#we respect the new/classic number divide

[dragongirltongue]

We're not calling it Season 1, it's either series 14 or season 40. Resetting the count now is like how comics started releasing new number 1 all the time.

We're loving Ncuti Gatwa as the doctor and the direction they're taking things but like, no this is not season 1, season 1 aired in the 60s.

[iam-lnt]

Hetamyu is great and here's sort of a......theatrical analysis pov of why

last time i ranted about "hetamyu being great" (👈this post right here) i'm not exactly being clear, and since the production itself has much that I can analyze (already written a 2k article abt the stage 💀) I figure I can do better

So I...analyzed all Hetamyu that I've seen (excluding the live mash-up versions since technically those are more like concerts than theatrical plays) from the following perspectives under cut

(warning: it's long as fuck. I'm not even kidding. I opened the cut myself after finishing it and I felt like I'm going to faint)

I've warned y'all.

Symbolic and innovative staging

Stage is something often overlooked as a regular audience, which, when doing analysis, should not be. Whatever happens in the play happens on the stage, and thus the stage, when being designed, will be closely linked with the play itself. The stage in hetamyu use the classical three-side proscenium stage, which is what one would imagine when saying "a stage".

The stage of hetamyu episodes holds meaning with respect to the historical period/symbolic, thus assisting in story/theme telling. Examples:

The great world: Round middle part of the stage with the spin-able plate in the middle; a callback to the time period (great exploration) and its ideal that the Earth is "round", like the stage. 

In the new world: The big book design in the background can 1) engross the audience in the story as if they’re reading a book themselves, 2) add to the historical sense of the play with the parchment-like material, 3) as the actor themselves move the page it feels like they're telling the story themselves, and also adding onto the fact that if actors flip to the page before, it's like someone's trying to turn back history

The world is wonderful: The high platform behind can be symbolic for its height representing the strength of a nation behind higher than others; it’s also a way to isolate the one on top with those on ground level to highlight a specific character via height

The general staging of hetamyu is progressively more creative. Examples:

The great world: movable stair pieces

In the new world: ngl that book design is pretty good

Fantastic world: use those tall iron rack/frame things to mimic a boat and the hang-down cloth to mimic the Fuji mountain.

That's really something bc often theater production will not choose a realistic display of everything, since all they have is a limited amount of stage (not like, for example, tv series where they have green screen or sth). Choosing a creative yet fitting method to narrate a wider perspective is soooo important and inspiring. Hetamyu, being stories of grand history stories, obviously cannot put a palace, a tank, a wall, or a mountain on stage. So they either 1) leave it blank and up to imagination accompanied by assisting dialogues/actions or 2) use shapes that are alike to the presented view. If done well, you wouldn't even notice that "things are not real", bc despite no realistic object is presented, the whole atmosphere allows your brain to fill the gap--all the reason why hetamyu exceeds expectations in this field.

The use of comedy

It's easy to notice that hetamyu is laughable as hell. Not joking, I cannot finish a play without shaking with laughter somewhere (although it tend to get serious and angst towards the end…will talk about it later), and I'm sure most have similar experiences. This means that comedy is well used in production of hetamyu. I'd like to divide the comedy parts in hetamyu into two components:

--Personality of characters-- This one is easier to understand. The wacky idiots we have in original hetalia manga/anime is basically the source of humor, including but not limited to 

Italy whipping out his white flag

America yelling "I'm number 1"

Which is working well, of course. But one thing that I’m glad is that hetamyu didn’t stop there with the characterization—it expanded on what should be "them being just dumb" and turned them into real and heart-felt characters, such as

Italy preferring peace over war (Grandpa Rome etc etc)

America actually being number 1 in the world and feeling "lonely" (in The world is wonderful. Ah I love that line sm)

Of course we can see that many of the said expansion on characterization is already done in original hetalia, and it’s true, hima already handled their characters well. But my point is that hetamyu did not use comedy solely for comedy, it did not use stupidity/egocentrism/bickering only for the laughter—it's a reflection of unique traits of characters, which in turn makes us love them even more.

--Improvisation-- The script itself purposefully leave out certain parts for the actors themselves to improvise. Now I'm not sure if it's a common thing generally in Japanese theater production of popular anime (I'm guessing it is), but I always love this design. Usually, one play will have multiple points for multiple characters' improvisation skits. 

The actors themselves (from what I've seen in BTS videos) will plan out jokes to tell during these improvisation parts. For one, these skits break the fourth wall well, bc actors would often use irl examples (eg commercials, quotes, songs, films, famous ppl) to mimic and/or cue; for another, it's a weird extension of the character themselves, so it's funny because the characters we know are being weird…either ooc or completely in character. Examples of there improvisation skits include

The great world: America drawing random stuff on a pull-out blackboard and explaining it to everyone when Japan asked. [The improvisation is what would be drawn and how he would explain.]

Fantastic world: How France and England would bicker and exit the stage. [The improvisation is how their arguments would turn to different topics and how France will end their conversation with a one-liner; and also an extended improvisation of the other one-liner Spain commenting on them two]

Expanding just a bit here, these improvisations remind me how Commedia dell'arte (an Italian theater tradition) will have "Lazzi", which is a set sequence of improvisation, in their play production. I think it follows certain steps to create a Lazzi but I…did not do my research on this one, sadly. Also I think it can correspond to "jig" in English. [Sprinkling in random theater knowledge even if this whole post is basically theater knowledge]

Themes, ideals, and conflicts

Typically, a theatrical production will have an "intention" of some sort, which would be what the producers want to tell by staging a play. From the intention derive possible themes and ideals. Conflicts, on the other hand, is used for pushing the plot forward and towards a climax, consequently telling a propelling story (see the classical plot diagram). A arguably successful play will most likely have insightful themes and perceptive ideals along with a well-set conflict to tell the themes and ideals. 

—Themes and ideals via the plot— Hetalia has little plot, or to say a hella lot of plot bc it's the whole freaking history. Thus, hetamyu chooses this approach: tell a story in a certain historical period (or as the show develops, multiple periods). We see hetamyu tell stories of the great exploration, the unification of Italy, the opening of Japan, and so much more. 

What's impressive is…it is hard enough to tell a good historical story, it is harder yet that hetamyu is dealing with nation personifications for god's sake. I commented once before that it's pretty amazing that although there's a decent amount of typical fandom fights in hetalia (just like others), during the course of my being in the fandom, never have I seen once that hetalia meddle with political arguments. It has so much potential for political fights but I’ve seen…none. Like literally how. Hetamyu handled some of the most dangerous topics (like world wars and colonization) and advocated peace over everything. Okay hetalia did that also, but that's another story. Also credits to @thecursedislander for pointing out a possible symbolism of peace = pasta since Italy's supposed "weakness" is actually a brave advocation for peace and cheerfulness, I think that realization broke me somehow.

You'd expect this "history story + peace and love" troupe to, ugh, fade in its usefulness if it's used too many times, and yes the producers of hetamyu noticed that. This is why, when I finished watching Fantastic world, my jaw dropped—hetamyu tackled a problem called "Japan's lack of culture due to recent history, and also it's relationship with his mentor China". Okay that’s impressive as hell bc consider the real world audience and um idk real world politics???? I'm impressed at the production teams' insightfulness in history as well as their dedication to bring a light-hearted and loved show on stage. Like I would often describe to my friend, the themes tackled in hetamyu made me believe that whoever wrote the script must have either a Philosophy or a History degree or sth, because the sort of "realization" brought forth by the telling of themes is just that brilliant and open-minded

—Setting up conflicts— Every hetamyu has a main conflict accompanied by sub-conflicts. Example:

The great world with the main England-America relationship

The world is wonderful with the main North/South Italy relationship, 

Fantastic world with the main Japan inner conflict and his relationship with China, along with sub-conflicts such as Japan-Netherlands or Japan-America. 

This approach is useful because it avoided the show being just a chaotic mess of idiots running around doing stuff. Now it's…a chaotic mess of idiots running around doing stuff and trying to fix their problems/the main conflict. Welp. You get the idea. Essentially conflict pairs help set up a reasonable plot for the 2 hour show to go on while showing all the drama. Also who is in the conflict tells a bit of the theme, like how Japan-China conflict can call back to the theme of culture integration etc. 

Other production elements

Just going over them quickly bc this is already too long…yeah.

Lighting: use of different colors of light to indicate shifting of atmosphere on stage; e.g. iconically the opening scene for The world is wonderful/flashing lights to add to tension on stage/blue to create an atmosphere of freezing cold during Russia's scenes

Music: Not much I can say other than the songs are getting progressively better. Compare those in Singin' in the world and the newest The glorious world and you'll see what I mean. I feel like the composers add more into the instruments, like strings, guitars, keyboards, and stringed their melodies together better. 

Props: Also getting better, and more creative. Like Chibi America's cradle, the HRE hand doll, and all the stuff lying around the stage in The glorious world. 

Actors and casts

This is not my strong point in analysis bc this is technically not included when analyzing a play. But I decided to add this in anyway, because if a play is good enough it can educate not only the audience but also the actors themselves. 

—Specific roles— I like the fact that actors have specific roles when it comes to producing a play; like Russia's actor specialize in telling the oldest corniest coldest jokes ever, Germany's actor being the only voice of reason and thus a good choice for ending improvisation skits, and Italy and America's actors being the absolute kings in chaotic improv. 

—Characterization— I ranted about it once before I think, but the actors of hetamyu giving the characters a new set of characteristics is something I dig so much for. The most obvious one got to be England; his actor Daisuke literally portrayed this supposed gentleman as his original sassy self, which is hella fun. Other actors do similar things, but I'd argue those are harder to spot bc they matched their characters' freak pretty damn well.

—Wholesome, encouragement, and growth— So this whole family of hetamyu cast is wholesome as hell. It's like that with many other shows, in which the cast bond over the experience. With hetamyu it’s better because they have a long time span—the first hetamyu Singin' in the world came in 2015, and the last hetamyu The glorious world just ended touring this year in 2024. 

Also, the break after the first three production (in which they started a live one, thinking that it's the end of hetamyu's production and they're not going to make new shows together…I'm not sure about the reasons tho) and the return afterwards are great opportunities for the cast to bond over.

We can see the growth of multiple cast members, e.g. Ryoki, Italy's actor, was only 16/17 when he first starred in 2015, and bro's now 26 and striving in his career as a singer, and Gaku, Prussia's actor, was a rather new member of the cast (starting from In the new world) and can be quite shy, but other members encouraged him and cheered him on and look at him now! Okay he's still like the bullied kid in the cast but at least he knows he's loved by the fam (/hj). 

One last thing, I like how the main casts won't forget to include the ensemble cast into their improv skits just for fun. Cuz like, without the ensemble the play wouldn't be complete, so even if they're just dancers for background aesthetic and props moving, they're still a crucial part of the play. And I adore the fact that main cast also keeps that in mind. Respect. 

I can go on about the cast dynamic for ages and start a new rant on their acting skills or sth but I'm afraid I've already run too far away from our topic. Point is, show so good the cast is in tears (literally)

Conclusion

I have no good conclusion for all these...(gesture helplessly above)...stuff. So in conclusion hetamyu is awesome and we love hetamyu 4ever.

Also feel free to spill any thoughts & suggestions !! Diverse pov/opinion needed for better analysis and my brain may or may not be deprived of braincells <3 in da hetamyu club we all fam

[mywifeleftme]

138: Various Artists // Experiments in Destiny

Experiments in Destiny Various Artists 1980, BOMP!

BOMP! is a venerable Los Angeles-based indie label, founded in 1974 and would you believe still going to this day. Experiments in Destiny samples 28 bands either signed to or distributed by the label, and it’s a who’s who of “Who?” with a few starrier names scattered in. They specialized in New Wave, homages to ‘50s and ’60s rock, and springy power pop. I wrote this intro after deciding to do a track-by-track recap below, so uh, let’s get to it because there are too many words as it is.

Side One

Stiv Bators: First time hearing the solo work from the Dead Boys’ Stiv Bators, and it turns out he’s… Tom Petty-ish?

The Real Kids: Pitching this here with no real forethought, but you can divide power pop bands by whether or not their singers sound like their throat is dry. Boston’s The Real Kids are great, great dry-throated power pop, and probably one of the better-known acts here thanks to “All Kindsa Girls” showing up on a lot of compilations. They’d already broken up by 1980, so we get an unreleased demo that probably wasn’t easy to find elsewhere at the time.

The Dadistics: Somewhere between the Slits and Rough Trade, a little Pat Benatar in the vox—puts me in the mind of the similarly cool and obscure Mo-Dettes. The first third of the song is a no wavey fakeout, then it goes into a kinda Feeliesy riff. Extremely cool! And vocalist Audrey Stanzler went on to be part of the original lineup of… Ministry?!

Blake Xolton & The Martians: Tasting notes: Maybe Magazine at their most electronically disassociated? Blake Xolton was a producer with a very sparse discography, who may also have been part of the phony International Society of Poets who set up the controversial Poetry.com, a “poetry shearing site” per Wikipedia.

Jimmy Lewis & The Checkers: Pubby cover of the Aretha Franklin chestnut “Think.” Probably a little too close to Huey Lewis & the News for my taste.

The Nuns: Blondie-esque New Wave, with some very cool guitar and backing vocal effects that make it sound like the action is taking place in a futuristic resurrection chamber.

Gary Charlson: A smooth Kansas City pop rocker—his vocals strongly remind me of some minor prince of '70s classic rock radio, but all I'm coming up with is the guy from .38 Special, and I know that's not it. His sole EP covers a number of the titans of power pop (e.g. the expected Raspberries, Byrds, and Badfinger, the at the time obscure Big Star, the eternally head’s only Crabby Appleton and Vance or Towers), but he somehow never ended up cutting an LP despite a very radio-ready sound. Self-produced wonder? Nice bit o' Middle American flavour to it.

Side Two

Rodney & The Brunettes: Cutesy one-off cover of the surf rock classic by LA DJ Rodney Bingenheimer, who gives a respectable effort.

The "B" Girls: Toronto girl group who might've been able to get some of that Go-Go's money with a little polishing. Good harmonies, lead singer had a nice voice on her.

The MnM's: Excellent shake and pop, written by Paul Collins of the Nerves and the (American) Beat, and featuring the latter band's Steve Huff on bass. Vocalist Marci Marks is the kind of diminutive punk girl I’d probably have been crazy for at the time.

Paul Collins: Speaking of Collins, this is a second reminder in a row that I really need to get around to listening to his post-Nerves material, because this is a great sub-two minute blast of punkified Merseybeat.

Nikki & the Corvettes: Three-piece girl group from Detroit that sound strikingly like Tweens, a 2010s pop punk fav of mine. I'm addicted to this particular kind of snotty/bratty femme vocal, love how much room the single guitar gives to hear the bassist noodling around. Somehow I think this is the first time I’m hearing these guys.

Kathy & the Lawnmowers: After five straight '60s revival songs, we take an abrupt detour into Devo world. Kathy & the Lawnmowers were produced by the notorious Kim Fowley, who provides a blurb in the liners explaining that the mysterious bandmembers arrived at a session wearing masks having never met before, cut some tracks, then removed their masks, didn't like the looks of one-another and split for good. That's obviously baloney, but I prefer it to the version where Fowley did something terrible to them, which would not be uncharacteristic. They’re also credited as Jukebox Rebel Queens on the back cover? Anyway, fun trash sci-fi ramble about green children.

Side Three

The Sonics: "Up (to) the Junction"—sadly not a Squeeze cover, but pretty fetching stuff from the legends nonetheless. The bluesy rocking side of the Sonics (as opposed to the frothing proto-punk side), nice biting guitar tone.

The Weirdos: Per the liners, allegedly LA's first punk band, a claim I can't dispute because I continue to not know much of anything about LA punk, this is fun rockabilly style fair, like a less stylish Cramps. Good stomping beat.

The Zantees: A Gene Vincent cover in a Stray Cats vein, with a guitar player who can really go in that zippy old school Scotty Moore style.

Jon & the Nightriders: A surf rock instrumental cover—I wondered if "Super Jet Rumble" might've been by the Jet-Tones (of "Jet Tone Boogie" 'fame'), but no, seems to be a tune by The Breakers. Anyway, this sounds like every surf rock song, which is to say it rules but not in a way you'll necessarily remember.

The Lipstick Killers: High energy Australian garage rock that the band apparently called "straight edge music"; presumably Ian MacKaye had to go down to the Yabba and win a few rounds of the game from Wake in Fright to win the rights to that term. While we're at it, the song's called "Hindu Gods (of Love)"—Warren Zevon and R.E.M., you've got some explaining to do! Presumably on the B-side of the original single they also coined the term 'hyphy' and invented Lou Barlow.

The Hypstrz: A Minneapolis band with a legendary live reputation, but I can't really fuck with bands whose main gimmick is garaged up versions of old R&B sides. They probably absolutely crushed it live, but this version of "In the Midnight Hour" just kinda exists for me.

The Last: Clearly a last-minute (not a pun, fuck you) addition as it's not listed on the back of the sleeve or in the liners, the Last's "She Don't Know Why I'm Here" is a slashing piece of Anglophile psych-pop and one of the best things on this entire comp. It stuffs a remarkable number of twists and turns, false finishes, and secondary riffs into its three-and-a-half-minute runtime. The Last have a small cult following for their run of singles and debut LP LA Explosion! My only regret is that they didn't include the original single version of this one, as it elevates a groovy jam into a thrashing raveup.

The Dead Boys: Stiv Bators' second appearance on the comp; the Dead Boys were an almighty force in their day, but there's something kinda funny to me about ol' sloppy Stiv being the centrepiece of any label's roster. A good-enough take on "3rd Generation Nation" from their live LP Night of the Living Dead Boys—RateYourMusic reviewer mofoking shares some interesting backstory on how that LP came to be distributed by Bomp! and why nearly all of Stiv's vocals had to be overdubbed.

Side Four

The Crawdaddys: Perfectly competent Velvets cover, though the vox sneer their way past Lou into a Dylan impression.

The Martians: Previously appearing on this comp backing up "Blake Xolton" on a weirdo New Wave Christmas song, their own sound is traditional Merseybeat stuff. This isn't a classic, but it's a damned fine pastiche. Apparently they were a pair of record producers who joined together for this project, sharing lead vocal duties and playing all of the instruments themselves. No wonder it sounds great.

Pete Holly & the Looks: Heavy New Wave from Boise, Idaho, sporting a hilarious watery vocal filter and waka-waka guitar riffing. The chorus conceit is goofy ("Look out! Below!") but the Boiseans acquit themselves well. Somebody had to hold down the fort between Paul Revere & the Raiders and Built to Spill, so my thanks to Pete Holly.

The Wombats: Not the ’60s Wombats from Illinois or the ‘90s Wombats from also Illinois or the ‘00s Wombats from Liverpool, but rather a fourth Wombats from Cleveland, presumably the marsupial capital of the Lower Midwest. This (“Utter Frustration”) is sloppy and great and went by very quickly while I was trying to research whether Ohio's indeed part of the Lower Midwest, so I had to listen to it again.

Rainbow Red Oxidizer: A former sideman for the Seeds' Sky Saxton (presumably around the time he was fucking around with the Source Family), Rainbow Neal is accompanied by members of Focus, Spirit, Captain Beefheart's Magic Band, and even Mars Bonfire from Steppenwolf. I've got like six tabs open trying to figure out what this guy's deal is--love when a compilation sends me down a research hole like this. I'm sampling the Oxidizer LP now, and despite its New Wave window dressing, it's viciously sarcastic garage rock with the occasional jangly gem—if anything Rainbow's voice reminds me of Wire's Colin Newman. What a great song "When You Walk in the Room" is!

Cheek: Okay, these guys are Australian, covering an old Easybeats song, and are even produced by Vanda & Young, who give them something like a vintage AC/DC production sound, though these guys are considerably poppier than Angus and company. Vocalist does have a faint Bon Scott keen to his voice at times though.

The Romantics: Detroiters best known for "What I Like About You" (one of those songs I have heard ten thousand songs and never questioned the provenance of) turn in a rarity in "Running Away," a slab of pristine midwestern power pop that was apparently intended to be issued as a single with BOMP! but ended up seeing its first release here. They'd lose the Romantics to the Atlantic-distributed Nemperor Records right before they blew the fuck up, which has gotta be a label owner's nightmare.

Well, that took goddamn forever. If you’re still around, the tracks I most recommend fishing out are the Real Kids, Dadistics, “B” Girls, MnMs, Paul Collins, Nikki & the Corvettes, Last, Martians, Wombats, and Rainbow Red Oxidizer tunes. Not a bad haul!

138/365

[swirlingsand]

hello my friends i am here to give you reasons to vote for shura! i know this is a worthy green hair and pronouns opponent and there would be no hard feelings either way as we, saint seiya fans, didn't even know there were other saint seiya fans on the hellsite??? 😭 we mercilessly push him to fight more and more popular teenagers but the truth is we're really proud he made it this far. this poll has been instrumental in uncovering a new fandom (our own!!) we didn't know was present on tumblr and now, maybe we're letting even more people know about this manga from the 80s that is for some unfathomable reason a huge phenomenon in southern europe and latin america and completely obscure everywhere else in the west.

(caption: unrelated cat gif for the sake of grabbing attention)

alright, here goes nothing!

shura is originally your classic shonen antagonist: not much going for him besides being a bit scary, having a backstory of homoerotic crime, and fighting and losing to a 14 year old shonen protagonist.

so reason number 1 to vote for shura: please allow this man the chance to win against a pretty and popular 14 year old for the first time in his life. 😭

but then for some reason the fandom latched onto him. fandom loves his kind. fandom loves to take antagonists who lose against kids and turn them into special poor little meow meows and write endless homoerotic fanfiction about them. saint seiya doujinshi is actually how BL got popularised as a genre in the west.

reason 2 to vote for shura: i think old (perhaps initially unintentional?) queer coding in media that led directly to normalising queer rep deserves to be given a chance, especially when put against modern media where gender non-conformity and queer identity is more widely understood and accepted. That a character that was written 35+ years ago still manages to look so green haired and pronouned is something I think we all could respect, it was a much more radical statement in its time.

also, the sympathy garnered by shura was such that, aside from about ten thousand gay fanfiction where he miraculously isn't dead, he got to make several comebacks in canon and official spin-offs after his death through means ranging from resurrection to time travel to a literal chapter that happens in literal hell (where he obviously went after dying, who are we kidding 😔😂)

reason 3 to vote for shura: there are so many alternative shuras out there because canon needed him even after killing him off, that it would be actually far more accurate to use they pronouns. 🧐

and finally, look at us, reblogging this post and making propaganda and going utterly insane. do you think all (or even most) of us are over 35? we're here fighting to the death for a character that was written before we were even born! this is such a multi-generational fandom i have no idea how it came to happen but for some reason this poll has solved our generational divide and made us agree for once to support shura and rally behind quixo who's been tirelessly making propaganda since day 1! 😭😭😭

reason 4 to vote for shura: to save tumblr user @quixoticprince from insanity, they've been having a blorbo meltdown over their specialest littlest man and it'd break our heart if they're sad 🥺 (and also because, let's admit it, it would be very funny to see them go on even more blorbo meltdowns if shura qualifies)

this is not a request, or a suggestion. this is a plea. we're just begging here 🙏 if you love saint seiya, if you've heard of saint seiya, if you or a loved one's sign is capricorn, or if you don't care about any of this but want to make a cultishly dedicated obscure fandom very happy, please consider voting for our man, Capricorn Shura.

Thank you for anyone who's read this far, and best of luck for fans of either characters!

The Green Hair and Pronouns Tournament, Quarterfinals Match 4

ID in alt text

[ladyorlandodream]

Agentha Fältskog interview - English translation

In September, Agnetha Fältskog of ABBA agreed to grant Swedish radio presenter Carolina Norén an interview for the classic Swedish chart show ”Svensktoppen” on Swedish Public Service radio. The interview was broadcast September 19.

Carolina Norén: ”Don't Shut Me Down” by ABBA – and with me on the phone I have Agnetha Fältskog. Hello, Agnetha!

Agnetha Fältskog: Hello, Carolina!

C: And, of course, congratulations to entering the top of the chart, Agnetha!

A: Wow, what a surprise! That was amazing, really fun.

C: Let's just say that I wasn't that surprised, and neither was the rest of the world. However, ABBA.s last number one here on Svensktoppen was actually ”Waterloo”, back in 1974!

A: Was it that long ago? Well, there you go. It was about time, then.

C: It was about time! Exactly.

A: I'd like to take the opportunity to tell you how happy, grateful and moved everyone in the group is by the enormous reception. It feels very nice and warm inside.

C: I'm thinking, the first time you received a call like this from ”Svensktoppen”, and I don't know if you remember this, Ulf Elfving was calling. It was in 1968, you were 17 years old and ”Jag var så kär” (I Was So in Love), had reached number three.

A: Yeah, it's been quite a few years, ha ha.

C: What has Svensktoppen meant to you over the years?

A: It means a great deal. We're so used to charts, and have enormous success in several countries, but ”Svensktoppen” – it's our native country and the audience we have back here, and it obviously means a lot. We're very moved by the reception everywhere. I remember that first interview with Ulf, I was very nervous, and almost couldn't believe that I'd entered Svensktoppen, it's something you don't forget. This was also an enormous surprise, because you can never really know how it will turn out. One is never sure that something is going to be successful, and one is glad when it happens.

C: I was actually thinking about that a bit: I know that you love spending time in the studio working, and so on, but was there any point while working on this new material where you started to feel doubt or fear: what if it doesn't work?

A: Yes, we said that in the beginning: a long time had passed since we recorded, and you can never be sure that the voice is going to hold up – was it going to sound old? However, we heard pretty immediately – from both Frida's voice and mine – that it sounded more or less as it did back then. However, you may have to make another kind of effort, and give more, or how to put it, of your ability to tell a story, to empathise with the song. I always used to do that, but it's a lot more now that one has lived an entire life. You put more emotion into it.

C: I was thinking, whose idea was it to do this – who was the driving force behind the comeback?.I mean out of you? From the fans' point of view, it's always been a given.

A: Yes ... Well, one thing lead to another, somehow. We felt that we wanted to do a few new songs for the avatar project that will open in May next year, in London. So we said ”let's do a few songs and see how they turn out, how it sounds. One thing led to another with a few more songs, and then Benny kind of said ”why not make an entire album?”. Yes, and that's how it happened, and since we enjoy working in the studio, it's fantastically fun to be able to create and such.

C: Yes, and you have said that it's sometimes easy to ”tempt” you into doing things if they sound like fun.

A: Yes, that's true.

C: So you weren't hard to convince, when it came to doing this?

A: No, I don't think any of us were. Not doing this. The avatar project, I had to give it a think, since it meant a lot of work, as it were, on stage. Because I'm not a stage personality in that respect, but I can convey more feelings in the songs.

CN: Indeed. The rumours around this comeback started back in 2018. We got to know the song titles, and it feels like these two songs that we have heard, have been underway for a while. Have you polished the songs over the years? What has happened since we first heard of them in 2018?

A: Well, we have been at it. At first we worked on the avatars throughout February...let's see, was it the year before last? No, it was last year. We had just finished working with that, when the Corona situation appeared. Then, after a while, we started recording these songs and it's continued like that.

C: When the songs were released a little over two weeks ago, fans gathered around the world simultaneously. Björn and Benny participated in the live stream and you and Frida were part of the edited program. Björn and Benny said that you were following the broadcast from a distance. How did it feel watching it?

A: It was actually enormous. I've been watching our fans a little, when they're listening to the songs, and they're actually crying. It's quite enormous what a reach it had all around across countries. It's almost hard to take it in, actually.

C: I was present at Gröna Lund (in Stockholm), where fans had been invited, and there were many fans from other countries. I can really attest that emotions were enormously strong. It was, you know, almost sacred. Just like you said, they cried and were deeply moved. One thing many of them said, at least the ones I talked to, was that they missed you – ”the girls”, they said: Agnetha and Annifrid.

A: Yes.

C: Do you know when you will get together next time?

A: I don't really dare to say. We're a bit older now, and have our minor ailments, ha ha. But we struggle on. But I don't dare to say, because it's a bit uncertain. At the moment we feel happy that we got this together, and let's hope everything goes well in London, at the premiere over there.

C: Right, in May next year. The avatars. Incredibly cool, actually.

A: Right.

C: You touched upon the thing about the voice, whether it would hold up. When you released your solo album in 2013, you mentioned in an interview that you'd had the same worry, and had taken singing lessons – which turned out to be one lesson. How was it this time, Agnetha? Did it end up being any singing lessons?

A: Haha. No, it didn't. One knows this, that it has to do with support from the stomach, that you shouldn't ruin...so it doesn't become too much for the throat. Instead, you find support in the belly, and it just fits so well, once you're in the studio. You just, ”wow, it holds up!”. One has different … I like to sit down when I sing. Frida usually stands up. It varies a lot, how you feel that you get the power.

C: You are the one doing the main vocals – at least most of them – on the single ”Don't Shut Me Down”. I should add that ”I Still Have Faith in You” is also in the chart, at number four.

A: Yes, how fun!

C: How does it work when you divide it between the two of you? Do you choose your favourites, or is it directed by the respecive voice registers? Do tell.

A: Yes. It's probably the guys who are in charge of that. We get some lyrics, get to listen a bit, and try a little. It's also happened that one has felt ”this one I'd like to do”. There are no fights about anything. We try it out, but it's usually the guys, I think, who already know who is supposed to sing what. We're also part of each others'... Even if one of us sings the solo verses, we're always join together for the choruses, for the most part.

A: You have also a background as a songwriter, and ran your solo career in the beginning. These days, Björn and Benny usually end up talking about the project. How much are you able to go in a change things, or feel ”that doesn't work, let's try this”.

A: Back in the day it happen pretty regularly, but these days it doesn't. I can come up with a lot of ideas: ”could we add some finesse at this point in the song?” I'm also pretty good at harmonies, but the guys handle most of it. We do as they say, and it turns out well.

C: Another thing when one talks about ABBA and ABBA's music, your songs have been quite associated with you as people over the years. The most obvious example may be ”The Winner Takes it All”, which is about divorce. How about today – what do the songs say about you as people, and artists today?

A: It's probably mostly in the lyrics, and you should probably let Björn answer. One can read one thing or another into composers', songwriters' or lyricists' work, and of course you add a bit of ”it's about him, or me”. But it's general, how to say, relationships. Because it's often about love.

C: The two most recent songs, maybe a little more general. Now that we are talking about love, I've go to ask you: you have said that you're are a romantic person, Agnetha.

A: Yes, I am.

C: And you like romantic music.Will there be more romance on the album? More love?

A: Haha! Well, it's very varied. I can't say much about it now, but it's very varied. I can tell you this much: if you like these two songs, you will probably like the entire album. I do think so.

C: Right. That's good. I feel I need to scratch the surface a little more. What we have heard is a timeless ABBA sound. Can one imagine that it will continue with that sound as well?

A: What do you mean, on the CD?

C: Yes, on the album.

A: Ah, yes. It's very much the ABBA sound. We're not trying to sound different or letting ourselves be affected by other, current things, so to speak. We're trying to keep ... It becomes what it becomes – and it becomes very ABBA when Frida and I get together in the studio. It's almost like a marriage between our voices, and almost hard to tell them apart at times.

C: Now, I know that a lot of people are looking forward to the concert in London in May next year. First, there's the album, in November. The one we were talking about. We mentioned the avatars. What went through your head the first time you heard of the idea?

A: Haha. Well, yes, none of us probably really knew what to expect, but we've worked with it a lot, so you grew into it, eventually. We stand there, doing these songs, with– I don't know how many cameras and people. And then, somehow, it was technologically transferred, in some way that we don't even understand, to other people that are going to be on stage as us – but it's still us, haha! I can't really explain it, it's so hard, but there's a lot of technology and lights involved. But it felt great to do in the end. Because it was so different. Also, there was a vibe, one felt that ”maybe it's the last thing we do”. Same thing with this album.

C: Ooh, you can't say that, ha ha! We want more!

A: You can cut that out.

C: Jonas and I will cut that out! Solo album in 2013. I can reveal to you, here and now, that in the summer of 213, ”Dance Your Pain Away” was the only thing I listened to.

A: I see! That's nice.

C: I know it inside out, but I won't sing it!

A: Yeah, that was cool, actually.

C: Is there anything in the pipeline solo – another solo album from you, Agnetha?

A: Not at the moment, no. I think, and I feel, that I've done a lot now. So I can't promise you that. We have got to find joy in what we have, and all that awaits.

CN: Indeed. May I also add that I was very happy when I heard that you would be with us and share. Because I've learned that you are somewhat restrictive when it comes to doing interviews. What do you think, are there further public appearance from you ahead?

A: Not really. But, as you say, I've never really retired that way, but I am restrictive, and I feel that a lot of things are being written, and have been written, about us. We agreed to do, and have done, so many interviews. There's a risk that you ruin it by talking too much. You want keep a little something to yourself. Something private.

C: Agnetha, we respect that, and we are very happy here at Svensktoppen, and, I would imagine, that the listeners who haven't perhaps fainted from the surprise, and have stayed with us, are happy that you could join us. Once again, huge, huge congratulations to topping the chart.

A: Thank you. I also want to send greetings from the rest of the group. I know that they are all very happy about this. It means a lot to us.

C: Wonderful. I hope we can talk again. I almost get shivers suddenly doing the presentation here. So I say: new number one: ABBA and ”Don't Shut Me Down”. Thank you very much, Agnetha.

A: Thanks so much to you, too!

English translation by Anders Lundquist

[vanillann]

pancakes for dinner ii (spencer reid x reader)

part i

warning: swearing 

word count: 1.9k

“Spencer?”

Spencer turned around quickly. He stood in the middle of my kitchen with batter sticking to his cheek.

“Pancakes?”

The tone in his voice sparked up, causing it to crack. The roller bag was long forgotten in the hallway, my feet not stopping until I stood in front of him.

“You got my message,” I spoke mostly to myself but the comment itself brought a smile to Spencer's face.

“I did.”

Not another second was wasted, my lips crashing onto his. I felt like I was floating, like I was on cloud 9. The way his teeth ran over my bottom lip made shivers run up my spine, I felt completely helpless in the best way possible.

His hands grabbed both sides of my face, slowly bringing me farther away from his own.

“Wake up.”

Huh?

“Wake up (Y/N).”

The sight of Spencer was gone in seconds, the overhead light of the plane taken over my vision.

“Hiya sleepy head.”

I turned back to my right, Lizzie's smiling face was a nice sight, but I was so mad it wasn't Spencer leaning in for another kiss.

Well, dream Spencer.

God, dream Spencer was just as hot as real Spencer.

“We are about to land,” Lizzie said as she grabbed my phone from my hands.

“What are you doing now, calling my boss?”

“Nope, putting my number in your phone.”

I smiled to myself, watching as my new found friend typed her number quickly into my phone.

*

Spencer fell back into his seat, a sigh leaving his lips as he looked at the loads of paperwork on everyone's desk.

“I need to call Savannah,” Morgan spoke quickly, stepping off to his office, his phone in his hand before he rounded the corner.

The talk of a phone call bought Spencer mine back to the voicemail (Y/N) had left him, sitting in whatever inbox the stupid thing had.

He looked through the glass door, the sight of the BatCave door was enough to have Spencer standing from his chair.

He pulled his phone out of his front pocket, knocking on the BatCave door because it was always nice to respect people's private space.

“Enter.”

Spencer pushed the phone open, trying to figure out how to work this weird tech box.

“What’s up Boy Wonder?”

Garcia's voice was smooth, as always.

“(Y/N) left me a voicemail but I can't get to the inbox.”

Without another word Garcia pulled the phone from his hands and typed away quickly.

“Speaker or handheld?”

Garcia looked up through the frames of her thick purple glasses, reminding Spencer of his old art teacher from college.

“Speaker is fine.”

Spencer didn't want to hold that stupid tech box with thousands, 17,000 to be exact, to his face if he didn't have to.

Garcia did her classic dramatic tape, the sound of (Y/N) voice made it all worth it.

“Hi Spencer, it’s me (Y/N).”

The first thing Spencer picked up on was the edge of (Y/N) voice, did something happen?

Are they kidnapped?

God not again.

“I have a feeling you and the team are on a case or something so you probably aren't going to get this until Pen teaches you how.”

“Burn,” Garcia said, making a fist and fist bumping the phone screen.

Spencer rolled his eyes, the sound of a faint laugh sounded through the phone, a note (Y/N).

No.

Just no.

“Okay, um here goes everything.”

Garcia and Spencer made eye contact at the same time, both confused looks burned into their brow.

“I wanna eat pancakes for dinner with you, I know that doesn't make sense to you and all but-um.”

Okay, something was definitely wrong, someone had to have a gun to your head if you were talking in code or something.

“A stranger on the plane told me a crazy story about the love of her life-”

Love?

“-dying in a plane crash and eating pancakes for dinner and I realized that I can't keep acting like I don't want you.”

Garcia dropped the phone, quickly jumping from her chair to pick it back up and hold it in front of both their faces, The bright screen lit up both their faces, both sided eyes and full of awe.

“And right now I’m horrified that this will end horribly but right now I’m stuck on this plane and if it crashes or I disappear or some serial killer finds me-”

Please don't bring up a serial killer killing you, not again.

“-I need you to know.”

Both FBI agents were bundled together in the middle of the room, both faces glued to the phone.

Hotch opened the door to the BatCave, opening his mouth to speak but Garcia hushed him quickly.

Oh god, In front of Hotch!

“I love you Spencer Reid-”

Hotch even took as small a gasp of air, not as big as Garcia but still louder than Spencer.

“-I always have and I can't help it that I wanna eat pancakes for dinner with you.”

Hotch closed the door, walking deeper into the room. He stood beside Spencer,  his face still stern but the hit of a smile playing across his face, his dimples almost on full display.

“I can't help it that you might be the love of my life and I might die today-”

“No,” Spencer yelped out, Garcia quickly held a finger up this mouth and gave him a Hotch look.

“-so if you don't feel the same it's okay but I just need you to know, um yeah bye.”

The sound of a harsh click ended the call, but no one in the room spoke.

“Oh god, if you don’t marry her I will, you can be the best man if you want,” Garcia spoke at lighting speed.

“She called me the love of her life.”

Spencer couldn't focus on anything in the room except the tech box that (Y/N) perfect voice was just flowing out of.

“How about I take your stack and divide them through the team?”

Hotch laid a shoulder on his shoulder, breaking him from the daze he had fallen into.

“Here take my car,” Garcia jumped from her seat, handing Spencer here keys with a Minecraft character, maybe, hanging for the side.

Spencer grabbed the keys and left the BatCave within seconds.

*

I placed the key into my apartment, a small voice in the back of my head telling me Spencer would be on the other side of that door with pancake batter on his face.

I pushed the door open, keeping my head focus to keep my disappointment at bay. I clicked the lights on, finally looking up to see my kitchen completely empty.

I felt the sigh pass my lips, dragging the roller bag, which felt extra heavy now, to the side of my couch.

I looked over my shoulder, the clock on my wall making me want to cry.

2:35am

The time zone was off now and I couldn't sleep, the thought of work in the morning was what made a few single tears roll down my cheeks.

“I hate being old.”

My phone buzzed, my hopes that it was Spencer were gone when I saw Lizzie name pop across my screen.

Lizzie: home yet?

I typed a quick yes, shoving the phone back into my pocket, walking straight to the coffee machine.

If I was going to be stuck watching stupid movies until work might as well have some liquid energy.

The closer I got to the pot the sooner I realized that I had no more coffee beans.

Did the universe hate me, like really hate me?

I played with my keys between my fingers, the thought of running to the small supermarket down the street couldn't hurt.

I didn't think twice, walking back through the front door and closing it behind me.

*

I wandered down the coffee aisle, looking through the many selves of beautiful coffee beans. I grabbed my normal brand and turned left.

I saw the crowd of people standing around the exit, the thought of pushing through them right now made me cringe. I instead turned right, making my way to the other end of the aisle.

My phone buzzed again, I smiled to myself just knowing it had to be Lizzie since it was going crazy.

Lizzie: i think i should paint a picture of you

Lizzie: like with fruits on top of your head

Lizzie: looking like the hot ass human you are

I started to laugh until my head hit a hard surface, but definitely not wall hard. I reached out to the nearest thing to me. the feeling of soft yarn could be felt on my finger tips.

“I’m so sorry-”

I looked up, the sight of Spencer Reid's flusher face had my hand moving off his arm in seconds.

“S-spencer-”

“(Y/N)-”

The way his voice jumped three octaves made the nerves float from my body, just like his voice always did.

Suddenly the memory of the plane was crashing against the side of my brain.

Oh no, it’s weird it’s weird.

“You’re home!”

I watched Spencer's eyes dart around my face, his smile full of nerves.

I shook my head, my eyes going to focus on the white floor of the supermarket floor before something caught my eyes.

A box of pancake mix was held firmly in Spencer's hands.

Pancake mix, oh jumping Jehoshaphat pancake mix!

“Spence-”

“I’m more of a waffle guy but I’m willing to settle!”

The words came out rushed and for some reason his hands flew above his head, like he was going to get arrested or something along those lines.

The blush that was creeping up my neck was making my body feel hot, I nearly forgot there were people all around us in the supermarket.

“I’ll give up waffles completely if that's what you want-”

“How about waffles for breakfast and pancakes for dinners?”

I didn't know how the hell I said that so calmly, I felt like my body was going to explode.

The feeling from the plane came back when he slowly started to smile, the feeling of the clouds passing by at a slow pace.

“Yeah, good compromise. You’ve always been good with compromises-”

I watched his lips move at rapid speed, wanting to actually kiss him.

I wonder if it would be as good as dream Spencer?

His mouth didn't stop, I could even focus on what he was saying anymore.

Only one way to find out.

I grabbed his tie, crashing his lip onto mine, his lips sinking into my bottom lip from where he was talking.

I felt my eyes flutter close, the way his hand ran up from my shoulder to the side of my neck.

His tongue ran across my teeth before a loud cough echoed from behind me. We broke away from the kiss, I looked over my shoulder to see an older couple watching us, both giggle to each other.

“May we get around you both?”

I shook my hand, sliding to the side. Spencer's hand didn't leave the side of my face, my hand wrapped around his tie.

Both smiled, the women stopping themselves and smiling.

“Might want to clean that up.”

She pointed to the floor, the sight of a broken box of pancake mix laid messy across the floor.

criminal minds tag list:

@itsarayofsunshine

pancakes for dinner tag list:

@friendlyweirdobaby

[freehawaii]

OLYMPIC SURFERS - "IʻM PRO-HAWAI`I"

New York Times - Published May 17, 2021 HONOLULU — When John John Florence travels the world for elite surfing competitions, he carries a flag with him, to fly if he wins. It matches the flag on the shoulder of his jersey and on the scoreboard next to his name. It is not an American flag. It is a Hawaii flag. That is because, in the World Surf League and in surfing more generally, there is an understanding: You represent Hawaii, or you represent the United States. You do not do both. The simplest reason is that Hawaii is the birthplace of surfing and remains the sport’s cultural heart. Hawaii residents — particularly Native Hawaiians, but also those merely born and raised there, like Florence — cling to that heritage because surfing may be the strongest of the fading connections to their pre-colonization history. But when surfing makes its debut at the Summer Olympics in Tokyo, there will be no such delineation between Hawaii and the American mainland. Hawaii will disappear as a separate surfing entity. Two of the four Americans on the team, Florence and the four-time world champion Carissa Moore, were born and raised in Hawaii and have always competed under the state flag. Moore is continuing to do so this month as the global tour holds major events in Australia. (Florence is recovering from a knee injury.) The other Olympians, Kolohe Andino of California and Caroline Marks of Florida, compete under the American flag. All four will be in Japan representing the United States. “There’s a little bit of tension with that, going into the Olympics under a U.S.A. flag,” Florence said at his home on Oahu’s North Shore, on a patio overlooking one of the greatest stretches of surf breaks on the planet. “I don’t want to divide at all. I’m not anti-anything. I’m pro-Hawaii.” Florence and Moore are eager to avoid politics, but it is impossible to ignore the historical and cultural waves churning around them. Old debates have flared in recent years, over appropriation and independence, over colonization and commercialization, over how to protect what it means to be Hawaiian, or from Hawaii. Across the islands, on cars and on porches, Hawaii flags fly upside down, a sign of distress. The fight over plans for a giant telescope atop Mauna Kea, Hawaii’s highest mountain, boiled over in 2019 and still simmers today. The project is seen by many as the latest case of outsiders disrespecting Native Hawaiians. Some say this is a periodic reawakening and defense of a culture that many Native Hawaiians feel slipping away. All of it is backdropped by what the Americans did in the 1890s, deposing Hawaii’s queen and annexing the islands. Plenty of Hawaiians still view the United States as an illegitimate occupier. Surfing was nearly stamped out by white colonizers in the 19th century. Adding the sport to the Olympics is both a matter of pride and a way to thrust issues of identity into the open. “Hawaii has had so much erased history,” said Duane DeSoto, the 2010 longboard world champion. “Surfing prevailed against the possible suppression into oblivion. It endured the challenge of being exterminated at one time. And now it needs to be a source of Hawaiian pride.” ‘Riding on an Immense Billow’ Makaha Beach, on the west side of Oahu, may be the home of modern competitive surfing, but it does not draw many tourists. Out of the way from Waikiki or the North Shore, it is a locals’ beach, a crescent of sand where the waves break hard in the winter. Under the trees by the parking lot on a Saturday in November was Brian Keaulana, part of a family of surfing royalty. He is a bear of a man and a classic “waterman” — the highest term of respect in Hawaii for those well trained in all types of surfing and ocean sports, in the tradition of Duke Kahanamoku. Keaulana is a big-wave surfer and founder of the Hawaiian Water Patrol, which works at surf competitions and commercial filming around the islands. On weekends, he can often be found with family and friends on his home beach, where unofficial world surfing championships were held in the 1950s. They play in the water and relax in the shade, sharing old stories and bites of sushi-like Spam musubi. “In surfing culture worldwide, everybody looks at Hawaiian surfing as different,” Keaulana said. “Even California surfers look at Hawaii different. But the Olympics see us as the same.” While most early Polynesian cultures developed some form of rudimentary body boarding, none did it like the Hawaiians, according to the surf historian and author John Clark. The expedition of the British Capt. James Cook landed in 1778 and observed people surfing. The earliest-arriving outsiders were astounded. “To see 50 or 100 persons riding on an immense billow, half immersed in spray and foam, for a distance of several hundred yards together, is one of the most novel and interesting sports a foreigner can witness in these islands,” a missionary named William Ellis wrote in 1822, according to Clark’s book “Hawaiian Surfing: Traditions from the Past.” There is no evidence of anyone stand-up surfing before the Hawaiians, Clark said during an interview on the North Shore. They held competitions, created surfing temples and imagined surfing deities. “The bottom line is that the Hawaiians took surfing far beyond anyone else in the world — technically, in board design, and in their skill level,” Clark said. “And surfing becomes so embedded that it becomes the national pastime. Everybody does it. Royalty does it. Commoners do it. Children do it. Seniors do it. Men do it. Women do it.” The British never got around to taking charge in Hawaii. In 1810, the loose string of Hawaiian islands became united under Kamehameha I — a renowned surfer himself. The United States recognized Hawaiian independence in 1826 and spent decades persuading other countries not to annex the islands. But news of Hawaii was out, like a genie from a bottle. It was a fertile land for outsiders to reimagine. It drew whalers, missionaries and plantation owners, bringing Bibles, illness and a colonizer’s sense of entitlement. Disease wiped out as many as 90 percent of Native Hawaiians by the end of the 19th century, shrinking their numbers to about 30,000 to 40,000. They were soon outnumbered by immigrants, mostly from Asia, who came to work on the growing sugar cane plantations, largely owned by Americans who ruled island politics. The United States saw economic and military advantages in Hawaii; Pearl Harbor was established as a naval base in 1887. In 1893, with the blessing of the American government and the backing of Marines, plantation owners led by the politician Sanford B. Dole overthrew Queen Liliuokalani. Dole was installed as provincial president. Full annexation came in 1898, statehood in 1959. History has left a stain not easily removed. In 1993, the U.S. Congress passed a joint resolution, signed by President Bill Clinton, formally apologizing for “the overthrow of the Kingdom of Hawaii on January 17, 1893 with the participation of agents and citizens of the United States, and the deprivation of the rights of Native Hawaiians to self-determination.” Lingering grudges and disputes flare at different times. In 2001, many residents were in an uproar when the American flag was raised over the Iolani Palace, the 19th-century seat of the Hawaiian monarchy, in a gesture meant to honor those lost during the Sept. 11 attacks. Apologies were issued. These days, the presence of upside-down flags seems to be rising. “To be subtly disruptive,” said DeSoto, whose organization, Nā Kama Kai, teaches Hawaiian culture and ocean safety to children. “Hawaiians are in distress.” And then there is surfing. A Connection to the Waters Seth Moniz, a Native Hawaiian, was competing for a spot on the American Olympic team. This was late in 2019, at the end of the World Surf League season, when no one had an idea that a pandemic would delay the 2020 Olympics an entire year. The World Surf League season traditionally ends with the “Vans Triple Crown” — successive events at Haleiwa, Sunset Beach and Pipeline, all on Oahu’s North Shore. It is the heart of world surfing, a stretch of white-sand beaches backed by a two-lane road and fronted by epic waves. “I’d be honored to represent U.S.A., obviously, but I would prefer to represent Hawaii if I went there,” Moniz said between heats. “I do wish we could have a voice or representation. Me and other Hawaiian surfers, maybe we have to make a push for that, to have the Hawaiian flag at the Olympics.” The tour is dominated by surfers from four places: Brazil, Australia, the United States and Hawaii. In surfing terms, there is no conflict between the Americans and Hawaiians, just a distinction. Surfers had hoped for separate Olympic teams, if only to expand their chances of getting in. “If that happened, I’m in the Olympics,” Kelly Slater said during the final weekend of Olympic qualifying in December 2019. It didn’t happen. Slater, from Florida, lost out to Florence for the final U.S. Olympic spot. Moniz was the second-ranked surfer from Hawaii but will not be in Tokyo, either. Fernando Aguerre, an Argentine who lives in the La Jolla neighborhood of San Diego — he and his brother founded Reef sandals in 1984 and later sold the company — has been president of the International Surfing Association since 1994. It has been his mission to get surfing included in the Olympics. Creating a separate team for Hawaii was never seriously considered by the International Olympic Committee, which paints some fuzzy borders around island territories, using vague language about autonomy. Puerto Rico is among the American territories with its own Olympic team. “Hawaii is different within the surfing world,” said Aguerre, whose son has Kahanamoku as a middle name, honoring Duke. “But in the geopolitical world, Hawaii is part of the United States.” Last year, the Hawaii Tourism Authority created a 15-member Surfing Advisory Committee, in part “to ensure that we re-establish Hawaii as the home of surfing,” said Kalani Kaanaana, the group’s director of cultural affairs and natural resources. The Olympics may not have been the sole reason for the committee’s formation, but it was a catalyst. DeSoto is a member of the committee, which met for the first time this month. “We need to amplify Hawaiian voices in surfing globally and ensure that Hawaiian culture is not further stripped from global surf culture,” DeSoto said afterward. “Not having a Hawaii surf team represented in the Olympics is a travesty.” In the back of the crowd at Haleiwa, anxiously watching their son, were Tony and Tammy Moniz. Like Keaulana, the Moniz name carries heft in Hawaii’s surf culture. The family runs a surfing school in Waikiki. A daughter, Kelia, is a two-time world longboard champion. The Moniz family created an opening ceremony for the Triple Crown, with Hawaiian rituals, as a way to remind the surf community of the sport’s roots. A request from the Hawaii Tourism Authority for a similar cultural blessing before the Olympic contest was denied. “When people ask, ‘Where are you from?’ it’s Hawaii,” Tony Moniz said. “Although we’re proud to be a part of America, and we don’t want to be part of another country, there is a lot of animosity, a lot of hurt, because of a lot of deep things that have happened.” Even within surfing, within Hawaii, there is a nuanced hierarchy. Credence is given to those with native roots, like Moniz. Florence was born and raised in Hawaii, but has no Hawaiian blood. Some think of Carissa Moore as the only true Hawaiian on the Olympic roster. “I’m really proud that I do have a little bit of Hawaiian blood, so I feel a connection to the people here, and the waters,” Moore said, sitting outside a Honolulu coffee shop one afternoon. Back in 2019, Moore competed at an event in Japan overseen by the International Surfing Association. “I was totally wrapped in the Hawaiian flag, but we had U.S.A. shirts on,” Moore said. “It felt like I was betraying Hawaii. It was weird.” Sebastian Zietz, a veteran pro surfer, competes under Hawaii’s flag. He was born in Florida but moved to Hawaii when he was four months old. “I’m a haole, a white guy who moved to Hawaii, so I can’t be claiming anything,” he said. “But I definitely show a lot of respect to all local people, and walk on eggshells, because if you know the history you know Hawaii was illegally overthrown. That’s why they kind of don’t like haoles.” “I’m really proud that I do have a little bit of Hawaiian blood, so I feel a connection to the people here, and the waters,” Moore said, sitting outside a Honolulu coffee shop one afternoon. Back in 2019, Moore competed at an event in Japan overseen by the International Surfing Association. “I was totally wrapped in the Hawaiian flag, but we had U.S.A. shirts on,” Moore said. “It felt like I was betraying Hawaii. It was weird.” Sebastian Zietz, a veteran pro surfer, competes under Hawaii’s flag. He was born in Florida but moved to Hawaii when he was four months old. “I’m a haole, a white guy who moved to Hawaii, so I can’t be claiming anything,” he said. “But I definitely show a lot of respect to all local people, and walk on eggshells, because if you know the history you know Hawaii was illegally overthrown. That’s why they kind of don’t like haoles.” ‘Hawaii’s Gift to the World’ Bishop Museum in Honolulu is the major natural and cultural museum of the state. In late 2019 it unveiled a surfing exhibit, timed for the Olympics (and extended into 2021 because of the pandemic). The collection included the oldest known surfboards, used by kings and queens, and those used more recently by Florence and Moore, royalty of a new sort. It was another not-too-subtle reminder, to locals and tourists alike, that surfing did not originate in California, which claims it as its state sport, or Australia or Brazil, both of which sometimes dominate surf contests. Surfing persisted, barely, through the decline and takeover of Hawaii in the 1800s. Colonizers saw it as a leisure activity, indicative of a poor work ethic. But late in the century, photography and travel helped spread surfing around the world, rejuvenating it. In 1885, three Hawaiian boys, part of the royal family, attended school in Santa Cruz, Calif., and introduced surfing there. The first surf movie might have been in 1898, showing Princess Kaiulani riding at Waikiki. No one symbolizes Hawaiian surfing more than Kahanamoku. Born in 1890 and raised in Waikiki, he became Hawaii’s first famous “waterman” and surfing’s greatest ambassador. A three-time Olympian and a five-time medalist in swimming — surfing was a century away from becoming an Olympic sport — Kahanamoku is memorialized by a statue that stands at the center of Waikiki, in the tourist heart of Honolulu. “He went around surfing, sharing it with people around the world, and it was his greatest gift,” Ezekiel Lau, one of the top Hawaiian surfers on the world tour, said. “Which made it Hawaii’s gift to the world.” Popularity spread, fueled by advents in foam and fiberglass, by the Beach Boys and surf movies, by tiki bars and ABC-TV’s “Wide World of Sports,” by the World Surf League and today’s chase for the biggest waves. Lau is among those who are glad to have surfing in the Olympics, but adamant that the ties to Hawaii not be forgotten. He sat on a porch overlooking Sunset Beach, one of the great surf spots in the world. You can wipe out our population, annex our kingdom, borrow our traditions in the name of cheap trinkets and commercialization, the thinking goes. You might try to build telescopes or international hotels or military bases that threaten to dilute our ancient culture, Lau said. You will not take surfing from us. “The Hawaiian culture’s been a little suppressed, but it feels like there’s a new energy, a rebirth in sharing our culture with the world,” Lau said. “I feel like surfing’s at the forefront of that, and surfing becoming a part of the Olympics is huge for us.” On Makaha Beach, Keaulana sat under a tree, pondering the connection between Kahanamoku and today’s Olympians from Hawaii. “I’ve known John John and Carissa as kids, as babies,” Keaulana said. “Regardless of the flag, they’re Hawaiians. And they win for Hawaii. If the rest of the world sees them as something else, that’s OK. But we in Hawaii recognize them for who they truly are.”

[trainthief]

hey i'm one of those aforementioned "only-heard-blake-shelton" people - do you have any recs for better country music? i like finding new music but country is hard cause i don't really know where to start

I think the best way to explore any genre is to abandon the feeling that you’re obligated to develop an academic-level base of knowledge in the different foundations and aspects of it. If that’s something that actually interests you then by all means go for it, but despite how pretentious and rude people can get about music, it is at its heart just a form of expression - and while knowing which specific sounds might have influenced others can enhance the listening experience for some people, it’s not like there’s a prerequisite course load you need to take before you can start telling people you like country music at parties. 

Anyway, that point aside, here’s some basics: country itself is a really broad concept, and was initially defined more by its ideology and source than any specific structural musical qualities that it tended toward (although its creation was most heavily influenced by Irish, Mexican, and African musical traditions). The common use of instruments like guitars, banjos, and fiddles is more to do with the ease of accessibility and portability for poorer Americans of the late 1800s, who - especially in the West - tended to be at least somewhat nomadic. Thematically speaking, it was most often centered around the experiences of blue-collar workers, including but not limited to cowboys. Subsequently, it has suffered under the combined efforts of corporations and politicians to market a parody of rural America’s own culture right back at them, and that’s why - especially if you’re only in your 20’s or younger - it’s very possible your knowledge of it is defined by commercialized Bro Country (which in my opinion is almost always antithetical to the actual spirit of country music itself, and also from a musical perspective tends to be uninteresting bullshit). 

As far as subgenres go, the ideas quickly become so vague that it’s really up to the listener to decide how they want to categorize their music. Region and era can influence sound quite a bit, so that’s one way. Subject matter is another. Actual musical structure is a further one. I’m not going to bother and try to give you a comprehensive idea of all the options, because that’s impossible to do in anything shorter than an essay. Instead I’ll just fill you in on some of my favorites, and some song suggestions to go with them: 

Country Music You’ve Been Listening to This Whole Time Without Knowing It: this is an easy one to start with. Lots of folk music is also country music, whether you were aware of it or not. James Taylor, John Prine, John Denver, Bob Dylan…. You’ve been here this whole time. 

Outlaw Country: Tends to be either dark or mournful, but regardless it’s dramatic and fun. Usually framed around some fictional crime the singer has committed, which they have either been sentenced for or are on the run from. Good examples are Kate McCannon by Colter Wall, Mama Tried by Merle Haggard, Late July by Shakey Graves, Gallows Pole by Willie Watson, and Hell’s Canyon by Lost Dog Street Band

Spirituals: I’m definitely not going to tell you how to feel about religion itself - but given that music has been such a deeply rooted part of spiritual expression for as long as we’ve recorded history, and has very often evolved in tandem with or in response to religious movements, I think you’re really cutting yourself off from some good tunes if you try to ignore it entirely. Johnny Cash’s later stuff, especially, has the same dark overtones of his earlier Outlaw music but with the addition of gospel stylings and a religious severity that comes together in a way that’s honestly just straight up sexy to listen to. Ain’t No Grave and Redemption Day are probably the best two examples of this. On the other side, there’s the simplistic and heartfelt kind of spiritual country found in stuff like Hank Williams’ I Saw the Light, or I’ll Fly Away as performed by Gillian Welch, which I find really moving. 

Honky Tonk: On the subject of Hank Williams, honky tonk is really fun music, and I deeply resent the fact that it’s been incorporated into the classist caricature of rural stupidity. At its heart, honky tonk was just designed to be a good time, and the vocal techniques it employs are actually really difficult to master, so it deserves a lot more respect. Hank Williams, in particular, also tends to use it to get right at the heart of subjects I really enjoy (although don’t confuse him with his son Hank Williams Jr, who writes Bro Country and unfortunately seems to be a terrible person). Anyway, Mind Your Own Business is one of his (and one of my favorite personal anthems), and Wealth Won’t Save Your Soul is a powerful one too. Regarding more modern honky tonk, my favorite up-and-coming musician is named Nick Shoulders, and I’d recommend his songs Rather Low and Snakes and Waterfalls. 

Nice Comfortable Country Music Sung By Ladies: this is definitely a genre specific to just me, but it’s a type of music I grew up listening to a lot as a kid and I really love it. Like the title says, it’s just country songs by various very talented women who make you feel like you’re warm and at home. I Have a Need for Solitude by the great Mary Chapin Carpenter, Across the Great Divide by Nanci Griffith, Traveling Alone by Tift Merritt, Angel from Montgomery by Bonnie Raitt, Hammer and a Nail by The Indigo Girls

Poor Boy Blues: again, not a definitive stylistic subgenre so much as it is an opportunity to show off a few different songs of a few different styles that all follow a common and relatable theme, specifically one that is important to the overall genre itself. Dead End Street by Blake Mills, Crop Comes In by Chatham County Line, Thirteen Silver Dollars by Colter Wall, My Rifle My Pony and Me by Dean Martin, Cowpoke by Dave Stamey, Automobile by KALEO

Love And Heartbreak: have you really lived if you haven’t rocked out to Cowboy Take Me Away by the Dixie Chicks? No, you haven’t. You’ll also be happy to hear that I recall a poll that listed Cowboy Take Me Away as being the number one song every cowboy will sing along to on full blast whenever he’s alone. Anyway, there’s also Buddy by Willie Nelson, Crossing Muddy Waters by John Hiatt, Morning by Jim Ed Brown, Every Time I Hear That Song by Brandi Carlile, Gentle on My Mind by Glen Campbell, Kathleen by Townes Van Zandt. 

Experimental: if you’d like to get a little weird with it, I’d recommend The Gold is Deep by The Dead Tongues (which uses some really ambient reverb and a small church organ for a more psychedelic sound), or Familiarity by The Punch Brothers (which compositionally borrows a lot from modern classical chamber music with its rhythmic systems and pacing). 

There’s lots more we could get into here, like bluegrass, slow dancing music, spaghetti western soundtracks, and the fact that not all country pop-rock is bad, but I’ll stop myself here…. If you’re looking for a more general source for a lot of country all at once, here’s my favorite of my country playlists. Hope that was helpful! 

[passionate-reply]

This week on Great Albums: Soft Cell’s 1981 debut, Non-Stop Erotic Cabaret! The first great gay synth-pop album, and the one that walked so that acts like Bronski Beat, Erasure, and the Pet Shop Boys could run. Yeah, “Tainted Love” is cool, but have you ever heard “Sex Dwarf��? Full transcript after the break!

Welcome to Passionate Reply, and welcome to Great Albums! Today’s video tackles Soft Cell’s 1981 debut, Non-Stop Erotic Cabaret. While “Non-Stop Erotic Cabaret” is not necessarily a household name, this album did produce one track that I can just about guarantee that you’ve already heard, assuming you have any familiarity with Western popular music.

Music: “Tainted Love”

“Tainted Love” is one of those classics that’s almost too big for its own good, with an enormous shadow in popular culture. Few compositions from the 1980s, from the general arena of synth-pop, or, indeed, in the popular music canon, have quite as much of a legacy. As an introduction to the significance of Non-Stop Erotic Cabaret, it’s not an awful start, but it does have a bit of an “obvious single choice” feel--not only for that huge hook, but also for how tame, even quaint, it starts to feel compared to the other stuff here. “Tainted Love” is a gay song, sure, but it’s only expressing that idea in an abstract manner--it is a cover, after all. What the remainder of the album lacks in “DUN DUN,” it makes up for in frankness and remarkably candid handling of sexuality, which still manages to be a bit shocking, even as this album reaches its 40th birthday. Could anyone but Soft Cell’s Marc Almond really have sold us the raw, lurid raunchiness of “Sex Dwarf”?

Music: “Sex Dwarf”

Beyond the outrageously explicit nature of “Sex Dwarf,” its most noteworthy characteristic is just how playfully, cartoonishly devilish it is. I’ve always read it as a work in the grand tradition of the queer community reclaiming the trope of the camp gay villain, seen so often in popular media. In its purest form, this gay villain archetype is the ultimate expression of chaos and disorder--their rejection of social norms of gender and sexuality and their threat to the status quo go hand in hand. While it’s reprehensible to simply equate queerness with evil, there’s a long tradition of reclaiming that same imagery, turning the lavish power of such transgressor figures into a badge of strength, and that’s how I tend to interpret “Sex Dwarf.” That said, for as much as tracks like these seem to almost force a specifically gay reading of the album, it also seems interested in themes of sexuality and sin, more broadly. Take the track “Seedy Films,” for example, a more playful number full of slinky clarinet, teasing rattles, and breathy, almost gasping female backing vocals, seemingly suggestive of a more heterosexual vantage point.

Music: “Seedy Films”

I like to think of each track on Non-Stop Erotic Cabaret as coming to us from the perspective of a different anti-hero, each as unreliable and capricious as the last. Another key track that complicates issues of perspective and identity is the album’s tense opener, “Frustration.” “Frustration” delivers on its title musically, with a stubborn refusal to ever resolve its constant melodic tension at any point during its runtime, making it legitimately fatiguing and stressful to listen to. Its lyrics might be interpreted as a critique of the boredom lurking behind mainstream society’s “ideal” life of suburban safety, and a send-up of the alleged appeal of fitting in and being normal. But we could interpret it equally well, as a song that’s less about being “straight” in the sense of “square,” and more about being heterosexual--perhaps as the lament of a closeted gay man, tormented by an incommunicable internal struggle, despite all the material comforts in the world.

Music: “Frustration”

Either way, “Frustration” can be compared to “Secret Life” on the flip side, which focuses on the idea of a divide between one’s external facade of a respectable and ordinary existence, and the darkness of one’s internal, deviant, carnal desires.

Music: “Secret Life”

Whether their narrators are parsed as gay or straight, their songs are certainly tense tales of repression and release. And they’re also mediated by the idea of being trapped in a tame, and particularly middle-aged existence. The clearest expression of the theme of getting older, and possibly more and more constrained by the need to put on airs of respectability, is, naturally, “Youth”:

Music: “Youth”

The stale, conservative lifestyles of the middle-aged certainly don’t seem like the most natural subject matter for a debut album by a pair of twenty-somethings, but I like to interpret this fixation as a bit of a memento mori. The urgency of enjoying life’s pleasures, now, is checked by the fear of a future in which that window of opportunity is closing. As I said earlier, all of these tracks are narrated by some character or construct, and in that sense, the real identities of Marc Almond and David Ball matter fairly little. In the world of Non-Stop Erotic Cabaret, nearly everything feels constructed or artificial--it’s all just an act, as much as “Secret Life”’s narrator puts on a respectable front. The superbly campy “Entertain Me,” which wouldn’t feel out of place in some cult musical, engages most clearly with the idea of performance, bringing in a giggling call-and-response choir and a chaotic clamour of percussion in its desperate attempt to, well, entertain us. Critically positioned at the top of the second side, it’s the perfect place for the album to second-guess itself as a work of art.

Music: “Entertain Me”

That track is certainly more “Rocky Horror Picture Show” than “Architecture & Morality,” isn’t it? While the synth-pop acts penetrating the mainstream before Soft Cell, like Gary Numan and OMD, had a bit of punk’s rough, low-budget, DIY ethos to them, Soft Cell were the first ones really crafting performative, self-aware post-disco synth-pop, that owed more to the swooning divahood of Donna Summer in “I Feel Love” than it did to the starched shirts and robo-rhythms of Kraftwerk. Much like disco, Non-Stop Erotic Cabaret is truly a production--dense, luxurious, tweaked to perfection in a studio, and featuring several traditional instruments that are uncommon in rock, such as “Frustration”’s saxophone and “Seedy Films”’s clarinet.

The most noticeable thing about the cover of the album is almost certainly its lurid blue and fuchsia lighting, gleaming harshly against Almond and Ball’s leather jackets. It immediately takes us to the sweaty, nocturnal, and of course, homoerotic world this music dwells in. The duo stare us down, with fairly cross or standoffish posturing, suitable for an album as in-your-face as this one. There’s a bit of a narrative hook here, with Almond either producing this mysterious, almost certainly illicit package, or perhaps tucking it away. Almond’s sunglasses are a small detail, but one that I think holds a lot of contextual significance. There’s a long history of erotic art aimed at the gay male audience utilizing devices like hat-brims and shades to create a “disrupted gaze”--a sort of lightly objectifying, or compartmentalizing, manner of sexualizing its subjects. I’d also be remiss if I didn’t mention Ball’s snakeskin necktie, which is another classically sexy touch. Note also the neon light motif used for the text, which contributes to that nightlife feel as strongly as anything else. With a name like “Non-Stop Erotic Cabaret,” it would’ve been truly sinful to write that out in anything besides this warping neon, and it’s the perfect title to accompany an album that’s as insistent and gleefully tawdry as they come.

Earlier, I had contrasted Soft Cell with other major players in synth-pop who came before them, and I think that context is vital to understanding why this album is so indispensably important. Non-Stop Erotic Cabaret is, quite simply, the first great gay synthesiser album. Growing up in America, the rock and roll heartland, it’s hard to escape the understanding that electronic music is inherently gay-coded. But that’s an impression you won’t get from that first generation of artists, who presented as unpretentiously butch, and were more interested in singing about factories, spaceships, and telephone lines than about sex or romance with anybody. The deep relationship between queer culture and the music synthesiser simply wouldn’t have blossomed the way it did without Soft Cell, and the unforgettable worldwide success they achieved with “Tainted Love.” Without that foot in the door, the rise of groups like Bronski Beat, Erasure, and the Pet Shop Boys later in the 80s would’ve been unthinkable. That alone makes Non-Stop Erotic Cabaret a piece of essential listening for anyone seeking to understand the history of electronic music.

While Non-Stop Erotic Cabaret remains Soft Cell’s great masterpiece, and they never reached the same heights of commercial success again, they went on to release two additional studio LPs before disbanding in the mid-1980s. Marc Almond went on to have a fairly successful career as a solo artist, bagging a few additional hit singles in the UK, and David Ball became half of the house duo The Grid. The pair did re-unite in 2002, to produce a rather serviceable LP called Cruelty Without Beauty, which explores many of the same themes of their earlier work, albeit through a lens of Information Age dread.

Music: “Caligula Syndrome”

In 2019, we were told to expect the true final report of Soft Cell, in the form of a grand farewell concert entitled “Say Hello, Wave Good-Bye”--a title pulled from one of the singles off Non-Stop Erotic Cabaret. But, for all of the hype, it looks like that really won’t be the end for them after all, as Soft Cell have announced yet another reunion in 2021, and another new studio album in the works. So we’ll have to see what else these two have in store!

Overall, my favourite track on Non-Stop Erotic Cabaret is the single “Bedsitter.” It’s all about questioning whether the life of hedonistic excess is really worth it in the end. It’s about those moments one spends between benders, binges, and flings, gripped by emptiness and self-doubt. Therefore, the presence of “Bedsitter” adds some nuance, and undercuts a lot of the easy, simple conclusions we’re tempted to make, from a surface-level reading of the album as a free-love bonanza. With languid and melancholy verses clashing with a disconcertingly anthemic refrain, it’s filled with tension from within, and despite its lack of external conflict, it comes across as one of the more unsettling tracks we have to choose from. That’s all for today. Thanks for listening!

Music: “Bedsitter”

[dwellordream]

“If girls’ private schools encouraged an intimate atmosphere of nurture, sociability, and fun, much coeducational public schooling retained its competitive practices and was more challenging. Opponents of coeducation argued that the presence of girls feminized and compromised the secondary curriculum. But evidence suggests the contrary: that expectations of male achievement raised the stakes and the competition for girls.

As it was put in an 1841 article in Ladies’ Repository, in many young ladies’ seminaries ‘‘the girl is excused of strict scholarship. . . . She works to disadvantage. The mind itself has not been educated.’’ In contrast to girls educated at such ‘‘finishing schools,’’ the author argued, ‘‘see here and there is one who, we may say, has been educated—who has studied like a boy’’ and you will see ‘‘equality of attainment with any male youth of like years and pursuit.’’ 

Encouraging a girl to study ‘‘like a boy’’ was seldom the goal of the citizens who sponsored secondary schools; coeducational secondary schools which taught ostensibly parallel classes for boys and girls did not always deliver classes of like intensity to both. And sometimes, especially in the earlier days, there were different requirements for girls and boys. …Public schools sometimes attempted to soften lessons for girls so as to address the concerns raised by the debate over emulation.

Nonetheless, in comparison, the point seems indisputable. Girls studying in coeducational secondary schools were more likely to participate in a competitive and meritocratic form of schooling which rewarded and encouraged individual achievement among both girls and boys. Such schools published class rank and scheduled public exhibitions. Evidence from the few coeducational private boarding schools suggests that this might have been the case for both public and private, day and boarding schools. 

Coeducation in practice in the nineteenth century included various arrangements governing the schooling of girls and boys together and apart. The word itself was of American origin and set up an implicit contrast with the tradition of same-sex schooling in Great Britain and in many parts of the American Northeast and South. Common grammar schools united boys and girls in the same classes under the same roofs, and many secondary schools adopted a similar model. Yet the ‘‘coeducating’’ of boys and girls in secondary schools, and sometimes even in grammar schools, generally involved some separation of boys and girls, by administrative order. 

As we have seen, some high schools, particularly in the Northeast, went so far as to conduct parallel classes for girls and boys, using gender as a principle for dividing students into different sections for as long as they could. Gradually, however, throughout the country, school districts bowed to economic realities and chose to educate their boys and girls together, offering a common curriculum and a common standard for success. For those attending the new public high schools, which became increasingly common in the Northeast at midcentury, coeducational schooling meant attending schools which enrolled more girls than boys. 

The actual ratio varied from school to school. Where the public high school served as a college preparatory school for the affluent native-born, the numbers of boys tended to increase. In less affluent or immigrant communities, boys instead would leave school to take jobs, and high schools would sometimes graduate two or even three girls for every boy. The underattendance of boys at high schools was a cause of regular lament by all, including girl students who were left without escorts after school social functions. Yet it presents the historian of gender with some interesting questions. Some of them are simply statistical. Did girls excel and win honors proportionate to their greater attendance at high school? Did they excel at greater rates than the statistics might predict? And if so, why? 

Girls and boys attending public high schools shared a liberal curriculum, competition, and grades. Unlike female seminaries and convent schools, which taught ornamental and domestic arts alongside more traditional liberal studies, the public high school at midcentury and after did not offer a gendered curriculum. Instead, it taught a classical or liberal curriculum, rich in history, moral philosophy, mathematics, Latin, Greek, and French. Botany, chemistry, and physical sciences were also often taught. Girls and boys took these classes either together or in separate tracks, a significant commonality in a world otherwise stratified by gender. 

Increasingly toward the end of the century, citizens and educators came to question the usefulness of this classical learning to boys and girls attempting to make their way in the working world. And when high schools responded, they brought the gender segmentation of the workforce into school. Commercial subjects supplemented liberal studies, and educators provided manual training and home economics to prepare boys and girls for the future. Even then, though, high schools retained an important core of liberal studies, which established common ground between boys and girls, as well as across classes. In high schools, girls and boys studied together and competed to master abstract subject matter which neither sex could lay special claim to. 

In studying North Carolina’s African-American community in the 1890s, Glenda Gilmore has noted the significance of its leaders’ dissent from the Tuskegee program of agricultural education and manual training advanced by Booker T. Washington. She sees their defense of a classical curriculum for the children and grandchildren of slaves as significant resistance to attempts to create a separate caste in this country under Jim Crow.

Classical education was similarly important for girls, for it offered a common ground on which to compete and succeed beyond the hierarchy of gender. The practice of recitation, saying one’s lessons orally, was not initially designed as a competitive practice. It was simply the most convenient way to test rote memory, the common style of teaching and learning in most grammar schools in the nineteenth century. Yet recitation meant that all would know when a student succeeded, and when one failed. 

More deliberate was the spelling bee, a competition that was both a game and a pedagogy. Some schools held public examinations, which elevated the pressure to ‘‘know one’s lessons’’ to a higher degree. Almost all schools scheduled exhibition days in which students read or recited pieces to the general public and received awards. (In fact, the decision of the cloistered convent schools to bar the public from the awarding of prizes in the mid–nineteenth century was a cause of conflict with parents.) The consequences of such a system for teenage girl students, as for boy students, were that strong students thrived while weak ones foundered. This is an obvious result, of course. Yet in the world of Victorian gender relations, what is significant is that girls and boys were playing fundamentally the same game, both competing in the rough meritocracy that such competition encouraged. 

At least initially and sometimes later as well, they were not equally comfortable with that competition: domestic culture discouraged self-promotion in girls, and successful girls were sometimes abashed and embarrassed. Sometimes, too, parents did not notice, honor, or encourage girls’ school accomplishments. …But within the universe of the schoolroom and at schoolwide ceremonies (neither insignificant for a peer based social world), girl scholars were encouraged and rewarded for achievement—for scoring high, for spelling well, for accomplishments of both mind and habit. They felt the sweet rewards of victory in conquering rivals, earning respect, and taking as prizes a seat at the front of the room. 

These school rules made the institution unique within a woman’s life as it extended from cradle to grave. Not in the family or the workplace or the halls of government did females and males share so similar an experience. Even within the church, where souls were ungendered, women did not preach, sit as deacons, or otherwise live out their identities as equal competitors for eternity. 

Coeducational grammar and secondary schools made all kinds of distinctions, and even those who encouraged girls to compete might in the same breath warn against it. Yet medals were awarded and reputations made in coeducational high schools. Of all the unequal institutions, such schools were the least unequal, and thus must stand as both an important harbinger of the future and a transformer, gradually, of their present.

Girls outnumbered boys in school. Barring other factors skewing accomplishments, girls could thus be expected to outnumber boys on the honor rolls. All things being equal, girls should have been salutatorians and valedictorians and honor-roll students in percentages similar to their representation in the class. In fact, though, girls tended to do better proportionately than boys. Statistics on one school, the high school of Milford, Massachusetts, reveal that between 1884 and 1900 girls represented 64 percent of graduates, a ratio of nearly two to one. But girls accounted for nearly three-quarters of those graduating in the top ten places during the late century.

When valedictorians and salutatorians were designated, beginning in 1889, 86 percent of those so honored through the next decade were girls. Girls’ tendency to dominate the academic ratings was an accepted part of the school’s culture and can undoubtedly be explained in part by Milford’s policy, probably followed by many other schools as well, of granting honors on the basis of scholarship and deportment together. 

Deportment grades measured decorum and tractability; both by socialization and reputation, girls could be counted on to turn in higher performances. Usually there were a few male standouts, but sometimes it was a clean sweep. In the class of 1887 at Milford, for example, boys were completely eclipsed. The class began with an equal number of boys and girls, thirty-one each. By the end of the four year span, though, the numbers had been dramatically reduced to twelve girls and five boys.

The student newspaper announced: ‘‘The girls claim the first ten in scholarship and deportment. In attendance three girls are perfect and in deportment eight; of these, two have the honor of being perfect in both.’’ The article ended by noting, ‘‘These are facts of which they may well feel proud.’’ The reference here is a bit unclear. Perhaps it was referring to the individual girls who had triumphed, each of whom should feel proud. But a more plausible reference is to girls of the class as a group, all of whom, the article suggests, might take pride in their sex’s collective sweep of graduation honors. 

How much of girls’ success can be attributed to their greater skill at achieving perfect conduct? For girls, for whom ‘‘being good’’ was a high priority, school offered any number of ways to fulfill that mandate. If being ‘‘perfect’’ simply required getting to school every day, or behaving once in school, it was certainly doable—a gratifyingly concrete measure for an otherwise elusive moral status.

Almyra Hubbard, a schoolgirl diarist in Hayesville, New Hampshire, wrote in 1859 of her discovery of this back door to school achievement. She knew that she worked hard; her journal, a school assignment itself written faithfully in a careful hand, indicates as much. Yet she did not get top grades and did not seem to be one of the handful of students she mentioned in February who would need to draw to see who got the first seat in the class. She could, however, make sure she got to class—a trip that took her an hour and a half when she walked it—and she seized upon this route to class honor. 

One day, she wrote in her journal, ‘‘There are but few scholars here this afternoon. The room is quite still.’’ The quietness was not just a result of how many were there, but who was there: ‘‘As a general thing the noisy ones do not venture out in unpleasant weather.’’ Almyra Hubbard was both quiet and present, even when her classmates were fair-weather scholars.

When she attended her great uncle’s funeral in April, it was the first time she had missed school in a year and a half. In May the school principal adopted a new rule which advantaged Hubbard, ‘‘by which any one who is absent cannot make up her lessons.’’ She imagined, ‘‘It will cause some of the girls to be a little more regular in their attendance at school.’’ One key component of school success, as Almyra Hubbard had discovered early, was simply the ability to meet school demands for the regular habits of industrial discipline. 

Girls outdid boys in this arena so regularly that when the Milford paper in 1890 reported on two students with perfect attendance throughout their high school careers, it featured what was newsworthy: ‘‘Wonderful to relate, one is a boy!’’ Not all girls had stellar grades in deportment. A consistent problem for boy and girl students both was ‘‘communication.’’ Students in many schools were forbidden to talk among themselves between classes and expected to be quiet most other times, an expectation which few could meet. The entire first-year class at Milford High School in 1865 was called to the teacher’s desk and scolded so that they nearly all cried, Annie Roberts Godfrey reported. 

Godfrey was in the second-year class, and was also called up, where she ‘‘acknowledged that I had communicated but would try to improve. I did not cry.’’ The next year, though, Godfrey’s problems with communication meant that her deportment grade was very low—‘‘only 78, lowest in school, I fear.’’ We have no records for how Godfrey fared at graduation, but clearly convent schools were not alone in attempting to impose serious constraints on student sociability during school itself. It was an innovation in 1894 when Salem High School instituted a ‘‘whispering recess,’’ which allowed students to talk softly between classes. 

- Jane H. Hunter, “Competitive Practices: Sentiment and Scholarship in Secondary Schools.” in How Young Ladies Became Girls: The Victorian Origins of American Girlhood

[olivereliott]

Top Five Harley-Davidson Sportsters, Part One: Ironheads

Harley-Davidson has just rebooted one of the world’s longest-running model lines, with the launch of the new Sportster S. But remarkably, it’s only the third major engine update in the Sportster’s 60-plus years on this earth.

Before the new Revolution Max-powered Sportster S came, we had the Evolution motor that debuted in 1986. And before that, the iconic Ironhead. But throughout each era, the Sportster has always been a mainstay of the custom scene.

To celebrate, we’ve rounded up our ten favorite Sportster builds, divided by their motors. This week, we’re featuring five top-shelf Ironheads from some of the world’s best custom builders—including illustrious names like Max Hazan [above] and Hideya Togashi [below].

Next week, it’s the Evo’s turn.

Hide Motorcycle There’s a long history of Japan’s love for Americana, and the humble Sportster is no exception. Case in point: this Ironhead Sportster by Hideya Togashi of Hide Motorcycle (that’s ‘Hee-day’). It was one of the stars of 2018’s Mooneyes show—a show that Togashi-san is a regular fixture at.

The bike’s built around an original but refurbished 1966 XLCH motor, complete with a Linkert DC-7 carb. But the rest of it is mostly is custom, and it was built without any specific style or theme in mind. “As always, I cherish the balance, and maximize the beauty,” says Hideya.

The motor sits in a scratch-built nickel-plated hardtail frame, with the OEM frame number plate grafted on. Hideya kept the original steering head, triples and forks, but added custom sleeves. The Harley rolls on 21F/18R wheels with drum brakes.

Hideya fabricated the aluminum headlight nacelle and fuel tank, and built the oil tank. The rear fender’s been scalped from a vintage Harley FX Super Glide, then modified to suit. Swept back bars and a pair of beautifully-bent nickel-plated exhausts add to the vintage vibe.

The paint’s extra classy too—a 1930s Harley scheme laid down by Skop Paint Works. Hide’s Ironhead blends vintage speedway and flat track styles together to create a minimalistic and impossibly cool machine. The perfect use of an Ironhead motor. [More]

Hot Chop Speed Shop Here’s another bike that stopped visitors to the 2018 Mooneyes event dead in their tracks: a twin-engined Harley drag bike by Kentaro Nakano at Hot Chop Speed Shop in Kyoto. Using two Sportster XLCH engines, Nakano-san built the monster as a tribute to the drag racers of the 70s.

Unsurprisingly, it picked up two awards at the show—from the top Japanese mags, Hot Bike and Vibes.

‘Double Trouble’ uses a 1969 Ironhead in front, with an older engine at the rear. Both run with S&S Super B carbs, fitted with custom velocity stacks. Kentaro’s friend Kazuhiro Takahashi of Sakai Boring helped rebuild the engines.

The two V-twins are linked by connecting plates, and their output shafts are connected to two separate primaries. The transmission’s a four-speed from a 1980s Big Twin and Kentaro has set the timing of the two motors so that they go ‘potato potato’ at idle, but scream at high revs.

The whole arrangement is housed in a custom hardtail frame, fabricated from steel tubing. There’s a set of early 70s Ducati Imola forks up front, with 18” rims at both ends wrapped in M&H drag slicks. Kentaro installed a pair of Airheart brakes up front, with a Wilwood brake out back.

All of the bodywork was fabricated in aluminum, from scratch. Fuel sits in the cylindrical reservoir up front, with oil held in the seat ‘cowl.’ Custom upholstery from Atelier Cherry adds to the period-correct look.

Double Trouble’s finished off with a narrow set of custom drag bars, with a 1970s H-D tacho out front. The bodywork’s been left raw, with tidy Hot Chop Speed Shop decals on the tank. Buttoned up, it’s both elegant and monstrous. [More]

Hazan Motorworks Max Hazan’s work speaks for itself, but what’s remarkable is that the American builder’s had an unmistakable signature from day one. If you don’t believe us, then consider the fact that this Sportster-powered artwork was only his fourth build.

“I start with a motor that I find aesthetically pleasing, put it on the table, and build the bike around it,” Max told us back then. In this case, the motor is exquisite. Max built it up with two 1981 Ironhead front heads, split the rocker covers and added matching Amal carbs.

The frame was built from 7/8” and 1” steel tubes, and also holds the oil and wiring. The front-end’s a work of art on its own; it uses two springs under the fuel tank, and a damper behind the headlight. The only rear suspension is a pair of springs under the seat, with about 1.5” of travel.

Max had a set of 1920s car tires in his hands, so he built the bike up with a 30” wheel out front, and a 31” hoop at the back. They suit the scale of the bike too—which measures eight feet long, but weighs just 300 lbs.

Almost everything was fashioned by hand, using metal that was lying around the workshop, or, in some cases, small salvaged parts. There’s a frosted shot glass as a taillight cover, and a porcelain doorknob on the hand shifter. The handmade tank only holds 1.5 gallons… but Max is under no illusions about his creation having to be ridden far.

Eight years on, this Ironhead still stands as one of our favorite Harleys—nay, customs—and some of Max’s best work. [More]

HardNine Choppers The 1979 Harley-Davidson XLCR is arguably too rare to be customized these days, but the owner of this Sporty has three. So he had no qualms about handing one over to Swiss builder Danny Schneider for a makeover.

Danny, who operates as HardNine Choppers, is an ex-motocrosser who had previously built two Triumph flat trackers, and was itching to give a Harley the same treatment. So he took on the project with the provision that he could turn it into a tracker. Luckily, the client agreed.

Danny’s work went deep—starting with the motor that he bored out from 997 cc to 1,340 cc, with KB Performance pistons. The carb is from the Harley performance specialists, S&S Cycle, and the exhaust is a custom nickel-plated system that exits under the seat. Danny had to relocate the oil tank to accommodate it.

The custom fuel tank echoes the lines of the original XLCR unit, but it’s actually a slimmer, split design (the left side houses the oil). Danny hand-shaped an aluminum tail section too, with slits to help dissipate heat. He made the seat pad himself, too.

Suspension is by way of Showa shocks from an FXR, fitted with Öhlins cartridges, and Bitubo rear shocks. It rolls on 21F/16R spoked wheels, with a Beringer brake set that Danny drove to the French company’s HQ to have made.

This XLCR is a clever mix of classic style and modern parts, tied together with a host of custom touches and a fresh paint job inspired by a mini-bike spotted on the street (true story).

It’s also a great story of perseverance; Danny took a two-year break in the middle of the project to welcome his daughter into the world and battle testicular cancer. Then he crammed two month’s worth of 15-hour days in to finish it in time for the MBE Expo show in Verona, Italy. Much respect. [More]

DP Customs We’ve featured a slew of slammed and hot-rodded Harleys from the now-defunct DP Customs over the years, but this was one of their wildest. Brothers Jarrod and Justin Del Prado built it as a personal project between client jobs, using Justin’s own 1000 cc 1979 Ironhead Sportster as a donor.

DP Customs went all-out, starting with a turbo that had been sitting in the shop waiting for the right project.

The motor was rebuilt with forged pistons and new valves and springs, then the turbo was installed with a custom draw-through setup, and a Mikuni carb. From the custom aluminum intake and exhaust, to the custom oil system that runs into a Mooneyes tank, it’s an impressive setup.

Like three of the other Harleys on this list, this one features a scratch-built hardtail frame. It uses DP Customs’ signature 6” stretch and 4” drop, with a custom 19” wheel up front, and a modified 15” car wheel at the back. The front brake’s a Brembo, and the rear is a custom system with a combination sprocket and rotor.

Up top is a wafer-thin seat, with a traditional peanut tank up front. DP Customs installed clip-ons with Biltwell Inc. grips, and head- and taillights—but there’s no speedo, and no turn signals. The asymmetrical paint job, red frame and gold wheels should clash, but somehow they harmonize, maximizing the Harley’s eye candy appeal.

DP Customs admit the bike wasn’t built with practicality in mind, summing up that “it hauls ass in a straight line, and the brakes work.” [More]

[dustedmagazine]

Dust Volume 7, Number 4

Axel Ruley x Verbo Flow

A little bit of optimism is creeping into the air as Dusted writers start to get their shots. We’re all starting to think about live music, maybe outside, maybe this summer. But as the spate of freak snow storms demonstrates, summer’s not here yet, and in the meantime, piles of records and gigs of MP3s beckon. This early spring version of Dust covers the map, literally, with artists representing Pakistan, Australia, Canada, Sweden, the UK and the USA, and stylistically with jazz, rock, punk, rap, improv and many other genres in play. Contributors include Jennifer Kelly, Justin Cober-Lake, Bill Meyer, Ray Garraty, Patrick Masterson, Tim Clarke and Bryon Hayes.

Arooj Aftab — Vulture Prince (New Amsterdam)

Vulture Prince by Arooj Aftab

Arooj Aftab is a classical composer originally from Pakistan but now living in Brooklyn. Vulture Prince, her third full-length album, blends the bright clarity of new age music with the fluid, non-Western vocal tones of her Central Asian roots. “Last Night,” from an old Rumi poem but sung mostly in English, lilts in dub-scented syncopation, the thump and pop of stand-up bass underlining its bittersweet melody. An interlude in some other language shifts the song entirely, pitting vintage reggae reverberation against an exotic melisma. “Mohabbat” (which is apparently Urdu for sex) soothes in the pristine instrumentals, lucid guitars, a horn, scattered drumbeats, but smolders and beckons in the vocals. None of these tracks feel wholly traditional or wholly Western and modern day, but sit somewhere in a well-lit, idealized space. Timeless and placeless, Vulture Prince is nonetheless very beautiful.

Jennifer Kelly

 Assertion — Intermission (Spartan)

Intermission comes from an alternate timeline. Founding drummer William Goldsmith started his musical career in Sunny Day Real Estate and had a notable stint with Foo Fighters. To cut the biography short, Goldsmith took a decade off from the music industry. He's returned now with Assertion, joined by guitarist/vocalist Justin Tamminga and bassist Bryan Gorder (both of Blind Guides, among other acts). This band picks up in the late 1990s, imagining a new path for post-hardcore/post-grunge music. The trio's name suits, as the songs' energy and the lyrical assertiveness develops the intensity of the release. The group works carefully with dynamics, neither parroting the loud-quiet tradition nor simply pushing their emo leanings toward 11.

“The Lamb to the Slaughter Pulls a Knife” epitomizes the album. The track sounds like Foo Fighters decided to get dirtier rather than more arena-friendly, while the lyrics mix violence with emotional persistence. First single “Supervised Suffering” finds triumph in endurance, turning the aggressive chorus into something of a victory. “Set Fire” closes the album with something more delicate, but it's just the gauze over a seething anger. Goldsmith's time off seems to have served him well, as does collaborating with some new partners. Assertion makes its case clearly and effectively, and if the intermission's over for Goldsmith, the second half sounds promising.

Justin Cober-Lake  

 Michael Beach — Dream Violence (Goner/Poison City)

Dream Violence by Michael Beach

“De Facto Blues,” from Michael Beach’s fourth solo album, is a barn-burner of a song, rough and messy and passionate, the kind of song that makes you want to take a stand on something, who cares what as long as it matters to you. It snarls like Radio Birdman, slashes like the Wipers and follows its muse through chaos to righteousness like an off-cut from Crazy Horse, just back from rockin’ the free world. It’s got Matt Ford and Inez Tulloch from Thigh Master on guitar and bass, respectively, Utrillo Kushner from Colossal Yes (and Comets on Fire) on drums, and Kelley Stoltz at the boards, and it’s a killer. The rest of the album is varied and, honestly, not uniformly astounding, but there’s a nice Summer of Love-style psych dream in “Metaphysical Dice,” a slow-burning post-rocker in the title track and a driving, pounding punk anthem in the opener “Irregardless.” Beach has been splitting his time between San Francisco and Melbourne, Australia, and lately settled on Melbourne, where he will fit like a native into their thriving punk-garage scene.

Jennifer Kelly

 Bloop — Proof (Lumo)

Proof by BLOOP (Lina Allemano / Mike Smith)

The trumpet is already a catalog of sound effects waiting to happen, and Lina Allemano knows the table of contents by heart. So, to shake things up, she has paired up with electronic musician Mike Smith, who contributes live processing and effects to Allemano’s improvisations. A blind listen to Proof might leave you with the impression that you’re hearing a horn player jamming with some outer space cats, and we’re not talking about hip, lingo-slinging jazz dudes. In fact, everything on these eight tracks happened in real time. Smith’s a strategic intervener, aware that too much sauce can spoil the stew, so he mixes up precise layering and pitch-shifting with more disorienting transformations. It’s hard to say how much Allemano responds to the simulacra that surround her brass voice, but there’s no denying the persuasiveness of her melodic and timbral ideas.

Bill Meyer

 Bris — Tricky Dance Moves (TrueStory Entertainment)

Bris left some music behind when he died in 2020, but it took almost a year to shape these recordings into a proper CD. The label CEO Mac J (a fine artist himself) could easily capitalize on his friend’s death, stacking Tricky Dance Moves with features from the artists Bris never would have worked with. Yet the album was prepared with the utmost care, not giving an ugly Frankenstein monster feel. Bris’s references to his possible early death are scattered throughout the whole tape: “Heard they wanna pop Bris cause they mad I’m poppin.” Almost every song could be easily turned into a prophetic tale (a cheap move one wants to avoid at all costs). Nonetheless, something is missing here. Or maybe it is just an image of death that disturbs the whole picture, making us realize that this is the last we’d hear from Bris.

Ray Garraty

 Dreamwell — Modern Grotesque (self-released)

Modern Grotesque by Dreamwell

I recently read an interview with Providence’s Dreamwell breaking down in almost excruciating detail the influences that led to the quintet’s sophomore full-length Modern Grotesque. I kept scrolling past Daughters and Deftones and Deafheaven and increasingly disconnected influences like The Mountain Goats and Nina Simone. I went back to the top and looked again. I typed Ctrl+F and put in “Thursday.” Nothing. This is preposterous. I may not be in the post-hardcore trenches the way I once was, but even I’d know a good Full Collapse homage if it swung a mic right into my face the way this one did; hell, just listen to “The Lost Ballad of Dominic Anneghi” and tell me singer Keziah Staska doesn’t know every single word of “Paris in Flames.” That may not look like flattery on a first read, but too often, bands striding the emo/pop divide have chased the latter into sub-Taking Back Sunday oblivion; what Thursday did was much harder, and Dreamwell has ably taken up the torch here. That they did it unintentionally is a curious, bewildering footnote.

Patrick Masterson

  Paul Dunmall / Matthew Shipp / Joe Morris / Gerald Cleaver — The Bright Awakening (Rogue Art)

It’s a bit perplexing that reeds player Paul Dunmall hasn’t spent more time playing with American musicians. He’s firmly situated within the English improvisation community, where he’s perhaps best known for his longer tenure with the quartet Mujician, and his ability to double on bagpipes has allowed him to establish links between improvised and folk music. But

his jazz-rooted approach makes him a natural to work in settings such as this one. When Dunmall toted his tenor to the Vision Festival in 2012 (even then, it could be costly to lug multiple horns on a plane), he found three sympatico partners in Fest regulars pianist Matthew Shipp, double bassist Joe Morris and drummer Gerald Cleaver. They all hit the ground running, generating a barrage of pulsing, roiling sound for over 20 minutes before the piano and drums peel off, leaving Morris to sustain momentum alone. Dunmall’s gruff, spiraling lines find common cause with each of his fellows, and the gradual addition and subtraction of players from that point makes it easier to hear the exchange of ideas, which often seem to take place between dyads operating within the larger flow.

Bill Meyer 

 Editrix — Tell Me I’m Bad (Exploding in Sound)

Tell Me I'm Bad by Editrix

Wendy Eisenberg’s rock band is like her solo output in that it snarls delicate, self-aware, mini-short stories in complex tangles of guitar, hemming in high, sing-song-y verses with riffs and licks of daunting difficulty. The main differences are speed, volume and aggression (i.e. it rocks.) and a certain communal energy. That’s down to two collaborators who can more than keep up, Josh Daniel on surging, rattling, break-it-all-down percussion and Steve Cameron, equally anarchic and fast on bass. The title track is an all-out rager, thrusting jagged arena riffs of guitar and bass forward, then clearing space for off-kilter verses and time-shifting, irregular instrumental interplay. “Chelsea” follows a similar chaotic pattern, setting up a teeth-shaking cadence of rock instruments, with Eisenberg keening over the top of it. “I know, perfectly well, that we’re not safe, safe from the men in power,” she croons, engaged in the knotting difficulties of the world as we know it, but winning.

Jennifer Kelly

Elephant Micah — Vague Tidings (Western Vinyl)

Vague Tidings by Elephant Micah

The new Elephant Micah album, the follow-up to 2018’s excellent Genericana, has an apposite title. Vague Tidings conveys an atmosphere of feeling conscious of something carried on the wind, a story passed on that may have shifted through various iterations, leaving only a sense of its original meaning. All that can be sure is that this is sad, sober music, unafraid to brace against the chill of mortality and speak of all that is felt. The instruments — guitar, piano, percussion, violin and woodwinds — move around Joseph O’Connell’s voice in stiff yet graceful arcs, distanced by an unspoken etiquette. Repetitive melodic figures, stark yet steady, gradually accumulate weight as they roll along like tumbleweeds. It’s a crisp, forlorn country-blues, in no hurry to get nowhere, carrying ancient wisdom that seems to acknowledge the empty resonance of its own import.

Tim Clarke

 Fraufraulein — Solum (Notice Recordings)

Fraufraulein’s music is immersive. Anne Guthrie and Billy Gomberg beam themselves, and us along with them, Quantum Leap-style directly into multiple environments in medias res. Through the clever employment of field recordings, they transport us to a hurricane-addled beach, performing a voice/piano duet as driftwood missiles careen through the air. In another “episode,” the manipulation of small objects conjures up the intimacy of a water garden filled with windchimes. Partners in both life and art, Guthrie and Gomberg are also consummate solo artists. He is a master of spike-textured drones, while she explores the intimate properties of physical entities. Like a child tends to resemble one parent while borrowing subtle traits from the other, Solum identifies more with Guthrie’s electroacoustic tendencies than it does with Gomberg’s electronics. This is in stark contrast to 2015’s Extinguishment, which felt a little more balanced between those two modes. Both approaches work, yet Solum feels more meticulously crafted and nuanced. Careful listening unveils multiple subtle tones and textures, and each piece is an adventure for the ears.

Bryon Hayes

 Gerrit Hatcher / Rob Magill / Patrick Shiroishi — Triplet Fawns (Kettle Hole)

Triplet Fawns by Gerrit Hatcher / Rob Magill / Patrick Shiroishi

The album’s title implies a crew you wouldn’t want on your yard; while those adolescent ungulate appetites do a number on your bushes, the hooves are hacking up your grass. But if they knocked on your door, saxophone cases in their respective hands, you could do worse than invite them around the back for some blowing. Hatcher, Magill and Shiroishi present with sufficient lung power to be heard fine without the reflective assistance of walls, even when they aren’t making like Sonore (that was Gustafsson, Vandermark, and Brötzmann, about a dozen years back). This album, which was released in a micro-edition of 100 CD-Rs on Hatcher’s Kettle Hole imprint, builds gradually from restrained melancholy to pointillistic jousting to a climactic blow-out, and the assured development of each piece suggests that each player was listening not only to what each of the others was doing, but where the music was headed.

Bill Meyer

A.Karperyd — GND (Novoton)

GND by A.Karperyd

On his second solo release, GND, Swedish artist Andreas Karperyd broodingly ruminates on snatches of musical ideas that have been percolating in his consciousness over extended periods. Anyone familiar with his 2015 debut, Woodwork, will find these 55 minutes similarly immersive, as Karperyd manipulates live instruments such as piano and strings into shimmering, alien tapestries. Opener “The Well-Defined Rules of Certainty” appears to take Fennesz’s Venice as its blueprint, issuing forth cascading, percolating tones that tickle the ears. “The Desire to Invoke Balance with Our Eyes Closed” and “Failures and Small Observations” have a Satie-esque elegance to their piano lines, albeit refracted via a hall of mirrors. The 12-minute “Reminiscence of Tar” sounds like a slow-motion pan across the hulking mass of a shadowy space station. And closing track “Mummification of an Empire” slowly fries its piano in static, then unfurls wistful melodica and throbbing synth across the wreckage.

Tim Clarke

  Kiwi Jr. — Cooler Returns (Subpop)

Cooler Returns by Kiwi jr

Kiwi Jr.’s brash, brainy indie pop punk vibrates with nervy energy, like the first Feelies album or Violent Femmes’ 1983 debut or that one great S-T from the Soft Pack. Those are all opening salvos for their respective bands, but this one is a second outing, suffering not a bit from sophomore slackening. Instead, Cooler Returns tightens up everything that was already stinging on the Toronto band’s debut and adds a giddy careening glee. An oddball thread of Robin Hood-ness runs through the disc, with Sherwood forest getting a nod in the title track and “Maid Marian’s Toast” tipping the love interest, but these songs are anything but archaic. “Undecided Voters,” the single jangles harder than anything I’ve heard since Woolen Men, slyly upending creative pretensions in a verse that goes: “You take a photo of the CN tower/you take another of the Honest Ed sign/Well, I take photos of your photos/and they really move people.” Has it been done before? Maybe. Does it move us. Yes indeed.

Jennifer Kelly

 Kool John — Get Rich, Die $moppin ($moplife Entertainment)

A year ago, Kool John was shot six times. Yet you wouldn’t know about it from the general mood of Get Rich, Die $moppin, his first tape since then. He does name one song “6 Shots” and explicitly mentions the shooting accident a few times on other songs, but his bouncy music says he wasn’t hurt bad after all. The beats perfectly match the rhymes, playfully ignorant and ignorantly playful. Kool John still doesn’t mix with broke people, doesn’t return calls if it’s not about money and “doesn’t get stressed out.” Instead, he gets high. His new tape is nothing groundbreaking, even though he’s pretending that is: “If I had no legs I’d still be outstanding.”

Ray Garraty

Nick Mazzarella / Quin Kirchner — See or Seem: Live at the Hyde Park Jazz Festival (Out Of Your Head)

See or Seem: Live at the Hyde Park Jazz Festival by Nick Mazzarella / Quin Kirchner

 Perhaps the most remarkable thing about this recording is that the titular festival happened at all. While most festivals either canceled or went on line, Chicago’s Hyde Park Jazz Festival dealt with COVID by spreading out. Instead of big stages and indoor shows, last September it staged little pop-up events on sidewalks and in parks. So, if the sound of See or Seem feels a bit diffuse, it’s because it was recorded with a device propped in front of two guys playing on a grassy median. There are moments when the buzz of bugs rises up for a second behind Nick Mazzarella’s darting alto sax and Quin Kirchner’s brisk, mercurial beats. But the thrill of actually playing in front of some people (or actually being surrounded by them; when there’s no stage and social distancing is in effect, it makes sense to walk slow circles around the performers) infuses this music, extracting an extra ounce of joyousness from Mazzarella’s free, boppish lines, and adding a restlessness charge to the drumming, as though Kirchner really wanted to squeeze as much music as possible into this 31-minute set. This release is part of Out Of Your Head Records’ Untamed series of download-only albums recorded under less than pristine conditions. A portion of each title’s income is directed to a charity of the artists’ choice; the duo selected St. Jude’s Children’s Research Hospital.

Bill Meyer

 Dean McPhee — Witch’s Ladder (Hood Faire)

Witch's Ladder by Dean McPhee

Finger-picked melodies cut through haunted landscapes of echo and hum on this fourth LP from the British guitarist Dean McPhee. Track titles like “The Alchemist” and “Witch’s Ladder” evoke the supernatural, as does the spectral ambient tone, reminiscent of Chuck Johnson’s recent Cinder Grove or Mark Nelson’s last Pan•American album. Yet while an e-bow traces ghostly chills through “The Alder Tree,” there’s also a grounding in lovely, well-rooted folk forms; it’s like seeing a familiar landscape in moonlight, well-known landmarks suddenly turned unearthly and strange. The long closing title track has an introspective air. Pensive, jazz-infused runs flower into bright bursts of notes, not quite blues, not quite folk, not quite jazz, not quite anything but gorgeous.

Jennifer Kelly

 Moontype — Bodies of Water (Born Yesterday)

Bodies of Water by Moontype

Margaret McCarthy’s voice swims across your headphones like being on an innertube drifting languidly downstream. Typically, saying someone’s vocals are like water indicates a degree of timidity or laziness, obscured in reverb or simply buried by the mix, but on Moontype’s debut LP, it’s a compliment: McCarthy floats across the different styles of music she makes with guitarist Ben Cruz and drummer Emerson Hunton. You notice it not just because she often sings of water or because it’s right there in the title, but also because the Chicago trio hasn’t settled on any particular style yet — just listen to the three-song stretch at the heart of the record where achingly beautiful alt-country ballad “3 Weeks” leads into “When You Say Yes,” a sub-three-minute power-pop number Weezer ought to be jealous of, followed immediately by crunching alt-rock swoon and first single “Ferry.” All the while, McCarthy lets her melodies drift to the will of the songs. I’m reminded of recent efforts from Great Grandpa, Squirrel Flower and Lucy Dacus, but the brief, jazzy curveball of “Alpha” is a peek into whole other possibilities. Bodies of Water is a fine record, but perhaps its most exciting aspect is how much ground you can see Moontype has already conquered. One can’t help but wonder what sonic worlds awash in water await.

Patrick Masterson   

 Rob Noyes / Joseph Allred — Avoidance Language (Feeding Tube)

Avoidance Language by Rob Noyes and Joseph Allred

The 12-string guitar can emit such a prodigious amount of sound, and there are two of them on Avoidance Language. If Joseph Allred and Rob Noyes had planned things out in order to avoid canceling each other out, they might never have picked their instruments up, so they just started playing and listening. The result is not so much a summing of two broad spectrums of sound, but an instinctual blending of similar textures that ends up sounding significantly different from what either musician does on their own. Even when Allred switches to harmonium or banjo, as he does on the album’s two shorter tracks, the music rushes in torrential fashion. Their collaboration is so compatible that it often seems more like a recital for one big stringed thing played by one four-handed musician than a doubled instrumental duet.

Bill Meyer

NRCSSSST — S-T (Slimstyle)

NRCSSST by NRCSSST

There’s no “I” in NRCSSSST but there’s plenty of swagger. The Atlanta-based synth pop band, formed around Coathangers drummer and singer Stephanie Luke and Dropsonic’s Dan Dixon, taunts and teases in its opening salvo “All I Ever Wanted.” Luke rasps appealingly atop Spoon-style piano banging, and big shout along choruses erupt from sudden flares of synths. It’s all hedonism, but done with conviction. You haven’t heard a big rock song kick up this much fun in ages. “Love Suicide” bangs just as hard, its bass line muttering like a crazy person, unstable and ready to explode (and yet it doesn’t, it maintains its restraint even when the rest of the cut goes deliriously off the rails). Dixon can really sing, too, holding the long vibrating notes that lift these prickly jams into anthemry. It’s been a while since a band reminded me of INXS and U2 without sucking, but here we are. Sometimes guilty pleasures are just pleasures.

Jennifer Kelly

 Zeena Parkins / Mette Rasmussen /Ryan Sawyer — Glass Triangle (Relative Pitch)

Glass Triangle by Zeena Parkins, Mette Rasmussen, Ryan Sawyer

Harpist Zeena Parkins and Ryan Sawyer have a long-standing partnership in the trio substitutes Moss Garden, a chamber improv ensemble with pianist Ryan Ross. But swapping in Danish alto saxophonist Mette Rasmussen brings about a change, not just in instrumentation, but attitude. She plays free jazz like a punk, impatient and aggressive, and Parkins and Sawyer are up for the challenge. This music often plays out like a battle between two titans, one blowing and the other pummeling, while Parkins seeks to liquify the ground upon which they stand. She sticks exclusively to an electric harp whose effects-laden tone is disorientingly alien, blinking beacon-like one moment, low as a backhoe engage in earth removal the next. The combination of new and old relationships promotes a combination of instability and trust that yields splendid results.

Bill Meyer

 claire rousay — A Softer Focus (American Dreams)

a softer focus by claire rousay

In film, soft focus is a technique of contrast reduction that lends a scene a dreamlike quality. With A Softer Focus, claire rousay imbues her already intimate compositions with a noctilucent aura. She has created a dreamworld with sound. One glimpse at the glowing flowers that grace the cover art created by visual artist Dani Toral, with whom rousay closely collaborated on this release, and the illusory nature of the record is revealed. The reds, oranges, blues and purples of deep twilight are reflected in both the textures rousay weaves into her soundscapes and the visual themes that Toral conjures. Violin, cello, piano and synth are the musical origins of this warmth, which rousay wraps around environments crafted from the sounds of everyday life. She recorded herself moving about her apartment, visiting a farmer’s market, observing kids playing and just existing. These field recordings of the mundane, when coupled with the radiance of the musical elements, are magical. Snatches of conversation become incantations; auto-tuned vocals are the whisperings of spirits; fireworks explode into brilliant shards of crystal. With A Softer Focus, rousay takes a glimpse into the beauty of the everyday, showing us just how precious our most humdrum moments can be.

Bryon Hayes

Axel Rulay x Verbo Flow — Si Es Trucho Es Trucho / Axel Rulay (La Granja)

Axel Rulay must be kicking himself right now. With more than three million plays on the original version and more than five million on the remix that adds verses from Farruko and El Alfa into the fray, the Dominican is cruising into our second pandemic summer with an unbeatable poolside anthem — and to think, after years of clawing his way up through the industry dregs, working to get his name out there, all he had to do was make himself the chorus over Venezuelan producer Manybeat’s 2019 tropical house trip “El Tiempo.” Presto: Massive visibility in the Spanish-speaking world and a song that ought to transcend any linguistic barriers unlocked even if the best I can manage is a title that translates as “If It’s Trout It’s Trout.” Expect that long-desired Daddy Yankee collabo to follow any day now.

Patrick Masterson

  Rx Nephew — Listen Here Are You Here to Hear Me (NewBreedTrapper)

Rochester rapper Rx Nephew trailed brother-turned-archrival-turned-back Rx Papi’s coming out party 100 Miles and Walk’in by just a few weeks with the 53-minute all-in proposition Listen Here Are You Here to Hear Me. Unlike Papi’s Max B-ish smoothness, Nephew is all rough n’ tumble through these 17 tracks, provocative pump action with narrative bursts of violence and street hustling delivered with a verve most akin to DaBaby or, in some of his more elastic enunciations, peak Ludacris. A recent Creative Hustle interview provides some insight: The first time he went into the booth, “I didn’t write anything. I just started talking about selling crack and robbing people.” The stories haven’t stopped since. If he can keep putting out music as engaging as Listen Here…, Rx Nephew is destined for more than just the margins; until then, we have one of the year’s densest rap records to hold the line.

Patrick Masterson

 Nick Schofield — Glass Gallery (Backward Music)

Glass Gallery by Nick Schofield

Nick Schoefield, out of Montreal, composed these 13 tracks entirely on a vintage Prophet 600, the first synthesizer to designed to employ the then-new MIDI standard established by the instrument’s inventor Dave Smith and Roland’s Ikutaru Kakahashi. The instrument has a lovely, crystalline quality, floating effortless arpeggios through vaulting sonic spaces. Though clearly synthesized, these pieces of music resonate in serene and peaceful ways, evoking light, water, air and contemplation with a simplicity that evokes Japan. “Water Court” drips notes of startling purity into deep pools of tone-washed whoosh and hum. “Snow Blue Square” flutters an oboe-like melody over eddying gusts of keyboard motifs. The pieces fit together with calm precision, leading from one beautiful space to the next like a stroll through a museum.

Jennifer Kelly

  Archie Shepp — Blasé And Yasmina Revisited (Ezz-thetics)

The Ezz-thetics campaign to keep the best of mid-20th century free jazz on CD shelves (yes, CD, not streaming or LP) breaches the walls of the BYG catalog with a disc that issues one and a half albums from Archie Shepp’s busy week in August 1969. Blasé is a stand-out for the participation of singer Jeanne Lee, whose indomitable and flexible delivery as equal to the demands of material that’s be turns pungently earthy and steeped in antiquity. But the rest of the band, which includes Philly Joe Jones, Dave Burrell, some harmonica players, and a couple members of the Art Ensemble, is also more than equal to the task of filtering the blues and Ellingtonia through the gestures of the then-contemporary avant-garde. “Yasmina,” which originally occupied one side of another LP, makes sense here as an extension of the raw, rippling “Touareg,” the last tune on Blasé, into exultantly African territory.

Bill Meyer

 Juanita Stein — Snapshot (Handwritten)

Juanita Stein was the cool, serene, Mazzy Star-evoking vocal presence in the Aussie dream-gaze outfit Howling Bells, and she plays more or less the same role on her third solo album. Yet she is also the source of mayhem here, kicking up an angst of guitar-freaked turmoil on “1,2,3,4,5,6” then soothing it away with singing, hanging long threads of feedback from the thump-thump-thumping blues-rock architecture of “L.O.T.F.” and crooning dulcetly, but with a little yip, in the trance-y title track. This latter cut reflects on the death of her father, a kindred soul who wrote a couple of Howling Bells songs for her and passed away recently. It distills a palpable ache into pure, distanced poetry, finding a cool, dispassionate way to consider the mysteries of human loss.

Jennifer Kelly

 The Tiptons Sax Quartet & Drums — Wabi Sabi (Sowiesound)

Wabi Sabi by Tiptons Sax Quartet & Drums

Over its 30 years together, the Tiptons Sax Quartet has done less to hone its sound and more to figure out how many styles to embrace. The group (typically a soprano, alto, tenor, and baritone sax joined by percussion and even including some vocals) can dig into trad jazz but sounds more at home in exploration, adapting world music or other traditional American styles. The title of their latest album, Wabi Sabi refers to the Japanese concept of finding beauty in and accepting imperfection. The Tiptons, despite that sentiment, don't approach their play with a sloppy sound; in fact, they're as tight as ever. The understanding of impermanence and imperfection does help contextualize their risk-taking. When they turn to odd yodeling on “Moadl Joadl,” they find joy in an odd vocal moment that highlights expression and discovery over formal rigor. When they tap in New Orleans energy for “Jouissance,” we can connect the dots between parades and funerals, celebrating all the while. The whole album serves as a tour of styles and moods, always with an energetic potency. If it's more of the same from the Tiptons, that just means continuance of difference.

Justin Cober-Lake

[yesterdaysanswers]

Mundo Joven, Feb 5 1972

“PICTURES AT AN EXHIBITION”: A classic in the hands of Emerson, Lake & Palmer

translation:

In the album they include two of their songs: "Nutrocker" and "Blues Variation".

BY: E. MIGUEL DE CASO

RESPECTING THE WORK OF MUSSORGSKY, ELP MAKE THEIR OWN VERSION.

A new album by Emerson, Lake and Palmer is on the market. After the huge success of Tarkus, Emerson, Lake and Palmer return to the line with another production: Pictures at an Exhibition. 

The album was first produced to be released in England, but given the good reception that some copies had in the United States, record companies have been forced to release it there as well. 

The album is the interpretation of the work of the Russian classical composer Modest Petrovich Mussorgsky and was recorded live at Newcastle City Hall on March 26th.

MUSSORGSKY

For the rock enthusiast, Mussorgsky's name will most likely be unfamiliar. He died in 1881, long before the term “rock”. Among his most famous works is Pictures at an Exhibition. In its original form, the work is divided into ten parts, which are linked together by a musical bridge common to all, and which is repeated, called Promenade.

PARTICULAR VISION

Emerson, Lake and Palmer, although they refer to Promenade, build their own vision of the work. They only execute some movements of the songs, to make inclusion of some — Nutrocker, Blues Variation — to have independence when interpreting Mussorgsky. 

Emerson, Lake and Palmer have always demonstrated a great ability to perform both classical and jazz music, largely due to Keith Emerson's great musical school. To listen to the album and appreciate it in all its dimensions, it would be advisable to have the original work of Mussorgsky "next door”.

NEWCASTLE CITY HALL

If we talk about the entertainment, and it is recorded live, it gives no choice but to talk a bit about the recording location. 

It must be said with priority that, given the speed with which the recording started and ended, there was no studio test. 

The Newcastle City Hall is a place with incredible acoustics. The perfection of its architecture makes it ideal for this type of recording.

YOUR BEST ALBUM

Pictures at an Exhibition is, without a doubt, the best album by Emerson, Lake and Palmer to date. 

We can almost hear Emerson’s organ modulation, and the bells of Palmer, which give a special atmosphere to The Great Gates of Kiev, as a strong counter. 

If we retain our memory in Emerson’s execution of the pipe organ, passing through the organ-drum duo, listening to the bass of Lake, used with “wha-wha”, we see clearly the stream of ideas that emanates from these three great musicians. 

In the final number, Nut Rocker, the tension reaches an exciting point. I also do not forget the magnificent drum solo that Palmer gives us in the middle of the recording, but to give ideas about his wisdom regarding the battery is, I think, to be clever.

THE “ARMY MAN”

I copy the name given to Emerson by an American Cash-Box journalist, since it seems to me the most perfect nickname for this musician, who goes from organ to moog and from this to piano with such speed, that we would not be surprised that in one of his travels would meet him on the way.

MOOG

To talk about Emerson, Lake and Palmer, especially the first, is to think almost simultaneously about moog. But what is moog? 

Since it is an instrument we can classify it as such - quite new, few people know its operation. 

I think that to listen to an album by Emerson, Lake and Palmer in all its dimensions, it is necessary to know, at least superficially, the functioning of this apparatus.

The moog is basically a collection of electrical modules placed in a single instrument. The source of the sound is an oscillator, which can have about five or six wavy, triangular, pulse lines, without curves, rectangles, etc.  

When the instrument is programmed and a sound that you like is discovered, a diagram of the resulting spectrum is made: thus, when you later want to search for the sound of that instrument, you just have to “paint” the diagram and then plug in. 

The moog can be played from two points: the organ and another one is with the tape control, which Emerson is thinking of taking in the form of a pistol to have more speed and comfort.

CHRISTMAS GIFT 

But let's get back to disc. Concerning it there is a curious anecdote: the normal price of an LP in England is £ 2.15. However, the group's producers and manager had planned it for a slightly lower price, £ 1.49, offering this as the group's Christmas present.

However, the record houses, at which the albums were offered at a price that left the normal profit once sold at £ 1.49, sold it at the normal price of £ 2.15.

After an investigation by Melody Maker magazine on the matter, it was found that the price gap was due to a lack of information about its true value.

EMERSON'S “SHOW”

Work on Emerson's organ has always been ahead of potential imitators. 

His “show” has infected the rest of the group, thus making their live performances more attractive.

For example, Carl Palmer goes to the extreme with his huge gongs and ringing a bell with his teeth.  

The most withdrawn is Lake. But they are no longer the “Emerson show”, they’ve become the “Emerson, Lake and Palmer show”.  

This is the last of this great supergroup. Hopefully we are lucky enough to see their latest album in Spain. It is worth the effort. It’s a step forward of the music of Emerson, Lake and Palmer in particular, and music in general, and this, I think, cannot be missed.  

E. MIGUEL DE CASO.

[dreaminginthedeepsouth]

LETTERS FROM AN AMERICAN

April 16, 2021

Heather Cox Richardson

Today, news broke that a number of pro-Trump House Republicans, including Representatives Marjorie Taylor Greene (R-GA), Matt Gaetz (R-FL), and Paul Gosar (R-AZ), are organizing the “America First Caucus,” which calls for “a degree of ideological flexibility, a certain intellectual boldness… to follow in President Trump’s footsteps, and potentially step on some toes and sacrifice sacred cows for the good of the American nation.”

The seven-page document outlining their ideas, obtained by Punchbowl News, is a list of the grievances popular in right-wing media. It calls for regulation of “Big Tech,” which right-wing commentators claim is biased against them; an end to coronavirus lockdowns, which the authors say “have ruined many businesses to bankruptcy such that many Americans are left unemployed and potentially destitute”; opposition to “wasteful social justice programs like the Green New Deal”; support for oil and gas; and rejection of “globalist institutions.”

And, with extraordinary clarity, it shows the ideology that underpins these positions, an ideology eerily reminiscent of that of the elite slaveholders of the 1850s American South.

“America was founded on the basis of individual and state sovereignty,” the document says, but that federalism has been undermined by decadent and corrupt bureaucrats in Washington. The authors propose to get rid of regulation and the regulatory state, thus restoring individual freedom. This is the exact argument that animated elite slaveholders, who vowed to keep the national government small so it could not intrude on their institution of human enslavement.

The authors of the America First Caucus platform lay out very clearly the racial argument behind the political one. America, the authors write, is based on “a common respect for uniquely Anglo-Saxon political traditions,” and “mass immigration” must be stopped. “Anglo-Saxon” is an old-fashioned historical description that has become a dog whistle for white supremacy. Scholars who study the Medieval world note that visions of a historical “white” England are fantasies, myths that are set in an imaginary past.

This was a myth welcome to pre-Civil War white southerners who fancied themselves the modern version of ancient English lords and used the concept of “Anglo-Saxon” superiority to justify spreading west over Indigenous and Mexican peoples. It was a myth welcome in the 1920s to members of the Ku Klux Klan, who claimed that “only as we follow in the pathway of the principles of our Anglo-Saxon father and express in our life the spirit and genius of their ideals may we hope to maintain the supremacy of the race, and to perpetuate our inheritance of liberty.” And it is a myth that appeals to modern-day white supremacists, who imitate what they think are ancient crests for their clothing, weapons, and organizations.

Emphasizing their white nationalism, the members of the America First Caucus call for “the architectural, engineering and aesthetic value that befits the progeny of European architecture… stunningly, classically, beautiful, befitting a world power and source of freedom.” They also condemn the current education system, calling it “progressive indoctrination” and saying it works “to actively undermine pride in America’s great history and is actively hostile to the civic and cultural assimilation necessary for a strong nation.” They conclude that “The future of America’s position in the world depends on addressing the crisis in education, at both the primary and secondary level.” They envision a world in which people who think as they do control the nation.

Indeed, the document embraces the Big Lie that Biden did not, in fact win the 2020 election. Despite the fact that all evidence proves that the 2020 election was one of the cleanest in our history and that President Joe Biden won, fair and square, the America First Caucus Policy Platform insists that the 2020 election was characterized by “massive voter fraud” and calls for limiting the vote.  

Behind all this, of course, is the idea that a Democratic victory in an election is, by definition, impossible.

This extraordinary document makes it clear that Republican leaders are reaping what they began to sow during the Nixon administration, when party operatives nailed together a coalition by artificially dividing the nation between hardworking white taxpayers on the one hand and, on the other, people of color and feminist women whose demand for equality, the argument went, was code for government handouts. In the years since 1970, Republicans have called for deregulation and tax cuts that help the wealthy, arguing that such cuts advance individual liberty. All the while, they have relied on racism and sexism to rally voters with the argument that Black and Brown voters and feminist women—“feminazis,” in radio host Rush Limbaugh’s world—wanted big government so it would give them handouts.

It was a political equation that worked with a wink and a nod until former president Trump put the racism and sexism openly on the table and encouraged his supporters to turn against their opponents. They have now embraced open white supremacy.

The platform of the America First Caucus appears to have woken up some of the business Republicans—who want tax cuts and deregulation, but not the mindless white nationalism of the Trump supporters—to what has taken over their party. Today House Minority Leader Kevin McCarthy (R-CA) took to Twitter to say that “America is built on the idea that we are all created equal and success is earned through honest, hard work. It isn’t built on identity, race, or religion. The Republican Party is the party of Lincoln & the party of more opportunity for all Americans—not nativist dog whistles.”

Representative Liz Cheney (R-WY), the third most powerful Republican leader in the House, tweeted, “Republicans believe in equal opportunity, freedom, and justice for all. We teach our children the values of tolerance, decency and moral courage. Racism, nativism, and anti-Semitism are evil. History teaches us all we have an obligation to confront & reject such malicious hate.”

In an op-ed in the Washington Post today, former President George W. Bush defended immigration in our past, present, and future as “a great and defining asset of the United States.” “New Americans are just as much a force for good now, with their energy, idealism and love of country, as they have always been,” he wrote as he described his new book, made up of portraits he has painted of Americans who came originally from other nations.

Will the business Republicans’ newfound inclusiveness manage to reclaim their party? It’s not at all clear that what conservative commentator Tom Nichols calls “an extremely dangerous authoritarian party” will not win out.

Republicans in the Arizona state Senate today put teeth into the Big Lie when they announced they have hired a private company connected with Trump to recount the ballots cast in Maricopa County, Arizona, in the 2020 election. They claim they want to “restore integrity to the election process,” although the Maricopa County Board of Supervisors, dominated by Republicans, voted unanimously to certify Biden’s win and both state and federal judges have verified that the existing count is valid. County officials have distanced themselves from this recount.

At the same time, though, news is not good for Trump’s supporters. Yesterday, the Treasury Department dropped the bombshell that Trump’s 2016 campaign chair Paul Manafort worked with Russian intelligence to swing the 2016 election, while House Republicans accused the intelligence community of spying on them. Today the Department of Justice launched a civil suit against Trump adviser Roger Stone, saying that he and his wife “intended to defraud the United States” by hiding income and that they owe nearly $2 million in back taxes. It is not unimportant that Manafort and Stone began their political consulting careers under Richard Nixon.

Perhaps most notably in this era of social media, McCarthy’s tweet recalling the Republican Party’s older, inclusive days got what is called “ratioed” on Twitter, with significantly more people disparaging the tweet than liking it. The Republicans are “the party of the Confederacy, white supremacy, Black voter suppression, Kremlin collusion, and violent insurrection,” one person wrote. “The party of Abraham Lincoln has become the party of Jefferson Davis.”

—-

LETTERS FROM AN AMERICAN

HEATHER COX RICHARDSON

[fleomae]

MMS 194: JOURNAL

Beginning this journal with the ultimate art question of "What does art mean to you?"

I liked what Thomas McEvilley, professor of art history in Rice University said, "The last time I was in Houston, I went to a place called Media Center, where someone had set up posts as in a back yard with laundry hung all over. I immediately knew it was an artwork because of where it was. If I had seen it hanging in someone's yard, I would not have known whether it was art, though it might have been. It is art if it is called art, written about in an art magazine, exhibited in a museum or bought by a private collector.". 

To continue with his point, "What's hard for people to accept is that issues of art are just as difficult as issues of molecular biology; you cannot expect to open up a page on molecular biology and understand it. This is the hard news about art that irritates the public. if people are going to be irritated by that, they just have to be irritated by that.". 

Something I also find meaningful to this most asked question is perfectly worded by Arthur Danto from Art critic of The Nation, he says, "You can't say something's art or not art anymore. That's all finished. There used to be a time when you could pick out something perceptually the way you can recognize, say, tulips or giraffes. But the way things have evolved, art can look like anything, so you can't tell by looking. Criteria like the critic's good eye no longer apply. Art these days has very little to do with esthetic responses; it has more to do with intellectual responses. You have to project a hypothesis: Suppose it is a work of art? Then certain questions come into play -- what's it about, what does it mean, why was it made, when was it made and with respect to what social and artistic conversations does it make a contribution? If you get good answers to those questions, it's art. Otherwise it turned out just to be a hole in the ground."

And as a religious type of person I find this short saying from Robert Hughes striking. He says, "The Puritans thought of religious art as a form of idolatry, a luxury a distraction, morally questionable in its essence, compared to the written and spoken word.”. 

From here you can see the art differences from Catholics, Orthodox, and the many many denominations of Protestantism. I guess growing up in the Philippines most art I experience is about the religious if not historical. It's always been my dream to visit France and Rome to come and see all the "art" people are identifying as but as society moves forward with nano technology, we can see many forms of Computational Art. 

For example are the three below...

Digital illustrations, sounds cool right? Well, I was thinking of Digital Kinetic Art at first but I couldn't find an artist that purely does a digital version, so I had to look for other options until I finally found this amazing artist named Sean Charmatz. He was born on August 28, 1980, in San Diego, California. He is an animator of Spongebob Squarepants, LEGO Movie 2, and Trolls. He spent several years as a writer, artist, and storyboard director for the television show Nickelodeon. He also shared his digital art talents with the companies like Dreamworks and Disney.

He is making the mundane normal ordinary things as something worth looking at, with a story to portray from scratch!!! Looking into his art, I don't know if I have a bias reason because I grew up watching Spongebob and I really like the show and other types of cartoons too like "The Adventure Time", "Princess Sophia", "Barbie Movies", "Dora the Explorer", "The Amazing World of Gumball", and the like. It's something I find pleasurable as a younger child (actually until now, but I don't have the leisure time I used to have), and as I see his newest digital illustrations, I can't help but be in awe and smile with a childlike smirk. I might do something like this as he inspired me to make the mundane objects into something fun with a cool story to tell. 

Especially now during pandemic, and everyone is asked to stay indoors and minimize social interactions at most. We should be creative to learn in entertaining ourselves and making the most of our everyday situations. He is truly inspiring, and maybe with the practice I'll do, I might be able to make cute short children's comics for the next generation.

Here are some of his recent digital illustrations,

Moving from visuals let's talk about our hearing, let's talk about Generative Music. Majority of my life I've been listening to Pop songs and classical ones, usually made the traditional way 100% human, learning about this algorithm or computer composed type of music is a bit odd for me because it feels technical and numbers complicated, in a way distant and out of touch. Computers are a recent invention by the human race, so we can understand why more and more innovations related to it are still growing everyday, a lot of people who doesn't see it's importance will be left behind and soon enough more and more generative music art will enter the music scene, digital divide will be inevitable. 

This type of music scene is "experimental" as it's unknown to a lot of possibilities and very different from the traditional music producers and artists, we still don't know how will it click, is it a fad or here to stay? I'm not sure, but I think more types of sounds will be incorporated in music, specially in movies and other types of effects if it doesn't get popularity in the music industry.

Hatsune Miku, the first ever open-source singer is having popularity around people specially those who like anime and the things of its kind. Only this year I was able to discover this type of music scene and I never expected that Hatsune Miku Youtube music has millions and millions of viewers and subscribers. Music analysis software exists that can predict hits with increasing accuracy, and Google Labs have an ersatz neural network up and running that can make convincing music. Along with all the other jobs currently being destroyed by automation, it looks like the most human of all – music – is under threat.

To move forward let’s go back in 2017, I liked this guy from the College of Business Administration and he is one of those cool distant type of guy who gives this big mystery vibe, and what do you do when someone is mysterious? You stalk them online, so I did and that's how I found out about "hello poetry". I didn't know digital poetry actually has a term, a name but I knew it has a community online, which is cool because you can make an online library and records of all your poems easily accessible online if you're into this thing. I actually joined the platform "hello poetry" after reading a ton about my crush's online poems, in a way I was inspired. Once you join it's nice to see other poets about their works, what others are raving about, and sometimes judge inevitably although some are very beautiful others are also unconventionally short and seems like a tweet. This category of art can fall on art & literature which is something purely human, well as of now. Soon enough computers will be able to make their own poems, maybe there already is.

Here's a link to my first and only poem I published in the community, https://hellopoetry.com/fleomae/

[comunidadarcsystemworks]

Exclusive interview with Arc System Works

We have had the opportunity to interview several key members of Arc System Works. Before we begin, we want to thank Arc System Works America for giving us the opportunity to have this interview.

We will divide the interview into 3 sections: "General", "Daisuke Ishiwatari" and Tosimichi Mori.

General

Q. The first question is going to be a tough one, but the community has been very vocal about it so we would really want to begin with this one. Will GGPO (Good Game Peace Out) be implemented in your next projects? If not, would you consider its implementation at some point in the future? We are not talking specifically about Guilty Gear Strive.

A. We’ve heard your passionate requests, and we’re working on a netcode that will live up to everyone’s expectations.

We’ll have more information for you later.

(Guilty Gear Strive Director: Akira Katano)

Q. Fighting games aside, do Arc System Works has plans to do more action games like Hard Corps in the future? Especially with the Guilty Gear engine. We recently saw Code Shifter as your latest brand new platform action game or your collaboration with Wayforward, which are always welcome.

A. We’d definitely like to try genres other than fighting games, such as action games.

This would include plans to use Arc System Works’ 2.5D animation style in non-fighting games, of course.

However, we don’t have any concrete plans to share at the moment.

(Producer: Takeshi Yamanaka)

Daisuke Ishiwatari:

Q. Thank you so much for taking the time for our questions. Since the announcement at EVO, we are really excited to know more about Guilty Gear Strive, and we have read all the interviews and your philoshophy about this game and its gameplay. So, what would you consider to be the lead factor for this change?

A. Thank you for your excitement about Guilty Gear Strive.

The biggest reason for changing the gameplay is to make a game that can reach the current generation of gamers.

I feel that through previous Guilty Gear titles, we have more or less perfected the Guilty Gear formula.

It may very well be possible to tighten that up and make a further refined game. But, even if we did, such a game would create a disparity between new players and veterans who are used to the game’s systems.

So, we wanted to reset the start line for everyone. But of course, this doesn’t mean we’ve forgotten our appreciation and respect for long-term fans and accomplished players.

Q. One of the main focus seems to be drawing the attention for new players and esports while adapting the HUD and the gameplay/action to everyone so it can be enjoyed by a wider audience. That´s interesting, but how will you make new players invest time in your game and wanting to improve their skills at their own pace? For example Granblue Fantasy Versus could be a good example since it has a big focus on its RPG Mode to do so in case beginners are not doing well while playing online.. Will you take a new approach this time with the Story Mode or single player content?

A. I’m sorry, but I can’t tell you anything concrete at the moment.

However, the game will offer an experience of learning and discovery for both new and advanced players. Our game design is even more focused on that now, than ever.

I can’t guarantee that it will make it into the game, but we are also thinking of ways to further strengthen the community.

For example, currently most players aren’t very familiar with the top players.

But if they realized there were stars similar to Mike Tyson and Floyd Mayweather playing the game, wouldn’t they want to know how that person got so skilled?

We’d like to provide something to help players who aren’t too deeply into the game a way to enjoy it as a whole, like fans do with soccer or basketball.

Q. As of today, we know that you are gathering feedback regarding the main points of the new gameplay so I´ll save it for later, but as for the music, we are noticing a lot of emphasis on vocal tracks. Will this be the Guilty Gear with the biggest number of vocal tracks? will we get new versions of themes like “Holy Orders” or “Give me a break!?

A. Yes, I believe GGST will feature more vocal tracks than any prior title.

That is one of our many decisions in attempting a complete renewal.

We aren’t currently planning vocal arrangements of previous songs, however.

The only example I can think of where that went well would be Queen’s Seven Seas of Rhye.

Of course, if there were enough requests, there are songs I would love to create vocal versions of.

Q. A lot of people are requesting characters from past games like Testament or Bridget, but of course, we know that you can´t confirm any detail by the moment. However, I would like to know if we could get just a small hint about past fighters coming back to the scene.? Can we expect more original characters to be added to the game besides the cyborg samurai from the first teaser?

A. All I can say is, there will be characters from the previous series and this new character too. Please look forward to it!

Q. About the gameplay, as I said earlier, I believe that it's necessary to wait until the beta version for us to have a proper idea about it. Since I still haven´t had the chance to play the game I can just express my opinion as a spectator. I believe the overall gameplay seems interesting according to what you want to achieve but doesn´t the wall break mechanic interrupts the flow of the match a bit too much for the spectators? I feel the same with restricting combo routes, won´t it be monotonous if we ever watch the same, or really similar routes?

A. Don’t worry. The developers are creating GGST with both a casual and hard-core perspective in mind. There may be some aspects that don’t quite satisfy series veterans, but we will create new depth that will motivate them to learn something entirely new.

Also, even if the Beta Test is not well received, you will see our answers to your feedback in the game upon release.

Finally, could you share some words and thoughts to your fans in Spain?

Currently, we are steadily releasing news about GGST. However, the gameplay itself is still very much in development. Our plan is to continue to evolve the game as we receive feedback from the players. Please look forward to it.

Toshimichi Mori:

Thank you so much for giving us the chance to give an answer to our questions. We have read everything that could lead to a future Blazblue or Persona 5 Arena so I´ll try to make interesting questions for everyone.

Q. First of all, I would like to start with Blazblue Alternative Dark War. Will it be possible for you to share some more details about it? Last time I heard from the game I was taking notes at the London Comic Con.  If you can´t share any details, could you give us a hint about when could we know more about the game? Also, I love the sketches that you publish from time to time!

A. Thank you very much.

However, I can’t say much about Dark War right now--only that I, personally, am working so that you guys can play the game as soon as possible. I believe that as long as the players are supporting the project, it will move forward. So please keep talking about it.

Q. Talking about the London Comic Con from last year, I remember that I asked about Alpha 01 and you said that this year we should have news, but this year I want to add something else to the same question. Besides Alpha 01, when could we know something about Gamma 03 as well?

A. I’m really glad that for whatever reason, so many people like Alpha.

I understand some are really looking forward to her making an appearance, but it will be some time… So please wait a little longer.

Q. As of June of 2018 you said in an interview with Gamerevolution that you are saving ideas for future Blazblue and future Persona Arena Projects. Also, in an interview with Gearnuke (January 2020) you said that you would like that your next game will be 2.5D and that the next Blazblue will have new system mechanics. Taking all of this into account, could you please give us further details about what would you like to achieve with a new Persona Arena (which people are really vocal about it) or Blazblue project?

A. I appreciate your enthusiasm. However, I can’t really discuss anything at this moment. Please understand.

Q. Moving on to Blazblue Cross Tag Battle and talking about the same interview from Gearnuke, we read that companies are not approaching you to add their characters in the game. Have you considered “small” companies like Nihon Falcom or Vanillware to see beloved characters like Adol Christin from the YS series or Gwendolyn from a cult classic like Odin Sphere? I feel that they are characters that most of us known or we have heard of but they still didn´t have the chance to shine outside of their games.

A. I get a lot of requests for characters in BBTAG. Honestly, there’s lots of characters I would like to include, myself.

I won’t say it’s impossible for the characters you mentioned to join the cast, but we don’t have any plans for this at the moment. Regardless, I would really like to do some form of collaboration in the future.

Q. Sticking with Blazblue Cross Tag Battle, will we see more characters from RWBY or Senran Kagura? Is there a chance to see Persona 5 characters in the game (unless a Persona 5 Arena is in the works of course) or Kyoko and Misako from River City Girls?

A. We’ve just released Season 2, so we don’t have any definitive plans for the next characters yet.

Right now, we’re still thinking about the next step and listening to everyone’s requests as we work with the current version.

Going back to Blazblue main story, now that the phase C came to an end, and with Rachel´s words being “I shall find you, I promise” at the end of Blazblue Central Fiction… Will we get a follow up to this arc, or it will be a completely new arc? Also, are you planning to do another anime or manga?

A. We are preparing for the start of a new story… Sadly, I can’t guarantee when it will happen. I think that when that new chapter begins, you will understand what Rachel meant.

Finally, could you share some words and thoughts to your fans in Spain?

Thank you for loving the BlazBlue series.

I can feel that love you have, so I hope I can meet all of you in person someday. Thank you for your continued support.