#modern day axl my beloved | Explore Tumblr posts and blogs

1863-project · 1 year ago

Note

What *are* bullet trains, really? I know that the hype around them is how fast they are, but how do they work? Is there anything specific that makes them faster or is it just thanks to the more streamlined design?

I'm going to do my best to put this in layman's terms, so feel free to let me know if anything is confusing!

The term Shinkansen literally translates into "new main line" or "new trunk line." The project was originally discussed in the 1930s, but World War II more or less put it on hold for some time. In the earliest days of the project, the design of the trainsets did lead them to be referred to as "dangan ressha," which does actually translate to "bullet train." One of the major people spearheading the project was Hideo Shima, who was also responsible for the D51 and C62 steam locomotives, both beloved in Japan to this day. His greatest champion was Shinji Sogou, who knew the Shinkansen needed to be standard gauge to operate at higher speeds. Despite opposition, Sogou convinced politicians to back the plans for what would become the Tokaido Shinkansen. When it got too expensive, both Shima and Sogou resigned, but today they're regarded far more favorably, because the line was absurdly successful right out of the gate. Before the Shinkansen, it took over six hours to get between Tokyo and Osaka. The new train, launched in 1964 just in time for the Olympics, did the same trip in four hours, and was doing it in three hours and ten minutes one year later.

This post isn't really meant to talk about history, though, it's about how these things work, so let's get down to it.

The key to their success: the Shinkansen uses EMUs, electric multiple units.

If you live in an urban area, you've probably seen an EMU before if your city has mass transit. The NYC Subway, for one example, uses EMUs. There are no set locomotives on the Shinkansen, just cars with cabs; as you've probably seen, the ones where engineers drive from have those lovely streamlined snouts. This actually reduces the weight of the trainset, as they don't need to keep a power source on board - all their power is transmitted from the electrical wires above via pantographs. The pantograph is the little arm that reaches up from the train to touch the wires. Here's a Pennsylvania Railroad GG1 with a pantograph up for comparison:

(image source; this GG1 is Blackjack and she lives at the Railroad Museum of Pennsylvania in Strasburg, PA)

The modern pantographs on the Shinkansen trainsets are a lot sleeker and quieter. Here's how it looks on the E6:

(image source)

The Shinkansen cars also have a larger loading gauge than most rolling stock. This means trains can have 5-across seating instead of the 4-across seating most passenger trains do, which in turn means you can move the same amount of passengers with a shorter, and therefore lighter, trainset.

They also benefit from traction - all wheel axles are powered, because the Shinkansen are EMUs. More motored axles means higher acceleration, which means the Shinkansen can stop more frequently and immediately pick up the pace right away once it's time to get moving again. Because of this, Shinkansen lines have more stops in proportion to their lengths than other high-speed rail systems do, since they can accelerate back up to top speed faster.

The current fastest Shinkansen model is my favorite, the E5 and its sister, the H5.

(image source)

The E5 and the H5 can hit around 200 mph at their maximum when they're allowed to stretch their legs, and they have the most gorgeous streamlining, with sleek snouts and really cool paint jobs. I have a few models of the E5 in my room in my apartment.

They'll be surpassed in speed when the SCMaglev officially opens - but that's an entirely different form of technology from the Shinkansen. That thing is going to be incredible.

Importantly, the Shinkansen lines are kept completely separate from slower lines.

This way, they don't cross with narrow gauge trains, other passenger trains, or freight trains, which enables them to run at higher speeds without having to slow down or stop to let other trains through. This also allows them to maintain those speeds safely. If you're American, you're probably aware of how this limits Amtrak speeds - they have to share the rails with the freight companies, and even on the Northeast Corridor, where the Acela runs, there are only a few pockets where the trains can really whip because of this. This is actually a crucial element to making high-speed rail successful and safe.

I hope this is what you had in mind, anon!

#replies #I like trains

27 notes · View notes

bourbonmetalhead · 3 years ago

Text

64 Bourbons Bracket: Round of 32 (Matchup 10): 1792 Full Proof SP vs. Maker’s Mark Private Select S’more Castle

Songs of the matchup:

Guns ‘n Roses “Don’t Cry” vs. Type O Negative “Can’t Lose You”

Yet, I need to circle back around to the bourbon.

I just have a pinch of each bourbon left, and I am absolutely screwed and stumped. 1792 FP SP has the finish by a mile as S’more Castle has damn near no hug. But then comes in the Kentucky chew and the S’more Castle does something completely unknown. It fucking resets and clears my palate. What? That’s new territory.

The 1792 isn’t as complex on the taste. Delicious, yet not complex. As I let “Don’t Cry” play over and over and over again and sing along and dance (I dance and sway and headbang in my chair as I type right now… and lots of red underlines appear and I have to xbackspace and retype…)… and I lost where I was going.

So I will go downstairs and get both bottles for a pinch more of each bourbon. I’ve been watching The Ultimate Fighter with my son, and this matchup needs a third round. The judges are stumped. It’s a split decision right now. And there are no ties in this 64 Bourbons Bracket Matchup!

More to come.

This is fucking intense. Winding down to the end of the OT pours of each. Still far from a decision. Time to mix up the mood with a different song. So, now I finish this bracket matchup with “Groza III” by Mgła. Time to add some intensity.

That Kentucky hug for 1792 FP is a bit like a call to the moshpit. A call to action. Time to embrace the strength. Slam against flesh. Devoid of maliciousness. Simply catharsis. 1792 bond with Mgła so far. Now, let’s see how S’more Castle holds up during an especially fast part. Groza, meet S’more… and it is smooth, sweet, subtle. With voluminous type o’s. Sassafras. But it is too shy to mosh.

Does anybody mosh at black metal shows? Polish black metal concerts?

I wanted to know. I had tickets, airfare, hotel for Psycho Vegas. Then that Babylon whore Coronavirus struck. Canceled everything. One fell swoop. Modern day angel of death. Tom Araya was not asked to speak. Rather, the CDC. These nuts. Botha. Bosa. Deez nuts.

Juvenile?

Grow up? Why is u so hard to type when I absolutely invades my fat thimbed (thumbed) posts. Lets Groza III and the buzz settle. Birds chirp. Neighbors chatter. Rain has stopped. My beloved rescue dog sighs and pushes against my foot. The world spins. What is this? Quadruple OT? This absurd bracket. I know that my palate writes and rewrites impressions every round. I pourposefully (purposefully) ignore previous notes and reviews. Keep it raw, like black metal (better yet, death metal) recorded on a boombox.

Noisome Corpse. Opener for Impetigo. If that means something to you, then you are Die Hard. Sans the Bruce Willis receding hairline. Any Moonlighting fans? I never watched it. But Cybil Shepherd? Yeah, she turned me on as an adolescent. Yet I digress. Mgła Sang something about salvation. None here.

I am calling it. 2 full proofs bourbons and two pours each and I am a bit buzzed. 1792 Full Proof SP advances. S’more Castle actually tasted better. Let me re-repeat “Don’t Cry” as I write this victory / loss synopsis. And that sassafras from S’more Castle still holds on to me. But 1792 Full Proof SP has the finish. The Kentucky hug. As I type this, I wonder if I have made a mistake. Let me read what I have already written as the complexity of “Don’t Cry” journeys…

Fuck. No more clarity. I dug the sassafras, but S’more needed more finish. And I think stave finishing is a gimmick. What would 1792 FP taste like with some staves shoved in for some creative finishing? Probably exceptional. Yet, it is exceptional without that tomfoolery. Those fried ripe buttery plantains? Axl Rose has been there before. What would Axl pick? God only knows. As Slash chugged that horseshit Jack Daniels. And Peter Steele or Josh Silver of Type O Negative? They probably would have picked S’more because of the grape wine notes.

But fuck it, this is my bracket.

So, 1792 FP SP advances to the Sweet 16. An absolute fist fight, but it moves on. S’more Castle was Kevin Durant’s big fucking toe on the three point line and 1792 FP SP is Khris Middleton of Charleston SC not giving a fuck how suburbia spell Khris as he lankily just does his business.

S’more Castle, don’t you cry tonight. I still love you, but you couldn’t finish. And 4OT requires finish to advance.

9 notes · View notes

robertkstone · 6 years ago

Text

Dirty Deeds: Lexus LX vs. Jeep Wrangler vs. Mercedes-Benz G-Class vs. Land Rover Discovery

Born and raised among the skyscrapers of New York City and now living in sprawling Los Angeles, I’m used to city life. I’m inured to creeping rush-hour traffic, to stepping over sidewalk trash, to the ever-present light pollution; they’re sacrifices we make to live in the places we love. But city life wears on you, a realization that can hit in an instant. A knowing glance or diverted gaze during a chance encounter with one of the millions of others beaten down by the daily grind could be all it takes to want to get away.

But I—perhaps like you—have life to deal with. I work during the week and spend my weekends playing catch-up. Memories of my first sleepaway camp and seeing the Milky Way pop from the inky, unadulterated night sky and dreams of escape remain just that. Breaking free ain’t easy.

For those who must reconnect with nature, these four SUVs make it easier to stay alive during the week and live on the weekends.

For our comparison test, we wanted SUVs comfortable on a daily commute or road-trip but also able to turn well off the beaten path for a night of primitive camping to escape our fellow man. That meant we needed the everyday comfort of a crossover, the features and technology of a modern sedan, and the off-road capability of a ZVM-2901. (YouTube it. You’re welcome.)

Because American roads aren’t quite ready for screw-driven off-roaders, we assembled four legendary and street-legal nameplates: Jeep Wrangler, Land Rover Discovery, Lexus LX, and Mercedes-Benz G-Class. This group will get you out of town—and then some.

Our test would have us driving north from Los Angeles along the eastern portion of the Sierra Nevada to Bishop, California, where the following day we’d tackle the trail to Coyote Flat, about 10,000 feet above sea level. Then we’d camp. It’s not Moab, but this 20-odd-mile trail includes deep sand, rocks, cliff faces, and multiple water crossings.

The winner would be the vehicle that best balances off-road performance with on-pavement drivability. We wanted something that the average Joe or Jane could take off-road with confidence after a tough week crushing soybean futures. To level the playing field, price is ignored.

The Field

The 2018 Jeep Wrangler Unlimited Rubicon is the latest evolution of the vehicle that launched this segment. The new Wrangler Rubicon wears 33-inch BFGoodrich Baja Champion All-Terrain KO2 tires at either end of front and rear live axles, each of which boasts a locking differential and an electronic anti-roll bar disconnect. Under the hood, our tester packs an electrified 2.0-liter turbocharged I-4 making 270 hp and 295 lb-ft of torque. It’s paired with an eight-speed automatic and Jeep’s beefiest part-time four-wheel-drive system.

Land Rover, meanwhile, has come a long way from building British Jeep knockoffs. The 2018 Land Rover Discovery HSE Luxury Si6 looks the part of a suburban mall crawler, with soft lines and a beautiful tech-forward leather-upholstered cab with room for seven. But it still hasn’t lost its ruggedness. Under the hood, a supercharged 3.0-liter V-6 turns out 340 hp and 332 lb-ft of torque, backed by an eight-speed automatic and a full-time four-wheel-drive system. This Disco also gets an available air suspension, plus an automatically locking rear differential and Land Rover’s All Terrain Progress control system—both part of the $1,275 Capability Plus package.

The redesigned 2019 Mercedes-Benz G 550 is another off-road legend in our midst. Our metallic olive green G-Wagen is bigger and far more luxurious than its previous iteration, but it doesn’t appear to have lost the sparkle that made the original so beloved. Its old-school ladder frame, live rear axle, and three independently locking differentials team with an independent front axle, an electronically dampened suspension system, and a modern 4.0-liter twin-turbo V-8 producing 416 hp and 450 lb-ft of torque. The V-8 runs through a nine-speed automatic and Mercedes’ full-time four-wheel-drive system, which operates with a permanent 40/60 front/rear torque split that switches to a 50/50 split once low range is selected and the center differential is locked.

In 2016 we compared the Toyota Land Cruiser to the previous generations of the Wrangler and G-Class as part of our “Apocalypse Soon” comparison test. The Toyota won that comparison, and we extended an invite to defend its crown. No Land Cruisers were available, so we got the next best thing: the mechanically identical 2018 Lexus LX 570. The Lexus takes all we loved about the Toyota, including its crawl-control and turn-assist features, and adds a fancy height-adjustable hydraulic suspension system to ensure a smooth ride both on- and off-road. Our LX 570 also deletes the rather useless third row as a new-for-2018 option, boosting usable cargo space. Power comes courtesy of a 5.7-liter V-8 with 383 hp and 403 lb-ft of torque, paired with an eight-speed automatic and full-time four-wheel-drive system.

With our quartet of off-roaders picked, I assembled a team of three other like-minded editors whose off-road experience ranged from “literally tackled the Rubicon Trail last weekend,” to “drove on a dirt road that one time.” In other words, a perfect representation of the audience that buys these super SUVs. Yet all were seeking respite from city living: MotorTrend en Español managing editor Miguel Cortina and associate online editors Collin Woodard and Stefan Ogbac. We loaded up with our camping and off-road kits and met up with our photo team in their 2018 Toyota 4Runner TRD Pro (see “Aging Lion,” page TK) on the outskirts of Los Angles to make our escape.

The Road

If there’s one constant about off-roading, it’s that no one can agree on what “real” off-roading is. For some it’s rock-crawling or dune-bashing. For others, it’s thick woods and deep mud. Fortunately, we had six hours to argue over walkie-talkies as we launched our way up Route 395 toward the trailhead.

Despite our differing opinions, we do all agree that on-road performance is an important part of the off-road formula because to get off-road, you gotta drive on-road first.

It’s fair to say that previous versions of both the Jeep Wrangler and Mercedes-Benz G-Class have been livable (at best) on pavement. The old Wrangler was loud and unrefined, while the previous G-Wagen, as rapper Quavo so eloquently put it in a Rolling Stone interview, was “wobbly as f—.” Thankfully both have been dragged into the 21st century.

“On the road, the G-Wagen does a sold impression of a car-based crossover,” Woodard said. With its trucklike live front axle tossed in the scrap heap and with fancy computer-controlled dampers, the G 550 experience mimics that of Mercedes’ other flagship, the S-Class. It’s quiet and hushed as it goes down the highway, its cabin featuring comfortable seats and nice-looking—if cumbersome—twin infotainment displays on the dash.

That serenity disappears once you open the taps on the G 550’s twin-turbo V-8. Few things are as satisfying as watching the scenery change from the street to sky as the Benz’s nine-speed fires off rapid downshifts and the V-8 lets out a guttural roar. Once cooking at speed, the G 550 handles a corner or two well, considering its size and weight, but it definitely prefers long sweepers to tight switchbacks—and it lets you know it.

The Wrangler Rubicon is impressive in its own way. Just opening the door sets the expectation that the new Wrangler is a league above the old. Gone are the shiny, rock-hard plastics, replaced with high-quality materials and a cabin you no longer needing excuses. No excuses are necessary for the way it drives, either. Its eTorque 2.0-liter turbo I-4 is down 14 hp from the standard V-6, but its extra 35 lb-ft of torque make the Wrangler feel spritely. Even better, its small electric motor helps provide light power assist when cruising, smooths power delivery, and improves fuel economy. “The eTorque mild-hybrid is worth the $1,000 extra,” Ogbac said. “It has lots of power and torque on tap, passing on the highway is easy, and the eight-speed automatic pairs well with quick, smooth shifts.”

While the Mercedes-Benz and Jeep have matured greatly, the Lexus LX 570 has aged a bit. Updated with a new nose and an eight-speed automatic in 2015, the LX still rides on essentially the same platform with basically the same engine from its 2007 debut. It feels it. Despite making a healthy amount of horsepower, the LX’s big V from PerformanceJunk WP Feed 3 https://ift.tt/2KdI6GM via IFTTT

#IFTTT #PerformanceJunk WP Feed 3

0 notes

102anni · 8 years ago

Text

My media interview

INTRODUCTION:

As part of our ‘It’s not all Rock ‘n’ Roll’ module assessment, my peers and I were presented with the chance to enrich our understandings of how real life management crises are handled in the music industry. We were asked a series of questions in a set-up similar to that of a Television interview and – as the spokesperson of an event-gone-wrong – we had to explain the circumstances surrounding the incident.

The possible scenarios are as follows:

Scenario # 1 (Timing):

The headlining act at your show on Friday night went on stage at 10.45pm, more than 90 minutes later than advertised. This caused problems for the audience, many of whom had to leave before the end of the show in order to catch public transport.

Scenario # 2 (Sponsorship)

You are running a new festival in Lincolnshire this Summer and have agreed a sponsorship deal with BP. This is a new venture for them and they are underwriting all of the costs for your event. However, local environmental groups are unhappy with BP’s involvement.

Scenario #3 (Drugs)

The residents whose homes overlook your venue have complained to the police that groups of youths are gathering behind your venue and they believe that drug deals and drug use is taking place. Syringes have been found in the car park during the daytime.

Scenario #4 (Big mouth)

The artist you manage made a statement from the stage at last night’s show where he stated that the new Pope was ‘probably’ aware of child abuse by priests in his own country. That has been picked up by the media who now want to question your artist about that statement.

DESCRIBE YOUR PREPARATION AND RESEARCH PROCESS:

Timing:

Of course, I’d heard about the incidents when Axl Rose’s notorious ego-trips saw him skip shows to watch ‘Teenage Mutant Ninja Turtles’ and to this day, I recall how angry my high school friends were the morning after they were denied the chance to see Justin Bieber live as a result of one of his off-stage temper tantrums.

To consolidate my understanding of how promoters, react to incidents like this, I looked at case studies from the likes of Madonna, Rihanna and Led Zeppelin. One striking factor about the Zeppelin incident (they arrived 2 ½ hours late to a Kezer Stadium crowd in 1973) was the fact that promoter, Bill Graham (notorious for his erratic behaviour and forcefulness) seemed to be somewhat apathetic and powerless over the situation. He took a “this is led zeppelin so there’s nothing you can do about it” stance. It was at this point that I realised that within the music industry, there seems to be a breed of “untouchables” for whom venue curfews can clearly be slightly relaxed. This was taken to extremes at Hard Rock Calling Festival in 2012. Organisers were incredibly hesitant to pull the plug despite the fact that (naturally) Bruce Springsteen was still performing 30 minutes after the 10:30 pm curfew. Organisers knew that Sir Paul McCartney was in the wings, waiting for his cue to join Springsteen onstage. Hyde Park regulations were disregarded because:

i–organisers wanted to cash in on the publicity they’d get from uniting the music greats onstage

ii – Would you want to answer to that many angry fans? Equally, would you want to answer to the E Street Band, having deprived them of the opportunity to fulfil their teenage dreams and plan onstage with Paul?

Locals complained to the authorities. The microphones were eventually silenced and the singers were escorted offstage. This decision was greeted to a barrage of complaints from fans. As a direct consequence, live nation withdrew from promoting Hyde Park concerts and AEG took over.

I found this case study interesting but after further research, I discovered that it is an anomaly and government legislation is typically taken a lot more seriously. In any other case, curfew means curfew. This sculpted my response to the question “Were you aware of the venue’s 11:30pm curfew?”.

O2 Arena’s amazing generosity after the 2013 Justin Bieber incident sculpted my response – in part- to the question “Will you be compensating fans that missed their trains and had to pay for taxis to get home?”. The O2 held back some trains specifically for their customers. I learned that the venues cooperation during the incident and their willingness to help may have been a contributing factor to minimalizing complaints. If the venue shows that they are willing to help as much as they can during the crisis, it may eliminate the prospect of dissatisfied customers taking their anger out on the venue and seeking compensation.

Planned resposne :

Wil you be compensating

First and foremost, the issue of lateness is – literally – as old as time itself. It is Ingrained into human nature that – on occasion – and often as a result of forces beyond our control, we, as humans, may arrive late for an important arrangement. Quite famously, timing was an issue that Axl Rose struggled with back in the 1980’s and to this very day, it’s something that those who have had time to perfect their craft – i.e. Madonna – fall victim to. We like to think that the incident on Friday night could serve as a gentle, healthy reminder that everybody makes mistakes and whilst an elaborate stage production , pop culture , the internet and modern media may create the façade of “superhuman” celebrities , we all fall victim to simple human error. [Pause for note taking]

Through out the delay the audience were very well informed and continuously updated on the estimated arrival time of the artist . They were also treated to an extended set from the support act . Fans who left the venue before 11:45 could have also caught the free shuttle bus service running to the nearest tube station from the venue , so to eliminate the risk of them missing the last train .

Fans will be compensated. Upon leaving the venue, they were advised to keep their tickets .They can use their ticket reference numbers either to claim a £15 Addison Lee voucher or alternatively, it can be used to enter our exclusive competition , where they stand the chance of winning priority tickets to an intimate gig when the artist next returns to London . Further details can be found on our website.

Were you aware of the 11:30 curfew at the venue ?

The 11:30 curfew was something we were very much aware of in the run-up to the event . It may have restricted the show slightly but nevertheless , the artist arrived at the venue in time to perform all the fan favourites and even some new never-before-heard material .

Sponsorship:

There’s a painting of a Lincolnshire countryside scene which takes pride of place in my sitting room back home in Norwich. I realised this painting and what It represented was of great importance to my father when he painted over his beloved Jim Morrison Mural in the sitting room specifically to hang the painting. As a child, my father’s dramatic home improvements were a little bewildering to me - Back then, I thought that my family was religious because “the man on the wall” looked a little bit like Jesus - overtime however, I’ve grown quite fond of the painting which took its place because it opened my eyes to the beauty of the Lincolnshire countryside and the incredible culture of the county. This is something which has been consolidated by numerous family road trips. This personal resonance and Lincolnshire is something I wanted convey in response to the question “What is the value to you of having a sponsor involved with your event?”. In my answer , I wanted to make it perfectly clear that the promoters of this Lincolnshire event had good intent and their primary focus was to bring a resurgence of interest to the county and remind the general public of the beautiful landscapes and amazing culture Lincloshire has on offer. Having a well known brand associated with the event would inevitably boost public awareness of the festival and bring a resurgence of interest to the county.

To prepare for the question ‘BP have been linked with a number of high profile cases involving environmental damage. Are they appropriate partners for an event in the Lincolnshire countryside?’ , I initially researched the sponsors of other countryside festivals like ‘Really Wild Food Festival’ , looking for an indication of brands which would be more appropriate for the sponsorship of events like this . Then I investigated BP’s past sponsorship endeavours and I realized that how hard they are working to help the creative arts industry with their limited funding . They also worked closely with the Olympic games - which , in turn , will help inspire others to lead a healthier lifestyle . Whilst it may be inevitable that they cant change the environmental damage they’ve already caused , they do seem to be working hard to eliminate the threat of repeat incidents . I wanted to highlight the humanitarian and environmental work BP are doing as well as highlighting that this is a mutually beneficial endeavour for my festival and BP . By associating themselves with a countryside festival , the general public may realize that BP are trying to compensate for their previous mistakes .

Planned response :

What is the value to you of having a sponsor involved with your event?

This festival could have been hosted in a major city like London or Birmingham but we chose Linclonshire on the basis of it’s picturesque views and incredible culture . We felt that such a beautiful city was being painfully overlooked therefore, we set about with the sole intentions of bringing a resurgence of interest to Linclonshire . In order to achieve this , we understood that we needed the partnership of a majorly successful , renowned business like BP in order to gain exposure.

BP have been linked with a number of high profile cases involving environmental damage. Are they appropriate partners for an event in the Lincolnshire countryside?”

We maintain that BP are appropriate partners for an event in the Lincolnshire countryside . This is a mutually benefitial venture for us and our sponsors . We hope that their involvement in our linconshire festival brings to light that BP are more cautious that ever and they are doing work to combat environmental issues . This includes reviewing their approaches to minimising greenhouse gas emissions . To eliminate risks , they also carry out early screenings of potentially sensitive operational areas.

Drugs:

Admittedly, my initial research into drug legislation was very limited because I knew that all festivals should – at least advertise – a zero tolerance drug policy . At first , I thought this meant that my answers to the question “Are you aware of a problem with drug dealing at your venue?” Needed to be a straight up ‘No . We want our festival to be a safe , enjoyable environment’ . I soon realised, however ,that ignorance is not a defence when it comes to serious issues like this . I therefore looked into the measures that can be taken to eliminate the threat of drug related incidents at events . Their suggested the simple things like increased security around the premises and increased security checks upon arrival .

I understood that the obvious response to the question ‘Have you taken advice from anyone regarding dealing with this issue?’ would be the local authorities . As previously said , I looked into what measures they suggest should be taken to eliminate thereat of drug related incidents . I also wanted to show understanding that the best way to stop people from taking drugs is to look into why they do it . Therefore , I looked at various addiction related associations and rehab centres that the festival could work closely with help the organisers and the punters alike .

Planned reponse :

“Have you taken advice from anyone regarding dealing with this issue?”

We have taken advice from the police on how to eliminate the threat of drug consumption on our premises . They suggested increased security checks . We will also be installing more CCTV cameras around our premises . We have also been in touch with various associations which aim to help people who battle addiction . We think that in order to stop the consumption of contraband on our premises , we need to understand why people take drugs . At future events we will have representatives from these addiction charities and rehabilitation centres at our festival . Punters will be able to talk to these representatives in an enclosed tent .

“ “Are you aware of a problem with drug dealing at your venue? ”

We maintain that we were not aware of drug dealing on our premises . We strive to make our festival a safe , enjoyable environment . we are taking measures to eliminate the threat of reoccurring incidents .

Big mouth :

When I first looked at the ‘Big mouth’ scenario, what came to mind straight away was ‘this sounds the type of crazy thing Kanye would try to get away with’ . I soon realised I was mistaken partly because Kanye doesn’t have nearly enough personal involvement in this situation for him to talk about it , but mainly because I remembered that this case bares damming similarities to the situation Sinead O’Connor was in .

From a young age , my family have strived to give my sister and an education in strong , powerful women in music. Naturally , this included the likes of Joan Jett , Debbie Harry and Patti Smith . At the time , I thought that Sinead O’Connor was a strange addition to this list . I thought that Sinead was a lot less of “obvious badass” than the others . What’smore , I didnt really know who Sinead O’Connor was . I only knew of her ‘Nothing Compares 2 U’ cover . It took me a while to realise that this was the exact price Sinead paid for speaking her mind and remaining undeterred in the face of so much adversity.

I consolidated my previous knowledge of this case by looking at various internet sources and interviews from the time .

I’d done enough research into artists who have made controversial statements (i.e The Dixie Chicks ) to know that these situations often result in a formal apology from the artist - whether they like it or not . I also learned that if the statement is particularly offensive , some brands may wish to disassociate themselves from the artist . However , I was so inspired by O’Connor’s resilience that I decided to sculpt my answers to these questions around how she reacted at the time of the movement that eventually cost her her career .

Planned response :

Has your artist apologised for their statement ?

The artist has apologised for potentially abusing their position as an influencer and making such bold accusations in front of potentially impressionable fans without substantial evidence to reinforce their statement. Whilst the artist wishes to inspire others to exercise their right to freedom of speech , they also think it’s important that individuals are capable of acquiring the knowledge to formulate their own opinions . The artist has not and will not apologise for their statement or the public discussion it has caused. The artist maintains that the power of the people is stronger than the people of power. All shows from this tour have been cancelled.

Does your artist believe that the Pope knew of the alleged abuse?

This is an issue which resonated with the artist . They have carried out substantial research to formulate their own opinions .

Evaluate your own performance in the interview :

Despite being very nervous , I was relatively happy with how I presented myself in the interview. I like to think that I read my scripted answers with confidence . The spontaneous questions were greeted to some hesitation and short pauses but I like to think that I refrained from using fillers and -eventually - offered some thoughtful answers . Having said this , I wish I conveyed them with more confidence .

Consider any factors that may have improved your preparation and performance :

During the preperation process , I think I should have spent more time looking at the legalities and legislations involved with topics like this. For instance : whether there are any fixed penalties involved with an invent surpassing curfew , and who is responsible for paying them ? If I was to redo this assessment , I would spend less time looking at anomaly case studies and more time investigating the formalities .

I think my greatest weakness in the interview was -quite simply- my confidence . I understand that making eye contact with the addressee

i- is simply a polite social convention

ii- helps the addresser build a rapport with who they are talking to .

A good addresser - addressee relationship is essential in situations like this and its something that I failed to achieve as a result of my confidence .

I have learned that the way I present myself is just as important as the way I present my material .

When talking about compensating customers with Addison Lee vouchers , the interviewer raised the question of why I chose Addison Lee .After some thought , I said I chose that particular brand because they are a well known , well trusted brand but I now understand that the interviewer was actually asking why I chose to compensate customers with London transport vouchers in general . This brought to my attention that I couldnt entirely justify why I was making some of these decisions . If I was to repeat this task , I would take more time to consider alternative solutions .

I’m concerned that a lack of exploration with pace and tone is another factor which may have hampered audience engagement. I brought cue cards into the the interview to use simply as a prompt on occasion. I didn't read directly from the cards but I do understand that not having 100% confidence in my material distracted me from measures which could be taken to boost engagement . In general , I wish I would have been more expressive and remembered to smile

I understand that my body language is one other factor I need to re-evaluate. In the future , I need to make sure that I do not slouch in the chair.

One piece of advice I was given was not to wait to be prompted for more information . For instance , when I was talking about the 2012 Hyde Park curfew incident , it was obvious that I was well informed on that particular topic but some information - like what happened in the backlash - still had to be prompted. In general , my answers were minimalistic. If I was to redo this interview, I will reconsider how much information I disclose without needing to be prompted.

0 notes