#this was on Cyr's stream from the other day

[spazoutloud]

"....my legs haven't stretched that way at all. 'Cause I'm so straight! I've never opened up my legs like that."

[deadcactuswalking]

REVIEWING THE CHARTS: 14/09/2024 (Linkin Park Reunite! + Central Cee/RAYE, Fred again.. - ten days)

Sabrina Carpenter may no longer hold the top three of the UK Singles Chart but she still hangs onto the top two with “Espresso” at #2 and “Taste” at its third week at #1. It’s an interesting one so welcome back to REVIEWING THE CHARTS!

content warning: language, discussion of sexual assault

Rundown

As always, we start with our notable dropouts, those being songs that exit the UK Top 75 (which is what I cover) after five weeks in the region or a peak in the top 40. This week, we bid farewell to a long list of hits, including “Double Life” by Pharrell Williams, “Bring Me Joy” by Rudimental and Karen Harding, “Pour Me a Drink” by Post Malone featuring Blake Shelton, “misses” by Dominic Fike, “360” by Charli xcx, Badger’s remix of “These Words” by Natasha Bedingfield, “Fortnight” by Taylor Swift featuring Post Malone, “Happier” by The Blessed Madonna featuring Clementine Douglas, “Dancing in the Dark” by Bruce Springsteen, “Houdini” by Dua Lipa and finally, “Evergreen” by Richy Mitch & the Coal Miners. Whew.

Now what ended up replacing this mass exodus of songs? Well, other than the new tracks, which we have plenty of, we also have re-entries for “i like the way you kiss me” by Artemas at #74, “Iris” by the Goo Goo Dolls at #69 and “Numb” by Linkin Park at #41, which we’ll get to. We also see a few boosts for “Scared to Start” by Michael Marcagi at #65, “Belong Together” by Mark Ambor at #59, “Carry You Home” by Alex Warren at #36, “WILDFLOWER” by Billie Eilish at #30, “We Play” by Coldplay and friends at #26, “The Door” by Teddy Swims at #16, “Sailor Song” by Gigi Perez at #13, “Move” by Adam Port, Stryv and Malachiii at #12 and “Somedays” by Sonny Fodera, Jazzy and D.O.D at #10, with most of the higher gains filling in for Oasis losses.

Our top five in the UK Singles Chart this week consists of: “Please Please Please” by Sabrina Carpenter at #5, “The Emptiness Machine” by Linkin Park at #4 (yes, I know, we’ll get to it), “Good Luck, Babe!” by Chappell Roan at #3 then of course, Sabrina with the top two. As for what’s below, it’s pretty interesting so let’s start right at the bottom.

New Entries

#75 - “Embrace It” - Ndotz

Produced by RJ Pasin

We start with… what? Okay, so Ndotz is a rapper from the UK who imitates Cash Cobain’s cover art gimmick on this single’s art, but the music is anything but, going for a bass-heavy rhythm not dissimilar to a Neptunes beat but with bass so blown-out it basically comes as its own bass-boosted meme version, which makes sense given that it’s barely two minutes, mentions TikTok in the chorus and commands girls to twerk, presumably to this song, so the mystery is solved to why this cheap, kind of garbage mix is charting. The worst thing is, thanks to the silly acoustic guitar and the fact you can tell Ndotz is having some fun, I don’t even dislike this. I don’t want to give the obvious, somewhat cynical attempt at virality much praise, I don’t want to “hand it to ‘em”, but I gotta hand it to ‘em. It’s just somewhat funny, and that’s pretty much all it wanted to be. Sure!

#71 - “Circadian Rhythm” - Drake

Produced by London Cyr, Ben10k, Eli Brown and Gordo

So, the embarrassed post-beef Drake has been posting songs on social media, leaking them to his website, hoping the sample gets cleared, then tossing it onto streaming if the reception is positive, and this has been vaguely unsuccessful, with the songs - even potential hits like “It’s Up” with 21 Savage and Young Thug - not making much noise, even with Drake still dissing subliminally throughout these leftovers. This song from the latest re-release of 100 GIGS - in reference to the realest thing he’s ever done: dump a bunch of useless files on a website because he felt like it - is billed as somewhat of a sequel to his 2013 song “The Language” but this all just feels like a demo. The chorus is primarily drumless, filling space with a chipmunk sample, and the verses have oddly webby-sounding snares, with Drake’s verses not fully equipped to the beat yet, and some unclear vocals if I’m being honest where I absolutely had to check what he was trying to say. This might be common for Future but definitely not Drake, whose nasal drone has never been indecipherable. The song ends abruptly, has frankly nothing to say with pretty minimal and vague lyrics about the rap game betraying him and shouting out Toronto artists, which may be the realm he should be in: part of Kendrick’s critique was his lack of identity, and harkening back to when Drake was at least marginally closer to his birthplace may be a step in the right direction regarding that. If this is the Toronto sound, though, this may be the drowsiest of all time because this is clearly a dull leftover, and for Drake, whose discography is no stranger to dull leftovers, when it’s this obvious, that’s just sad.

#70 - “I Adore You” - HUGEL, Topic and Arash featuring Daecolm

Produced by HUGEL, Topic, A7S and Late Nine

The only names I recognised here were Topic and A7S, who had some hits together in 2021, namely the top 10s “Breaking Me” and “Your Love (9PM)”, which were both okay slices of European deep house. Here, the German and Swede DJs team up with HUGEL from France, Iranian singer Arash Labaf who represented Azerbaijan in Eurovision years ago and South African-born Daecolm for a considerably multinational collaboration. Music really is borderless these days so I was interested on how this would mesh, and whilst you can definitely hear Daecolm bring an Afro-house rhythm in both the percussion and higher-register vocals, they’re inserted into a more generic tropical house template that doesn’t allow the organic sense of much of the African music that charts nowadays translate very well. I appreciate the strings in the back of the chorus, but with such an echoed mix and incessant “la-la” vocals, the final product renders as overproduced with very few realised sonic ideas, just kind of an unemotive noise, which is disappointing but might be expected with four lead artists, four producers and a short runtime that aligns strictly with the typical EDM build-drop format, but without much impact as everything is a wispy cloud, made to soundtrack adverts telling me to visit the Canary Islands rather than actually form that solid of a groove or string me along with an anthemic hook. It just kinds of floats in the air, but with a stiffness brought to it by how programmed it all is, and how there’s little in the way of actually unique sound design. I suppose it joins “Move” in this niche category of international Afro-house tunes which set the energy to negative numbers, but we didn’t really need another one.

#68 - “BABY I’M BACK” - The Kid LAROI

Produced by Rogét Chahayed and Dopamine

I know this looks bad with The Kid LAROI and Drake, but I promise you that there is interesting, worthwhile and genuinely amazing music coming up, it’s just that there’s plenty of less impressive stuff to get through also, like all weeks. I was faintly interested to see LAROI collaborate with UK DJ group Dopamine, who typically don’t collaborate with rappers necesssarily, but that quickly left me when I realised it was another lazy sample flip. As I always say, the story starts in 1977, when Player released “Baby Come Back”, cheesy soft-rock adult contemporary schlock typically schmaltzy of its era,  but just catchy enough to be a semi-ironic guilty pleasure, which Yung Gravy understood when using the track as the basis for his comedic storytelling track about MILFs, “Cheryl”, from all the way back in 2017. So why The Kid LAROI wants to try and get us to believe it as a semi-serious breakup narrative with some toxic piss-offs but still loving platitudes, is completely beyond me. The original song by LA band Player peaked at #32 over here despite topping the charts stateside, though Vanessa Hudgens brought it back to the chart by sampling it on 2006’s “Come Back to Me”, peaking at a whopping… #100. Mr. LAROI’s rendition is largely pointless, with a weirdly-mixed chipmunk variation of the hook, where you can tell it transitions to a version where the vocals may have been removed through an AI website, which is largely covered by the drums, so why so much of the song actively presents the sample without them is also beyond me, the drop doesn’t hit hard or anything. I suppose the bridge’s flip on the original hook with the pianos is sweet, but LAROI doesn’t have the soul in him to pull this off, at least not yet. Sorry, it gets close to being… okay, though.

#66 - “Neva Play” - Megan Thee Stallion featuring RM

Produced by LilJuMadeDaBeat, Shae Jacobs, B Ham and Peter Fenn

“Neva Play” is the newest single from Texas rapper Megan Thee Stallion, coinciding with the success of her VMAs hosting and her other stateside hit “Mamushi” with Japanese rapper Yuki Chiba, by bringing Korean rapper RM, of BTS fame, to the fold, though Megan had remixed “Butter” before so this is not the first time they’ve crossed paths. Hilariously, Megan makes what appears to be an active attempt to keep it clean here, to fit with BTS’ young fanbase, seemingly unaware that RM was not afraid to drop F-bombs anyway. Other than that trivial note, the song’s pretty cool, there’s a minimal phonk beat that really brings into question why it needed more than Megan’s long-time collaborator LilJu to bring it together, though the distracting deep backing vocal is a bit off-putting in the verses. Megan has a lot of charisma, and whilst the content isn’t anything new - or really anything referencing East Asian culture outside of a “Hadouken!” ad-lib - her verse is a lot of fun. The counting chorus feels a bit basic or immature for this kind of banger, but RM brings a really compelling verse here. In fact, he outperforms Megan by just being really interesting - I wasn’t familiar with just how deep his drawl could go, pairing interestingly with Megan by smokily floating in at the end of the chorus and quickly going into a staccato verse about how he paved the way for Asian artists, before swtching into different flows and paces, including one moment where he purposefully kills all momentum of his verse to echo into a different cadence that feels very fittingly Memphis and also surprisingly catchy, with a decent amount of unique character and swag to his warm tone that he later brings onto the final chorus. Without RM, this would be a fine if typical Megan track, but his performance is pretty interesting if not a bit awkward or slightly abridged, and I like to hear the BTS members stepping into weirder cadences and musical ideas. More of RM would be interesting to hear.

#64 - “peace u need” - Fred again.. and Joy Anonymous

Produced by Fred again.., Joy Anonymous, Barney Lister and Will Bloomfield

So this week, Fred again.. released one of my favourite albums of the year, ten days. I spoke more about this on my RateYourMusic 2024 listening log - account name: exclusivelytopostown - but in summary, the album acts as what I would imagine as a picturebook, a collage of postcards reflecting on a particular Summer wherein those memories are all stored in layered, gorgeous progressive house taking motifs from more ambient directions and placing them into slow-burn atmospheric dance tracks. Outside of “adore u”, I love pretty much all of the songs on there, and it’s an incredibly cohesive listen despite the fact that we hear so many different voices thanks to it consisting primarily of remixes, and perhaps succeeds in part due to that as we get to hear different stories that all tie into the reminiscent feeling of wishing you could experience that Summer all over again, with the sound collage interludes forming a togetherness that is really touching and reflects on Fred’s collaborative spirit.

“peace u need” is yet another highlight, with perhaps the most strident attempt at making a classic 90s house piano banger considering the faint crowd cheers and vintage piano notes placed against a falsetto moan not dissimilar to Moby’s “Why Does My Heart Feel So Bad?” - at least that’s what it reminded me of. This track is a rare example of Fred providing his own vocals, longing for a relationship that has passed but hoping for amicability and fulfilment on both sides, given how lost he is without them but also how much they put into making it work, though this can also function as an analogy for nostalgia. “I let you take a piece of me” - your identity is found in memories you can’t revisit but also end up remembering, or dreaming about, on those particularly “quiet nights”. He teams up here with UK EDM duo Joy Anonymous here, who do not disrupt or honestly, really add anything new to, Fred’s distinct, stuttering style and greatly uses his sample of Snoh Aalegra’s 2017 track “Time”, fabricating a semi-duet between Aalegra and himself that really manifests in a creeping refrain of backing vocals that eventually overrides the entire track, leaving little of Fred’s vocals remaining as the “silence” - the distance from that period of time - “clouding” the mix entirely. The organic drums that rumble on occasion from the middle section onward as well as the tiny blips of vocal rendered as practically a sound effect shimmering just a bit too high in the mix, exemplify the album’s constant instrumental mirroring of the beauty of the humanity he experienced and that of the electronics he’s using to express it. Much like nearly all of the album, this is an incredible if not too accessible track, eschewing a pop structure for clearer and more concrete progression, including a weirdly eerie bass warp coming in at the last second to end that timespan for good. I don’t see it making a second week at all, but it’s absolutely worth your time, and thankfully, we have another one of my absolute favouritess from the album right up next.

#57 - “just stand there” - Fred again.. and SOAK

Produced by Fred again.., PARISI and Tobias Wincorn

ten days debuted just outside of the top five on the albums chart at #7, but that is still an impressive feat for an album that is simultaneously a remix compilation and almost sound collage, with “just stand there”, primarily a spoken word piece as Fred has explored a couple times before, coming towards the middle of the album. The piece pre-empting it, “.four”, has a car ticking aimlessly in a spreckle of rain, before a sample of SOAK’s spoken word piece “I’m Alive” featuring Gemma Doherty begins. SOAK is a Northern Irish singer-songwriter who broke out in 2015, whose track here is used mostly to have a spoken piece sat in the middle of wonky, heavily-manipulated vocal loops surrounding, circling the story being told, though it’s a different one from the original, as fragments from it are re-contextualised and at times looped to emphasise the awestruck moment of having someone tell you that she loves you. They stand there, amazed by the connection they feel and the appreciation of being able to “hear a world”, which makes them feel alive. There are many ways to interpret what now registers as a poem, in fact I have contemplated, given how introspectively focused some of the details seem to be, to if the “she” is the speaker themselves and it is a track about a confused sense of self-love and recognition of the world around them.

I love the pitch-shifted, distorted vocal leads cutting in as the song produces a slight bounce alongside more organic drums faintly set out to the left of the mix, I love the rise of pianos elevating the relative mundanity of SOAK’s poetry, the self-appreciation they find in observing other people live their lives and internalising that wonder, and especially the stuttering vocal that transitions the piece outside of that distorted bump of a kick into utterly transcendent territory, once the poetry steps way out of reality and into the surreal: “all four seasons happen in one day”, and whilst they’re already lovestruck, quite literally stuck in place because of their overwhelming feelings, it becomes unbelievable. Hell, it becomes too much to continue to try envisioning, and the song fades into echoes of vocal and synth that phase in and out, whilst they remain. Without anything, despite everything, “she loves me.” The fact that this is sandwiched between “fear less” with Sampha and “places to be” is really unfair, an emotional rollercoaster in the mid-section of the album that is as gorgeous as it is utterly overwhelming, which fits the nature of not just this song but the conceit of the whole record. It’s one of my favourite songs of the year, as if Fred again.. didn’t already have enough of those, and I cannot recommend his latest album more. Once again, this basically cannot last a second week, but God, it deserves to. Now, what’s next?

#38 - “Moi” - Central Cee and RAYE

Produced by Harry Beech and Eight8

…Cench, did you have to bring RAYE down with you? Central Cee, as he becomes more of a global star, has been swiftly shredding my goodwill for him, becoming increasingly gimmicky and embarrassing, seemingly taking his status as our biggest rap export to fuck around and make sure we’re never taken seriously in the genre again. We have an irrelevantly lovestruck French intro from RAYE here, which is atmospheric enough, but is completely rendered pointless by a flexing set of typical Cench verses where he talks about threesomes, drugs, the fact that you just HAVE to mention him when talking about drill - no, I don’t - and thirsting for random women in the public eye that he should just leave alone. He leeches onto the gay jokes again in the chorus, over a decent 2-step rhythm that transforms in and out of a stiffer drill beat, but the more telling line may be: “They gave me a fish, they ain’t teach me fishing”. Cench never struck me as ambitious, so the platform he has, largely off of TikTok virality and connections, I think scares him as much as it does me when it comes to how he represents UK rap. What’s frustrating to me is that I think he knows other people deserve the spot he has, but he cluelessly stumbled into it anyway and isn’t really willing to let it up at this point. Instead, he continues dropping these loose singles - allegedly from an album called Can’t Rush Greatness… okay - as he appears less connected, much less convincing and all the more deluded. Take a break, man, make something worth the pedestal you’re giving yourself and maybe stop relying on what got you there in the first place.

#4 - “The Emptiness Machine” - Linkin Park

Produced by Mike Shinoda

“This is not what I had planned. It’s out of my control.” One of the most successful rock groups of the century, Linkin Park, and the music world as a whole, suffered a terrible loss with the death of their co-lead vocalist, Chester Bennington, in 2017. Since then, the band has naturally been dormant on much new material but have played concerts, some in tribute, and have released troves of unreleased or rare material in compilations and reissues of their earliest records. There had been some concerning moments, namely the AI video for “Lost”, but the treatment of the posthumous material was respectful enough, at least as much as I can tell as I was never the biggest fan of Linkin Park. I would not say they have any great albums that are consistently fantastic all the way through, but what they do have to me are plenty of fantastic songs and even more fond memories dating back to my childhood, so regardless of my overall opinion, they definitely hold a comfortable place in my heart. So this reunion, which had been rumbling for a while, was probably going to grant strong opinions from me regardless of who it was and, ironically, I actually did not have strong opinions on new lead singer Emily Armstrong’s performance during the live shows. The livestream featured the Dead Sara frontwoman singing “Numb” which honestly did not seem all too different or interesting, though it clearly gave it enough of a boost for the song to return to #41 this week. She has a good voice, she was clearly present and has the range to perform much of their material, and since they’ll be recording and releasing new songs, she does not need to “replace” Chester.

Here’s the deal, though: Armstrong is connected to the cult of Scientology, which is extensively controversial, with Cedric Bixler-Zavala of The Mars Volta and his wife Chrissie on Instagram criticising the choice publicly by connecting her with the group and accusing her of being present at the 2020 trial of actor, Scientologist and convicted rapist Danny Masterson, which she admitted to and called a “friend”. Chrissie herself was a victim of Masterson, and with Chester’s history of being sexually abused as a child as he admitted to Kerrang! and NME, naturally this sparked outrage amongst some fans and music nerds in general who found that the choice of lead singer does not reflect Bennington’s principles, trauma, experiences and what he both fought for and expressed in his music, which has always been angst-driven and, at times painfully, honest. I tend to concur that this was a tone-deaf decision and though not all of his family have been open or even disapproving, his son Jaime has spoken against the decision and also about how band members including Mike Shinoda have ignored his concerns, and even that Linkin Park “fans” have harrassed him over his public opposition to the new singer. Armstrong confessed in a response that she did indeed attend the trial but was mostly dismissive of the contents or identity of what the trial actually involved, claiming to be unaware of details that at the time of trial, were - as allegations - readily available, especially to someone familiar with the then-alleged, now convicted.

I do not have to tell you that I have enjoyed music by bad people, I do not have to tell you that Armstrong is not the worst person ever, I do not have to tell you that the other members of Linkin Park I’m sure already have skeletons in the closet. I do have to tell you that this sucks. A man who formed some of my earliest memories of enjoying and connecting with music having his former band return, without the acknowledgement of his own family, alongside someone who defended - though not as publically as others - a man who afflicted sexual violence onto others, when Chester has been sexually abused and wrote earnestly about his overall trauma on the very records his band members played on, just sucks to me, and it seems many others, including Jaime and including the Bixlers. I cannot imagine how Emily Armstrong can guiltlessly cover some of his songs, and even if she relates them to her own experience as many fans have, Hell, many audiences have in general, including myself, I can’t help but feel a gross element to that. Those aren’t just not your experiences, they are experiences you worked in part to dismiss. For many, the apology will be enough, and that’s fine. Hell, I’m still going to listen to that new album when it’s out and it won’t stop me from relistening to their back catalogue which has some of my favourite songs of all time, like “Waiting for the End”, “She Couldn’t”, “Given Up” and a ridiculous amount of modern rock classics. Linkin Park are still a great band, and their legacy is not torn by this. But doesn’t it just suck?

You know what bothers me the most? The song’s fantastic. Armstrong’s not Chester, sure, but she already has an impressive chemistry with Shinoda, whose voice seemed off at first but blends perfectly with her more breathy rasp, and as a songwriter, Shinoda is in full pop form, with fuzz and reverb alongside some fantastically muffled drums leading in the echoing verses until a very typical but still anthemic chorus about falling victim to perhaps misguided hope and optimism leading you on in a moment of vulnerability: giving your life and receiving very little in return. It was a clever move to have Shinoda lead in, with Armstrong driving the song from the second verse on, but appearing in smokier, backing screeches during the first chorus, and once the full band comes in, whilst it doesn’t go as hard as it could, it’s still an incredibly full mix as you’d expect from Linkin Park. The band may have replaced the singer and drummer, but the core emotive thesis that LP have been working with for decades may still be here, and honestly, for as much shit as I will give her “apology” and public connections to Scientology, Armstrong kills it here. I’m a sucker for some good pop-metal and whilst this is far from their best, it’s a killer track, I’ll give it that, even if it probably won’t last too long past this week - though it’s 2024 so anything could happen - and it comes with a lot of baggage that I don’t think anyone was looking for.

For chart trivia purposes, as always: “Numb” returns after peaking at #14 in 2003 and returning to #20 in 2017. When it peaked, the Black Eyed Peas’ “Where is the Love” was #1. Its official mashup version with JAY-Z’s “Encore” matched the #14 peak on three separate occasions across late 2004 and early 2005.

Conclusion

I didn’t lie, did I? It was a fascinating week with an array of genres, artists, stories and even quality, but Fred again.. sweeps the competition here, getting Best of the Week for “just stand there” with SOAK and the Honourable Mention for “peace u need” with Joy Anonymous. Worst of the Week is more of a toss-up because the worst this week has to offer is largely just mediocrity, but I think Drake takes it by default with “Circadian Rhythms” as Cench wastes even more of our time with “Moi” featuring RAYE as the Dishonourable Mention. As for what’s on the horizon: The Weeknd, Playboi Carti, Tate McRae, Charli xcx and Troye Sivan with Dua Lipa on the new remix, it could be a lot at the top of the hit parade next episode so prepare for that. As for now, rest in peace to Will Jennings, Frankie Beverly and the legendary James Earl Jones, and I’ll see you next week!

[103066791digcommunities]

Livestreaming and Parasocial Relationships

Video gaming in and of itself is a social activity, as people have digital citizenship within video gaming itself, and specific games and aspects of games (Hardwick 2022). Gaming is made even more social through the live streaming of games, particularly on sites such as Twitch.tv. On this site, many people stream games, but these same people “stream” their lives, in cooking, chatting, music and art streams, all on one platform. A sense of community is often fostered through these live streams, with a built-in, synchronous chat function (Leith 2021), as well as through other platforms like Discord (a social platform which hosts “channels” to have discussions on) and social media such as Twitter and Facebook (Kowert & Daniel 2021).

This fostering of a sense of community can lead to things such as parasocial relationships; a person (viewer) forms what they think of as a relationship through having an emotional connection with another person (performer, in this case streamers) that is not reciprocated (Kowert & Daniel 2021; Leith 2021; McLaughlin & Wohn 2021). These are generally made through parasocial interactions, as while the relationship itself isn’t reciprocated, some interaction is, as streamers read chat messages viewers leave, and thank subscribers and donators (Wulf, Schneider & Queck 2021).

This potential interaction shows a shift away from what was generally thought of as a one-sided relationship to a “one-and-a-half” sided relationship, as there is now chance for community members to be interacted with by the performer that was not once possible, through the aforementioned synchronicity of livestreaming (Kowert & Daniel 2021).

One popular streamer, who was once the most subscribed-to streamer on Twitch.tv, Ludwig Ahgren (Twitch All-time Streamers With Most Active Subscribers 2022), has been outspoken about how he perceives parasocial interactions. In talking about the phenomenon in his YouTube video I Am Not Your Friend (which you can watch in the embedded video above!), he states “I have 1 million subscribers, but I don’t know 1 million people… I don’t think I even know all my Facebook friends” (Ludwig 2020). He goes on to say viewers “shouldn’t form a relationship with me; at the end of the day, I’m entertainment… I don’t care about you, because I don’t know you – [and] I can’t”. In the same video, he includes footage of fellow streamer, Jschlatt, also talking about his view on parasocial relationships. Jschlatt said “[viewers] are a number for me… I don’t love you. And when I see relationships being formed like this that are just so one-sided in nature, I can’t help but feel kinda concerned,” (Ludwig 2020).

From this you can see that some other streamers have similar views to Ludwig on parasocial relationships; he believes that parasocial relationships can “be a bit dangerous” and that it’s worth “at least being cognisant that they exist in the first place, and maybe revaluating [a viewer’s] interest in things… instead of working on relationships with people that you’re never really gonna hang out with and can’t care about you” (Ludwig 2020).

I regularly watch streamers, namely Ludwig, moistcr1tikal, CYR, and have seen them all interact with the chat while streaming, and have heard of many instances of parasocial relationships with all of them, as well as seen people in chat talking with them as if they know them personally. As Ludwig says, I think that there are dangers to the parasocial relationship, especially when monetary value is given by viewers to support the streamer – but it’s interesting to watch from afar nonetheless.

--

Written for Week 10: Gaming Communities, Social Gaming and Live Streaming

References:

Hardwick, T 2022, ‘Week 10 Social Gaming Guest Lecture’, MDA20009 Digital Communities, Modules via Canvas, Swinburne University of Technology, 08 May, viewed 09 May 2022.

Kowert, R & Daniel, E 2021, ‘The one-and-a-half sided parasocial relationship: The curious case of live streaming’, Computers in Human Behavior Reports, vol. 4, p. 100150.

Leith, AP 2021, ‘Parasocial cues: The ubiquity of parasocial relationships on Twitch’, Communication Monographs, vol. 88, no. 1, Routledge, pp. 111–129.

Ludwig 2020, I Am Not Your Friend, viewed 9 May 2022, .

McLaughlin, C & Wohn, DY 2021, ‘Predictors of parasocial interaction and relationships in live streaming’, Convergence, vol. 27, no. 6, SAGE Publications Ltd, pp. 1714–1734.

‘Twitch All-time Streamers With Most Active Subscribers’ 2022, TwitchTracker, viewed 9 May 2022, .

Wulf, T, Schneider, FM & Queck, J 2021, ‘Exploring Viewers’ Experiences of Parasocial Interactions with Videogame Streamers on Twitch’, Cyberpsychology, Behavior, and Social Networking, Mary Ann Liebert, Inc., publishers  140 Huguenot Street, 3rd Floor New Rochelle, NY 10801 USA, viewed 9 May 2022, .

[sinceileftyoublog]

Riot Fest 2021: 9/16-9/19, Douglass Park

BY JORDAN MAINZER

Much like Pitchfork Music Festival earlier this month, this past weekend’s Riot Fest felt relatively normal. Arriving at Douglas Park every day, you were greeted by the usual deluge of attendees in Misfits t-shirts and dyed hair, the sound of faint screams and breakneck guitars and drums emanating from nearby stages. The abnormal aspects of the fest, at least as compared to previous incarnations, we’re already used to by now from 2021 shows: To get in, you had to show proof of vaccination and/or a negative test no older than 48 hours, which means that unvaxxed 4-day attendees had to get multiple tests. Props to the always awesome staff at Riot Fest for actually checking the cards against the names on government-issued IDs.

For a festival that dealt with a plethora of last-minute changes due to bands dropping out because of COVID-19 caution (Nine Inch Nails, Pixies, Dinosaur Jr.) or other reasons (Faith No More/Mr. Bungle because of concerns around Mike Patton’s well-being), there were very few bumps in the road. Whether Riot Fest had bands like Slipknot, Anthrax, or Rise Against in their back pocket as replacements or not, it very much felt like who we saw Thursday-Sunday was always supposed to be the lineup, even when laying your eyes on countless “Death to the Pixies” shirts. Sure, one of the fest’s main gimmicks--peeling back the label on Goose Island’s Riot Fest Sucks Pale Ale to reveal the schedule--was out of date with inaccurate set times and bands, and it still would have been so had Faith No More and Mr. Bungle stayed, since Fucked Up had to drop out last minute due to border issues. But the festival, as always, rolled with the punches.

The sets themselves offered the circle pit and crowdsurfing-inducing punk and metal you’re used to, with a few genre outliers. For so many bands of all styles, Riot Fest represented their first live show in years, and a few acts knew the exact number of days since their last show. For every single set, the catharsis in the crowd and on stage was palpable, not exactly anger, or elation, but pure release.

Here were our favorite sets of the festival, in chronological order.

WDRL

Last October, WDRL (which, amazingly, stands for We Don’t Ride Llamas) announced themselves with a Tweet: “y’all been looking for an alt black band,, well here you go”. A band of Gen Z siblings, Chase (lead guitar), Max (lead vocals), Blake (drums), and Kit Mitchell (bass guitar), WDRL is aware, much like Meet Me @ The Altar (who, despite my hyping, I couldn’t make it in time to see) that they’re one of too few bands of POCs in the Riot Fest-adjacent scene. Their set, one of the very first of the weekend during Thursday’s pre-party, showed them leading by example, the type of band to inspire potentially discouraged Black and brown folks to start punk bands. Max is a terrific vocalist, able to scream over post-punk, scat over funk, and coo over slow, soulful R&B swayers with the same ease. The rest of the band was equally versatile, able to pivot on a dime from scuzzy rock to hip hop to twinkling dream pop. Bonus points for covering Splendora’s “You’re Standing On My Neck”, aka the Daria theme song.

Joyce Manor

Joyce Manor’s self-titled debut is classic. The best part of it as an album play-through at a festival? It’s so short that you can hear it and you’ll still have half a set for other favorites. So while the bouncy “Orange Julius”", “Ashtray Petting Zoo”, and ultimate singalong “Constant Headache” were set highlights, the Torrance, CA band was able to burn through lots from Never Hungover Again, Cody, Million Dollars to Kill Me, and their rarities collection Songs From Northern Torrance. Apart from not playing anything from Of All Things I Will Soon Grow Tired (seriously, am I the only one who loves that record?), Joyce Manor were stellar, from the undeniable hooks of “Heart Tattoo” to the churning power chords of “Catalina Fight Song”. After playing “Christmas Card”, Johnson and company gave one final nod to the original fest cancellation, My Chemical Romance, who were slated to headline 2020, then 2021, and now 2022. If you ever wondered what it would sound like hearing a concise punk band like Joyce Manor take on the bombast of “Helena”, you found out. Hey, it was actually pretty good!

Patti Smith

Behold: a full Patti Smith set! After being shafted by the weather last time around, a sunglasses-laden Smith decided not to fuck around, leading with the inspiring “People Have The Power”, her voice as powerful as I’ve ever heard it. Maybe it was the influence of Riot Fest, but she dropped as many f-bombs as Corey Taylor did during Slipknot’s Sunday night headlining set. After reluctantly signing an adoring crowd member’s copy of Horses, she quipped, “I feel bad for you have to cart that fucking thing around.” It wasn’t just the filthy banter: This was Smith at her most enraptured and incendiary, belting during “Because The Night” and spitting during a “Land/Gloria” medley, reciting stream-of-consciousness hallucinogenic lyrics about the power of escape in the greatest display of stamina the festival had to offer.

Circa Survive

“It feels good to dance,” declared Circa Survive lead singer Anthony Green. The heart and soul of the Philadelphia rock band, who cover ground from prog rock to post-hardcore and emo, Green was in full form during the band’s early Friday set, his falsetto carrying the rolling “The Difference Between Medicine and Poising Is in the Dose” and the chugging “Rites of Investiture”. While the band, too, can throw down, they’re equally interesting when softer and more melodic, Brendan Ekstrom‘s twinkling guitars lifting “Child of the Desert” and “Suitcase”. Ending with the one-two punch of debut Juturna’s introspective “Act Appalled” and Blue Sky Noise’s skyward “Get Out”, Green announced the band would have a new record coming soon, one you hope will cover the sonic and thematic ground of even just those two tracks.

Thrice

Thrice played their first show since February 2020 the same day they’d release their 11th studio album, Horizons/East (Epitaph). To a crowd of fans that came to hear their favorite songs, though, the Irvine, California band knew better than to play a lot of the new record, instead favoring tracks like The Artist in the Ambulance’s spritely title cut and Vheissu standout “The Earth Will Shake”. Yeah, they led with a Horizons/East song making its live debut, the dreamy, almost Deftones-esque “Scavengers”, and later in the set they’d reveal the impassioned “Summer Set Fire to the Rain”. But the set more prominently served to emphasize lead vocalist Dustin Kensrue’s gruff delivery, on “All the World Is Mad” and “in Exile”, the rhythm section’s propulsive playing buoying his fervency. And how about Teppei Teranishi’s finger tapping on “Black Honey”?!? Thrice often favor the slow build-up, but they offered plenty of individually awesome moments.

Smashing Pumpkins

William Patrick Corgan entered the stage to dramatic strings, dressed in a robe, with white face paint except for red hearts under his eyes. He looked like a ghost. That’s pretty much where the semi-serious theatricality ended. The Smashing Pumpkins’ first Chicago festival headlining set in recent memory was the rawest they’ve sounded in a while, counting when they played an original lineup-only set at the United Center a few years back. It was also the most fun I’ve ever seen Corgan have on stage. Though they certainly selected and debuted from their latest electropop turn Cyr, Corgan, guitarist James Iha, drummer Jimmy Chamberlin, guitarist Jeff Schroeder, and company more notably dug deep into the vault, playing Gish’s “Crush” for the first time since 2008, Adore’s “Shame” for the first time since 2010, and Siamese Dream barnburner “Quiet” for the first time since 1994 (!). Best, every leftfield disco jam like set opener “The Colour Of Love”, “Cyr”, and “Ramona” was quickly followed by something heavy and/or recognizable, Chamberlin’s limber drum solos elevating even latter-day material like “Solara”. At one point, Corgan, a self-described “arty fuck,” admitted that years ago he would have opted for more experimental material, but he knew the crowd wanted to hear classics, the band then delving into a gorgeous acoustic version of “Tonight, Tonight”. And while Kate Bush coverer Meg Myers came out to sing Lost Highway soundtrack industrial ditty “Eye”, it was none other than legendary local shredder Michael Angelo Batio who stole the show, joining for the set closer, a pummeling version of Zeitgeist highlight “United States”. Leaning into the cheese looks good on you, Billy.

The Bronx

Credit to L.A. punk rock band The Bronx, playing early on a decidedly cooler Saturday early afternoon, for making me put in my earplugs outside of the photo pit. Dedicating “Shitty Future” to Fucked Up (who, as we mentioned, had to drop out), the entire band channeled Damian Abraham’s energy on piercing versions of “Heart Attack American” as well as “Superbloom” and “Curb Feelers” from their latest album Bronx VI (Cooking Vinyl). Joby J. Ford and Ken Horne’s guitars stood out, providing choppy rhythms on “Knifeman” and swirling solos on “Six Days A Week”.

Big Freedia

The New Orleans bounce artist has Big Diva Energy, for the most part. After her DJ pumped up the crowd to contemporary Southern rap staple “Ayy Ladies” by Travis Porter, Big Freedia walked out and showed that “BDE”, firing through singles like “Platinum” and “N.O. Bounce” as her on-stage dancers’ moves ranged from delicate to earth-shaking. At this point, Freedia can pretty much do whatever she wants, effortlessly segueing between a cover of Drake’s “Nice For What” to “Strut”, her single with electropop DJ Elohim, to a cover of Beyone’s “Formation”. Of course, the set highlight was when she had volunteers from the crowd come up and shake and twerk--two at a time to keep it COVID-safe--all while egging them on to go harder. Towards the end of the set, after performing the milquetoast “Goin’ Looney” from the even-worse-than-expected Space Jam: A New Legacy soundtrack, she pulled out the beloved “Gin in my System”. “I got that gin in my system,” she sang, the crowd singing back, “Somebody gonna be my victim,” a refrain that compositionally not only leaves plenty of room for the thundering bass but is thematically a statement of total power--over sexism, racism, the patriarchy--even in the face of control-altering substances.

Les Savy Fav

During Les Savy Fav’s set, lead singer Tim Harrington at various points--*big breath*--went into the crowd, deepthroated an audience member’s mohawk spike, found a discarded manikin head with a wig on it, revealed the words “deep” and “dish” painted on his thighs and a drawing of a Red Hot on his back, rode a crowd member like a horse, made a headband out of pink tape, donned ski goggles, surfed on top of a door carried by the crowd, squeezed his belly while the camera was on it to make it look like his belly button was singing, and referred to himself as a “slippery eel.” Indeed, the legend of Les Savy Fav’s live show starts and ends with Harrington’s ridiculous antics, as he’s all but out of breath when actually singing dance-punk classics like “Hold On To Your Genre”, “The Sweat Descends”, and “Rome (Written Upside Down)”. We haven’t heard much in terms of new music from Les Savy Fav in over 10 years--their most recent album was 2010′s Root For Ruin--but I could see them and the extremely Aughts genre in general become staples of Riot Fest as albums like Inches, The Rapture’s Echoes, and !!!’s Louden Up Now reach the 20-year mark. Dynamic vocalists, tight bands, and killer grooves: What’s not to love?

State Champs

This set likely wins the award for “most immediate crowd surfers,” which I guess is to be expected when you begin your set with a classic track 1--album 1 combination. “Elevated” is the State Champs number that will cause passers-by to stop and watch a couple songs, the type of song that can pretty much only open or close a set. And because they opened with it, the crowd immediately ramped up the energy. It’s been three years since the last State Champs full-length, Living Proof, so they were in prime position to play some new songs. As such, they performed their bubblegummy “Outta My Head” and “Just Sound” and faithfully covered Fall Out Boy’s “Chicago Is So Two Years Ago” (releasing a studio version earlier this week). But the tracks from The Finer Things and Around the World and Back were, as usual, the highlights, like “All You Are Is History”, “Remedy”, “Slow Burn”, and set closer “Secrets”. At the end of the day, it didn’t entirely matter: The crowd knew every word of every song.

Bayside

Putting State Champs and Bayside back-to-back on the same stage made an easy decision for the many pop-punk bands at Riot Fest. Bayside’s been at it for twice as long, so the breadth of their setlist across their discography is more variable. Moreover, they’ve thrice revisited their discography with acoustic albums of old songs, so even their staples are subject to change. They provided solid versions of Killing Time standouts “Already Gone” and “Sick, Sick, Sick”, Cult’s “Pigsty”, and older songs like their self-titled’s “Montauk” and Sirens and Condolences’ “Masterpiece”. For “Don’t Call Me Peanut”, though, they brought out--*gasp*--an acoustic guitar! It was a rare moment not just for one of the most popular pop punk sets but the festival in general, a breather before Vacancy shout-along “Mary”.

Rancid

“Rancid has always been anti-fascist and anti-racist,” said Tim Armstrong before the band played “Hooligans”. It was nice to hear an explicit declaration of solidarity from the street punks, reminding the crowd what really matters and why we come together to scream and mosh. The band expectedly favored ...And Out Come The Wolves, playing almost half of it, and they perfectly balanced their harder edges with more celebratory ska songs like “Where I’m Going” from their most recent album Trouble Maker (Hellcat/Epitaph). My two favorite moments? The breezy, keyboard-laden “Fall Back Down” from their supremely underrated 2001 album Indestructable, and when they asked the crowd whether they wanted the set to end with “Time Bomb” or “Ruby Soho”. “We have 4 minutes left, and it’s disrespectful to play over your set time,” said Armstrong. It’s easy to see why Rancid continues to make an impression--instrumental and moral--on touring bands new and old.

Run the Jewels

The brilliant hip hop duo are masters of balancing social consciousness with the desire to fuck shit up for fun. Live, the former tends to come in between-song banter, the latter with their actual charismatic, tit-for-tat performances of the songs. However, Run the Jewels also are probably the clearest live performers in hip hop today, Killer Mike and El-P’s words, hypersexual and woke alike, ringing in the ears of audience members who don’t even know the songs. (Looking around, I could see people smiling and laughing at every dick joke, nodding at each righteous proclamation.) Some of the best songs on their most recent album RTJ4 (Jewel Runners/BMG) are perfect for these multitudes. Hearing both RTJ MCs and the backing track of Pharrell Williams and Zack de la Rocha chanting “Look at all these slave masters posin’ on yo’ dollar” on “JU$T” as the rowdy crowd bounced up and down was the ultimate festival moment. For those who had never seen RTJ, it was clear from the get-go, as Killer Mike and EL-P traded bars on “yankee and the brave (ep. 4)” that they’re a unique hip hop act. For the rest of us, it was clear that Run the Jewels keep getting better.

The Gories

It felt a little weird that legendary Detroit trio The Gories were given the first set of the final day--I’d have thought they’d have more draw than that. No matter what, they provided one of the more satisfying and stylistically varied sets of the festival, showcasing their trademark balance of garage punk and blues. Mick Collins and Dan Kroha’s guitar and vocal harmonies were the perfect jangly balance to Peggy O’Neill’s meat and potatoes drumming on “Sister Ann” and “Charm Bag”, while folks less familiar with The Gories were treated to their fantastic covers of Suicide’s “Ghost Rider” and The Keggs’ “To Find Out”. Smells like time for the first Gories album in 20 years!

FACS

I thought it would be ill-fitting to watch a band like FACS in the hot sun, early in the day. Their monochrome brand of post-punk seems better suited for a dimly lit club. But the hypnotic nature of Brian Case’s swirling guitar and Alianna Kalaba’s slinky bass was oddly perfect in a sweltering, faint-inducing heat. Just when you thought you might fade, squalls of feedback and Noah Leger’s odd time signatures picked you back up. Songs from their new album Present Tense (Trouble In Mind) such as “Strawberry Cough” and “XOUT” were emblematic of this push-pull. And everything from the band’s red, white, and black color palate to their lack of stage banter suggested a cool minimalism that was rare at a festival that tends to book more outwardly emotional bands.

Alex G

On one hand, Alex G’s unique combination of twangy alt country and earnest indie rock makes him an outlier at Riot Fest, or at the very least a mostly Pitchfork/occasional Riot Fest type of booking. On the other hand, like a lot of bands at the festival, he has a rabid fanbase, one that knows his back catalog hits, like “Kute”, “Kicker”, and “Bug”, as much as if not more than hyped Rocket and House of Sugar singles, like “Bobby” and “Gretel”. Backed by a band that knows when to be loose and when to tighten up--and the instrumental chops to do so--Alex G was better than he was a Pitchfork three years ago. He still sings through his teeth, making it especially hard to hear him on louder tunes such as “Brick”. But when the honesty of his vocals combines with the dreamy guitars of “Southern Sky” and circular melodies of “Near”, it’s pure bliss. 

HEALTH

The formula for the LA industrial noise band has pretty much always been Jake Duzsik’s soft vocals contrasting John Famiglietti’s screeching bass and pedals and BJ Miller’s mammoth drums. Both in 2018 and Sunday at Riot Fest, the heat affected Famiglietti’s pedals, which were nonetheless obscured by tarp. Or so HEALTH claimed: You wouldn’t know the difference given how much their sound envelops your whole body during one of their live sets. Since their previous appearance at the festival, the prolific band has released two new records on Loma Vista, Vol. 4: Slaves of Fear and collaboration record Disco4: Part 1. Songs from those records occupied half of their excellent set, including battering opener “GOD BOTHERER”, “BODY/PRISON”, and “THE MESSAGE”. It was so wonderfully loud it drowned out K.Flay’s sound check drummer, thank the lord.

Thursday

Last time Thursday played Riot Fest, Geoff Rickly was battling heroin addiction, something he talked about during the band’s triumphant late afternoon set on Sunday. He mentioned the kindness of the late, great Riley Gale of Power Trip in extending a helping hand when he was down and extended his love to anybody in the crowd or even the world at large going through something similar. To say that this set was life-affirming would be an understatement; after 636 days of no shows, Rickly was at his most passionate. He introduced “Signals Over The Air” as a song the band “wrote about men beating up on women in the pit,” that a record exec at the time told them that it wouldn’t age well because he thought--no kidding--sexism would eventually end. Rickly’s voice, suffering from sound issues last time around, simply soared during Full Collapse’s “Cross Out The Eyes”, No Devolucion’s “Fast to the End”, and two inspired covers: Bruce Springsteen’s “Dancing in the Dark” and Texas Is The Reason’s “If It's Here When We Get Back It's Ours”. The latter the band played because TITR guitarist Norman Brannon’s actually on tour with them, though Rickly emphasized the influence the NYC post-hardcore greats had on Thursday when they first started. Never forgetting where they’ve come from, with self-deprecating humor and radical empathy, Thursday are once again a force.

Devo

Much like the B-52′s in 2019, Devo was the set this year of a 70′s/80′s absurd punk band with some radio hits that everybody knows but with a swath of die-hard fans, too. It’s safe to say both groups were satisfied. You walked around the fest all day wondering whether the folks wearing Devo hats were actual fans or doing it for the novelty. By the time the band actually took the stage after a career-spanning video of their many phases, it didn’t really matter, because it was clear the band still had it, Mark and Bob Mothersbaugh and Gerald Casale’s vocals booming throughout a massive crowd. They ripped through “Peek-a-Boo”, “Going Under”, “That’s Good”, “Girl U Want”, and “Whip It”, which caused the fans waiting for Slipknot (and presumably some Devo heads) to form a circle pit. And that was all before the first costume change. Mark passed out hats to the crowd, fully embracing converts who might have only known “Whip It”. The feverish chants of “Uncontrollable Urge” and synth freakouts of “Jocko Homo” whipped everyone into a frenzy. And the band performed the “Freedom Of Choice” theme song for the first time since the early 80′s! I had seen Devo before, opening for Arcade Fire and Dan Deacon at the United Center, but the atmosphere at Riot Fest was more appropriately ludicrous.

Flaming Lips

“The Flaming Lips are the most COVID-safe band in the world,” went the ongoing joke, as throughout the pandemic they’d give audience members bubbles for their bubbles to be able to play shows. The normally goofy and interactive band scaled back for Riot Fest. Before launching into their traditional opener “Race For The Prize”, Wayne Coyne explained that while the band is normally proud of where they come from--Oklahoma City--they’re saddened by the local government’s ignorant pandemic response and wouldn’t risk launching balloons or walking into the crowd because they might be virus spreaders coming from such an under-vaccinated area. To his and the band’s credit, they wore masks during the performance, even when singing; Coyne removed his only when outside of his bubble that had to be deflated and inflated many times and that sometimes muffled his singing voice even more than a mask. Ever the innovative band, they still put on a stellar show. Coyne autotuned his voice on “Yoshimi Battles the Pink Robots, Pt. 1″, making it another instrument filling the song’s glorious pop melodies. Less heavy on props, the band favored a glitchy, psychedelic setlist that alternated between beauty (”Flowers Of Neptune 6″, “Feeling Yourself Disintegrate”, “All We Have Is Now”) and two-drummed cacophony (“Silver Trembling Hands”, “The W.A.N.D.”). They’ll give a proper Lips show soon enough, but in the meantime, it was nice to see them not run through the motions.

Slipknot

Apart from maybe moments of Slayer, I’ve never witnessed a headliner at Riot Fest as heavy as Slipknot was. Even the minor ethereal elements present on their most recent and very good album We Are Not Your Kind, like the chorus of voices during “Unsainted”, were all but abandoned live in favor of straight up brutality. Sure, there were moments of theatricality--Corey Taylor’s menacing laugh on “Disasterpiece” and pyrotechnics in sequence with the instrumentation on “Before I Forget” and “All Out Life”--but for the most part, Slipknot was the ultimate exorcism. Taylor’s new mask, with unnaturally circular eyes, seemed like it came from a particularly uncomfortable skit from I Think You Should Leave. They bashed a baseball bat to a barrel during the pre-encore performance of “Duality”. And the songs played from tape, like the gasping-for-breath “(515)”, were designed to contrast Slipknot’s alien appearance with qualities that were uncannily human. For a band whose performances and instrumental dexterity are otherworldly--who else can pull off tempo changes over a hissing, Aphex Twin-like shuffling electronic beat on “Eyeless”--the pure seething emotion on songs like “Psychosocial” and “Wait and Bleed” shone through. Like Smashing Pumpkins, and like so many other successful Riot Fest headliners, Slipknot abandoned drama for pure, unadulterated dirt.

[onisiondrama]

Greg & Newsweek Guy Stream (Stream 1 of 3 from 3/30/20)

Re-upload

Summary

Greg / James says Newsweek guy wrote an article about his dad and step mom and asked him for a comment. Greg responded “Go fuck yourself parasite.” Newsweek guy asks why he said that. Greg says that was just the mood he was in. He says gets asked a lot for an interview and after a while they seem like parasites because they make money off of drama.

NWG asks when was the last time Greg talked to his father. Greg says it was in Oklahoma City at a restaurant. He says he had bad fries. Says he was serving at tinker air force base in 2005. His father paid for his meal.

NWG asked why it’s been so long. Greg said because his father is an accused pedophile and because his father lied about what happened when he beat him up when he was 15. That destroyed their relationship and made Greg realize he was a liar and made him believe someone who was a child at the time who said they were a victim of his father and his two older female family members who have said they were molested by his father.

Greg says his father choked him, he beat his father’s ass, then his father lied to the police and other family members about what happened. NWG points out his father says he didn’t choke him. NWG asks how could his father have chocked him if he was in the front seat? Greg points out he has talked about this incident step by step in videos. NWG says he’s watched them all. Greg says NWG can know if he’s lying because NWG can base it off his head, but he (Greg) has to base this off memory. (I’m not 100% sure what he means by this, but I’m guessing he means since NWG recently watched all of Greg’s videos talking about this, he can see if Greg changes his story?)

Greg goes through the events. He’s blasting Rob Zombie in his ears. Greg wanted to finally fuck his girlfriend that weekend really badly. Debbie (step mom) decided to go on an impromptu trip to Tennessee. NWG asks didn’t Greg know about the trip for weeks? Greg says he did not, he even made plans with his girlfriend. They didn’t allow him to call her to let her know because it was back in the landline days, you can’t text. Just, “get in the car we’re going.” He was pissed off about it.

They were making their way to Kentucky. Greg says his dad is like Ned Flanders from The Simpsons and asked him to turn down his music. Says his dad is a real dorky guy, Ned Flanders is probably cooler than his dad. Greg flips him the bird with his left hand. He says he was either in the middle seat or the right side seat in the back. His dad asks, “what’s your problem?” Greg says, “it’s your fucking bitch wife. She fucking ruined my plans.” His dad contains his anger, pulls off the highway. He had a white Nissan. He pulls into the parking lot, takes off his seat belt, flips around, starts choking Greg but not enough where he can’t breathe. He was still able to talk and his voice was nasally / altered.

Greg says he ended up in juvenile hall his adrenaline was pumping so much that he was crying and incoherently saying “I think he hit me” to police. Says his brain was scrambled. They cuffed him and he said they were fancy handcuffs and they said “yeah, they’re new.” He says that was stupid.

Greg says his aunt and uncle adopted a Korean girl and a Korean boy. Brian, his Korean cousin, said Greg’s dad told him Greg hauled him off and punched him.

NWG says in the article, his dad said he placed his hands on Greg’s shoulders. Greg says at least his father admits to initialing physical aggression. NWG says, “well, he’s your parent.” Greg says you can’t be psychically aggressive with your kids. NWG asks where is the line between psychical aggression and psychical comfort? Greg asks if his father was comforting him after he called his wife a fucking bitch? NWG repeats he was trying to put his hand on Greg’s shoulder. Greg says that was satirical.

Greg asked his dad to stop choking him a couple times, then he warns him a couple times that was was going to fight back. He’s still choking him and not saying anything. Greg says there’s a lump on his neck and he doesn’t know if it was from this incident or he didn’t notice it until then. He had the doctor at juvenile hall check it out and they said it was nothing. Greg was wearing combat boots and he stomped him to the dashboard of the car. Stomped him on his neck, chest, and face.

Greg guesses his father was 195 lbs and he was 15 and 130 lbs and they’re the same height. NWG asks if he’s sure he was 15 at the time. Greg says positive because his girlfriend was the same age. NWG says his father said he was 17. Greg laughs about it. Greg says 9/11 happened when he was staying with his dad and does the math to prove he was 15. Says he was at Miamisburg High School in Miamisburg, Ohio. They rolled a TV in the room and showed them the planes hitting the towers. NWG questions Greg’s recollection, suggests he misremembers where he was during 9/11. Greg says he stayed with his father for 6 months. He was there the end of the last school year and in the beginning of the next. NWG questions him again. Greg says when he was 17 he was at Lakes High School in Lakewood, Washington while going to Pierce College. He roller-bladed to college.

NWG guy says according to Greg’s father and step mother, after Juvie, Tammi tried to get custody of him. Greg agrees and says initially it was either Tammi who wanted him out of the house or himself. NWG asks if Greg remembers why he left. Greg says he doesn’t, says his mom would know. He wanted to live with his father and his mom let him. NWG asks if it’s possible Greg was aggressive and punched a dry wall in Tammi’s house. Greg says no, but his mom attacked him with a large flashlight. She smacked him on the leg with it while he was laying in a bed. He pushed her away with his feet while she hit him on the hips. She later on said to Damon, who was his sister’s boyfriend, that Greg hit him. Greg says his mom can't keep her story straight. He defends himself from his parents with his feet. He guesses he was 13 or 14. Says this was at the Bluffs Condominiums in Lakewood, Washington. 

NWG asks what Greg’s relationship with Tammi is like. Greg say it’s alright. He didn’t talk to her for 4 months because she mentioned a lawsuit against him. She believes she’s not allowed around certain people she’s related to. He says it’s not true. He doesn’t want her to be alone with them because of her life decisions. She was more responsible when he was a child and now she’s letting her freak flag fly, which she has a right to do. Doesn’t want that to be experienced by people who are younger. He won’t let people drink alcohol around them. A lot of him family members are mad at him about that. He wouldn’t let people hold a baby he was in charge of while they were drinking alcohol. NWG asks when was the last time Tammi saw those people. Greg says last family event. Says his mom is a cool creative person, but they butt heads sometimes.

NWG asks if Greg butts heads with a lot of people. Greg says of course. NWG asks what he means by “of course”. Greg says, “you know who I am.” He butts heads with people all the time on Youtube. NWG asks why. Greg says a classic example is when he made a fake meltdown video with Cyr. People think they’re real so he has to posts the bloopers. NWG asks why he feels the need to make a fake narrative. Greg says because it’s fun. NWG asks if monetization plays into it. Greg says not these days, Youtube demonetizes it all.

NWG asks if that’s why Greg agitated Chris Hansen recently, because views have been down? Greg says allegedly he heard Chris Hansen tried to sell a coronavirus cure. NWG says that sounds like him. NWG asks who are the people that told him. Greg says one if someone that worked with Chris Hansen and the other is someone that follows everything Hasnen does online to tell Greg. There is a third person that does the same thing. Greg says after hearing about the coronavirus cure, he wanted to confront Hansen for being fake. In the past, his spouse told Greg not to talk about anything publicly or he’s leave him. It got to the point where he said if you’re going to leave me, leave me because he had to talk about it. Ever since then he’s been empowered.

NWG asks if Greg would be open to having a relationship with his extended family. Greg says, fuck no.” Says his father is a molester. Says this person is an adult now and still stands by the fact they they were molested. This person is private and isn’t trying to get views. Real victims sit in the shadows and if anything go to the cops or family members. When Greg asked them if they were violated, they changed the subject because they can’t talk about it. Greg says his dad is acting like the victim but can’t get basic facts. Doesn’t even know when Greg was there.

NWG asks if Greg’s sisters would talk to him. Greg says, “no, fuck you dude.” Says they’re private people. They don’t want to talk to a reporter about their molester dad. NWG says, “fair.” Greg says it’s amazing NWG would talk to a literal molester, child rapist and act like he’s right and then harass their family. NWG asks, “harassed?” Greg says something about his mom, but I can’t really make it out. NWG says he send a Facebook post.

Greg repeats himself, then says NWG is a scumbag for talking about people who were violated as children, making money off it, then asking to talk to them. Greg asks what they would have to gain for re-living what their dad put them through? Greg repeats himself, more aggressively this time while NWG says “yeah, yeah” “ok”.

Greg says NWG should have gone to the police instead of contacting his family members. He should have went to the police and told them to get in contact with them. NWG says that’s now how it works. Greg keeps going.

NWG asks if he’s going to keep yelling, because he could stop this. Greg says, “it’s already done bro.” Greg says he’s already said what he needed to about NWG preying on child victims and making coin off of them. NWG says, “the irony is palpable good sir.” Greg asks how. NWG says no. Greg mocks him for not backing up his words. He asks again what he meant by that. NWG says nothing.

Greg asks is there’s anything else. NWG says that’s everything he wanted to cover. Greg asks if they really covered everything? He’s sure there’s more. NWG says Greg is really enjoying this. Greg says he is. He likes seeing a scumbag get his ass handed to him. NWG says he’s not the first interviewee to say that. Greg says then maybe he should find a better job instead of making molestation victims relive their trauma for money. NWG says, “that’s quite the narrative.” Greg points out NWG asked in the interview if his sisters wanted to talk. NWG asks if they’re done. Greg says he didn’t even finish the story about beating the shit out of his pedophile father. Greg asks if he wants to finish. NWG says “no, not really.” They say bye. NWG leaves and Greg ends it by saying, “that’s Newsweek everyone.”

[clickyourradio]

Shape of Water is an electronic art rock band formed in 2018 from Manchester, United Kingdom in the grand tradition of projects like Queen, Muse, Depeche Mode, Coldplay, The Killers, and Radiohead. Still, as water has no shape, the band welcomes all listeners into what they refer to as “Genre-Fluid” which translates to “music without boundaries.”

Rox Capriotti and Luca De Falco met in 2004 in their hometown of San Benedetto del Tronto, Italy. The first band they formed together was called The Lotus. Over the following few years, the band had various members step in and out on drums and bass guitar; however, Rox and Luca kept the band on track. In 2015, they relocated to Manchester, UK in search of new musical experiences. The band had a short hiatus period and eventually decided to split up. Rox and Luca remained close, writing music together; however, the rest of the band moved on, and after the breakup of The Lotus, Rox and Luca created Shape of Water.

After writing dozens of songs, they carefully selected the best of the best, and started recording new material in early 2018 with producer Paul Reeve (Muse, Beta Band, Supergrass) at Airfield Studios. The band also brought on Sky Van Hoff (Rammstein, Kreator, Caliban) to mix the songs “Scars” and “Not All the Things,” and the drums on the album were performed by Marco Lancs. The result was a ten-song album entitled Great Illusions, which deals mainly with the misconception of human feelings, politics, and society. While shopping the Great Illusions album for a deal, the band independently released their first Single, “Dancing with Tears in My Eyes,” which is a cover of the song by the British rock band, Ultravox. Coincidentally just a few days after its release, they heard back from Eclipse Records who offered the band a deal with the label.

Great Illusions was released in the Summer of 2020 and received critical acclaim from dozens of respected media outlets including (but not limited to) Classic Rock, Metal.de, Punktastic, Sonic Perspective, and Metallized.it, just to name a few. The band was unable to promote it live due to the ongoing Covid-19 pandemic; however, the duo was able to quickly adapt by live-streaming several performances which were widely received. Shape Of Water also spent time reinventing some of their songs for an early 2021 EP release entitled Lockdown On Mars, which was produced by Paul Reeve (Muse, Supergrass, Beta Band) and mixed by Rox Capriotti. In early June 2021 the band also released a Press Contact: Chris Poland – press@eclipserecords.com / +1-973-492-1976 ECLIPSE RECORDS PO BOX 51 POMPTON PLAINS, NJ 07444 USA www.EclipseRecords.com www.Facebook.com/eclipserecords www.Twitter.com/eclipserecords live EP called Livestream From Mars, recorded during the successful live stream series of the same name.

After the relaxation of COVID-19 restrictions, Shape of Water were finally back to play live in the summer of 2021, and they started producing new songs for the second album, many of them written and recorded at home during the first lockdown, with the exception of the drums and wind instruments. After a careful selection, the duo decided to release a double single for Halloween, containing a new song called “A Ghost In Manchester” and a creepy cover of the 50’s hit, “Mr. Sandman,” originally performed by the Chordettes / Four Aces. The world has been calling for more Shape of Water, and they have answered.

The new album by Shape of Water is titled, Amor Fati, Latin for “Love of Fate,” alluding to Nietzsche and the philosophy of determinism which would imply that destiny is already written and we must embrace the meaninglessness of our free will. Interestingly, the band connected this to their music when the song written last titled “Starchild” (appearing first on the album) gave a lens through which to run a thread back through the broadcloth of the other songs and weave this potent, devastating vision. Furthermore, this aesthetic (and rocking) masterpiece delivers a poignant message about isolation as a swansong, speaking to the awesome potential of humankind as we ironically and tragically blend into one another. We wear masks of balance and hope, yet death makes us dust that slips away in the wind. We create powerful machines and build monuments of hope, but we lose ourselves in the process.

[hollow-prey]

bonus ideas with extra indulgence/ self validation because that’s just how I’m feeling tonight:

- In the YouTube AU where both Anti and I have our own YouTube channels (and we live together) I like to think of us doing occasional casual streams together; sometimes it’s just for dumb fun and other times we do good ol’ charity streams. The chat thinks we’re cute together and Anti likes to enable them by teasing me on stream, trying to distract me with affection (especially if we’re playing against each other in a game), or just being genuinely sweet and sappy (and menacing) and taking at least five minutes every few hours to be like “everyone look at my girlfriend. Look at her. Is she not the most adorable person you’ve ever seen? She is soft like bunny.” *leans closer and intensifies the glitchy intimidation factor “And you all better be nice to her or I will find you and gut you like a fish”. People request an on-stream kiss at least twice each time. They post adorable fanart on Twitter and Instagram and every time I am in awe that people like to see us together so much

- All of my f/os having their own ways of showing me that they love me and of asking for my attention and affection without really saying anything. Once Grimm warms up to me and I successfully gain his trust, he can’t get enough of my affection and the fact that I’m actually nice to him with no intention of trying to hurt him. He will hold onto/ snuggle up to me any way he can and will refuse to let go. 

Anti loves the attention from the community, of course, but he’s kind of amazed that someone was willing to look past his chaotic, unhinged, murderous nature and give him a chance as a romantic partner. People headcanon that he’s utterly incapable of feeling love or that he only feels love with other very specific characters (but that’s another ramble for another day) but he basically is just a sharp, chaotic cat once you get to know him. A pain in the ass to deal with sometimes, but very sweet and loving in his own weird way. For some reason, out of all the other potential partners out there, he looked at my fool ass and said “yes, I like this one” and was pleasantly surprised/ thrilled that I liked him back

And of course Errol, my hot- headed love, like Anti is also amazed and somewhat emotional that my s/i Cyr didn’t just write him off as a villainous jerk, but realized that he’s got a good heart underneath his tough exterior! He’s been through so much and what he really needs is some love and support to help him heal from his traumas. Cyr is his sunlight, she makes Errol’s life a little more brighter and bearable and she brings him such warmth and comfort that he initially feels he doesn’t deserve. He’s afraid of losing her and is almost always holding her hand or gently touching her in some way. Errol loves Cyr so much and for as much love and support as she shows him, he gladly returns the favor and makes sure Cyr knows how loved and appreciated she is and how he’s got her back whenever she needs it.

Some very important f/o thoughts that I think about a lot

- Errol with his hair down/ loose; not pushed back and half- hidden by his mask, not singed and dead from crashing into eco and later becoming a cyborg, I just want an unobstructed view of how his hair naturally falls. I think it would look nice >w>

- I don’t know if this is true across all KG members or if Torn specifically is just Cooler™ than everyone, but I know from Jak X that Torn has the patterned KG tattoos not just on his face and ears but also on his arms and (presumably) all over his body as well. So I wonder if Errol’s tattoos also extend to the rest of his body like his arms or his back as well. This is purely aesthetic curiosity because I think it would look cool as hell if he had an all-over tattoo pattern to sort of mirror the one on his face

- Razer but instead of his usual long jacket he’s in a fitted black long- sleeved shirt. That visual came to me one day and I have not been able to shake it because in my head he looks Good

- Grimm, being Soft for once, maybe a little sleepy and snuggled up to me like an actual cat, purring happily while I pet/ gently scratch his head

- Anti coming back from his almost- three year hiatus/ disappearance and the first thing he does immediately upon returning to our dimension is glitch directly to my location so he can tackle- hug the life out of me and give me a kiss. I probably cling onto him and cry because it’s been so long and I’ve missed him so much

[creepykingdom]

Disney+ Announces New Titles at the D23 Expo

 Disney+ made its D23 Expo debut with its first-ever showcase presentation, announcing six new series in development and revealing key details about the highly anticipated streaming service to an enthusiastic audience at the Anaheim Convention Center in Anaheim. The event showcased the sweeping array of talent with in-person and video appearances from the stars of Disney+’s slate of originals from Disney, Pixar, Marvel, Star Wars, and National Geographic and included sneak peeks, trailer premieres, and exclusive news about the service and its upcoming projects. Actress Yvette Nicole Brown, who stars in the Disney+ original film “Lady and the Tramp,” hosted the lively presentation, welcoming Kevin Mayer, chairman, Direct-to-Consumer & International, to the stage to kick off the show. “With less than three months until launch, Disney+ will soon entertain and inspire audiences of all ages for generations to come, and we’re excited to preview some of the amazing original content being created for the service exclusively from our world-class brands today at the D23 Expo,” said Mayer. “Storytelling is the cornerstone of The Walt Disney Company and we’re thrilled to unveil a new slate of original shows from the Star Wars and Marvel cinematic universes, along with popular television franchises set to return with all-new series streaming only on Disney+.”

New Series Revealed As part of the presentation, some of the creative minds behind Disney+’s content slate including Sean Bailey, president, Walt Disney Studios Motion Picture Production; Kevin Feige, president, Marvel Studios; Kathleen Kennedy, president, Lucasfilm; and Gary Marsh, president and chief creative officer, Disney Channel Worldwide, gave fans a first look at the service’s upcoming originals and announced exciting new titles: ● Ewan McGregor made a surprise appearance to announce his return as Obi-Wan Kenobi in a new untitled series from Lucasfilm. ● Kevin Feige announced that Marvel Studios is developing three new live-action series: “Ms. Marvel,” “Moon Knight” and “She-Hulk,” all derived from Marvel comics. ● Hilary Duff surprised the audience when it was announced she will reprise the role she made famous in an all-new Lizzie McGuire series from Terri Minsky. ● Forty years after leaving the swamp in his big screen debut in “The Muppet Movie,” Kermit the Frog is heading upstream with Miss Piggy, and the gang, bringing a new kind of mayhem and laughter to Disney+ with their first-ever unscripted short-form series, “Muppets Now.” World Premiere Launch Content Previews During the 90-minute presentation, a parade of celebrities, filmmakers, and creatives treated the 6,800-person audience to the first public preview of Disney+’s original movies and shows set to stream when the service launches on November 12: ● For Lucasfilm’s “The Mandalorian,” executive producers Jon Favreau and Dave Filoni joined series stars Pedro Pascal, Gina Carano, Carl Weathers and Giancarlo Esposito, along with Taika Waititi, who brings the droid IG-11 to life, to premiere the teaser trailer for the first Star Wars live-action series. Earlier in the day at the Disney Legends Awards Ceremony, Robert A. Iger, chairman and chief executive officer, The Walt Disney Company, announced that new Disney Legend Ming-Na Wen will join the cast of the series. Set after the fall of the Empire and before the emergence of the First Order, “The Mandalorian” follows the travails of a lone gunfighter in the outer reaches of the galaxy far from the authority of the New Republic. Watch the trailer here. ● The talented up-and-coming cast of “High School Musical: The Musical: The Series” brought down the house with a live performance of the multi-platinum hit song, “We’re All In This Together.” Immediately following the presentation, cast members Joshua Bassett, Olivia Rodrigo, Matt Cornett, Sofia Wylie, Julia Lester, Larry Saperstein, Dara Reneé, Frankie A. Rodriguez, Kate Reinders, Mark St. Cyr, and Showrunner Tim Federle invited 3,600 fans to watch the first episode in the D23 Expo Arena and revealed the series’ teaser trailer. The 10-episode scripted series, set at the real-life East High, where the original movie was filmed, follows a group of students as they countdown to opening night of their school's first-ever production of “High School Musical.” Watch the trailer here. ● Host Yvette Nicole Brown joined fellow “Lady and the Tramp” cast members Rose (“Lady”) and Monty (“Tramp”)—the canine stars of the film—to premiere the first trailer from the film. In the timeless re-telling of the 1955 animated classic, a pampered house dog and a tough but lovable stray embark on an unexpected adventure and, despite their differences, grow closer and come to understand the value of home. Watch the trailer here. ● “Noelle” stars Anna Kendrick and Billy Eichner joined Sean Bailey to announce their film will premiere on Disney+ on November 12 before sharing a new trailer. In the upcoming holiday comedy, Kris Kringle’s daughter is full of Christmas spirit and holiday fun, but wishes she could do something “important” like her beloved brother Nick, who will take over from their father this Christmas. When Nick is about to crumble like a gingerbread cookie from all the pressure, Noelle suggests he take a break and get away…but when he doesn’t return, Noelle must find her brother and bring him back in time to save Christmas. Watch the trailer here. ● Jeff Goldblum, who stars in and hosts “The World According to Jeff Goldblum” from National Geographic, gave fans a peek inside the series including a new trailer for the show. Through Goldblum’s always inquisitive and highly entertaining mind, nothing is as it seems in this new 12-episode series. Watch the trailer here. ● Executive Producer Kristen Bell shared a first look trailer and a taste of what’s to come in the unscripted series, “Encore!” that brings together former castmates of high school musicals, tasking them with re-creating their original performance years after they last performed it, in a high school reunion like no other. Watch the trailer here. ● Tony Hale, who reprises his craft project turned toy role from “Toy Story 4” in the new collection of Pixar animated shorts “Forky Asks A Question,” premiered the first short (“What is Money?”). In the 10 shorts, Forky explores important questions about how the world works, such as: What is love? What is time? Post-launch Originals Disney+ also rolled out the red carpet for its titles set to premiere after the service launches, inviting stars to share new details for their upcoming projects: ● The audience was treated to a scene from the Disney+ original film “Togo,” an untold true story set in the winter of 1925 across the treacherous terrain of the Alaskan tundra. An exhilarating and uplifting adventure, “Togo” stars four-time Oscar® nominee Willem Dafoe and is directed by Ericson Core. The film also stars Julianne Nicholson, Christopher Heyerdahl, Richard Dormer, Michael Greyeyes, Michael McElhatton and Michael Gaston. Kim Zubick is the producer and Tom Flynn wrote the screenplay. “Togo” will launch on Disney+ in December. ● Executive Producer and recurring guest star Gina Rodriguez joined “Diary of a Female President” lead Tess Romero to announce the series will premiere on Disney+ in January. Told using the narration from her diary, this half-hour single camera comedy follows 12-year-old Cuban-American girl Elena’s journey through the trials of middle school, which set her on the path to ultimately become president of the United States. ● Kathleen Kennedy announced that the highly anticipated new season of “Star Wars: The Clone Wars” will stream on Disney+ in February 2020. The Emmy® award-winning animated series will be returning with twelve all-new episodes and will mark the return of classic characters Anakin Skywalker, Obi-Wan Kenobi and  fan-favorites Ahsoka Tano and Captain Rex. ● Sean Bailey shared a first look at the original film “Timmy Failure: Mistakes Were Made.” Directed by award-winning filmmaker Tom McCarthy with screenplay by McCarthy & Stephan Pastis and based on the best-selling book series by Pastis, the film follows the hilarious exploits of our quirky, deadpan hero, Timmy Failure, who, along with his 1,500-pound polar bear partner Total, operates Total Failure Inc., a Portland detective agency. “Timmy Failure: Mistakes Were Made” will launch on Disney+ in early 2020. ● The stars of “Stargirl,” Grace VanderWaal and Graham Verchere, were welcomed on stage to help introduce the coming-of-age film based on the critically-acclaimed, New York Times’ best-selling young adult novel. “Stargirl” is directed by Julia Hart from a screenplay by Kristin Hahn and Julia Hart & Jordan Horowitz based on the novel by Jerry Spinelli. The film also stars Karan Brar, Maximiliano Hernandez, Darby Stanchfield and Giancarlo Esposito. “Stargirl” is produced by Ellen Goldsmith-Vein, Lee Stollman and Kristin Hahn. “Stargirl” will launch on Disney+ in early 2020. ● Director Kari Skogland introduced Anthony Mackie and Sebastian Stan, the stars of Marvel Studios’ ”The Falcon and The Winter Soldier,” which finds Falcon and the Winter Soldier teaming up after “Avengers: Endgame.” Emily VanCamp came on stage and Feige revealed that she will reprise her role as Sharon Carter. Then, he introduced the crowd to Wyatt Russell who will play John Walker—a character from the comics coming to the screen for the first time. Head writer Malcom Spellman was also on hand to greet the crowd. “The Falcon and The Winter Soldier” will launch on Disney+ in 2020. ●“Monsters At Work” stars Ben Feldman and Aisha Tyler unveiled the latest design of their characters Tylor and Millie. Inspired by Disney and Pixar’s Academy Award®-winning feature film “Monsters, Inc.,” the new series from Disney Television Animation returns to Monstropolis and follows a new cast of monsters with special appearances from Mike and Sulley (voiced by Billy Crystal and John Goodman). ● Stars Paul Bettany and Elizabeth Olsen were on hand for their new series, Marvel Studios’ “WandaVision.” Bettany returns as Vision and Olsen as Wanda Maximoff—two super-powered beings living their ideal suburban lives who begin to suspect that everything is not as it seems.   Kevin Feige surprised the audience by bringing to the stage Kat Dennings and Randall Park who will reprise their roles from “Thor” and “Ant-Man and The Wasp,” and then he introduced Kathryn Hahn who has been cast as a new character in the series. Director Matt Shakman and head writer Jac Schaeffer joined everyone on stage to reveal that the streaming series will blend the style of classic sitcoms with Marvel Cinematic Universe.  “WandaVision” premieres on Disney+ in 2021. ● Kevin Feige welcomed the director, Kate Herron, and head writer, Michael Waldron, of “Loki” to the stage. In Marvel Studios’ new Disney+ series “Loki,” Tom Hiddleston returns as the mercurial Loki, the god of mischief and everyone’s favorite villain in stories that take place after the events of “Avengers: Endgame.” “Loki” debuts on Disney+ in 2021. ● For Marvel Studios’ “What If…?” Hayley Atwell was on hand to greet the audience. Atwell will voice Peggy Carter in Marvel Studios’ first animated series that focuses on different heroes from the Marvel Cinematic Universe and imagines what would happen if the events in the films worked out differently. Kevin Feige also introduced director Bryan Andrews and head writer Ashley Bradley to the crowd.  “What If…?” premieres on Disney+ in 2021. ● Stars Diego Luna and Alan Tudyk joined Kathleen Kennedy to introduce the audience to the second Lucasfilm live-action series for Disney+, which is now in development.  Both actors are reprising their roles from “Rogue One: A Star Wars Story,” and the stories follow Cassian Andor’s adventures as a rebel spy during the formative years of the Rebellion, before the events of “A New Hope.” World-Class Product Experience Additionally, over on the Expo show floor the Disney+ app made its debut, complete with features and functionality confirmed for the global launch dates in November. For a monthly price of $6.99 or an annual rate of $69.99 in the U.S. (pricing varies outside U.S.), Disney+ offers viewers of all ages a compelling price-to-value proposition, with a consumer-friendly experience that’s easy-to-navigate with personalized recommendations, high-quality and commercial-free viewing, up to four concurrent streams, and unlimited downloads with no up-charges. The Disney+ app experience, available to consumers on November 12, will feature: ● Unlimited Downloads: Subscribers have access to unlimited downloads of shows and movies on the Disney+ app to watch offline later on up to 10 mobile or tablet devices, with no constraints on the number of times a title can be downloaded per year. Once downloaded, subscribers can watch on the go and without an internet connection. The number of titles stored at one time on a device is dependent upon the available storage space on a subscriber’s device. ● High-Quality Viewing: Subscribers will enjoy an ultra-high-definition viewing experience with up to 4K Ultra HD video playback in Dolby Vision ultra-vivid imaging, HDR10, and Dolby Atmos immersive audio on supported devices for available programming. ● Commercial-free Viewing: Subscribers can access unlimited viewing of Disney+ content without having to watch a single commercial. ● Profile Customizations: Subscribers can set up to seven different profiles and choose an avatar tailored to their favorite Disney, Pixar, Marvel or Star Wars characters, with over 200 avatars available. ● Concurrent Streaming: Disney+ allows subscribers to concurrently stream video content on up to four registered devices with no up-charges. ●Multiple Languages: At launch, Disney+ will offer support for English, Spanish, French and Dutch languages, including both user interface as well as audio support and/or subtitles for library content, with additional languages available for Disney+ Originals. ● Accessibility: The app offers support for closed captioning, descriptive audio, and navigation assistance to help subscribers with disabilities discover and enjoy their favorite stories.

For the latest from Disney+ and its upcoming originals, follow @DisneyPlus on Facebook, Twitter, and Instagram, @TheMandalorian on Twitter, and Instagram, @HighSchoolMusical on Facebook and Instagram, @LadyandtheTramp on Facebook and Instagram, @DisneysNoelle on Instagram, or register your email at DisneyPlus.com. About Disney+ Launching on November 12, 2019, Disney+ will be the dedicated streaming home for movies and shows from Disney, Pixar, Marvel, Star Wars, National Geographic, and more, together, for the first time. From The Walt Disney Company’s Direct-to-Consumer and International segment, Disney+ will offer ad-free programming with a variety of original feature-length films, documentaries, live-action and animated series and short-form content.  Alongside unprecedented access to Disney’s incredible library of film and television entertainment, and 30 seasons of “The Simpsons” in the U.S., the service will also be the exclusive streaming home for films released by The Walt Disney Studios in 2019 and beyond, including “Captain Marvel,” “Avengers: Endgame,” “Aladdin,” “Toy Story 4,” “The Lion King,” “Maleficent: Mistress of Evil,” “Frozen 2,”and “Star Wars: The Rise of Skywalker.” The service will launch in select geographic territories, including U.S., Canada, and The Netherlands, followed shortly by Australia and New Zealand, with the expectation to be available in all major markets within the first two-years. Visit DisneyPlus.com to learn more.

[mrdaps]

Fans around the globe have been gearing up for the Disney+ streaming service! The service will contain all of your favorites that you already know and love, from the Marvel Cinematic Universe to Disney Channel Original Movies. Today at D23 Expo, Disney announced some of their exciting new original content that will be coming to the series and their descriptions.

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The Disney+ panel was a hit with fans attending the expo, with many saying it was a major highlight of their day! Here is a recap of this very special panel from Disney!

For Lucasfilm’s “The Mandalorian,” executive producers Jon Favreau and Dave Filoni joined series stars Pedro Pascal, Gina Carano, Carl Weathers and Giancarlo Esposito, along with Taika Waititi, who brings the droid IG-11 to life, to premiere the teaser trailer for the first Star Wars live-action series. Earlier in the day at the Disney Legends Awards Ceremony, Robert A. Iger, chairman and chief executive officer, The Walt Disney Company, announced that new Disney Legend Ming-Na Wen will join the cast of the series. Set after the fall of the Empire and before the emergence of the First Order, “The Mandalorian” follows the travails of a lone gunfighter in the outer reaches of the galaxy far from the authority of the New Republic. Watch the trailer here.

The talented up-and-coming cast of “High School Musical: The Musical: The Series” brought down the house with a live performance of the multi-platinum hit song, “We’re All In This Together.” Immediately following the presentation, cast members Joshua Bassett, Olivia Rodrigo, Matt Cornett, Sofia Wylie, Julia Lester, Larry Saperstein, Dara Reneé, Frankie A. Rodriguez, Kate Reinders, Mark St. Cyr, and Showrunner Tim Federle invited 3,600 fans to watch the first episode in the D23 Expo Arena and revealed the series’ teaser trailer. The 10-episode scripted series, set at the real-life East High, where the original movie was filmed, follows a group of students as they countdown to opening night of their school’s first-ever production of “High School Musical.” Watch the trailer here.

Host Yvette Nicole Brown joined fellow “Lady and the Tramp” cast members Rose (“Lady”) and Monty (“Tramp”)—the canine stars of the film—to premiere the first trailer from the film. In the timeless re-telling of the 1955 animated classic, a pampered house dog and a tough but lovable stray embark on an unexpected adventure and, despite their differences, grow closer and come to understand the value of home. Watch the trailer here.

“Noelle” stars Anna Kendrick and Billy Eichner joined Sean Bailey to announce their film will premiere on Disney+ on November 12 before sharing a new trailer. In the upcoming holiday comedy, Kris Kringle’s daughter is full of Christmas spirit and holiday fun, but wishes she could do something “important” like her beloved brother Nick, who will take over from their father this Christmas. When Nick is about to crumble like a gingerbread cookie from all the pressure, Noelle suggests he take a break and get away…but when he doesn’t return, Noelle must find her brother and bring him back in time to save Christmas. Watch the trailer here.

Jeff Goldblum, who stars in and hosts “The World According to Jeff Goldblum” from National Geographic, gave fans a peek inside the series including a new trailer for the show. Through Goldblum’s always inquisitive and highly entertaining mind, nothing is as it seems in this new 12-episode series. Watch the trailer here.

Executive Producer Kristen Bell shared a first look trailer and a taste of what’s to come in the unscripted series, “Encore!” that brings together former castmates of high school musicals, tasking them with re-creating their original performance years after they last performed it, in a high school reunion like no other. Watch the trailer here.

Tony Hale, who reprises his craft project turned toy role from “Toy Story 4” in the new collection of Pixar animated shorts “Forky Asks A Question,” premiered the first short (“What is Money?”). In the 10 shorts, Forky explores important questions about how the world works, such as: What is love? What is time?

The audience was treated to a scene from the Disney+ original film “Togo,” an untold true story set in the winter of 1925 across the treacherous terrain of the Alaskan tundra. An exhilarating and uplifting adventure, “Togo” stars four-time Oscar® nominee Willem Dafoe and is directed by Ericson Core. The film also stars Julianne Nicholson, Christopher Heyerdahl, Richard Dormer, Michael Greyeyes, Michael McElhatton and Michael Gaston. Kim Zubick is the producer and Tom Flynn wrote the screenplay. “Togo” will launch on Disney+ in December.

Executive Producer and recurring guest star Gina Rodriguez joined “Diary of a Female President” lead Tess Romero to announce the series will premiere on Disney+ in January. Told using the narration from her diary, this half-hour single camera comedy follows 12-year-old Cuban-American girl Elena’s journey through the trials of middle school, which set her on the path to ultimately become president of the United States.

Kathleen Kennedy announced that the highly anticipated new season of “Star Wars: The Clone Wars” will stream on Disney+ in February 2020. The Emmy® award-winning animated series will be returning with twelve all-new episodes and will mark the return of classic characters Anakin Skywalker, Obi-Wan Kenobi and  fan-favorites Ahsoka Tano and Captain Rex.

Sean Bailey shared a first look at the original film “Timmy Failure: Mistakes Were Made.” Directed by award-winning filmmaker Tom McCarthy with screenplay by McCarthy & Stephan Pastis and based on the best-selling book series by Pastis, the film follows the hilarious exploits of our quirky, deadpan hero, Timmy Failure, who, along with his 1,500-pound polar bear partner Total, operates Total Failure Inc., a Portland detective agency. “Timmy Failure: Mistakes Were Made” will launch on Disney+ in early 2020.

The stars of “Stargirl,” Grace VanderWaal and Graham Verchere, were welcomed on stage to help introduce the coming-of-age film based on the critically-acclaimed, New York Times’ best-selling young adult novel. “Stargirl” is directed by Julia Hart from a screenplay by Kristin Hahn and Julia Hart & Jordan Horowitz based on the novel by Jerry Spinelli. The film also stars Karan Brar, Maximiliano Hernandez, Darby Stanchfield and Giancarlo Esposito. “Stargirl” is produced by Ellen Goldsmith-Vein, Lee Stollman and Kristin Hahn. “Stargirl” will launch on Disney+ in early 2020.

Director Kari Skogland introduced Anthony Mackie and Sebastian Stan, the stars of Marvel Studios’ ”The Falcon and The Winter Soldier,” which finds Falcon and the Winter Soldier teaming up after “Avengers: Endgame.” Emily VanCamp came on stage and Feige revealed that she will reprise her role as Sharon Carter. Then, he introduced the crowd to Wyatt Russell who will play John Walker—a character from the comics coming to the screen for the first time. Head writer Malcom Spellman was also on hand to greet the crowd. “The Falcon and The Winter Soldier” will launch on Disney+ in 2020.

“Monsters At Work” stars Ben Feldman and Aisha Tyler unveiled the latest design of their characters Tylor and Millie. Inspired by Disney and Pixar’s Academy Award®-winning feature film “Monsters, Inc.,” the new series from Disney Television Animation returns to Monstropolis and follows a new cast of monsters with special appearances from Mike and Sulley (voiced by Billy Crystal and John Goodman).

Stars Paul Bettany and Elizabeth Olsen were on hand for their new series, Marvel Studios’ “WandaVision.” Bettany returns as Vision and Olsen as Wanda Maximoff—two super-powered beings living their ideal suburban lives who begin to suspect that everything is not as it seems.   Kevin Feige surprised the audience by bringing to the stage Kat Dennings and Randall Park who will reprise their roles from “Thor” and “Ant-Man and The Wasp,” and then he introduced Kathryn Hahn who has been cast as a new character in the series. Director Matt Shakman and head writer Jac Schaeffer joined everyone on stage to reveal that the streaming series will blend the style of classic sitcoms with Marvel Cinematic Universe.  “WandaVision” premieres on Disney+ in 2021.

Kevin Feige welcomed the director, Kate Herron, and head writer, Michael Waldron, of “Loki” to the stage. In Marvel Studios’ new Disney+ series “Loki,” Tom Hiddleston returns as the mercurial Loki, the god of mischief and everyone’s favorite villain in stories that take place after the events of “Avengers: Endgame.” “Loki” debuts on Disney+ in 2021.

For Marvel Studios’ “What If…?” Hayley Atwell was on hand to greet the audience. Atwell will voice Peggy Carter in Marvel Studios’ first animated series that focuses on different heroes from the Marvel Cinematic Universe and imagines what would happen if the events in the films worked out differently. Kevin Feige also introduced director Bryan Andrews and head writer Ashley Bradley to the crowd.  “What If…?” premieres on Disney+ in 2021.

Stars Diego Luna and Alan Tudyk joined Kathleen Kennedy to introduce the audience to the second Lucasfilm live-action series for Disney+, which is now in development.  Both actors are reprising their roles from “Rogue One: A Star Wars Story,” and the stories follow Cassian Andor’s adventures as a rebel spy during the formative years of the Rebellion, before the events of “A New Hope.”

The Disney+ app experience, available to consumers on November 12, will feature:

Unlimited Downloads: Subscribers have access to unlimited downloads of shows and movies on the Disney+ app to watch offline later on up to 10 mobile or tablet devices, with no constraints on the number of times a title can be downloaded per year. Once downloaded, subscribers can watch on the go and without an internet connection. The number of titles stored at one time on a device is dependent upon the available storage space on a subscriber’s device.

High-Quality Viewing: Subscribers will enjoy an ultra-high-definition viewing experience with up to 4K Ultra HD video playback in Dolby Vision ultra-vivid imaging, HDR10, and Dolby Atmos immersive audio on supported devices for available programming.

Commercial-free Viewing: Subscribers can access unlimited viewing of Disney+ content without having to watch a single commercial.

Profile Customizations: Subscribers can set up to seven different profiles and choose an avatar tailored to their favorite Disney, Pixar, Marvel or Star Wars characters, with over 200 avatars available.

Concurrent Streaming: Disney+ allows subscribers to concurrently stream video content on up to four registered devices with no up-charges.

Multiple Languages: At launch, Disney+ will offer support for English, Spanish, French and Dutch languages, including both user interface as well as audio support and/or subtitles for library content, with additional languages available for Disney+ Originals.

Accessibility: The app offers support for closed captioning, descriptive audio, and navigation assistance to help subscribers with disabilities discover and enjoy their favorite stories.

  Be sure to check out the Disney+ trailer from the D23 Expo below and let us know what you’re looking forward to most! We will be on Facebook and Twitter all weekend and we can’t wait to hear what you think!

Disney+ Streaming Service Announces Exciting Original Content at D23 Expo 2019 Fans around the globe have been gearing up for the Disney+ streaming service! The service will contain all of your favorites that you already know and love, from the Marvel Cinematic Universe to Disney Channel Original Movies.

[jillmckenzie1]

Rainbow Ruckus

I’ve read that it takes four to six weeks to develop a new habit, which is to say, it takes four to six weeks to normalize a new behavior. We’ve all been under stay-at-home lockdown orders for…a solid five weeks and counting. Our personal interactions have been shrunk down to pixelated screens and a desperate faith in the power and consistency of our Wi-Fi. I even went on a first date, that ultimate personal trial, via Zoom. (Pro tip: please, don’t eat a plate of raw cauliflower during the date. Please.) I’ve also been reviewing live theater as it’s now performed: over video. This remains a deeply weird experience, but what the hell? Let’s all try this new adventure with good faith and a long pour of pinot grigio.

I logged in to Zoom to watch/participate as the Rainbow Militia, a local, female-run circus company, launched the Rainbow Ruckus event series. The audience all sat at our pandemic-socialization locations (mine is in my closet), with our respective pours of adult beverages (the aforementioned pinot grigio), and watched our tiny screens, as the performers played to the blank eye of their smartphone cameras. I will comment again on the tremendous *weirdness* of watching things in this communal experience. We are NOT together, but we sort of are, but then again definitely not. This bears remarking upon yet again.

My initial impression of the whole experience is that absolutely everyone on Zoom is much, much prettier than I am and has cheekbones that I would commit adultery for.  I spent a solid ten minutes watching the other silent audience members, waiting for something to start. The whole event got a lot more interesting when I realized that it was not actually happening on Zoom but was being broadcast on Facebook Live; we were all just on the Zoom meeting to have the social experience of watching together. I logged into Facebook and the production value skyrocketed—actual performances were happening!

The theme of Rainbow Ruckus is “Colorado Community” and the performances are collaborations between local musicians and local performing artists. The musician contributes their original music to a circus artist, who choreographs an act and performs it for the live audience. It’s pretty amazing, as a community experience. I don’t think there needs to be a lot of discussion about the fact that we cannot use pre-pandemic standards to judge pandemic performances. Yes, the sound quality is often lacking. Yes, the video value is frequently shaky and always narrow. Such is the inherent vice of this beast–and we must learn to embrace it.

I saw artists performing on Cyr wheel on a vacant playground; I saw dancers perform in their living room, furniture pressed up against the walls; aerialists performed on metal scaffolds in their backyards, garden sheds visible in the background. The performances were professional and enjoyable, and I found that knowing that the music was also bespoke and local added a lot to the experience. I even jotted down a couple of notes about looking up more music from some of the artists in the future.

Here’s the thing: I’ve long talked about the magic of experiencing live performances in communal settings and, even squeezed down through the Xfinity’s fiber-optic cables, the magic still lives on. I found the Rainbow Ruckus to be deeply enjoyable and also entertaining. The only really tricky bit about this review is that…we are all spending so very much time on our screens already. After a day of working on my computer and gazing out at the Colorado springtime that’s happening outside my window, the thought of staying indoors for yet another Zoom conference call is challenging. But if you’re going to log in and watch something, skip over the Netflix garbage and rest your eyeballs on the best of Colorado’s performing artists and musicians. The next one happens on May 2.  Performances stream live on Facebook, YouTube ,and Twitch, and people can donate/tip performers at their PayPal. All proceeds are split amongst the artists.

from Blog https://ondenver.com/rainbow-ruckus/

[mitchbattros]

BREAKING NEWS: Two Missions Will Go Closer to Our Sun Than Ever Before

Two upcoming missions will soon take us closer to the Sun than we've ever been before, providing our best chance yet at uncovering the complexities of solar activity in our own solar system and shedding light on the very nature of space and stars throughout the universe.

Together, NASA's Parker Solar Probe and ESA's (the European Space Agency) Solar Orbiter may resolve decades-old questions about the inner workings of our nearest star. Their comprehensive, up-close study of the Sun has important implications for how we live and explore: Energy from the Sun powers life on Earth, but it also triggers space weather events that can pose hazard to technology we increasingly depend upon. Such space weather can disrupt radio communications, affect satellites and human spaceflight, and can severely damage our power grids. Such events also have a direct causal effect to Earth's weather which can lead to extreme events causing vast destruction.  A better understanding of the fundamental processes at the Sun driving these events could improve predictions of when they'll occur and how their effects may be felt on Earth.

"Our goal is to understand how the Sun works and how it affects the space environment to the point of predictability," said Chris St. Cyr, Solar Orbiter project scientist at NASA's Goddard Space Flight Center in Greenbelt, Maryland. "This is really a curiosity-driven science." Parker Solar Probe is slated to launch in the summer of 2018 and Solar Orbiter is scheduled to follow in 2020. These missions were developed independently, but their coordinated science objectives are no coincidence: Parker Solar Probe and Solar Orbiter are natural teammates. Both missions will take a closer look at the Sun's dynamic outer atmosphere, called the corona. From Earth, the corona is visible only during total solar eclipses, when the Moon blocks the Sun's most intense light and reveals the outer atmosphere's wispy, pearly-white structure. But the corona isn't as delicate as it looks during a total solar eclipse. It can release a powerful punch of charged particles, and if Earth directed can have significant repercussions to Earth's upper and lower atmospheres reflective of Rossby Waves which drive shifting jet streams and ocean currents.

Both Parker Solar Probe and Solar Orbiter will study the Sun's most pervasive influence on the solar system: the solar wind. The Sun constantly exhales a stream of magnetized gas that fills the inner solar system, called solar wind. This solar wind interacts with magnetic fields, atmospheres, or even surfaces of worlds throughout the solar system. On Earth, this interaction can spark auroras and sometimes disrupt communications systems and power grids. Data from previous missions have led scientists to believe the corona contributes to the processes that accelerate particles, driving the solar wind's incredible speeds—which triple as it leaves the Sun and passes through the corona. Right now, the solar wind travels some 92 million miles by the time it reaches the spacecraft that measure it—plenty of time for this stream of charged gases to intermix with other particles traveling through space and lose some of its defining features. Parker Solar Probe will catch the solar wind just as it forms and leaves the corona, sending back to Earth some of the most pristine measurements of solar wind ever recorded. Solar Orbiter's perspective, which will provide a good look at the Sun's poles, will complement Parker Solar Probe's study of the solar wind, because it allows scientists to see how the structure and behavior of the solar wind varies at different latitudes. Solar Orbiter will also make use of its unique orbit to better understand the Sun's magnetic fields; some of the Sun's most interesting magnetic activity is concentrated at the poles. But because Earth orbits on a plane more or less in line with the solar equator, we don't typically get a good view of the poles from afar. It's a bit like trying to see the summit of Mount Everest from the base of the mountain.

That view of the poles will also go a long way toward understanding the overall nature of the Sun's magnetic field, which is lively and extensive, stretching far beyond the orbit of Neptune. The Sun's magnetic field is so far-reaching largely because of the solar wind: As the solar wind streams outward, it carries the Sun's magnetic field with it, creating a vast bubble, called the heliosphere. Within the heliosphere, the solar wind determines the very nature of planetary atmospheres. The heliosphere's boundaries are shaped by how the Sun interacts with interstellar space. Since Voyager 1's passage through the heliopause in 2012, we know these boundaries dramatically protect the inner solar system from incoming galactic radiation. It's not yet clear how exactly the Sun's magnetic field is generated or structured deep inside the Sun—though we do know intense magnetic fields around the poles drives variability on the Sun, causing solar flares and coronal mass ejections. Solar Orbiter will hover over roughly the same region of the solar atmosphere for several days at a time while scientists watch tension build up and release around the poles. Those observations may lead to better awareness of the physical processes that ultimately generate the Sun's magnetic field. Together, Parker Solar Probe and Solar Orbiter will refine our knowledge of the Sun and heliosphere. Along the way, it's likely these missions will pose even more questions than they answer—a problem scientists are very much looking forward to. _______________ Science Of Cycles Research Fund Your assistance has always been at the core of this model, without you we fail. Below is an example of how Science Of Cycles keeps you tuned in and knowledgeable of what we are discovering, and how some of these changes will affect our communities and ways of living. We are maintaining our open ended donation so you can place amount of your choice.   Cheers, Mitch

  Read the full article

[kathycyr]

Good morning, my friends. I hope you all are feeling fine and doing well. May it be a good day for you. I've got another little story for you. They pop into my head at random moments. I like to write them down before I forget them. Some are better than others, but it's always fun. It's storytime... Jebediah Knickerthorpe. Not all dwarfs are created equal; take Old Jeb, for instance. Jebediah Knickerthorpe was born with unusually small hands. It was unheard of. To compensate for their small stature, dwarves' were gifted with large hands and feet. (They also had the ability to grow long flowing beards within a month's time, but that's another story.) "Look at those tiny hands," said his father. He shook his head and frowned. "He will grow into them," said his mother. Jebediah's family came from a strong, hearty line of dwarfs. His father could wield a hammer with such ease it appeared to be light as a feather. His mother could lift the vegetable cart by herself filled to the brim with the day's pickings and Jeb's younger siblings sitting on top. His uncle could swim across a raging river without getting pulled under and his aunt wrestled wild boars for fun. Jebediah could not lift his father's hammer. He could not lift, pull or push the vegetable cart. The one time he tried to cross the river, he was pulled under the second his feet hit the water and his aunt had to save him from a mother boar when he tried to wrestle its piglet. After an especially frustrating day trying to pick apples and failing, Jebediah threw down his basket and kicked the trunk of the tree. His frustration was relieved, but only due to the excruciating pain in his foot. "Your differences are what make you special," said his mother. "You will find your way, until then, enjoy the journey." Jebediah experienced many more trials and tribulations. In spite of his tiny hands, he grew up to be a happy dwarf. One day his mother sent him out to pick junberries. It was a task he had done many times before. The berries were small and easy enough to pluck from their branches. He leaped over a stream and hopped over roots sticking up out of the ground. The hardest part was climbing over the downed tree that blocked the path to the junberry bush. It usually left him sweaty and exhausted, but today was different. On his last visit, he created stairs using rocks, mud and sticks. He ran to the top of the downed tree with ease and celebrated his triumph by throwing his hands in the air. "Any celebration, no matter how small, is always good for the soul." Jebediah whipped around and lost his footing. He landed on the forest floor with a thud. He rolled over to find the elder dwarf sitting beside the junberry bush with a feather in his hand. The feather was full and beautiful, but it was its sharp tip that caught his attention."What is that?" "It is my quill. It is what I use to write with," said the elder dwarf. Jebediah's bushy eyebrows came together and created one hairy line across his forehead. "Come here and I will show you." He dipped the tip of the quill in ink and touched the paper in his lap. Jebediah watched in fascination as the ink flowed across the paper. Black swirls filled the page. The elder dwarf dipped the quill again and moved around the page with quick strokes. An image of the junberry bush appeared. His eyes widened and his mouth dropped open. The urge to touch the quill was strong. The elder dwarf chuckled and handed it to him. The quill fit perfectly in his hand. He slid the feather between his fingers and marveled at its softness. The elder dwarf placed the paper in his lap and plunked a heavy leather satchel at his side. It was filled with more paper and quills. Jebediah carefully dipped the quill into the ink and swirled across the paper just like the elder hand done. It felt amazing. "My hands are too big to hold the quill for long, but yours are perfect. The village could use a wordsmith," said the elder."Once you learn to write, of course." He turned and walked away. Jebediah stared after him and felt happier than he'd ever felt before. In that moment, he knew he had found his way. http://www.kathycyr.weebly.com https://www.amazon.com/Kathy-Cyr/e/B00NR8SP90 #addalittlemagic #mglit #ebook #epub #family #kidlit #love #blogger #mustread #childrensbooks #library #writerslife ​#sunrise #beautiful #pretty #5amwritersclub #dragons #fantasy

[onisiondrama]

Killstream w/ Onision 3/30/2020 - Summary Part 4

Re-Upload

(Unless specifically stated, everything written is from Greg / James’ words. Parenthesis are my notes/thoughts.):

Host is reading questions from fans who paid. Someone asked if Greg really went to SERE school and if he passed. Greg says he flunked out because he couldn't kill a rabbit.

Someone asked why he isn’t friends with Cyr, says they heard it was because they heard Cyr didn’t vote for Hillary in 2016. Greg says this is why he likes NDA’s, this could have been handled privately and they would still be friends. Says Cyr voted independent and that’s retarded. It escalated after Cyr’s girlfriend Dasha got involved. He says Dasha is the girl Cyr hit. Dasha was anti-o and Cyr became one. (It did not escalate because of Dasha. Greg publicly terminated the friendship way before she got involved. This was in November 2016. Cyr and Greg had a few jabs at each other after. In December, Cyr made a diss track about how Greg profits off of drama and makes fake drama. Greg made a diss track in response about Cyr and in it he called Dahsa a “Russian prostitute”. That’s when she started started tweeting against Greg. Their friendship was already dead at that point.)

Greg says Hansen says the window thing was all Greg’s fault. (Did he? I don’t recall that. EDIT: No he didn’t. They just talked about how they thought it was strange he filmed his child after.)

Greg says Sarah was the worst out of all (the exes I guess?) because she went after Kai, who did nothing wrong. Sarah wanted vengeance because Greg hurt her feelings. He says Billie admitted she’s a vengeful person and Shiloh is bat shit crazy, as Edwin found out. He says the crazy can’t hide in some people and it comes out quick. He says when she said she was going to kill herself and make it look like he did it, his mom and aunt laughed sadistically over the phone when they heard it. He says he was weirded out but now he kind of gets it because the situation was so ridiculous.

Keem asks if Greg was molested by his dad. Greg says no, but his dad is an accused child molester and he doesn’t remember most of his childhood. He says according to people, his dad and other family members were molested and maybe that’s why he (his father) is an alleged molester.

Greg says he was never touched by an adult, but when he was 11 he finger banged a girl that was 4 years older than him because she went to his bed. Everyone reacts really shocked and sympathetic. “Oh man.” “Oh bro.” He says it was his first kiss too. Host asks if he understands he was molested and they’re all concerned. Greg asks how he suffered. Host says it sounds like he was molested in his voice. Keem says something about people who were molested when they were young have a nasally voice. Host says a lot of people are emotionally stunted from being molested. Greg says he really doesn’t think he was molested and his dad wasn’t into penis.

They talk about Greg’s livestream with Newsweek guy. Keems says Greg steamrolled him. Keem talks about a bad experience he had with the same reporter.

They read an anonymous submission to a blog where anon accuses of Greg of influencing their friend to commit suicide because of his Speaks videos. (From back when they were opinion / advise videos.) Greg in response reads tweets from fans saying he saved their life. He says you can’t pick and chose who you believe.

They play the clip of Holly on Hansen’s stream accusing Greg of influencing a fan to starve them self to death because of his videos. Everyone (but Greg) says they don’t believe it and laugh. Greg says she’s lying because she’s looking up to the right.

Greg says Repzion gave up on being a Youtuber and went to welding school, but started up again when he made a video about the Wetlands. Says Repzion thanked Greg for rebooting his career. (I’m pretty sure Repzion thanked him for paying off his schooling, but idk. I don’t feel like looking that one up, but I thought Repzion said he’s not a Youtuber anymore, just does it on the side.)

Keem says the anti-o movement imploded because Greg wasn’t arrested and there’s nothing to talk about anymore so they make up lies. Greg says he was mean to a lot of people so they wanted to hurt him and their shining knight (Hansen) flopped on his face. Host agrees.

Host goes back to reading questions. Someone asked if Greg is gay because he’s with Kai. Greg says he’s “2020 gay, not 2019 gay.” (I think this was a joke? I’m really not sure. It was a flat delivery for him, not a typical joking style for him.)

Greg decides to defend himself for taking a photo of his kid after she fell out of a window even though no one brought it up. He says you know when someone takes a picture of a body before they move it? That’s what he did. He says he took a video from the window down to show where the impact happened. He says it would be for the doctor or detective if they needed it. He says it’s important to know how the child fell. Host asks what he would say to someone who never heard of anyone doing that before. He says he had time to think about it and the other parent was bending down,  blocking part of the child. He says he told the detective he learned to do that from Shiloh because he filmed himself so they would know what he was doing when he waited for the police to show up and to show she wasn’t murdered by him. He says he also gave the ring video. Host asks if “other parent” was the mother. Greg says it’s complicated with the transgender thing, but yes technically mother.

Keem asks if Greg felt responsible or guilty. Greg says it could have been avoided if he was smarter. He says it wouldn’t have happened to other parents that were more paranoid about windows. He thought he positioned the bed in a way she couldn’t climb onto it. Only the corner of the bed was by the window. He says if she grows up to blame him, technically he is to blame. Throughout him saying this, they keep asking but did you feel guilty? He finally answers yes and laughs. Keem says it’s normal for a parent to feel guilty. Greg says it’s on whoever was watching the kid at the time (I guess that would have been Kai?), but then he says you could spend all day trying to figure out why it’s not your fault.

Greg says when he was at VidCon someone yelled “SHANE DAWSON” at him. He turned around and they were like, “oh.” He says he hates that.

Keem asked if he wore a bulletproof to VidCon. Greg says he got death threats and didn’t care if he looked stupid. He says everyone thought it was stupid until the Christina Grimme thing happened, but she got shot in the face so that wouldn’t help. Keem asks if wore it to court. Greg says yes. Says people said he wore it backwards but he doesn’t know what the fuck they’re talking about. He says he didn’t want to get stabbed. Says it’s stab proof and 9mm proof.

Someone asks how young to too young. Greg says no if you’re under 25, you’re too young for him.

Someone asks what he plans to do when this is over. Greg says CGI porn, it’s pretty fun.

Someone asks why he didn’t do anything after his moderators told him there were undesirables on his forums. Greg says it was their job to ban them. He says his Discord moderators mostly ban people, he rarely bans anyone. Moderators are there to do their fucking job, not ask questions.

Someone asked why he continued to make videos about Eugenia Cooney after she asked him to stop. He says he kept making videos about her because they were positive, but the anti-o retards don’t hear him. He says if he asks Repzion to stop making videos about him and Rep started making videos about how much he loves Onision, he wouldn’t tell him to stop again. He says Eugenia said to stop making negative videos and never complained after that. (That is not true. She sent the email asking him to stop in Feb 2017. After, he went on to make 55 more videos about her including many “negative” videos such as a video where he starved her to death in The Sims and a video of him laughing at her being beat up in a WWE game. Here is a timeline.)

[clickyourradio]

Cerebral Mist was a melodic death metal band from Joensuu, Finland - or barely had time to be. Its founder Antti Parviainen died abruptly in February of 2018, leaving behind him six demos, which were to serve as the backbone of an upcoming album. Parviainen was 32 years old. The band’s vocalist and other composer Antti Argillander, bassist Erno Venäläinenand current music producer Erno Sallinen - all of whom had played together as teenagers - met at the funeral and swore that one day they would finish what Parviainen had started.

In the summer of 2021 Sallinen finally took the bull by the horns and started the production of the EP later to be named Age of Mist. Apart from the vocal recordings plagued with calendar problems, remote work and even a corona case, the production was finished in a couple of months.

Finally the project ballooned in to a full-blown work party, when others wanted to support a good cause as well.

Argillander’s vocals were recorded by Elmo Kröger (also currently in Kings of Guilt) and the backing vocals were sung by Nevicate’s Anni Kokkonen. The record was mixed and mastered by Joona Muistola of HAW Studios, and the cover art was drawn bySinni Jensen.

The EP is released by Inverse Records, and it’s available on all major streaming platforms on the 31st of March 2022

[lindawood]

How to Get Rid of a Used Car Seat

Last January, I needed to get rid of two car seats that my girls had outgrown. Safety experts caution against giving them away unless they’re in near-perfect condition (most charities won’t even take them), and finding recycling programs specific to car seats is rare. What could I do to keep the seats from going straight to a landfill?

Pull Quote

This April 22 through May 5, Target will host its first trade-in program of 2018. Bring in your unwanted seat and get a coupon for 20 percent off a new seat or stroller.

At a loss for better options, my husband and I tore our car seats apart, as best we could, and put the exoskeleton-like shells out with the recycling bags on the curb, hoping for the best. Next recycling day, the truck didn’t pick up the shells, and I spent a week anxiously imagining them decomposing right there on the sidewalk, weathering a millennium of snowstorms and humid New York City heat waves. Although the seats were eventually picked up, I couldn’t shake my guilt. I wondered if the seats were really recycled, and if I should have tried harder to pass them on.

The problem of getting rid of big, bulky gear (or other similar home goods) isn’t unique to car seats. But considering that most kids will go through three before they turn 11, and the safety issues involved with handing them down, car seats pose a pretty significant disposal issue. After seeking the advice of a child-passenger safety expert, a specialty recycler, and my local department of sanitation, I determined the best practices for donating and recycling a seat. But most of them require more work than you might expect.

Pass it on … but only if you can vouch for its condition

You can give away or sell a used seat, but it better be in near-perfect condition. The next owners should be able to talk with you, ideally in person, about the seat’s history. Lorrie Walker, training manager and technical advisor for the Buckle Up Program at Safe Kids Worldwide (which certifies Child Passenger Safety technicians), told me the seat should meet the following criteria:

It should be within the expiration date. Car seats have expiration dates, which might make some parents suspicious that manufacturers are just trying to make us buy more stuff. But like anything, the components of the seats can wear out over time. “Those expiration dates are there for a good reason,” Jose Ucles, a spokesperson for the U.S. Department of Transportation, told me in an email. “An expiration date tells you about the integrity of the seat’s components. Webbing, plastic, foam, buckles, etc., experience wear and tear over time that could weaken their ability to provide optimal crash protection.” Infant seats (our favorite is the Chicco Keyfit 30) usually expire five to six years after the manufacture date. Convertible seats (we recommend Britax’s Marathon ClickTight) expire after about 10 years. Look for the date in the manual or on the seat.

Never hand down an expired car seat, like this one that I recently saw on a sidewalk in my neighborhood. Better to recycle it or throw it away. Photo: Christine Cyr Clisset

It should be from the original owner and never have been in a moderate to serious crash. Only the original owner will know the full history of the seat and can vouch that it’s never been in an accident. “Once a car seat’s been in a crash, much like a bike helmet or a motorcycle helmet, it’s no good,” said Walker. According to the National Highway Traffic Safety Administration (NHTSA), a fender bender might be okay, though.

It should not have any missing parts, or parts that you’ve jerry-rigged. Walker told me a nightmare story about a child who was ejected from a car seat that the parents had bought at a yard sale. Only after the crash did they discover the prior owners had replaced a steel bar that was supposed to hold the car seat harness straps in place with a soft, straw-like metal rod that couldn’t support the weight of the child.

The seat shouldn’t be under recall. And if it was recalled, make sure it was fixed according to the manufacturer’s instructions. “Many of the recall items are generally fixable at home, they’re not difficult to do,” said Walker.

Ideally, the safety manual and registration card should be included, though if you’ve lost the original manual most car seat manufacturers have PDF versions online. Walker recommends the new owners also register the seat to receive updates on recalls, which can be done with the registration card (if you still have it) or through the NHTSA.

Checking all the boxes on this list can be a tall order for the average parent. “Very few people want that responsibility,” said Walker.

Look for buyback programs

Target and other stores periodically host events where you can bring in your old seat and receive a coupon toward your next purchase. What happens to the seats after the trade-in depends on the retailer and which disposal company it has partnered with. Some partners, like TerraCycle, will recycle the entire seat (including the foam and fabric covers), others recycle only the most valuable materials (usually the metal and some of the plastic). Some retailers just send them to a landfill.

Target ran two buyback programs in 2017 where it partnered with TerraCycle, a company that specializes in hard-to-recycle items. A rep from Target told me the company recycled nearly 80,000 seats, equaling over one million pounds, during one event alone. This April 22 through May 5, Target will host its first trade-in program of 2018, this time partnered with a company called Waste Management. Bring in your unwanted seat and you’ll get a coupon for 20 percent off a new car seat or stroller.

Recycle it—if you can!

Your next best option is to recycle your seat through your municipality (call to see if it takes them) or one of the rare car seat recycling programs. Car seats are challenging to recycle because they’re made of so many materials, which need to be separated for individual waste streams. Most programs will recycle only the metal and some of the plastic parts of the frame, which have more value than the foam and fabric covers.

“The only way I see that car seats would be recycled by a municipality is if they’re going to cherry pick the parts of the car seat that are valuable or have any value to them once they’re separated,” said Brett Stevens, vice president of material sales and procurement at TerraCycle. Corporate subsidies allow TerraCycle to recycle less-profitable parts. For instance, Target paid TerraCycle to recycle the car seats from its two trade-in programs in 2017. TerraCycle also partners with a range of companies for free recycling programs for packaging, like snack bags and toothpaste tubes. “That’s why we’re able to exist,” said Stevens, “because of the generous sponsorship of these companies.”

Pull Quote

It took my husband and me a curse-inducing hour with an electric drill, screwdriver, and hammer to remove a fraction of the metal pieces embedded in the plastic.

If you decide to recycle through your municipality, remove the cover and cut off the straps, harnesses, and buckles. Basically, make it unusable. If the seat isn’t fit for donating, you don’t want another family nabbing it.

Before putting my daughters’ seats on the curb, I followed advice I’d read on the Internet and broke the shells apart as much as possible. In practice, I found this to be backbreaking work that most people probably won’t hassle with. It took my husband and me a curse-inducing hour with an electric drill, screwdriver, and hammer to remove a fraction of the metal pieces embedded in the plastic. I felt better about our weak performance after I talked to Walker: “I’ve been at [disposal] events through the years where somebody has piled the car seats in a really big heap and then they take an earth mover and try and crush them…sometimes it takes this earth mover going over it three or four times to break the molds on these car seats.”

Throw it out … but do it right!

If you do need to send the car seat to a landfill, take it apart first (again, you don’t want a family mistaking it for a giveaway and using it). As you would if recycling the shell, cut off all the straps, buckles, and harnesses. “That way you’ve completely rendered the carseat unable to be used,” Walker said. She recommends putting the shell in one dark garbage bag, and the straps and cover in another.

As for my daughters’ car seats, I tried to investigate their fate by emailing the NYC Department of Sanitation’s press office. Hypothetically, I asked, If I put the stripped car seat shells out with the rest of my recycling, would they be recycled? I quickly got a response from Vito Turso, a deputy commissioner at the department: “We accept all rigid plastics for recycling, so I think you can say yes.”

Well, probably yes and no.

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How to Get Rid of a Used Car Seat

Last January, I needed to get rid of two car seats that my girls had outgrown. Safety experts caution against giving them away unless they’re in near-perfect condition (most charities won’t even take them), and finding recycling programs specific to car seats is rare. What could I do to keep the seats from going straight to a landfill?

Pull Quote

This April 22 through May 5, Target will host its first trade-in program of 2018. Bring in your unwanted seat and get a coupon for 20 percent off a new seat or stroller.

At a loss for better options, my husband and I tore our car seats apart, as best we could, and put the exoskeleton-like shells out with the recycling bags on the curb, hoping for the best. Next recycling day, the truck didn’t pick up the shells, and I spent a week anxiously imagining them decomposing right there on the sidewalk, weathering a millennium of snowstorms and humid New York City heat waves. Although the seats were eventually picked up, I couldn’t shake my guilt. I wondered if the seats were really recycled, and if I should have tried harder to pass them on.

The problem of getting rid of big, bulky gear (or other similar home goods) isn’t unique to car seats. But considering that most kids will go through three before they turn 11, and the safety issues involved with handing them down, car seats pose a pretty significant disposal issue. After seeking the advice of a child-passenger safety expert, a specialty recycler, and my local department of sanitation, I determined the best practices for donating and recycling a seat. But most of them require more work than you might expect.

Pass it on … but only if you can vouch for its condition

You can give away or sell a used seat, but it better be in near-perfect condition. The next owners should be able to talk with you, ideally in person, about the seat’s history. Lorrie Walker, training manager and technical advisor for the Buckle Up Program at Safe Kids Worldwide (which certifies Child Passenger Safety technicians), told me the seat should meet the following criteria:

It should be within the expiration date. Car seats have expiration dates, which might make some parents suspicious that manufacturers are just trying to make us buy more stuff. But like anything, the components of the seats can wear out over time. “Those expiration dates are there for a good reason,” Jose Ucles, a spokesperson for the U.S. Department of Transportation, told me in an email. “An expiration date tells you about the integrity of the seat’s components. Webbing, plastic, foam, buckles, etc., experience wear and tear over time that could weaken their ability to provide optimal crash protection.” Infant seats (our favorite is the Chicco Keyfit 30) usually expire five to six years after the manufacture date. Convertible seats (we recommend Britax’s Marathon ClickTight) expire after about 10 years. Look for the date in the manual or on the seat.

Never hand down an expired car seat, like this one that I recently saw on a sidewalk in my neighborhood. Better to recycle it or throw it away. Photo: Christine Cyr Clisset

It should be from the original owner and never have been in a moderate to serious crash. Only the original owner will know the full history of the seat and can vouch that it’s never been in an accident. “Once a car seat’s been in a crash, much like a bike helmet or a motorcycle helmet, it’s no good,” said Walker. According to the National Highway Traffic Safety Administration (NHTSA), a fender bender might be okay, though.

It should not have any missing parts, or parts that you’ve jerry-rigged. Walker told me a nightmare story about a child who was ejected from a car seat that the parents had bought at a yard sale. Only after the crash did they discover the prior owners had replaced a steel bar that was supposed to hold the car seat harness straps in place with a soft, straw-like metal rod that couldn’t support the weight of the child.

The seat shouldn’t be under recall. And if it was recalled, make sure it was fixed according to the manufacturer’s instructions. “Many of the recall items are generally fixable at home, they’re not difficult to do,” said Walker.

Ideally, the safety manual and registration card should be included, though if you’ve lost the original manual most car seat manufacturers have PDF versions online. Walker recommends the new owners also register the seat to receive updates on recalls, which can be done with the registration card (if you still have it) or through the NHTSA.

Checking all the boxes on this list can be a tall order for the average parent. “Very few people want that responsibility,” said Walker.

Look for buyback programs

Target and other stores periodically host events where you can bring in your old seat and receive a coupon toward your next purchase. What happens to the seats after the trade-in depends on the retailer and which disposal company it has partnered with. Some partners, like TerraCycle, will recycle the entire seat (including the foam and fabric covers), others recycle only the most valuable materials (usually the metal and some of the plastic). Some retailers just send them to a landfill.

Target ran two buyback programs in 2017 where it partnered with TerraCycle, a company that specializes in hard-to-recycle items. A rep from Target told me the company recycled nearly 80,000 seats, equaling over one million pounds, during one event alone. This April 22 through May 5, Target will host its first trade-in program of 2018, this time partnered with a company called Waste Management. Bring in your unwanted seat and you’ll get a coupon for 20 percent off a new car seat or stroller.

Recycle it—if you can!

Your next best option is to recycle your seat through your municipality (call to see if it takes them) or one of the rare car seat recycling programs. Car seats are challenging to recycle because they’re made of so many materials, which need to be separated for individual waste streams. Most programs will recycle only the metal and some of the plastic parts of the frame, which have more value than the foam and fabric covers.

“The only way I see that car seats would be recycled by a municipality is if they’re going to cherry pick the parts of the car seat that are valuable or have any value to them once they’re separated,” said Brett Stevens, vice president of material sales and procurement at TerraCycle. Corporate subsidies allow TerraCycle to recycle less-profitable parts. For instance, Target paid TerraCycle to recycle the car seats from its two trade-in programs in 2017. TerraCycle also partners with a range of companies for free recycling programs for packaging, like snack bags and toothpaste tubes. “That’s why we’re able to exist,” said Stevens, “because of the generous sponsorship of these companies.”

Pull Quote

It took my husband and me a curse-inducing hour with an electric drill, screwdriver, and hammer to remove a fraction of the metal pieces embedded in the plastic.

If you decide to recycle through your municipality, remove the cover and cut off the straps, harnesses, and buckles. Basically, make it unusable. If the seat isn’t fit for donating, you don’t want another family nabbing it.

Before putting my daughters’ seats on the curb, I followed advice I’d read on the Internet and broke the shells apart as much as possible. In practice, I found this to be backbreaking work that most people probably won’t hassle with. It took my husband and me a curse-inducing hour with an electric drill, screwdriver, and hammer to remove a fraction of the metal pieces embedded in the plastic. I felt better about our weak performance after I talked to Walker: “I’ve been at [disposal] events through the years where somebody has piled the car seats in a really big heap and then they take an earth mover and try and crush them…sometimes it takes this earth mover going over it three or four times to break the molds on these car seats.”

Throw it out … but do it right!

If you do need to send the car seat to a landfill, take it apart first (again, you don’t want a family mistaking it for a giveaway and using it). As you would if recycling the shell, cut off all the straps, buckles, and harnesses. “That way you’ve completely rendered the carseat unable to be used,” Walker said. She recommends putting the shell in one dark garbage bag, and the straps and cover in another.

As for my daughters’ car seats, I tried to investigate their fate by emailing the NYC Department of Sanitation’s press office. Hypothetically, I asked, If I put the stripped car seat shells out with the rest of my recycling, would they be recycled? I quickly got a response from Vito Turso, a deputy commissioner at the department: “We accept all rigid plastics for recycling, so I think you can say yes.”

Well, probably yes and no.