallows, returning to the NJPW ring for the first time since February 2016. Juice Robinson & David Finlay are listed as well, as is NJPW Strong Openweight Champion “Filthy” Tom Lawlor, and Lio Rush, in what may be his final match both with NJPW and in wrestling.

No card has been announced yet. Tickets will go on sale on 6/30/2021, starting at $39. This show will also be shown in English on FITE TV for a price, and in Japanese on NJPWWorld.

This Friday’s episode of NJPW Strong was pretty Impact Wrestling heavy, as Satoshi Kojima was in the main event, and Impact’s X Division champion Josh Alexander made his NJPW debut, continuing the Ignition series of shows.

Josh Alexander [Impact] d. Alex Coughlin (Divine Intervention, 11:25)

Bateman [ROH] & Barrett Brown d. Fred Rosser & Adrian Quest (Bateman > Quest, This Is A Kill, 9:41)

Satoshi Kojima d. JR Kratos [Team Filthy] (Lariat, 11:26)

Kojima gets the win in his grudge match, whilst Barrett Brown continues to come out on top over Adrian Quest in their former-partners beef. Alexander acquitted himself nicely in his NJPW debut.

Next week will have the NJPW Strong Openweight title match between “Filthy” Tom Lawlor v. Karl Fredericks.

Coming soon to NJPW Strong is the Tag Team Turbulence tournament starting in July. The Good Brothers will be taking part in this, but so will Yuji Nagata, returning to NJPW Strong. Here are the first round matchups for this single elimination tournament starting on the 7/16/2021 edition of NJPW Strong:

TJP [FREE] & Clark Connors v. Karl Anderson & Doc Gallows [Impact]

Kevin Knight & The DKC v. Jorel Nelson & Royce Isaacs

Yuji Nagata & Ren Narita v. Fred Yehi & Wheeler Yuta

Brody King [ROH] & Chris Dickinson v. JR Kratos & Danny Limelight [Team Filthy]

It’s single elimination, but let’s face it, the odds are high the Good Brothers are winning this, being multiple IWGP tag champs in the past.

The tour takes a day off tomorrow, before resuming Tuesday with a title match main event. The Young Lions’ trial series’ continue as well.

- 6/22/2021, Tokyo Korakuen Hall (NJPWWorld)

Yuya Uemura Trial Series: Yuya Uemura v. Taichi [SZKG]

Yota Tsuji Trial Series: Yota Tsuji v. Zack Sabre Jr. [SZKG]

SHO, YOH, Kazuchika Okada & Toru Yano [CHAOS] v. Taiji Ishimori, El Phantasmo, Gedo & Jado [Bullet Club]

Kota Ibushi, Hiroyoshi Tenzan, Satoshi Kojima & Yuji Nagata v.  Shingo Takagi, Tetsuya Naito, SANADA & BUSHI [Los Ingobernables]

NEVER Openweight 6-Man Tag Team Championship: Hirooki Goto, Tomohiro Ishii & YOSHI-HASHI [CHAOS] © v. EVIL, Yujiro Takahashi & Dick Togo [Bullet Club]

[tiesandtea]

An in-depth & really interesting review of Head Music’s various - often forgotten but actually brilliant - b-sides. Originally posted on The Vapour Trail London blog on 20 November 2019.

The folklore of early Suede and the B-sides compilation ‘Sci Fi Lullabies’ would lead the casual observer to believe that the band had peaked creatively to the point that post-1997 B-sides would not be worth investigating, however I believe differently and now, thanks to the reissues of ‘Head Music’, these can now be easily accessed for wider reappraisal.

Full article under the cut.

Coincidentally coinciding with the recent release of Brett Anderson’s second memoir ‘Afternoons with the Blinds Drawn’, Suede have issued the 20 year deluxe edition of their fourth album, ‘Head Music’. Their final number one album to date was issued in May of 1999 to much fanfare, following in the footsteps of their classic ‘Coming up’ in 1996, a record that spawned no less than five top ten singles and saw them achieve astronomical fame across Europe and Asia (indeed, Anderson remains a genuine celebrity in parts of Scandinavia as a direct result). Whilst ‘Head Music’ was a hit, its making has gone down in the annals of history as being even more fraught and littered with personal scandal than even that of their second album, ‘Dog Man Star’, the record that infamously served as original guitarist Bernard Butler’s swan song. The chief reason was Anderson’s spiralling addictions to heroin and crack, which in the eyes of the singer served to influence what he and many others deem the patchiness of the record. Indeed, when Suede first reissued their heyday albums back in 2011, Brett would include within the sleeve notes his own rewritten track listings in each, citing Suede’s fervent devotion to ensuring that their B-sides were up to the same quality as their singles and album tracks, thus costing the associated albums some potential improvements. Songs from the album that often raise debate amongst its makers and listeners include ‘Asbestos’, ‘Elephant Man’, and the almost universally-derided title track, a scrappy, crappy exercise in suggestiveness that even producer Steve Osborne initially refused to have anything to do with.

Perhaps due to all of this, the resultant B-sides of the album’s singles have been lost in time somewhat. Whereas the B-sides associated with the first three albums reached legendary status in such a short space of time that the band issued a compilation double album of nearly all of them in 1997, ‘Sci Fi Lullabies’, their 1999 counterparts are rarely spoken of within the same reverent breath. I would argue that this is vastly remiss to the point of sacrilege as, taken in one listenable chunk, they serve to create what on its own would be an incredible record.

But before we investigate further, it’s worth exploring the genesis of Suede’s musical direction at this point. As Brett and the band have noted many times over the years, Suede sought to follow each album with a record almost diametrically opposed to its predecessor stylistically. The kitchen sink gutter glam of their groundbreaking debut was consciously followed by an ambitious, widescreen and darker ‘Dog Man Star’, the pretension and bluster of which was then followed by a strict album of ‘ten singles’ in ‘Coming Up’. Each time, at least one B-side would serve as a blueprint for what would follow; 1993’s ‘High Rising’ and ‘The Big Time’ served very much of signposts for what would follow in 1994, and then again in 1995, Richard Oakes’ sexy glam pop of ‘Together’ would point the band towards ‘Coming Up’ in 1996. Here, they would seek to expand upon the sonic direction of Mat Osman-penned ‘Europe is Our Playground’, a song they so loved they reworked its arrangement live and subsequently re-recorded for the aforementioned B-Sides compilation of 1997. Caked in icy synths and led by a dub-inspired bass line, it signified something cold and electronic, the desolate melancholy of ‘Dog Man Star’ reimagined by Kraftwerk or Berlin-era Bowie. The band promised this new direction in interviews and the public’s appetite was whetted.

Early in 1998, as part of a Pet Shop Boys-curated tribute to Noel Coward’, the band released one of their prime hidden gems, a suitably synthetic and clinical version of the great writer’s ‘Poor Little Rich Girl’. Unfortunately this was shown to the masses on television via a mimed performance that saw an utterly wasted Anderson grinning inanely with zoned out eyes whilst trying not to fall off a chair. This performance distracted from the impressive song (also featuring the highly talented Raissa, who had supported Suede on their Coming Up tour, on vocals) and seemingly left no impression on anybody.

And so to fast forward to the album. The making of the record has been documented extensively not only in Anderson’s second autobiography but also in David Barnett’s authorised biography ‘Love and Poison’ and Mike Christie’s recent documentary set ‘The Insatiable Ones’. If you’re not familiar with the story, it is a jaw dropping tale of decadence, debauchery and depression, the likes of which have seemingly and thankfully been removed from the culture of music making today. Indeed, there’s not a lot of money around now for bands to blow on endless recording sessions fuelled by endless drug abuse. But what emerged was a flawed but often brilliant record that has stood the test of time well and honestly sounds as fresh as the day it was released. The album’s track list can and will continue to be debated but ultimately, had they shaved off two of the more superfluous numbers (I would argue that the title track serves no purpose as does the turgid closing track ‘Crack in the Union Jack’), it would likely be held in the same high regard as the vast portion of their other records. But we won’t dwell on that here.

First single ‘Electricity’ was accompanied by no fewer than five b-sides, all of which carry some merit. ‘Popstar’, a concise lyrical study of the relationship between fan and band, contains the kind of crystalline synths and dubby bass that the band had sought to highlight with their two musical blueprints prior to the album. Richard Oakes’ guitar parts are sparser than ever before but serve the song well, and the chorus is cold and epic in a way that takes the song from good to great. ‘Killer’, complete with a lyric that seems to expand upon the ficitonlised femme fatale of ‘Coming Up’s ‘She’, is more impressive still; a dark, brooding slice of electro-noir that slinks and stalks in the manner suggested by the song’s lyric. It builds and builds to a desperate crescendo and brings to mind the best of Depeche Mode at their ‘Violator’ zenith. ‘See That Girl’, complete with yearning Anderson vocals lamenting ‘this dog shit world’, is less impressive but still good. A real undersung high point of the time is the Neil Codling-written and sang ‘Waterloo’, an electronic folk classic that sees some beautifully melodic guitar lines almost acting as choruses, and a tenderness rarely reached by the band. The fifth and final b-side (it was on the minidisc – yes, minidisc – version of the single), is ‘Implement Yeah!’, an old co-write with Justine Frischmann where Brett parodies Mark E Smith to amusing effect over a gutter-punk thrash that the band premiered with Justine at the 1997 Reading Festival.

‘She’s in Fashion’ followed in 1999 and quickly became one of the band’s better known songs via endless radio play that perhaps contributed to it being their first single since ‘New Generation’ in 1995 not to reach the top ten. Looking back, I imagine the fact that you could walk into any shop at any time during that Summer and be exposed to it as one reason why fewer people bought it than they might otherwise. The B-sides rank among the band’s very best. ‘Bored’ continues where ‘Implement Yeah’ left off with a Stooges-like guitar thrash adorned by sweet synths and a classically anthem Suede chorus. During an interview at the end of 1999, Mat Osman threatened a harder, rockier direction for the next album which never did come to fruition and it’s possible that this would have been one of its blueprints. ‘Pieces Of My Mind’ is better still, and a rehearsal recording of it sounding very different can be found on the new reissue. Taking its cue from ‘Europe is Our Playground’, it is a dreamlike wander through almost psychedelic electronica and its lilting chorus imprints itself on your mind immediately. ‘Jubilee’, a Codling creation, is one of the best of the era and would probably have made for a better first single than ‘Electricity’, a romantic epic that chugs along like ‘Trash’ and bears a dramatic and addictive chorus that would surely have been incredible live. Perhaps the lyric was somewhat off-putting to the band, a blank retread of other songs including the ‘run with me’ hook of the ubiquitous ‘Europe’. If so, this is a shame as if we are to be honest (and Brett has said so numerous times himself), the entire era was marred by some seriously autopilot lyricism that was charming in places in its framing of the Suede lyrical lexicon of language, and just plain boring in others. The single is rounded off by the gorgeous ‘God’s Gift’, a simplistic piano piece aided and abetted by swirling synths and understated bass that had been written by Brett about Justine many years before. As with a few of Suede’s records (most notably the first album), the spectre and influence of Ms Frischmann lurks around the songs of this era but in perhaps a much more positive way; the two had rekindled their friendship prior to the making of the album and it was Justine’s love of new wave that inspired some of the music.

‘Everything Will Flow’, the great lost ballad of the era in the same way as ‘The Wild Ones’ had been five years prior, saw an interesting bag of B-sides attached that differed in style in a far more pronounced way than the two earlier singles. ‘Leaving’, which Brett sees as the ultimate casualty of this period, is prime Suede in its romantic portrait of a girl departing relationship for a new life, although the underlying sentiment is entirely opposite of that of ‘Another No One’ in 1996. Although still featuring synthesised textures, its abundance of gentle guitar and piano is much more organic and not only serves as an appropriate backing to the not dissimilar ‘Flow’ but also as a subtle nod to where the band would go next. ‘Weight of the World’ is entirely a Neil Codling construction as with the earlier ‘Digging a Hole’ on the ‘Lazy’ single of 1997, however here he is eschews piano in favour of nylon strung guitar. Ruminating on the idea of his own demise, the song finds Neil in introspective form and perhaps shows a window into how he must have been feeling at the time, his health suffering significantly during the making of the record resulting in a chronic bout of ME of which he would never fully recover. It is sad and beautiful and at the time I wondered whether he would one day make a solo record. To date, he never has. ‘Seascape’ is up next, an ambient instrumental piece at odds with the majority of Suede’s output (indeed I believe this is Suede’s sole instrumental within their canon). Pleasing and dreamy in a subtly Eno-esque way, it lures you into a false sense of security for what would follow. The final song of the ensemble is the shocking and brilliant ‘Crackhead’. Noted by Q at the time for its outlandish appeal, it remains one of the most captivating songs in Suede’s history. Built around a staccato electronic motif, it lurches and grinds in a manner the band never achieved before or since, as a hoarse Anderson vocal tears apart his own addiction to the ice with suitable ice. At the time, Brett was in recovery, however this sounds like an isolated howl from the depths of dependence. It roars and builds to a final shrieking chorus of ‘you can’t give it up’ which says all that really needed to be said.

The final single of the era, ‘Can’t Get Enough’, another candidate for what should have previewed the album in place of ‘Electricity’, limped to number 24 in the charts but boasted perhaps the greatest array of B-sides of all the singles. In archetypal Suede fashion, ‘Let Go’ cut an honest precursor to the musical way forward, which would culminate in the predominantly folky ‘A New Morning’. Three-layered harmonies and melodic acoustic strum back one of Richard Oakes’ finest guitar performances, chiming and chugging riffery that would be revisited on later single ‘Obsessions’. Brett’s lyrics convey an all-pervaying positivity minus the bland triteness of the single of the same name, capping off an irrestible euphoria that would be deemed suitable for release as an A-side in their commercial home from home that was Sweden. It’s a shame that they were unable to replicate the feeling of the song across the subsequent ‘A New Morning’ album, however upon reflection the fault may lie in the fact that said album would be over-produced to the point of clean-cut nothingness by the otherwise accomplished Stephen Street. Next song ‘Since You Went Away’ is folkier still and retains much of the same charm, with Brett lamenting the feeling of loss felt in the aftermath of a realtionship break-up. Again, this is truly lovely stuff and acts as a further blueprint for album number five that would never quite be capitalised on. Heading over to CD2, ‘Situations’ is powered by a synthesised Eastern motif and ponders the ‘lonely minds’ and ‘vacant stares’ typical of Anderson’s lyrics of the time. While slightly over long, it would have worked on ‘Head Music’ had it been the more darker record the band initially promised, and even to these ears sounds somewhat influential on final Suede single (at the time), 2003’s ‘Attitude’. The very final B-side of this era is the brilliant and biting ‘Read My Mind’. As with ‘Crackhead’, it reveals a starker, harsher sound complimented by the blank words defining a phase of depression, most likely revealing the way the writer was feeling at the time. The chorus harmonies add to the relentlessness of the piece and once it’s over, you’re honestly left wanting more.

So these B-sides make up the lost record of 1999 whilst also pointing towards Suede’s final record of their first run. The rockier record that Osman hinted at was surely influenced by the likes of ‘Bored’, ‘Crackhead’ and ‘Read My Mind’, whilst the likes of ‘Let Go’, ‘Leaving’ and ‘Since You Went Away’ were very definitely influences on what eventually did surface. The folklore of early Suede and the B-sides compilation ‘Sci Fi Lullabies’ would lead the casual observer to believe that the band had peaked creatively to the point that post-1997 B-sides would not be worth investigating, however I believe differently and now, thanks to the reissues of ‘Head Music’, these can now be easily accessed for wider reappraisal.

[mycryptosuite]

Baba Ijebu mark 11 Result - mark 11 result 2019

Baba Ijebu mark 11 Result – mark 11 result 2019

Baba Ijebu mark 11 Result – mark 11 result 2019 Mark 11 result for today 2019 is already published here for you, you can use this key word to find it on our website through google ((Baba Ijebu mark 11 Result)). Baba ijebu mark 11 today was a hard one, as many people could not win it and lost their hard earned money into the hands of premier lotto owner Baba Ijebu him self. (more…)

[eyecache]

@prinita.thevarajah on @southasia.art, 11/11/2019 to 11/19/2019

“Hello, Prinita @prinita.thevarajah here. This week I’ll be sharing my thoughts about Eelam cultural identity formation through Tamil cinema (Kollywood) and the Eelam diaspora.

Eelam Tamils are native to Sri Lanka and constitute the largest diasporic Tamil community outside of India. Not all diasporic Tamils share a collective sense of Tamil identity, though Kollywood has been crucial in marking  and maintaining one’s Tamil identity in the diaspora, especially where Tamil communities often hold minority status. As an Eelam kid in Australia, I often looked towards Kollywood to shape my understanding of what it meant to be Tamil. The child of Eelam refugees who fled Sri Lanka in the 80s as war between the government and Liberation Tigers of Tamil Eelam (LTTE) erupted, ongoing violence carried out against Eelam Tamils halted our community's capacity in developing a 'popular culture’ of it’s own. To be an Eelam Tamil is to be part of a community whose territorial, cultural and ethno-linguistic identity have been so heavily discriminated against to the point of genocide. The trauma of war seeped into our identity formation, and our fragmented diaspora while incredibly resilient, had not one single cultural representation to rely on. So, despite a lack of representation, Kollywood became the pillar that Tamilness sat upon. And while the articulation of Dravidian identity and Tamil nationalism is profound in Kollywood, the struggles of Eelam Tamils fit well within the profound self proclamations of Tamil language, culture and tradition propagated by Kollywood, but solidarity failed to materialize on the screens.

This week I want to explore representations of Eelamness in Kollywood, highlight artists in the diaspora contributing to an Eelam cultural renaissance and ask - what does it mean to re-imagine Eelam popular culture and how can we reclaim our Eelmaness by de-centering Indian ideals of Tamilness?

Despite yearning for a Eelam identity that is whole, I cannot discount the profound impact Kollywood has had on molding me into a proud Tamil. As a child in Sydney, my Appa contributed to Inbathamil Oli (Sweet Sound of Tamil) - a 24 hour Tamil radio station.

He would take me along to spend overnight shifts at the station, and I would listen on fondly to his musings over the air. The theme song for the station was Mettu Podu from the film 1994 Tamil film, Duet. 20 years on, the song still sticks with me as an anthem for the strength, resilience and beauty of the Tamil community.

ஆண் : தங்கமே தமிழுக்கில்லை தட்டுப்பாடு ஒரு சரக்கிருக்குது முறுக்கிருக்குது மெட்டுப் போடு Tamil will never be lacking & I will make music to proclaim it! எத்தனை சபைகள் கண்டோம் எத்தனை எத்தனை பகையும் கண்டோம் அத்தனையும் சூடங்காட்டிச் சுட்டுப் போடு We have seen many fights We have been through many wars Forget them all and be free of them! மெட்டுப் போடு மெட்டுப் போடு என் தாய் கொடுத்த தமிழுக்கில்லை தட்டுப்பாடு Make music, make sound With the tongue of Tamil my mother gave me Tamil will never be lacking

MATERIALIZED AS TRAUMATIZED// Today I want to focus on the representation of Eelam Tamils in Kollywood as one that is flattened without nuance: a people in constant agony and despair, solidifying us in our state of trauma. It is certainly necessary to provide an understanding of the ramifications of genocide for Eelam Tamils. Where historically, our struggle has been erased: the denial of genocide and failure by the international community to intervene or hold the Sri Lankan state accountable for war crimes, the depiction of the plight of Eelam people in Kollywood is assumed to be informative. But I ask, why all trauma and no strength? If Kollywood could make room for us as broken people, why not also portray our vigor and irepressibility? How do we see ourselves as Eelam people when the only representation of us in popular culture is a community that is defeated?

Historically, Kollywood has been uninterested in Tamil diasporic subjects. It's preoccupation has been in the entrenched ideas of Tamil culture, tradition, modernity and ethno-linguistic nationalism. The praxis of Tamil cinema is guided by the everyday practices of Tamil lives in Tamil Nadu and fails to incorporate the question of identity that the diaspora grapples with. Consider that the political struggle of Eelam Tamils heralded a new phase of militant Tamil nationalism, created a society that reformers and poets of Tamil Nadu could only imagine, and waged a war for liberation that was of epic proportions in both triumph and tragedy. It is a grievance that a culture industry in the ‘heart of Tamil civilization’ did not give adequate artistic due in its mainstream medium to an achievement that is claimed by many a Tamil nationalist to have been the ‘height of Tamil civilization’

It’s clear that diasporic Tamil identities are shored up as an anomaly to normative Tamil cinematic identity. Looking closer at the 2000 film Thenali shows the vexed and complex relationship between the Eelam Tamils and those from Tamil Nadu.

Thenali (Kamal Hassan) is an Eelam man from Jaffna. He is a hyper anxious neurotic used by his psychiatrist to derail the career of Dr Kailash. Thenali falls in love with Dr Kailash’s sister, Janaki. The film follows an enraged Dr Kailash’s attempt to eliminate Thenali despite Thenali’s naive quest to please the Dr. Subtle distinctions portray the disparate identity of Eelam Tamils. From the Dr Kailash questioning why Thenali speaks Tamil differently, to Thenali painted as a miserable jest juggling irrational fears as a result of having his home raided by soldiers, his father attacked and mother raped. The film seeks to other Thenali, the traumatized Eelam man who just can’t seem to get it right. Towards the end of the film Dr Kailaish adopts words from the Jaffna dialect, but immediately corrects himself upon realization. If Thenali is the oppressed Eelam Tamil, Dr Kailash is a metonymy for India, whose help Thenali seeks again and again, refusing to see anything wrong in the doctor or his intentions, elevating him to the position of a divine being.

The political history of Tamil Nadu is riddled with moments when the people of Tamil Nadu and the state have been sympathetic to the cause of the Eelam Tamils, resulting in policies allowing Eelam Tamils to stay as refugees and also in offering us financial aid. Much like the fluctuation between compulsions that drive its foreign policy and the sympathy for Tamils expressed in Tamil Nadu, Dr Kailash declares his predicament that he is unable to disclose the thoughts he harbours. At the point when he thinks he is close to eliminating Thenali, he declares, ‘there is no joy in living as in watching destruction’, a statement that resonates deeply with the oft-repeated criticism of the Government of India and Tamil Nadu’s silence in the wake of the Sri Lankan army action in 2009 that resulted in the deaths of 100 000 Eelam Tamils

The film features the song "Injerungo" (slide 5&6) which supposedly includes Jaffna slang - but ask anyone actually from Eelam and they’ll tell you that Kamal Hassan missed the mark almost completely - Eelam kids, what do y’all think

Kannathil Muthamittaal (2002) is probably Kollywood’s most comprehensive take on the human cost and emotional toll endured by Eelam Tamils, complete with visceral descriptions and images of war torn Sri Lanka. The film tells the story of an Eelam girl, Amudha who is adopted by an Indian Tamil couple, and the family’s journey back to Sri Lanka to reacquaint mother and daughter. Her biological parents abandon Amudha to join the ‘rebel cause’ who we can assume is the LTTE. Rather predictably, considering the labeling of the LTTE as a terrorist organization, there is no overt reference made to the group. The rebels are depicted as armed men who speak Jaffna Tamil and the audience are left to form their own interpretation. Much like Thenali remains silent about the cause of Thenali’s oppression, Kannathil Muthamittaal resists making explicit reference to the cause of conflict or parties involved. Expectedly, the film holds arms traffickers responsible for the plight of Eelam Tamils, as opposed to the Sinhalese government, erasing actual genocidal intent since 1948. After visiting the island and witnessing the helplessness of the Eelam people, Amudha and her family return to Tamil Nadu. The underlying message is that the Indian Tamil is both politically and culturally superior and more empowered than the Eelam Tamil.

A common thread in both Kannathil Muthamittall and Thenali is that in the traumatized portrayal of Eelam subjects, Kollywood domesticates Eelam Tamils for an Indian Tamil public. Eelam Tamils are removed of their political agency and are presented as an object of pity. Rather than demanding concrete political solidarity, an abstract humanitarian sentiment is requested. As if to say, “ooh, look how they suffer. Let’s marry them. Or adopt them. Assimilate them into our safe lives. Let us be their providers.” Charity is the gesture appealed for, but there is always something fundamentally depraving in charity.

Tonight I want to make space to think about what it looks like to reimagine and reconstruct an Eelam Tamil cultural identity, away from Indian Tamil ideals.

An accurate portrayal of the political, social and existential condition of the Eelam Tamils is yet to be found in Kollywood. And as Eelam Tamils, we reject being labeled as Sri Lankan as to do so means aligning with the very state that attempted to erase our existence. What does this then mean for our capacity to develop as a people within the island? The North-East of Sri Lanka, the Tamil homeland, is one of the most heavily-militarized regions in the world. Currently, according to the Adayalaam Centre for Policy Research, in the Mullaitivu District - where the last phase of armed conflict was fought - at least 60 000 Sri Lankan army troops are stationed. That’s 25% of the 243 000 military personnel of the whole country. Our people in Eelam are under constant surveillance and control, the military's presence in Eelam facilitates displacement and land grabbing that consequently destabilizes and disrupts the day to day activities of our community. Survival becomes the goal with the preservation and development of culture an understandable after thought.

Considering the impossibility of any free Eelam Tamil cinema developing under the Sri Lankan state, we turn to the diaspora. This year marks the 10th anniversary of the genocide against Eelam people, and as we move into the new decade, it's vital to reflect and consider deeply the history we pave forward as a community. How are we creating stories for ourselves away from the narrow narrative that has been bolstered by Kollywood? How are we reclaiming the identities that the state of Sri Lanka tries to squash daily? At what point do we move away from memorializing genocide to depicting our resilience and expansiveness?

In the pursuit of an Eelam identity that is total, fragmented identities of caste, kinship, class, and region are devalued, uniting diasporic Tamils and strengthening our affinity to ūr. I want to spend the next few days exploring what it looks like to embrace our Eelamness fully as a diasporic people. I believe that in doing the work to understand and articulate ourselves wholly, we as diaspora Eelam Tamils begin to heal the trauma that has trickled down through our bloodlines. Our narrative has a destiny that is full of autonomy, solidarity and collaboration.

HIGHLY EXPLOSIVE/READY/RAW

I begin my imagination on the embodiment of diasporic Eelamness by exploring the legacy of Mathangi/Maya Arulpragasm, M.I.A. Not to revere or glorify, instead to honor and applaud her immense strides to give us visibility while fully embracing the multifaceted and radical notion of being an Eelam Tamil. Maya remains one of the only widely known representations of our community, from our community. That she is as revolutionary, innovative & resilient as she is is a reflection of the immense talent, ingenuity and pure force of Eelam people. Through her art, she amplifies the placelessness and the cultural and political contradictions that come with being an Eelam Tamil in a hyper-globalized world. The fact that she is so often dismissed, ridiculed and as of late ‘cancelled’, is clarification of her power in undermining and challenging unequal systems of control. From flipping off the Super Bowl to being banned from Sri Lanka, Maya is an unapologetic weapon of freedom.

Maya is a DIY artist guided by her trajectory from refugee to icon. Her strength in bringing bits and pieces together: beats, words, images, ideas - to create something new while centering her narrative as an Eelam woman, epitomizes the journey of an Eelam Tamil. Against a culture that glamorizes reality & equates beauty to consumption, Maya provokes a discussion about how the minority live, closing the distance between here and everywhere else. To be a diasporic Eelam Tamil means to be gaslighted by an entire nation, and yet moving uncompromisingly forward in being deeply inspired in our current contexts to bring change, revolutionize & decolonize. And while M.I.A. cannot go back home, we can.

Sunshowers came out when I was 9 years old. One Saturday morning, I crawled out of bed to watch music videos and inhale cereal and suddenly become entranced when Maya appeared, the hypnotic jungle beats blowing my mind. Up until then, the most representation I had as an Eelam kid was my reflection on a blank TV screen.

Reflecting on the music video now and it's images of brown women organizing, I draw parallels to the ideals and aims of the Women's Front of the LTTE. While it is not productive to linger on what could've been, I do believe that a radical imagination will set us free - and perhaps, this was Maya's intention, to provoke profound fantasies to revive the legacy of our ancestors.The aims of the Women’s Front were to: secure the right of self-determination of Tamil Eelam, to abolish oppressive caste discrimination and feudal customs such as the dowry system; and to eliminate all discrimination, secure social, political, and economic equality.

At the end of verse 1, Maya chants 'like PLO, I don't surrendo', making reference to the Palestinian Liberation Organization, emphasizing the interconnectedness of struggles throughout the world and the need to collaborate with and show solidarity with groups of people who experience similar discrimination under colonization. How can transnational, decolonial solidarity allow evolution to our identity as Eelam people? What does it mean to maintain the radical, non-violent goals Eelam within the diaspora?

BIRD FLU

2006/The track draws on the sonics of urumi/gaana that most Eelam kids will recognize. You know the sound cos when you hear it you can’t stop moving: it’s an infectious outbreak/dance break. Maya swims in a sea of folks who look like they could be my Anna or Thangachi - the visuals look like the homeland. It’s the noise of freedom, the resistance of dominant interpretation. Within the sonic dance break of Bird Flu, Maya cultivates themes of militarized warfare and global dispossession spins them into a collective resource for imagining the alternate for Eelam Tamils.

Running with this idea of ‘flu’ and ‘contagion’, with the sound and it’s accompanying visuals, Maya emphasizes the need to spread ideas of alternative utopian possibilities, collectivity, belonging, and pleasure in the midst of & despite devastation by warfare. For me, Bird Flu provides a refreshing moment of criticality—an opportunity to reactivate our political imaginations and reconceptualize eelam community.

SRI LANKA JUST ELECTED A WAR CRIMINAL AS PRESIDENT and I continue my attempt to unravel Eelamness. With the ache in my heart and rage in my chest I ask: how do we move forward?

When Sri Lanka repeatedly assigns power to murderers and thieves, Kollywood tries to cement us as wounded and the rest of the world exclaims ‘oh Sri Lanka! That’s near India right!!???!!?' how are we as a community dealing? Where our experiences of genocide are dismissed transnationally, how do we divert fury and desire for validation of our struggle to healing? How are we to heal when the scab keeps being torn open? What are our responsibilities, as artists, to bring rejuvenation and radical change?

As we grieve for the homeland, I encourage you to think about the privilege that comes with being in the diaspora. Our access to resources expands our capacity to strategize and organize: we cannot limit ourselves. Christopher Kulendran Thomas is an Eelam artist based in London & Berlin. Thomas’s 'New Eelam’ disregards the boundaries of the white cube to project an alternate reality of citizenship and ownership. Provoking the art world itself, Thomas is interested in how his work as an artist can bring structural and social change. New Eelam is presented as a real estate start up of sorts with a housing model grounded in collective international co-ownership: subscribers pay the same amount to access different houses across the world. Working alongside an architect and team of real estate, finance, law and tech folks, Thomas seeks to provoke conversations around property and migration. Our identity as a people is one that is marked by consistent displacement and disruption. We are dispersed but profoundly connected. New Eelam imagines a future that brings autonomy in migration and allows us to maintain the idea of an Eelam the transcends borders. Freedom of movement increases opportunities to collaborate, and our collaboration as a diaspora is essential in the liberation and legacy of Eelam.

When the riots began, My Thatha was the principal at Jaffna College in Killinochi. His school shut down immediately and when I was 6 months, he moved to Sydney and into our home on Burlington Road. Being in a war affected refugee household brings with it a plethora of traumas & my relationship with my grandfather was my safe space. He is an artist - and his idea of child minding was reciting Thirukurral to me as I listened at his feet, entranced: my fingers often swirling in acrylic paints or homemade clay. When I was scared, he would serenade me with sangitham, gamakas cartwheeling from his belly through his chest. Sometimes at night I would tip toe out of the bedroom I shared with my parents and older siblings into Thatha’s room. More often than not, he would be in a state of hypnosis, brushing away at a canvas with images that usually resembled home. Reflecting on this time in my life, I understand that creative expression was Thatha’s device for healing. Not only did his art allow him to reconnect with Eelam, but it also allows him to rewrite and reimagine his narrative.

My attempt to dissect our Eelam Tamil identity has been perplexing yet empowering. As a community heavily persecuted against within the island, distressingly traumatized within the diaspora and yet profoundly capable and irrepressible, I wonder - how can we as a community of diasporic artists begin to shift our narrative? They burnt down the Jaffna library for a reason, they saw our vision and were threatened by it. How can we harness the collective rage we feel productively in a way that not only allows for the liberation of our own people but inspires expansive radical change?

My fellow Eelam people, I challenge you to think large - move away from the commodified and the curated, the white cube and other structures and systems that attempt to contain our ideas. I encourage you to think about art as a a movement for change as opposed to an aesthetic. Organizing is a form of art, protest is a form of art and so is survival. We must use our creativity as an imaginative space that provokes discussion, dialogue and education across struggles. How, through our art, can we make the invisible, visible while listening and working alongside our Eelam community at home?”

Original posts available here, here, here, here, here, here, here, here, here, and here. Wanted to repost this from @southasia.art on Instagram because of how informative it was.