#only rely on oneself and all that jazz

[outlandishly-explicit]

I think my heart may actually crumble out of existence if I’m not fortunate enough to experience the joy of walking through life with someone (or someones. We poly) romantically and being their priority.

[pip-n-flinx]

On Creativity

So I’ll probably be updating this a couple of times, but I spent nearly 2 hours with a friend debating the nature or definition of creativity. It’ll be difficult to get all this in text, but I’m going to do my best because I think thinking is so important my lord. I promise, if you follow along you’ll find that some beans, and some beans, is four.

Old Blackadder jokes aside, I recently participated in a survey on creativity. I was so angry about the methods and assumptions that after spending maybe 2-3 minutes on this online survey I ranted at length to one of my best friends.

The Impetus:

The TL;DR for the survey was input 10 nouns, and get a score. The score measures how ‘creative’ you were in thinking of your nouns. It’s a word association game, where the fewer associations the study could draw between the nouns, the higher your score and the more ‘creative’ a participant was judged as being. But see, here’s where I think that breaks down - ignoring the hidden algorithm and apparent data-set of connections the survey claimed when calculating this inverse relationship - I don’t think creativity has anything to do with originality.

What do you think of when you think about creativity? What is creative? What does a creative person do? According to Merriam Webster: the ability to create. Most people might lean more towards the Oxford definition which reads as : the use of the imagination or original ideas, especially in the production of an artistic work. Or perhaps you prefer the dictionary.com version: the ability to transcend traditional ideas, rules, patterns, relationships, or the like, and to create meaningful new ideas, forms, methods, interpretations, etc.; originality, progressiveness, or imagination. Truth be told, I think MW is the closest. And I vehemently disagree with the following two.

Allow me to explain - creativity and productivity are two sides of the same coin. You don’t have to be original or unique to be creative, and anything you do that is purposed or fashioned to aid in your survival - here extended to include any activity that you get paid for - is productive. An artist who carves out time to write a novel they’ll never publish, a musician who wants nothing more than to jam in the basement with a friend, these people are being creative whether or not their work is original. Artists who sell their art or their time or their expertise are not inherently less original, or less artistic. Indeed, they aren’t even necessarily less creative than an artist whose art never earns a penny. They do however, spend time and energy making their art specifically for a market. They have to take time to carve out space in whatever market they inhabit. So they are spending more of their art-time being productive.

Let me be clear here: this isn’t a call against productivity, or art as a means to support oneself, or a condemnation of ‘selling out.’ If you enjoy doing something, I can scarcely fault you for seeking out ways to spend more time doing it. That can be hard when you also have to secure the basic necessities of life. Furthermore, I don’t want to lionize either productivity or creativity. I think wanting to better yourself, or secure food or safety for yourself or a loved one, is a laudable goal. I think this very human urge is the seat of productivity. On the other hand, to do things for no other goal than the pleasure of doing them, the hedonism and joy of simply being, should not be demonized. Surely if were to be purely ascetic we would never know soul food, or barbeque, or sushi, or coffee or tea, beer or wine, cake or pie.... Rarely do we do anything for purely creative or purely productive ends. For as sure as bread brings nourishment it warms the heart.

So when a hipster tells you their favorite artist sold out to the record label, or a critique calls a piece gauche and derivative, they are commenting on a real change in behaviour. Usually, the reasons they give are rationalizations or worse baseless attacks on a stranger’s character. Rarely are we actually upset that our favourite band is releasing music with more time and effort and polish in it’s production or recording, for instance. It’s impossible to pin down, but if you go from being a creative artist to trying to make a career of your art, or even just trying to earn some money freelancing, you are allocating time and energy to the productive part of the process - talking to patrons and commissioners, managing social media, networking, etc. - and that time and energy both must come from somewhere. This doesn’t necessarily mean you spend less time on creative endeavours, but if you aren’t then you must be pulling the time/energy for productivity from other productive behaviours.

This is the shift that I think young artists/musicians/actors struggle most with. ‘Get a job doing what you love and you’ll never work a day in your life.’ What a load of BS. You will absolutely be working. And some of the freedom of the creative process will have to be turned over. Transitioning from loving music to studying music in college was one of the most heart-breaking things I ever had to do. The harder my professors pushed me to be better, the more time I spent practicing things I myself didn’t discover, the less I enjoyed my music.

I chose to study Jazz, out of all the fields of music, because I had this sense that jazz improvisation was more creative than playing in an orchestra. That the originality of inventing a melody on the fly was somehow more creative than playing a written part in an orchestra. This is simply not true. They are both acts of creation, of creativity. One takes marginally more originality, and one takes marginally more cooperation and teamwork.

Originality still relies on the constraints of the environment. You can’t break the mold if you can’t recognize it. You can’t bend the rules if you don’t understand the rules. As per the infamous Shakespeare quote “nothing new under the sun.” In any act of originality we still stand on the shoulders of those before us. When I was younger, it was always tempting to conflate originality or inspiration with creativity. I think it’s important now to move beyond that. They are different words, they mean different things, they might even influence one another, but they are not the same.

Take, for example, one of my college roommates. They worked all through highschool and college, trying to help support their family after an ugly divorce and then trying to move out and make their own way in the world. The weight of being constantly productive wore on them, and while they had been an honor student in a college prep program they simply dropped out of college before two years were up. For those formative years between the ages of about 14 and 20, Jess did not have time to be creative. All their energy was spent trying to ensure they had enough money for food or rent or utilities or whatever other mundane cost can be associated with living. I was by all measures a more creative person for 6+ years. Then Jess made time to do things for themself. Cosplay, the convention circuit, nights out at the bar or club. Jess was never less original than I was. Only ever less creative, and only then by force of habit. This does mean that people in marginalized groups are going to - on average - look less creative than those of us with privilege and the advantage of even minor inherited wealth.

Remember that, the next time someone tries to tell you you’re creativity is average.

Oh and fuck that survey it was garbage and what little they disclosed of their methods made fuck-all sense I sincerely hope that was a student project and the creator(s) have a chance to learn to do better later.

[sargenthouse]

Earth Premiere "The Mandrake's Hymn" & Interview / Guitar.com

via guitar.com

Earth’s trajectory is not so much of an orbit as it is a deviation. For the past three decades, the only constant for the band headed by Dylan Carlson has been change – which is ironic for a group whose music relies heavily upon repetition.

Earth started out with ground-shaking seismic drone metal on 1993’s Earth 2, then took a left turn in 2005 into the arid West with the Morricone-inspired Hex; Or Printing In The Infernal Method. Almost a decade later, they ventured into meditative rock with Primitive And Deadly.

Now, the band have purged themselves of any embellishments, stripping instrumentation down to Carlson on guitar and bass and Adrienne Davies on drums and percussion. The upcoming record, Full Upon Her Burning Lips, is a lesson in austerity, and spotlights the duo’s sonic symbiosis.

Ahead of the release, we speak with Carlson about the record, his fascination with Telecaster pickups and his favourite collaborations thus far.

Dylan Carlson (left) and Adrienne Davies of Earth

The new album sees Earth stripped down to the core duo of you and Adrienne Davies. Can you shed more light on this decision?

Well, I’ve been playing with Adrienne for almost 20 years now, and on previous albums, I’ve been fortunate enough to play with a lot of amazing players, but I really wanted this album to focus on the two main members at this point. Just because we really haven’t done that since, probably, Hex; Or Printing In The Infernal Method.

I also felt like live drums have always been a big part of what Earth does, but that has never come across as fully on record. You know, because when you’re recording a bunch of different instruments, you need to leave room for stuff, and I always felt like the drums didn’t show the full potential that Adrienne’s capable of.

And then also, I’ve always sort of been the guy that holds everything down with my guitar and let a lot of other instruments carry the melodic work – whether it’s cello or keys or stuff like that. So I sort of wanted it to just be the two of us showing off the best of our abilities.

The previous records, they’ve all been very lush sounding and I wanted this one to be very present and dry, and upfront. Using the 70s style, you know, where I was running two amps for the basics and hard panning guitars left and right – the kind of stuff that you just don’t really hear any more on record.

Can you tell us a little more about the title Full Upon Her Burning Lips?

I’m always trying to find titles that I feel are numinous and open to multiple interpretations. Many of them, I don’t necessarily see and people tell me about them later. Like someone recently asked if [the title] was about the moon because of the “full upon” bit – which I hadn’t thought of.

I feel like music is a sensual and sensuous experience, so I wanted a title that could evoke that. Originally, the cover idea I had for Primitive And Deadly was going to be much sexier than it turned out. I was sort of on a Scorpions jag at the time [laughs]. I think a lot of music now is missing that element. There’s so much music that’s hyper-male. To me, Metallica is a perfect example – nothing in their music or lyrics reflect the idea that there’s a feminine principle to the universe. So, I guess that’s where it came from.

You mentioned in a statement that you like the “limiting of materials to force oneself to employ even more creatively”. How did that reflect in terms of guitar tone for this album?

For this one I basically used a limited number of effects. I used my live rig, which was like a compressor, an overdrive, a Uni-Vibe and a delay. I mean I used one other overdrive for some cleaner textures and an auto wah on one track, but I pretty much tried to limit it to just the pedals that I use live.

I tried to get the most out of them. For example, I’ve used the Uni-Vibe for a long time, but I’ve always just used the vibrato setting. I never thought the chorus was very useful, and then on this album, I figured out a bunch of really cool sounds with that setting. So that was fun to use in a different way than I normally do.

Image: Sean Stout

A lot of artists tend to compose instrumental music around tension and release. Is that an approach that you take as well?

I guess so, but I don’t know if it’s a conscious one. I feel like all songs should have some kind of arc – I call it a “narrative arc”. Although [with instrumental music] it’s very loose, as there’s obviously not any lyrics telling you what the story is. I sort of – in this very abstract sense – feel like songs and albums should still have a narrative arc. And I hope we convey that in the way that I put stuff together.

Again, it’s a sort of an abstract notion of a narrative, but you know, a song should start somewhere and then go somewhere, in some sort of rudimentary sense. I think that’s why, with instrumental music, the song titles become important. It’s the only way of conveying some kind of narrative with language.

I feel like music is a language in and of itself, and [communicates] in a different way. Music is simultaneously more immediate and more abstract in its meaning. With instrumental music, the audience is also participating in the creation of the meaning or the narrative or the imagery.

It’s not like songs with lyrics where it’s like “Oh my baby left me” or whatever. With instrumental music, it’s more challenging.

This album has a lot of minimalism and repetition. How do you make repetitions sound like progression to the listener?

With repetitive music especially, be it like the riff or the melody or whatever, it should be something that you want to hear again. So I think crafting really memorable riffs is key. They should be something that you want to hear again, and the riffs themselves should have some kind of arc to them as well – so that you’re getting mini arcs that build up to a bigger arc.

That’s one thing I’m constantly trying to do. When I come up with a riff it’s like “Oh, is this something like worth repeating?” There’s that thing that great riffs have where they make you want to hear them again. Whether they’re catchy or whatever, I feel like they should be strong enough – and interesting enough – that they bear repetition.

Image: Holly Carlson

Folklore is a major theme of this album, as it is with much of your work. What draws you to it?

To me, with the music I make, I want it to be timeless and feel like it’s always been there. Folklore has stories and knowledge that have been around forever, transcending cultures. I also feel like, especially with rock music – for lack of a better term – and American music, are all originally from folk sources. You know, blues, jazz, country, rock ’n’ roll – the music is not “high culture”. It’s not like classical music in that it wasn’t created by rich people for other rich people.

It’s popular music from the people, embedded in the salt of the earth, and it’s the same with folklore. It’s interesting and it’s numinous. It’s got a quality of timelessness, like something that’s always been there and that goes along with what I try to do hopefully musically.

Has your gear changed much over the years?

Yeah, I would say so. When I first came back to guitar playing, I hadn’t had a guitar for at least four years. So when I came back to guitar in 2001 or 2002, I was really into gear and was always buying petals. I guess you could call it GAS. But along the way, I realised that it didn’t really matter what I played, it was going to be me like regardless. And so I got a lot less gear-obsessed.

I like gear obviously – I mean, I love guitar – and I’ve found things that allow me to translate what’s in my head better, but I don’t feel like they’re necessary. I’m going to sound like me regardless of what I’m given. I think a lot of people are always looking for that “magic box” or this amp or that amp. At the end of the day, it’s you, you know?

The gear I do get now, I get it because I like how it sounds – which is the most important thing – and then whether it’s functional and helps me with touring. Number one is the sound and number two is functionality and whether it makes my life easier. Those are sort of two of my guiding principles.

Right now I play my live rig which I’m very happy with because I discovered these Trace Elliot Elfs, 200-watt heads that weigh like a pound – I’ve got two of those. And then one has a 1×12 Dietz cab, which I love. The Jesus Lizard guys use them, and Buzz [Osborne] has one. I didn’t know about them before, I was just in Austin and I needed a cab. Yeah, it weighs a shit-tonne, but that’s the only downside to it. It’s got wheels, but it’s a little monster. Then for the other one, I have a 1×12 Mesa cab that’s semi-open.

And then I recorded the album with and did my solo tour with a Burman – it’s a British amp from the early 70s. They were a company out of Newcastle and they basically built these 100-watt power amps called the “Slaves” which ran for either KT66s or EL34s – mine’s got EL34s – and then they did various preamp modules. So they were kind of ahead of the curve, in a certain way.

Image: Sean Stout

You’ve obviously played a lot of guitars over the years. Do you have any favourites?

Yeah, my favourite guitar is the one my wife Holly bought. It has an alder Strat body, and then we had our friend, this artist Jason Borders, carve and stain it. It has no finish. It’s got a Fender neck, the classic player one, with a 12-inch radius pau ferro fretboard, and then I’ve got a brass tremolo. I love brass, I’ve had brass on pretty much all of my guitars that I can. This guitar’s also got a brass bridge and a brass nut.

And then I’ve been running a DiMarzio Fast Track Tele bridge pickup, DiMarzio Cruiser in the middle position, and a DiMarzio Air Classic in the neck. I’m a big DiMarzio fanboy, as you can tell [laughs].

Oh, and this guitar has a little thing called the StratoBlaster which was made by Alembic. It’s a little boost switch – I have mine set for about plus 7- or 8dB, but you can go all the way to 14dB. That’s nice if you want a little bit of oomph.

I have a Tele, it was one of the Roadworn ones which I guess came out in the mid-2000s. That’s got a DiMarzio Tone Zone Tele bridge and a Seymour Duncan Little ‘59 in the neck.

In Europe, I have two guitars that live in a warehouse. I have an Epiphone SG. That one’s got a DiMarzio Tone Zone Tele bridge pickup and a Super Distortion in the neck. I was in a big Jerry Garcia phase then so I got a OBEL (or On-Board Effects Loop) on it, although I very rarely used it [laughs]. And the other’s an Epiphone Explorer that has a DiMarzio Super Distortion Tele bridge pickup. I basically put Tele Bridge pickups in all my guitars.

Some of my guitars have names. Like my favourite one – the Strat or Hollycaster – I call “The Fox”. Tele is “The Cat” and the SG is “The Goddess” because it has a big sticker of Tara Guanyin on it.

Image: Sean Stout

Do you achieve noise through the amps?

I use a lot of gain. Well, maybe not a lot of gain but I push the amps with the compressor and overdrive. With the 200-watt headroom, you’re not going to make it break up, so the tone is really a combination of pickups, overdrive and my hands. It’s not the amp. Same with the Burman – it’s a 100-watt – so the headroom’s massive.

If I’m playing a smaller tube amp, like when I had a 50-watt Plexi for a while, I didn’t use overdrive. I just hit the front end hard with the compressor. That was still like, loud as fuck. Over the years, I’ve come to understand headroom and the fact that no one really needs anything more than 50 watts. Even that is overkill, really, for most venues. Back in Earth 2 days, when I didn’t know any better, and I was young and could lug a shit-tonne of gear, it was like, “Oh yeah, let’s have, all this ridiculous amount of equipment!”. Back then most soundmen didn’t even bother mic-ing us, you know? Now I understand to let the PA do the heavy lifting.

I understand we all grew up on the cool pictures of [Jimi] Hendrix in front of a wall of Marshalls. But there were no PAs and they were playing outdoors half the time. Of course, you need like 25 Marshalls or whatever! It was a different time, with a 100-watt head now you’re never going to get to that sweet spot at a volume that’s not going to kill people.

Let’s talk about collaborations for just a second. What would you say has been your best experience so far?

Well, I love working with Kevin [Martin, aka The Bug]. It’s a whole different world than the one I am used to inhabiting. So it’s very fun for me in that way because I just get to be the guitar player and be creative.

I also love Emma [Ruth Rundle]. I think she’s an amazing musician and a wonderful human being, so that was enjoyable. And with Maddy Prior, that was super because obviously I was really into English folk. Yeah, so getting to meet an OG [laughs] and she was a lovely, lovely woman and really easy to work with. She had written a song and asked me to play guitar on it and I got to just come in and do it.

They’re all incredibly talented and really lovely people, so they’ve all been a real pleasure to work with.

What was recording Concrete Desert like? Would you do something like that again?

Yeah, I’ve been talking to Kevin about it! [Concrete Desert] was our very first collaboration, and he basically sent me the tracks and I played guitar and sent them back. So we actually hadn’t even met in person at that point. I actually just ran into him in on the street in Krakow because we were both playing the same festival.

Then Ninja Tune wanted us to play this anniversary party in LA together, and he had this material and was like, “Hey, why don’t we do this again?” and we were actually in the studio together for a couple days. I mean, he’d already generated much of the material but then after I put my guitar on, he went back and changed it a bunch. He told me he got new ideas from the guitar parts and kinda tweaked it.

But yeah, hopefully the next time we work together we can do it with both of us in the studio, building stuff from the ground up. I don’t know when that’ll happen, but we definitely want to do something together again.

Are there any other guitarists you feel are pushing the instrument to the bleeding edge?

I think Oren Ambarchi is pretty amazing. There’s probably some guys I’m not aware of, but I know Oren and think he’s a pretty good dude. I’m a rock dude and like the fact that he still manages to inject rock into [his music] in some weird way, like with that album he did with the Ace Frehley cover, for example. I think he’s got a lot of swagger to it that others don’t have.

The Rig

Main Guitar: The Fox aka Hollycaster (see above for details)

Amp: Live – 2 x Trace Elliot ‘Elf’ heads (200w solid state) each with 1×12 cab (a Dietz and a Mesa). Recording – Early 70s Burman (100w power amp w/ EL-34s) and a pre-amp module and a DV Mark Micro 50 (50w solid state)

Effects: MXR Custom Comp, MXR Shin-juku Drive, Dunlop Uni-Vibe chorus/vibrato, Dunlop Echoplex Delay, Korg Pitchblack tuner (1st version)

Strings/Accessories: Dunlop Performance Plus Nickel .09-.42, Dunlop Primetone 3mm picks and various other Dunlop picks all around 2mm

Full Upon Her Burning Lips is out 24 May. More information at thronesanddominions.com.

[musicmixtapes]

September 26, 2018 Mix

This week as I was curating the playlist, I got to thinking a lot about the way that our mood at a particular moment affects the music we choose to listen to. Some people say that they pick music the opposite of their mood to counteract a bad day, some choose to delve into that feeling and get in touch with it. I, being the latter, am having a memory ridden, reflective sort of week, so I chose songs that talk about the past a little bit and how they can influence the present/future. I hope you enjoy and find something that suits your mood. 

Spotify Playlist 1. Planet Hunter by Wolf Alice - This song is all about trying to recreate memories of something or with someone that happened awhile back, events which were really positive, but they cannot be rehabilitated. The artist reminds me of if Taylor Swift had not become a pop music sellout and instead taken a dark moody indie music route, and well, the results are stunning because she creates a depth of feeling to the music that most pop cannot do, in my opinion. The part I relate to the most that struck me was the repeated phrase of "I left my mind behind in 2015" which reaches a point where we, as listeners, realize that there are peaks in our lives that we wish to return to, especially at some of our valleys. I love this because it is an upbeat song about feeling out of place in the present, which is really fascinating. 2. St. Paul by Ritchy Mitch & The Coal Miners - Honestly, the piano that tinkles into a wonderful melody/rift in the beginning has to be the most alluring part of this song, which eventually becomes a much bigger feeling as it continues on. There aren't many striking piano-driven songs these days, so I was impressed with that along with the fact that this song clearly disses a saint, yet doesn't seem offensive in the slightest because it is so personal and not an attack on anything but oneself's feelings. The instrumentals and their uncertainty directly correlate with the restlessness of the lyrics and the crunchy sound of the singer's vocals; we love to see a parallel of the sound of the music to the actual meaning behind the song. All the literary techniques used to write a song is the reason why our ears are so attuned to it. 3. Window by Nana Grizol - Going along with the recurring theme of memories and the past, this song is literally a metaphor for a window looking into the past of what something once was. The defining line of this song comes when the singer refers to the window of the past and saying that "we can lift them/and focus on the moments that we lift in" which is a beautiful shift in tone from a reminiscent tune to one that look towards changing for the better and leaving the memories (whether good, bad or ugly) behind for someone else to revolve around. The artist, Nana Grizol, often covers really broad topics, such as negative feelings, the passing of time, moving on in a really succinct way that reaches an audience who needs to hear mantras in a refreshing way. I like to think of this song as a meditative yoga for the ears, please practice daily. 4. Solitary Daughter by Bedouine - I found this song in the most interesting way, so here it is: I was in the Mcnally Jackson bookstore on Prince Street in the city, rifling through the poetry section (as one does) and stumbled upon a book that transcribed songs into poems and included commentary from other writers and from the artists themselves, in a lot of cases. Reading these lyrics as a poem in a book was so thrilling because I often talk a lot about how some songs are really just poetry set to music, and in this case, other people must have thought so too. This piece is incredible in its way of speaking about a woman not needing someone to rely on or anything to sustain her, except for her own self, her home is herself, which is so liberating to both hear and read. I highly recommend reading the lyrics alongside listening. 5. Chemicals by Gregory Alan Isokov - Off of his brand new EP "Dark, Dark, Dark" which was released not but six days ago, is this peaceful and meaningful acoustic folky ballad by a personal favorite of mine. This piece is especially interesting because it plays off of the notion of the different ways in which chemicals can affect a person's body, kind of like the way a person who is really important in one's life can do the same. An image that I love to see showing up in art is the trope of hands trying to reach one another, whether it be in the "Creation of Adam" or an old film. This song plays with this lost hands imagery, in the line "how my hands can't seem to find your hands in the dark", which if I wasn't already in love with the song, sealed the deal for me 100%. Definitely check out the other two tracks off of the EP, they are wonderful as well. 6. Slipped by The National - This week's mix all began with this one sad ballad by my current favorite group and it just built off of this. I cannot express with words, on paper or in person, how much I am tethered to the lyrics of this song. Something about the raw and honest way that this was strung together speaks to a person who is done with being vulnerable to someone who has no intention in showing hidden parts of themselves back. In this narrative song, the speaker is talking to a girl who left the city to go to a more rural area in the South, thus separating the two, and telling how tragic it is to break away from something when he could not be what she wanted him to be. This is a solemn and intense vow to oneself that they will not break down and fall apart because of a love ending, this is another mantra. 7. We're So Lost by Voom - Upon first instinct, I would like to classify this song under tracks I would listen to whilst laying under the stars and thinking about our existence in such a big place or while slow dancing with someone and contemplating what is going on. But now, even in a good mood this song makes sense because no matter how you feel in terms of being in this world, everyone can agree that we have no idea what we're doing most of the times and are mere beings that are floating through time and space, trying to determine why we were placed here in the first place. In some ways, this can be thought of as a slow rock philosophical crisis song, or you can just love it because of the waltz like beauty of it. Your choice. 8. Fuck Love by Lalić - I definitely expected a cynical, bitter, anger driven song when looking at the title, but if I can say any cliché here, it's don't judge a song (book) based on its title (cover). If anything, it's more of a love song, explaining that the speaker has no real reason to be saying things like "fuck love". I think this is interesting because oftentimes, people don't like to be honest with themselves about their emotions, so instead they put up their walls immediately and turn to sarcastic, defensive comments like "i hate everyone" "love suck" or.... "fuck love". Being one of these people, this song opens up that term and exposes us hate poseurs who are very sensitive and truly love to love. The low fi rock sounds with a strong guitar line is nice to hear as well. 9. Blood Bank by Bon Iver - He is so detailed in his description of bags of blood, I have to believe that he actually had a conversation with someone he loved at a blood bank, discussing the differences between people's blood... which is... interesting. It is also vital to this song to understand that the two separate memories he tells about are very closely related because he is explaining the variability of relationships and how to decide whether it is prudent to enter into an affair or to be your own person and indulge in lonely behavior. Of course, it never hurts to be told really emotional things like this with Bon Iver's delicate crooning and layered harmonies that build throughout with such simple complexity, unmatched by other singers in his genre. 10. How It Gets In by Frightened Rabbit ft. Julien Baker - Your first question after listening may very well be "how what gets in?" as my first question was this exact thing. Maybe what gets in is this undeniably wonderful call and response song along with angelic harmonies. But maybe, what gets in, at least in terms of this song, is the literal healing of an open wound and how to properly dress it and make sure it doesn't get infected, or at least that was what was accounted by the singers in question. I interpreted the song to be a recounting and lesson on how love can come into one's life in unexpected places, and how just because there was hurt and pain in the heart for a long time, does not mean it has to stay that way forever. 11. NFWMB by Hozier - This acronym is probably the smartest thing I have experienced in a song's title in a long time: NFWMB is really Nothing Fucks With My Baby, expressed in a classy way, courtesy of the forest prince and love of my life, Andrew Hozier-Byrne. As always, there are several biblical references and apocalyptic death metaphors, which always leaves me feeling very confused and inspired at the same time. The very jazz and blues influenced low key rock song is so different from other love songs that it kind of creates its own category in that sense. It is described by others as "the love song for the end of the world" therefore going back to my feelings of apocalypse, decay and biblical tellings. 12. One In A Million by Hudson Taylor - "You gotta be cruel if you wanna be kind" ok this just hit me way too hard and true. The only way I even discovered this artist is actually because they are opening up for the Hozier concert I am attending tonight and now I am super excited to see them perform as the opening act as well. They remind me of a toned down version of The Kooks in a lot of shared vocals and chord progressions and upbeat instrumentals, except they are a duo hailing from Ireland and they classify themselves a folk band, though the punk/alternative rock influences found in this song are undeniably present. Also present is the message of knowing someone doesn't care about you the way you care about them and needing to be released from that sort of madness... cool. 13. Into The Mystic by Van Morrison - I'm probably not introducing anybody to this song for the first time right now and certainly not the last, but something about the changing of the seasons and the shift of weather from summer to autumn calls out to the mystical and slow dance vibe that this classic and iconic folky rock song inspires. There is absolutely nothing better than the buildup from quiet lull to the horn heavy chorus and interlude that just makes you want to stop and dance wherever you are in your day. Another musical aspect that is highly appreciated by yours truly is the intricate acoustic guitar rift that is taken and shifted into a lot of newer acoustic based songs that we hear all the time these days. The past influences the present and the present is heard in the past all the time, especially in music. 14. Size Of The Moon by Pinegrove - Shifting into a more heavy punk, angst themed style of music is this memory driven song which tells us about a time where the speaker is thinking on the communication issues that occurred in a relationship and how they could have easily been remedied, but there was no effort on the other half's side. From an interpretation of the song, one person smartly said, "It’s really easy to indulge in nostalgia when you’re at a rocky part of a relationship. Suddenly everything appears better than the present, no matter how imperfect those times were." I have to concur with this notion because our perception of the past changes over time and when we miss someone, at times, we look at bad memories and they even start to seem better than being alone... but they are not. 15. Kathleen by Catfish and the Bottlemen - Another song geared towards a relationship not working out the way it's supposed to is from a band that is one of my all time favorites. Their comical British style of lyrics is so appealing to my American way of thinking of things and the heartfelt honesty heard in their songs play along quite nicely with the super power rock style in which they are written. This tune in specifics, is not about the past, but the present and trying to reflect on what is going on in the "now" which is a really complicated thing to try and do, when you are infatuated with someone. The instability is heard not just in the lyrics, but also in the interchanging chords of the electric guitar and the fast paced anxiety ridden drumbeat, which is awesome.. 16. Holland, 1945 by Neutral Milk Hotel - This band is one of the weirdest, coolest ones that only the people who love grating vocals and intense lyrics can truly appreciate to the desired capacity. The whole album, from the 90s, "In The Aeroplane Over The Sea" depicts the story of Anne Frank and the tragedies behind what happened to such an innocent person, along with her youthful romance and how it all devolved in such a short time. A lot of fans of this album have also speculated that there is a second layer of meaning between the World War II references, being that is expresses the kind of tension and tragedy that occurs when you lose some so important in your life, and how the mourning of this loss can only be remedied through appreciating this person afterwards. 17. I'm Not Gonna Teach Your Boyfriend How To Dance With You by Black Kids - Okay, so I'm pretty sure that we can all understand the meaning of the song strictly through the title of this song, negating my opinion before on how you should not judge a song based on its title... well in this case, you can absolutely do that. Not only does it have the best dance tune in the world, but it is also so adorable that the singer's only common connection with the girl he is speaking about is their affinity and adeptness with dancing. Although I definitely have "two left feet" as the singer describes the boyfriend having in this song, I relate to this in terms of music. If there is a person who I really care about, the connection I automatically have is usually in a musical sense, and I am greedy about this relation. We all have something we won't teach someone else's boyfriend/girlfriend if we care about them. 18. 123 by Girlpool - I love this so much. It depicts a relationship where the speaker is asking the partner/SO to tell them everything that is wrong with them in a really sarcastic and aggressive way. It's comical and honest and vulnerable all at once which I have to give a hand for because mixing comedy with painful relationships is something that I always attempt in my writing. The song deals with an interpersonal relationship that is simultaneously “toxic and loving" as described from a contributor on Genius Lyrics, which is a website I often refer to on advice and other commentaries on music I really enjoy. The girl rock power that is disseminated with this track is so strong and empowering, for any gender, so please don't hesitate to sing this when you're feeling angsty about someone. 19. Million Years Ago by Adele - I don't think I ever really talk about my deep appreciation for Adele on here, because I try to branch out from popular artists and focus on more under-appreciated and undiscovered types; but I'm making an exception because although she is one of the most iconic voices of the modern generation, this specific song is so underrated in terms of her best songs. It sounds so french/spanish acoustic ballad inspired and makes me feel like I am transported to a black and white film from the 50s with the sadness and depth that it gives me in such a simple way. It ALSO follows along with my theme of the week, which is looking back in order to look forward, because she sings about the troubles of missing things from the past and dealing with the issues of transforming into a different person. 20. Apocalypse by Cigarettes After Sex - Finally, one of the best mixes of every song I have spoken about previously, is this moody sad love tune by the moodiest, saddest, love bands of the modern generation. There is an unspoken cheesiness of Cigs After Sex songs that for some reason, I am completely enamoured with because I feel like the notion of expressing things in a hyperbolic way has been tossed by the wayside. This group brings back the feeling of needing to tell someone how much they care and not caring about what anyone else thinks, which is important in a world that so often ridicules the ridiculous emotions that love brings about. In particular this song speaks to the feelings of needing to get someone out of a feeling they are trapped in, so to be with them fully, and telling the person they will be there in their lowest and darkest times. 

Hope you enjoyed listening with me, see you next week!

[uschickens]

Getting to know you meme

Okay. Okayokayokay. I said I was going to post more, actually engage more, so that requires, you know. Actually posting more. (Plus @momosandlemonsoda has graciously tagged me twice now, with no response from me, and that shall not stand!)

So. That meme thing going around.

Part I

name: Fannishly, I’m uschickens pretty much everywhere. Back in The Olden Times, I used Vix as my first name with uschickens, as in short for Vixen, as in a fox in the henhouse, which, like so many things with me, is so obscure as to only amuse myself.

star sign: Sagittarius, which seems a little ::skeptical headtilt:: at first, until you pair it with my Gemini rising and Virgo moon, and then it becomes a lot more we-know-but-hey-john-mulaney.gif

height: 5'5" (165.1cm)

time: 11:12pm

birthday: every handful of years, it coincides with Thanksgiving, so I get cake AND turkey.

nationality: american

fave bands/groups/solo artists: Like, currently listening to, or of all time, or or or??? This is a loaded question! Recently, Taemin’s Never Gonna Dance album hooked me hard. My other most-played playlists are called “last of the hardcore troubadours,” “frenzied banjos,” and “forest gods,” so I’m working the alt country/folk pop/whatever Florence and her Machine and Hozier have going on. Oh, and the Sleep No More soundtrack, so 1930s jazz, Hitchcockian strings, and edm all mashed together.

song stuck in your head: not even a song, just the one line from Taemin “we were just two kids/too young and dumb” over and over and over on repeat.

last movie you watched: I...have not watched a movie in a long, long time. Possibly a Knives Out rewatch? It Part Two? No, all my media consumption time lately has been devoted to...

last show you binged: All Things Tomb. I started watching reboot in, hmmm, late October? Early November? And with very few exceptions, various dmbj adaptions have been ALL I watched since then. It’s...kind of a problem. It goes in fits and starts, not a true binge since reboot, except for some blocking-out-the-outside-world plunges into Ultimate Note in early January. Reboot is the Tomb of My Heart, with Sha Hai a microscopically close second. Chen Minghao is my one! true! Pangzi, with surfer!Pangzi from tlt2 being a worthy predecessor. I am mostly here for post-Bronze Gate Wu Xies, and I vastly prefer the more realistic fighting style of reboot!Xiaoge than emo!XG, mathnerd!XG, or dancer!XG. But this was supposed to be about a binge, not my Standard Tomb Opinions Dissertation.

when you created your blog: 2010? There was a brief period when apparently I used tumblr for...interior design porn?? Rather than porn porn??? I quickly learned my lesson.

the last thing you googled: firstly, that would be the last thing I duckduckgoed, if we’re being strictly accurate, but I digress. It was [Richard Diebenkorn Guggenheim], part of a long-running conversation with my dad, who is a landscape painter currently going through an abstract expressionism phase. It’s getting wild up in here, folks.

other blogs: as I said, uschickens everywhere, by which I mean Twitter and dreamwidth and ao3.

why i chose my url: back in The Early Days of Livejournal, I lurked even more than I do now, so when I finally took the plunge, I couldn’t resist going with a name that really captured my inner Do Not Perceive Me, crossed with big band music and Louis Jordan. Ergo my tag line was “ain’t nobody here but... [us chickens]”.

how many people are you following: fuck if I know

how many followers do you have: fuck if I care

average hours of sleep: NOT. ENOUGH. But better than it used to be; see also my Twitter for some of the more bizarre paths my mind goes down when I’m in the middle of a juicy bit of insomnia.

lucky numbers: 3

instruments: a couple decades of piano and a solid eight months of French horn.

what i’m currently wearing: the dress I wore to work over pajama bottoms. I’m getting ready for bed, I swear. Halfway there!

dream job: ::hollow laughter:: I feel I would be excellent at being independently wealthy, at which point all my time would be devoted to travel, food, and writing about/photographing that travel and food, plus whatever experimental theater/circus/dance performances I happened to run across. But I shudder to think of actually relying on that sort of writing/photography to earn my keep, because there’s no faster way to kill my joy in a thing than to make it an obligation. Is “dilettante” still a thing? I’d be very good at that.

dream trip: do you want that chronologically or alphabetically? I have spreadsheets! I *will* be going to Singapore once all this ::gestures vaguely at the world:: sorts itself out. There’s a weeklong food tour in Mexico City for which I have lust in my heart. I want to rent a beachside with a million bedrooms for a month and just have friends show up for as much or as little of that month as they want. When I want true escapism, I look at the Aman hotel website, pick a location at random, and decide which suite I would like for a) myself, solo, b) myself with family, c) myself with friends and d) whichever characters currently live in my brain.

fave food: ha, I couldn’t pick a favorite band, and you want me to pick a favorite FOOD? Gumbo. Spaghetti and meatballs (but only good ones). Georgian khachapuri and aubergine satsivi. Fresh strawberries and cream.

top three fictional universe you’d like to live in: something written by Diana Wynne Jones, because it’s always a good mix of fantastic and pragmatic, with fundamentally decent people. Probably Howl and Sophie’s neck of the woods. Star Wars, because fuck it I want a lightsaber. And faster than light space travel. And I can’t think of a third offhand, but something with magic. Because if you’re going fictional, go big fictional or go home.

Part II

last song: the moody acoustic version of the Guardian theme song.

last movie last stream last podcast: We’ve already talked movies, and Vix Does Not Stream, so let’s go to the only thing that means my laundry gets folded in a timely manner - podcasts. I would be remiss in not mentioning the primary ‘castular joy in my life, the I Saw What You Did pod, which is two fortysomething women of color talking nerdily about two movies based on a theme each week. You’ve probably never seen most of these movies, and it doesn’t matter in the slightest. They themselves are a delight, and it’s exactly the sort of chewy discussion over media that I adore, especially because it is not done in an exclusionary, clerk-at-that-one-independent-video-store-who-always-seemed-to-be-sneering-at-your-choices way. Highly recommended. But, uh, the one I really should talk about is All About Agatha, a very good podcast reading and ranking all of Agatha Christie’s novels in order, because it is an excellent segue into...

currently reading: ...the fact that I am a solid 80% of the way through all of Agatha Christie’s novels in audiobook. In, like, the last two months. I haven’t read a book with my eyeballs since ::gestures vaguely at the world again:: (wait, no, I made it through the dmbj novels, for better or for worse), as reading with my eyes seems to be reserved for fic these days. But I am plowing through these audiobooks like it’s a part-time job. What even is life if not narrated by Hugh Fraser at this point? I’m not sure if I recommend the endeavor or not, but I and my knitting and my mystery audiobooks will be over here getting our Miss Marple on as long as possible. (For the record, the audiobooks have edited out some but not all of the egregious bits of racism but left most of the anti-Semitism. So, uh, there’s that.)

currently watching: Mystic Nine, my last full Tomb series. The only I’m not going into preemptive withdrawal is the presence of several side stories on iqiyi with English subtitles. Naturally not the ones I really want (heeeey, Liu Sang vs haunted paint can, plus whatever the hell is going on with Hei Xiazi from last month), but needs must. I suppose after that, I’m back to a reboot rewatch, for fic research purposes, if nothing else. I mean, I suppose I could watch a non-dmbj property? Like the backlog of recommendations I’ve been collecting?? Sounds fake, but okay.

what is antipoetry to you: I’m going to go out on a limb and say it’s another form of poetry. Something something even by rebelling against the form one is inherently bound by its concepts, especially when one tries to define oneself in opposition to something one cannot help but be shaped by it blah blah.

currently craving: I could say something existential about what the pandemic has made me yearn for (live! theater! with! friends!), or I could talk about the roast pork from Big Wong’s that I’m seriously contemplating for lunch tomorrow, but what I want most right now is for the goddamn construction crew that dug a hole in the road right outside my window starting at 10pm would finish and go away ASAP.

[angrycollectordaze-me-blog]

Essay代写：The reasons for Britain's decline

下面为大家整理一篇优秀的essay代写范文- The reasons for Britain's decline，供大家参考学习，这篇论文讨论了英国衰落的原因。英国是世界上第一个现代化的国家，但由于没有一部成文的宪法，使得英国人在面临各种新的挑战时不能立即做出有效的反应，而且在新的发展机遇中又慢了半拍，所以导致英国逐渐开始衰落。虽然英国仍然是强大的，经济仍然是繁荣的，但人们对英国的进步速度和衰落情况的估价却是十分悲观的。

​The specific manifestation of Britain's decline is first of all an economic phenomenon, mainly due to a series of negative factors that come with the loss of the status of "world factory". The original advantages begin to turn into some heavy burdens, including the old production department, stereotyped technology, backward management mode and so on. The old production sector refers to the traditional industrial sector which has long dominated the British economy, while the new production sector has been slow to develop. The basic attitude of the British business community has been conservative for a long time. It is unwilling to adopt foreign advanced technology and pays no attention to technology education, so that there is a lack of innovation and conformity in technology. The backward mode of operation and management refers to the traditional operation and management that the British economy has long maintained in the early stage of capitalism. Both the scale and organization of the enterprise and the management of the enterprise are far behind that of the United States and Germany. All this has not only undermined the international competitiveness of British industry but also accelerated capital outflows from the UK. The premature rush of capital abroad, in turn, affects the UK's growth rate, further diminishing the role of British industry in world competition.

And the ranks of the elite, which are crucial to economic life, are unstable in Britain. The poor economic treatment of the British business community has led to a regrettable exodus of engineering and management talent.

An important factor in Britain becoming the first industrialized country was its unique social structure. It was not a two-tiered social structure of the upper and lower classes, as in much of Europe at the time, but a strong middle class. It was this unique social structure that gave Britain the dynamism that no other European country had at the time, and the industrial revolution was driven by the ability of the middle class to engage actively in business. By the Victorian era, the middle class had won the victory, and the land aristocracy was losing its political and economic advantages. But this trend does not mean that the aristocracy has died out and been kicked out of history. In the first half of the 19th century, a series of political struggles surrounding the poor law finally enabled the aristocrats to reshape the image of their social masters, while the wealthy bourgeoisie had to modify the image of its nouveau riche and unconsciously drew closer to the values of the aristocracy.

One of the most important features of this is the enthusiasm of the middle class to buy property. Real estate is not purchased for new agricultural investment, for the development of agriculture, but purely for the enjoyment of the enjoyment of owning land. In other words, the formerly enterprising bourgeoisie is now moving towards the spiritual world of the landed aristocracy, which is gradually giving up the spiritual elements that made their predecessors successful, and accepting a new concept gentleman that has nothing to do with the competitive industrial spirit. And this concept is essentially the revival of old noble values in the new situation. As Russell put it, "a gentleman is a concept invented by the aristocracy to keep the middle class in order." Moreover, the British aristocracy was relatively loose and fluid, and this unique structure made it easier than other European aristocrats to absorb new elites into their own ranks. From 1837 to 1911, according to pomfrey's statistics, the number of people newly elevated into the British aristocracy increased, from about 10 percent in 1837 to 43 percent in 1911. Moreover, British industrialists began to "merge" with the aristocracy, and some of the British monopoly groups that emerged from this were characterized by the importance of the aristocracy. Industrialists began to be economically associated with aristocracy a century ago, and later more socially and culturally integrated, and the habit of having a knighthood adorning the boards of large corporations remains. Between 1978 and 1979, 31 jazz and 11 lords were selected to chair Britain's 50 largest industrial companies and 24 savings and trade Banks. When British entrepreneurs began to imitate the aristocratic way of life, the company's vitality was also lost.

Britain attaches great importance to the culture and lifestyle of gentlemen. An important characteristic of a gentleman is the pursuit of a pastoral life in the first place. When the middle class imitates the image of a gentleman as their own, he loses the industrial spirit on which he owes his success. As Sir Henderson put it: "the British way of life is to be absorbed in the leisure of life rather than work." Britain has been able to maintain its edge for a century, thanks in large part to the British spirit of innovation. This constant spirit of enterprise and innovation is the so-called industrial spirit. By the middle of the 19th century, smiths and others had regarded the industrial and agricultural revolutions as the greatest achievements in English history. But in modern English literature, the quintessential British ideal is a longing for an idyllic way of life, while industrialization is associated with "the devil factory of darkness". Many industrialists regard industrial and commercial activities only as a kind of part-time work. There are often some very successful entrepreneurs who have completely left the industrial and commercial industry. Such a mentality is most prominently reflected in the development of the family company in the UK, which was the first in history to produce a variety of family-based companies, but has been slow to form bigger monopoly companies of non-personal nature. Because these successful entrepreneurs, they have for their family to earn a comfortable environment, oneself also has an enviable social status, what he needs now is to have more time to enjoy the holiday weekend, go to all kinds of the recreation of a gentleman, no need to dwell on "action". As a result, they are more likely to view their social roles in a casual manner.

Due to historical factors, Britain has long pursued a liberal economic policy, which is beneficial to its development when Britain is the only industrial power in the world, because it is conducive to the dumping of its own products to other countries. It is a small island, the population in 1890 also however 37.4 million, rapid industrialization and urbanization makes 78% of its population is the urban population, thus more than its rivals in the industrial aspects of the working population, so the world's major powers such as America, Germany, France and Russia before the main rivals could challenge it. However, it was in 1870, at the acknowledged height of British history, that virtue and other industrialized countries began to catch up. Their goods not only solidified their home market, but also entered Britain's former sphere of influence. The protective tariff policy of Germany in 1870, and the same policy of France and the United States in 1890, both largely hit British export trade. Due to other constraints, the British government could not abandon the principle of free trade before the first world war. It is not only the responsibility of the government to make decisions, but also related to various industries in the UK. For example, the cotton industry relies on foreign markets for raw materials and finished products. The urban population of the UK is largely dependent on imported food. All these factors make it difficult for the British government to take drastic measures. The most fundamental reason, however, is the age-old British belief that government intervention is an activity that benefits only a few and serves vested interests. Under the restriction of such habit, the British government has failed to adopt some effective policies for development for a long time. The neglect of technology education, for example, prevented Britain from providing enough skilled workers in the late 19th century, as Germany and France did. For some important areas of scientific research, the government has failed to adopt active support policies, but left it to its own fate. Even in the 1990s, British vocational training was second to last among the 22 developed countries. It is even more incredible that there is not a single minister in the British government who is in charge of industry. Economically, the British government has failed to effectively help its industry development, but in foreign policy, the British government is intentionally or unintentionally increasing its economic burden. Despite the decline of Britain's national strength and the repeated declarations of its withdrawal from all parts of the world, it has yet to withdraw any of its colonies voluntarily. In this respect, the failure of British politicians to properly assess the strength of their country and to properly position themselves in international affairs has increased economic pressure on the UK and, to some extent, accelerated its decline.

The United Kingdom is a "free developing" industrial country, in its development process formed a number of interest groups.

However, these interest groups often put the interests of their own small groups in the first place, and in order to seek the interests of their own small groups by hook or by crook. Special interest groups mainly focus on the distribution area, and how to improve the production efficiency of the whole society is not a matter for individual interest groups to consider. This is particularly evident in the UK's Labour movement and Labour organisation. The struggle of the Labour movement was mainly aimed at the area of distribution. As the UK was the first industrialized country, its history of union structure and labor relations also had something special: there were no unions by sector in either France or Germany. A person's membership depends on his industry, not his industry. In this way, it is impossible for an industry in an industrial sector to seek its own interests at the expense of other industries or the whole enterprise. There are far fewer unions in France and Germany than in Britain, and the number of union members makes up a much smaller proportion of the workforce than in Britain. In other words, Britain's unique union structure makes it harder for employers and workers to reach a compromise. In addition, trade unions and similar organizations have reduced the ability of societies to absorb new technologies to reallocate resources in response to changing circumstances, thus lowering economic growth rates.

At the end of their development, these similar interest groups often develop an instinctive xenophobia. For example, if the number of surgeons is too large, the salary of doctors will decline. As a result, doctors' associations around the world have always instinctively limited their membership.

The formation of interest groups is inevitable in every society. How to eliminate the negative influence of these vested interests in the development is a problem that every society must face, and it is also a problem that has not been solved effectively by effective measures up to now. Relatively speaking, the longer a country has been in the stage of social development, the more difficult it is to remove these interest groups, and the greater the resistance it will encounter in the process of further social development. Britain was the first industrial country to carry the most weight.

Britain was the first modern country in the world, and in many ways it "crossed the river by feeling the stones". But Britain has been in history without a written constitution, results after the glorious revolution produced by the British government agencies or aristocratic, basically not only makes the British achievements in history without fixed in the form of law, and makes the British people have always when facing new challenges not immediately respond effectively. Former U.S. secretary of state John acheson once said that Britain had not found another role for itself after losing its empire, so that it was half way behind in new development opportunities. Although Britain is still strong, its economy is still prosperous, its people are still patriotic and British people still think that Britain is the most livable place in the world, but people's assessment of Britain's progress and decline is very pessimistic. Most people believe that no matter how much wealth they own, the fate of their country is unfortunate and getting worse.

The analysis of the causes of the decline of the United Kingdom suggests that the development of any nation needs a spiritual impetus and pillar, without which no development can be sustained. With the improvement of living standards, the original spirit of hard struggle will gradually fade, which is a social trend that does not change with the will of any individual. To ensure that the original spirit of struggle is not lost, change on the institutional level is inevitable. In other words, a nation's creative vitality depends on both its spiritual level and its institutional level. From the Angle of consolidating the victory achievements, the reform at the system level is more important.

At a deeper level, Britain's decline is a foregone conclusion. As a small island country, Britain first started the political and economic revolution of the bourgeoisie, and occupied quite a few colonies. At one time, Britain played a role that was not commensurate with its actual capacity, and became a so-called empire that never set foot on the sun, which is what we call a superpower. But this excessive expansion itself is abnormal, "detumescence" is only a matter of time. In this context, it can be said that no nation state can long "benefit" from historical opportunities. It can only and should only use the capabilities it actually has.

In other words, it is very difficult for any country to obtain improper interests for a long time by virtue of a certain advantage in today's world. This is the dialectic of history and the most important revelation we get in the process of discussing the causes of the decline of Britain. If we cannot properly position ourselves, we will always try to play a "role" in international affairs. We should regard international affairs as our domestic affairs, seek inappropriate interests and assume inappropriate obligations, and any great power will decline. In this sense, "superpower" is just a synonym for impending decline. Our leaders' assertion that China is not doing it now and will never be a superpower is a wise judgment with a deep historical perspective.

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