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backstorywithdanalewis · 4 years

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Europe’s Bad Boys/ Press freedoms

link to podcast : https://www.buzzsprout.com/1016881/4894601

Speaker 1: (00:00) So do you believe that the government moved to put a stranglehold on index? Uh, I am absolutely sure that there was the government's decision. Our governments hate this caution. Other government hates debate. Dana Lewis: (00:21) Hi everyone. And welcome to another edition of backstory podcast. I'm your host and the creator of backstory Dana Lewis. This is our 21st edition and you've covered Brexit, lots of science on COVID-19 nuclear arms, the upcoming American election police brutality and racism, defunding police. And even our last addition tackled the conspiracies of Q Anon. And now the bad boys of Europe. Why are they bad? And who are they? Well, I'm talking about Hungary and Poland, which as many of us are consumed with the pandemic and the American election. These countries led by right wing leaders, seize more power going against Western Europe's common values of free and fair elections, independent judges, tolerance of minorities and press freedom. It is a swing to the right, and the EU seems to be failing, to keep hungry and polling from drifting into an alarming direction towards autocracies Poland. For instance, just had an election and wants to now pull out of the treaty on domestic abuse. It's against gay rights. Hungary's Viktor Orban has been squeezing press freedoms for a decade, modeling himself after Russia's Vladimir Putin. So if somebody is not, Viktor Orban: (01:41) Except the rule of law should leave the European union immediately, like it should not be punished by money or something. I've got to say goodbye, say worldwide guys, because this community is based on rule of law. And we like that approach it's okay. Dana Lewis: (01:55) That was Orban at a recent EU summit, hoping for a big COVID-19 bailout saying he supports the rule of law. When his critics in Hungary say he's been doing everything to hijack the courts and free media. So why just as the European union government is doling out billions of dollars to rescue economies from pandemic economic collapse, didn't it demand that Poland and Hungary get in line with common values of free society. The EU is rotting from the inside, say some Western newspaper headlines. Now I know you're distracted with a lot right now, but look, this is important. We are witnessing the return of Soviet style leaders who are muzzling free press. The media has become the propaganda tools of Hungary and Poland, authoritarian governments, and that's dangerous. And that's where we know recently the last independent media in hungry it's called index collapsed in July more than 80 journalists walked out because they could no longer report freely. No one wants to out of a job right Dana Lewis: (03:00) Now. So that's noteworthy the last door on free speech in hungry slam shut. And I bet you didn't even hear about it. Alright. Veronica monk joins us now from Budapest and Veronica was the deputy editor of index. Hi, Veronica, how are you doing? Veronika Monk: (03:21) Hi. Wow, I'm fine. It's quite hard days, but I try to keep it together. Dana Lewis: (03:27) Not too many people walk out of a job in the middle of a pandemic. Tell me what happened. Veronika Monk: (03:32) I haven't been working here at index, which is the market leading online news daily in Hungary, uh, in the last 18 years. It's quite a long time. I started as an intern and now I'm the, or I was the deputy editor in chiefs until I quit. I quit because, uh, because, uh, I saw that there are external influence on the professional work and profession in independent work that we are doing. And I could because, uh, editor-in-chief was fired last week. Uh, and, uh, yeah, and almost, almost the whole newsroom with it's quite a large newsroom with around 90 editors and journalists. Uh, I think they are the biggest newsroom in Hungary and the around 70, 80, uh, journalists and editors quit on Friday or Dana Lewis: (04:28) So. What is the point of walking out? What do you gain or it just became impossible to work under the current conditions. Veronika Monk: (04:35) Yeah, I mean, I cannot speak in the name of other 80 people. I can speak in the name of myself and I didn't think about the future when I quit. I told that it's not, it's unacceptable what this happening. And, and I quit because I told that I cannot continue the professional and independent work that I have been doing in the last 20 years. Yes, it's, it's an uncertainty. I have two little kids and we are during the pandemic and I don't know what's going to happen, but I really sad that this was a red line land was crossed Speaker 3: (05:15) Very serious decision personally, as did those 80 people at index. So could you give me an example of where you said it became impossible that you simply couldn't work? I mean, aside from the firing of the editor, I mean, what kind of information were you unable to suddenly put out? Veronika Monk: (05:35) Um, just a little bit of background about index. Okay. So index was considered the last major independent outlet in Hungary in the country, which is ranked the second worst country in the EU for media freedom by reporters, without borders. Uh, and so people are independent. And in the, in the last 10 years, the media environment changed in Hungary and a lot of media companies, uh, somehow, uh, influential by a businessman who implanted or owned by businessman who strongly connected to the fetus government. So there is this media landscape where, uh, where there are a strong political influence or media companies. So that's why a couple of years ago index, uh, uh, the, the, the, the newsroom, the staff of index stated what, according to us, what are the conditions of the independent operation of independent journalism? And we had two main conditions, then there cannot be external influence on the content we publish. And there cannot be external incidence on the structure of our spouse. And the last condition, uh, uh, was harmed, uh, when the editor in chief was fired. And the other thing is that a month ago, the board of index took, took steps towards, uh, the transformation and fragmentation of index. And there were some external advisors who, who suggested to outsource, uh, the journalists and editors to external companies, uh, because Speaker 3: (07:32) What does that mean? I mean, translate that, you know, that, Speaker 4: (07:36) I mean, I mean, I just, again, stay at what this advisor stated. He said that it would be, um, the goal of this outsourcing would be, would have been the same for the savings. So because there is a pandemic Speaker 3: (07:54) In reality, in reality, what, what did, what did they say? Veronika Monk: (07:57) My opinion is that it would be really, really dangerous because if it's an external, uh, company structure than companies with political or business agenda could reach out to, to the, to the, to the front page of the newspaper. Speaker 3: (08:17) Could I say, I sense all of this leads back to prime minister, Victor, or, or bond, right. And his control of media, um, what is he trying to control? What is he trying to stop you from from saying Speaker 4: (08:29) You should ask him? I mean, Speaker 3: (08:32) No. I mean, because it's important for a Western audience, that's not being hungry. That, I mean, you're saying this is about censorship. You're saying this is about strangling freedom of speech. I mean, can you give me any instance where let's take COVID-19 for example, mr. Orban has declared a state of emergency for as long as he sees fit and punishes, those who distort or publish false information on the outbreak with five years in jail. I mean, what does that mean? Is he just trying to silence the free press from reporting the extent of the pandemic and hungry? Speaker 4: (09:10) I don't know. What is mr. Or band's agenda? I can talk about indexes case and I can talk about my situation. Uh, I don't want to talk, uh, about the political situation I can, I can, Speaker 3: (09:25) That's a dangerous thing to do in hungry for you personally, if you were to criticize the prime minister. Speaker 4: (09:30) No, not at all. Not at all. I mean, look, the problem is you asked an interview from me about the situation of index, and now you asked me to talk about the Hungarian politics, right? Speaker 3: (09:48) Well, I'm asking, they're obviously connected. I mean, you're saying you're unable to publish freely. You're unable to talk about, I'm asking you what Speaker 4: (09:58) I didn't say. I never said that there were no influence on the content we publish. I said that were external influence on the structure of the newsroom index voice independent for 20 years Speaker 3: (10:14) When they started to restructure that that would affect your freedom. Speaker 4: (10:19) Yes. And that's why, that's why I quit because I didn't, because I, I was, I found the danger that the independency gonna change, Speaker 3: (10:32) What are they trying to stop? What are they trying to silence? That's what I'm specifically asking, because I don't understand, is it criticism of the government? Is it Veronika Monk: (10:44) It's index is not an opposition. A newspaper index is a critical newspaper. And I don't like the label that, that you are the opposition of media, because that's what the government try to label us. And I always, I don't like when people call me or call my colleagues, the opposition of journalists, because we are not one, I have been working here almost 20 years. And when the other government, uh, was, uh, leading the country index was critical back then as well. So it's a critical newspaper. We are doing the traditional vet dog function of, uh, the media. Uh, and we are big. So we can be a danger because this is a 10 million, 10 million people living in Hungary. And then that had a one to 1.5 million readers per day. It it's quite a big, uh, big audience and these weren't controlled, you know, that's what that's, that's that can be understand in, in, in the States too, then Speaker 3: (11:59) Who would you be a danger to? Speaker 4: (12:02) And anybody else, the politics, the businessman, uh, the money people, the power, the power. Speaker 3: (12:11) So that's what I'm asking you is your, I didn't really ask you to talk about politics, but it's part of it, isn't it. And, uh, when you're being, when you're being silenced, there's somebody politically that doesn't want you to report what, and as a, if you're sitting in, Speaker 4: (12:26) I say it again, then, so index never experienced a silencing because we were independent. We quit because we felt that this era has ended. Dana Lewis: (12:38) You agree that prime minister or ban has tried to silence media in Hungary. Veronika Monk: (12:44) It's a really hard position that you are trying to put in me. And I don't, I don't want to answer that because I'm an independent journalist and I'm not a political activist. And I don't want to talk about, uh, my opinion regarding [inaudible]. I can say what's happening in index. And I can say that the Hungarian media landscape is strongly, very strongly connected to the government sometimes to the prime minister, sometimes strong allies to the prime minister. That's the correct answer. Dana Lewis: (13:21) Okay. Tell somebody living in London, tell somebody from New York, why does it matter if some online news site called index, uh, disappears in the middle of the night and the journalists walk out what is at stake and hungry Speaker 4: (13:39) People in Hungary is in sheep. They, they fear, they fear their, their existence. They fear their, their lives. And usually they don't stand up against power and maybe they did that, and that hurts so much. They get together. And we did, we did it like 80 of us, and it's a huge mess and people doesn't see, don't see things like this in Hungary, where they're 80 people show the finger against the power. Dana Lewis: (14:17) I was a correspondent in Moscow for American television. So president Yeltsin went out in 2000. President Putin came to power and suddenly we could see as independent journalists, we could see media that was not completely free because some of them were controlled by different business interests, but they began to be closed down. They began to be taken back under control of the government and of the Kremlin and that slow creep, which happened over a few years, suddenly, no criticism Speaker 5: (14:52) Of the Kremlin, no investigation of corruption in business. Um, it was really the end of this new democracy in Russia Speaker 1: (15:06) And autocratic rule by the Kremlin. Are we seeing exactly the same parallel in Hungary now? Veronika Monk: (15:14) Yes. But the thing is that there were no right, but that's the more important that you felt that was ending, you felt that was Veronica monk from Budapest, Dana Lewis: (15:32) OPD editor of index. Thank you so much. Okay. So she seems intimidated and avoided seeing anything about Viktor Orban or the ruling political party that tells you a lot about how stifling rule has become in Hungary. That's a journalist who in my view explained very little but revealing to considering how little she felt she could. Let's talk to Gabor Polyak who is with Mirteck. And that is a media think tank in Hungary. I Gabor. How are you today? Gabor Polyak: (16:09) Hi, good morning. Yeah. Speaker 1: (16:12) Why is the closing down of index important Gabor Polyak: (16:16) Index is, and was, uh, firstly it was the biggest news portal in Hungary, and it is not only about the reach of index. It is only about that. Uh, they could reach not only one side of the Hungarian society, uh, indexes audience, uh, was not a political audience. It was not about, uh, that, uh, only the voters for the opposition parties rent, uh, index index was also information source for the government alters. And we don't have a lot of, uh, media outlets that can reach the whole society. Therefore, uh, index was really an important, uh, part of the Hungarian media system. So do you believe that the government moved to Speaker 1: (17:06) Stranglehold on index Gabor Polyak: (17:10) In the background? Uh, I am absolutely sure that there was the government's decision. Uh, it's not only a theory, uh, maybe, you know, that there was a very complicated, uh, ownership structure in the background of index, but, uh, yeah, the main point that the main decisions about the money, about the incomes and the main decisions about, um, the, the organization of index was in the hand of pro-government guys. Uh, and in the last last weeks, uh, the decision maker was one of the most important, one of the most powerful media guy of the governing party. Dana Lewis: (17:53) What's the idea? What are they worried about? I mean, why are they closing down media? Gabor Polyak: (17:58) Yeah. You know, we are struggling for media freedom since 2010 because, uh, yeah, the government is struggling for, uh, uh, public's fear where they have the vert and all other words, uh, are only how to say a footnote, uh, or, uh, can be, uh, incredible. Uh, and yeah, so our government, uh, heat this cation, our government hates debate. Uh, the only way how they can communicate is to speak out, uh, without any comments. Uh, and therefore they need a media system where the biggest media outlets are serving this kind of political communication, this kind of one way political communication, uh, all media outlets. They, uh, got in the last 10 years. And we are speaking about a big, uh, majority of the Hungarian media system. So they don't, uh, put questions. They don't put career questions, or even if they make interviews with our prime minister, these are not interviews in term in terms of, uh, Western Europe or in terms of the U S these are, uh, opportunities to, to speak out my, uh, opinion, uh, as, as the prime minister. So they, they needed this kind of media system and they tried from 2010, uh, to, uh, to have, uh, even a smaller, uh, independent part of the media system, uh, once they tried to, to, to buy and to get old, uh, big media outlets. And otherwise they drive to, to make, uh, the independent media incredible, uh, to, to build up a picture that they are not, uh, trustworthy. I mean, Dana Lewis: (20:01) Viktor Orban, the prime minister is supposed to be a tough guy, but he can't take a punch. He can't take a bit of criticism from the media? Speaker 5: (20:08) Of course he can. I cannot say that the whole media system is four months. Uh, yeah. Uh, it is very important for our band to have critical media in Hungary. And yeah, if we are speaking about index, I am absolutely sure that that was not, uh, the plan to, to have this kind of, of a collapse of index day wanted to have index for a long time, but they wanted to have a more friendly index, uh, in the direction of the government. They didn't want Dana Lewis: (20:41) Friendly, more controlled, more subservient? Gabor Polyak: (20:44) Yeah. And it was not impossible. Uh, they had the control over the whole editorial board, the whole newsroom, and they had the control over the incomes. So they could fold that the journalists working for index will be able to have somehow cool, uh, collaborate with the government. And it was not about to publish only propaganda, like in other programs or men's media. It would be enough to not speak about the most critical issues for the government. Speaker 3: (21:18) So let me ask you something philosophically, I mean, bigger picture. I was in Russia as a correspondent based for American television when Yeltsin left and president Putin came to power, and we saw exactly this slow takeover of media influence, change of structure, of ownership. Eventually they silenced critical media and every night, the voice of most of the main television channels get their marching orders from the Kremlin. Now you're seeing it in Poland. Um, you've seen it in, you know, media struggles in Georgia, in Hungary. So really the all across Eastern Europe, we are witnessing kind of the hard right. Silenced and critical media. It's very serious and it's still born democracies. Gabor Polyak: (22:08) Yeah. I can only agree with the statement. Uh, and yeah, we could, uh, continue this list. And, uh, if, uh, the media system of the U S would not be so strong, uh, the intention of Trump would be the same, but, uh, the U S media system is an absolutely other story. Uh, fortunately what's, uh, is a very big difference between Poland Hungary on the one side and Georgia Russia Turkey on the other side, that we are members of the European union. And I think this is a very big, uh, mistake and a very, very big miss, uh, unsuccess of the European union. Dana Lewis: (22:50) I really want to ask you about that because that's important, right? I mean, these, these countries, Poland and Hungary are, Russia's not, but pulling a hungry and members of the European union, the European union has addressed and acknowledged the fact that there is a pull to the right, and that the leadership in these countries is not allowing free and democratic press. They just had to come up with a COVID-19 billions of dollars of bailout. Should they have made part of the conditions for that it's hands off free media that Hungary and Poland allow free media. Otherwise they're not going to get bailed out. They're not going to get money. I mean, they seem like they caved in. Gabor Polyak: (23:32) That was not a good point for this kind of, uh, being strong. Um, yeah. In case of Hungary, we are speaking about 10 years, European union, new since 2010, 2011, that's the Hungarian government hates, uh, free media. And yeah, it began in 2011 with the new media lows, there was a huge debate at European level. If there's a lows are in line with the European values. And it was absolutely clear that they are not. And after that, there was several points every two years came some big, uh, issue that was, uh, also, uh, discussed at European level. So there was millions of opportunity in the hand of the European union and they have, uh, it is very important to see they have, uh, once legal, uh, to, to take actions against such kind of, of, uh, tendencies. And secondly, they have political tools and they didn't use hasn't used any of that. Dana Lewis: (24:36) It's a hell of a statement about the European union, right? Because it's supposed to be a lot more than just an economic marriage. They're supposed to share common values, including democracy and free speech, and yet they're not enforcing it. And what is the danger in Europe if they don't do that? Because there is a pull to the right. Hungary is not a very big country within the European union too, but Poland is taboo, uh, of Hungary. So we, we are speaking about very big market. Uh, even if we are watching it from the point of view of economics, uh, it is a big mistake to, to not to stop, uh, these standards because we know that, uh, also Czech Republic, uh, is very, very problematic. They are, uh, we problems with the using of public money, European money, uh, on the side of the prime minister of Czech Republic. Speaker 5: (25:29) There are problems now in Slovenia. So Hungary was the first point. Hungry is not so important, not so strong. It would be, would have been very easy to stop this whole tendency within the European union and the European union didn't do that. And now the whole Eastern European EU part, uh, is, uh, in, in this problematic, uh, situation, the board Poliac thank you so much because I mean, a lot of people view hungry as, as an, as an Island, uh, in terms of this is a problem in hungry, and I think you help us understand it is a much broader issue. And it's one that the European union should have tackled, uh, could have tackled, uh, and it may have to in the future. I hope so. Thank you, sir. Thank you. Speaker 4: (26:21) [inaudible] Dana Lewis: (26:27) Why hasn't the EU gotten tougher with countries choking free speech. Let's ask Hungary's member of European parliament. Are you joining me now from Budapest is Katalyn Cseh, who is a member of European parliament for Hungary. Hi, katalyn, how are you doing in this Speaker 3: (26:44) COVID-19 crisis? We have, katalin Cseh: (26:46) Well, it's trying to hold up as everybody and the hoping for better days to come. Speaker 3: (26:52) Yeah. Is, is it being reported in hungry? How bad the situation is, or is the government being clear about how many cases they have or are they like many, many governments understating the problem? katalin Cseh: (27:06) Well, Hungary was never really strong than testing. So all the way true depend them AK. It was quite questionable. How many cases we have. Uh, I was working as a doctor, uh, volunteering during the pen that makes, so I got some firsthand experience as well, but that's clear that the public hasn't been sufficiently informed. Then I did find this problematic part of hilarity, uh, due to the importance of getting everybody involved in the, uh, public health, uh, defense. Dana Lewis: (27:39) Okay. So when people talk about free media and freedom of speech in a, in a pluralistic democratic society, I mean, here's a clear example where if you're not given information, you don't even know what the dangers are. The health dangers are. That's why it's really important to have free media. And in the middle of this, you have some 80 staff members in your country from index the so called free social media site news site who walked out. He said they couldn't report it's concerning. katalin Cseh: (28:12) Yes, it's very concerning. And index was really the most important to independent news portal that had the highest, uh, re number of daily readers in the country. It was really an institution on its own, and it was clear for the past some years that the government, uh, tried to gain influence in the editorial board of index, also in the strong governing structures behind the, the, uh, the portal. And, uh, just a few days ago, um, due to the pressure, uh, and the influence coming from, I would say the editor in chief resign and, uh, as a protest, the entire editorial board walked out as well. Now we are in the middle of the pandemic. Uh, the entire job situation is of course, very shaky, particularly issue where he mediated hungry. So I think it's very hard to understate the importance of 70, 80 people. It's families, mortgages loans, and an uncertain future, just standing up and walking out because they don't want to work in a media that is influenced by Orban. They want to have a free voice. And I think, uh, the whole Hungarian society, uh, really has to support us in labor. Dana Lewis: (29:34) Viktor Orban already has an iron grip for the last decade on hungry and in hungry. What does he care about index? katalin Cseh: (29:45) Well, index is, uh, is, is, is, is a portal is being read by 1 million people daily. Well, we have 10 million people in total. So this is really the most influential news portal we have in the country. So this is, uh, literally hallmark of independent news reporting as mr. Orban cannibalize, the public media, uh, many States that now indexes, uh, something like the BBC for the UK, for instance, this is the site everybody opens in the morning when they wake up, even the conservatives, even the fetus voters. So this is where people get their news from the main source of news. So it is really something like the, the last resistance against this enormous pressure fetus has been applying, uh, and, uh, if index falls, then if it's really a huge blow to our entire country. And I suppose for everybody in the world who believes in free and fair media and checks and balances, and, uh, the possibility to report on power, Speaker 3: (30:50) The last resistance, what, what, uh, what is the resistance against? katalin Cseh: (30:55) Well, uh, Hungary has been governed by mr. Orban and afforded a past 10 years with a supermajority. Uh, and during this time, according to freedom house, Hungary ceased to be a democracy. Now we are a hybrid of autocracy. The conservative, uh, popular government of mr. Orban has been systematically doing away with checks and balances with the independence of the judiciary, with the freedom of the media. We, uh, or let me start over about, has expelled the central European university from Budapest, because he didn't agree with the views that were taught there. Uh, it's as an American that, um, university death had a campus and in Hungary, and now they are, they are out of the country. It's been an extremely damaging time for the Sola, for our country, for the democracy of our country, and of course media and the possibility to report and the possibility to share information is really the hallmark off, uh, off, off of the possibility of change. And if we, uh, even stop having these independent institutions, then it's, it's really a huge problem. A lot of news portals were closed down for the past years. Uh, very influential papers, printed papers, big papers, papers had, this has been existing for hundred years now. Uh, they are not functioning anymore. And index is really something of the greatest magnitude for this country. Speaker 6: (32:32) So many people read it. So many people rely on it. It's a very fail, respected, uh, journal, even a Brode. And it's really a huge loss that the government is trying to buy influence. Also there, Dana Lewis: (32:47) Forgive me if I'm wrong and you'll, I'm sure you'll correct me because you're not timid about these things. I was a reporter based in Moscow for American television. This seems cookie cutter. This seems what president Putin did when he came to power in the year 2000, cut down the newspapers, take over the ownership of any free or critical media. Not all of it was necessarily free. Some of it was pulled in different political directions. Some of it was black media, they used to say, but, you know, take control of that. And then you have free reign to absolutely control people's perceptions and, and the debate because you will program the television stations, the radio stations, the newspapers every night with your message, you know, from the prime minister's office. And then we're hearing about it in Poland, and then we're hearing about an hungry. So, I mean, people have learned from a very bad example. katalin Cseh: (33:46) Yes, indeed. Analysts are all about, has been a close friendship in mr. Putin for the past decade. And this is not the first law that has been adopting, uh, from, uh, mr. Putin's governance style, for instance, a very controversial law that branded ngo's as pouring to agents is also something like the brainchild of mr. Putin and something that has been done also. And, uh, a few years ago, mr. Orbit also pushed true a law that victimized civil society, just based on the example of mr. Putin and really the importance of gaining control over to media, it's really hard to be understated. Uh, all the local papers that people reading the greatest numbers in the countryside are, uh, being exclusively controlled, uh, by, by cronies, close to fetus, the majority of them, big news channels, uh, the public media, which has been used for propaganda purposes. Dana Lewis: (34:46) It sounds like a campaign to have Viktor Orban, a prime minister for life as, as Putin is president for life in Russia. katalin Cseh: (34:55) Yes. Well, mr. Orban stated that he has plans for 20 more years of governing, but, uh, I believe that this is now really the time for the next elections in 22, that the Hungarian people just like raise their voice and we go to vote in large numbers and we do away with this authoritarian, uh, leadership that has been, uh, in power for the last 10 years, because, uh, I feel that there is anger and resentment boiling in the country. We have to channel it in a vote in pronouns and the improper real change. Speaker 3: (35:34) You were a member of a political party, you for office and hungry. Uh, and then you, you closed down your political party, or Speaker 6: (35:43) I have a founding member of momentum, uh, which is the, uh, youngest political party in Hungary. Dana Lewis: (35:50) Why didn't you get elected? You didn't even get one seat, did you? katalin Cseh: (35:54) Well, it's the, well, the first election, uh, we ran at was a little bit a year after our party was founded. And then we got 3%, which was indeed nod for, uh, for getting a seat in the, in the parliament, but it just a year off her, uh, we had the, a very good result of the European parliament, where, uh, we gave the over a 9%, which made us, uh, one of the stronger position parties. And, uh, a few months ago at the local elections, we elected hundreds of counselors, a lot of mayors all over the country. So to part is growing and that was, Dana Lewis: (36:31) Is it a free and fair election? katalin Cseh: (36:32) And that I, I would not say that his free and fair, but there is a possibility of, uh, of winning for both sides. Speaker 3: (36:40) Katalin, you're a member of European parliament. The, my understanding is being part of the EU. Isn't just about an economic deal. It's, it's about the values, which include free speech and free media and democracy. Why has the EU failed to really put Viktor Orban in his place and tell them hands off the press, hands off the media there, what you're doing does not in any way, align itself with the values of the European union, why have they failed to do that? katalin Cseh: (37:17) That's exactly what the European parliament ones that we should be tying your money to the risk factor for your values. Uh, we should make a clear line, a clear distinction between what is possible to be done in a community of values and whatnot. When a country joins the European union, they have to assign a, for a number of criteria based on the rule of law about the freedoms, the media, the governance. And, uh, it's very important that even after somebody is a member, uh, somebody has become a member. They really have to adhere to the same standards as before and Dana Lewis: (37:58) Happening. I mean, why did, why is the EU not enforcing the rules that they ask members to sign? katalin Cseh: (38:05) The EU has very weak capacities right now to do so, uh, as we are discussing the, the budget deal of the next 10 years, the next seven years, a lot of, uh, institutions, including the European parliament, once a clear rule of law guarantee when it comes to, uh, distributing public finances to governments. And, uh, of course negotiations are still ongoing, but I believe that this is really something, the heart of Europe. And of course the importance for our entire community to have everybody respect to our common values. Dana Lewis: (38:44) You didn't answer the question really? Speaker 6: (38:46) Yes. Well, right now, uh, the, Dana Lewis: (38:49) It says, it says when you sign up, you have to, you have to share the common values. And then as you're getting, especially during COVID-19 where there's a major bailout by the European union countries, that they have to qualify for that bailout. I mean, they have to be part of the EU. They have to share the same common values you're telling me the Viktor Orban does not that he's shutting down the last remaining free press site in hungry. Why didn't he, you say no way, you cannot be part of the EU. If you're going to behave like this, why are they scared to do that? katalin Cseh: (39:25) It's not about being scared. It's about having the, uh, power of institutions in place to be able to do so, uh, I asked this question a lot. Yeah. So I've been also asking this question a lot to my fellow colleagues. And basically the answer is that the current treaties of the European union, uh, tie every decision that is of this magnitude to a unanimous decision between countries, uh, we barely have a systems in place that could, uh, be useful in the case of systemic deviations, because we have very good mechanisms for when, uh, one country breaches, uh, one standard or the other, but actually the European union wasn't prepared for a systemic democratic backsliding within its own community. And right now we are witnessing this in two countries in Hungary and in Poland. And it's very important to install these kinds of mechanisms, for instance, um, compulsory European prosecutor's office, uh, do have control over European public finances, uh, and also, uh, systematic rule, offline monitoring systems, uh, so that we can safeguard our values in our entire community. But this is something we have to do now. And this is what European parliament has been fighting for. Dana Lewis: (40:41) It's interesting, right? And ironic that Victor orbans main appeal to the public is that he's improved the finances of the country, the economy, and really the way he did that was becoming a member of the European union. And now he's floating the very rules of the European union that he's used to improve the economy of hungry. katalin Cseh: (41:01) Yes, indeed. And this is this hypocrisy we have to be doing away with it because so criticizing the EU has been one of the hallmarks of mr. Oregon's governance. Uh, he has been claiming for a long time that the EU is an evil conspiratory powers to, uh, try to do away with the conservative governance of hungry. They are enemies of the Hungarian people and then the old ed. And then the same time they have been profiting from EU money, uh, which, uh, has been spent without appropriate oversight to a small circle of cronies often. And this is why it's so important that the EU, uh, can project its values, uh, in its, uh, economic policies as well, Sudan, everybody, uh, who spends our money also has to, uh, respect our values as well. Speaker 1: (41:52) Caitlin cseh a member of the European parliament for Hungary Thank you so much. Press freedoms are also under attack, severely under attack in a country that I've always considered the leader in democratic principles in the free world. America, if you think calling everything fake news and campaigning against TV or newspapers will bring you clarity. Think again, it won't Americans. As you approach the elections in 2020, you would better support liberal open values, or you risk going the way of dictatorships, which limit political discourse, because they cannot accept criticism. Not only because of their egos, but because the aim to strangle a position to strengthen their grip on power and continue to stop their pockets. Meantime, the bad boys of Europe need a lesson from the countries of Europe, which still value democracy and free speech. That's another edition of backstory. Please share and subscribe. I'm Dana Lewis and I'll talk to you soon.

https://www.buzzsprout.com/1016881/4894601

#@katalincseh @gaborpolyak hungary poland @danaslewis backstory

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x--daughters-of-darkness--x · 4 years

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Myrkur: the strange and surreal journey of Amalie Bruun

From hanging out with Martin Scorsese and Billy Corgan to appearing in a Michael Bolton video, Myrkur's Amalie Bruun is a black metal star like no other

An old painting hangs on the wall of the compact, one-storey house an hour’s drive out of Copenhagen that Amalie Bruun calls home. It depicts a blonde girl lost in reverie as she walks a grass path high above a fjord: a scene that’s elemental and ethereal at the same time.

The picture, by noted Norwegian landscape artist Hans Dahl, belonged to Amalie’s late grandmother, a refined woman who smoked cigarettes from an ivory holder and drank gin and tonic on a Friday morning. Amalie’s mother used to say that it was Amalie in the painting. It’s not hard to see why.

“I had a connection to it from before I can remember,” says Amalie today, as we sit at a dining table in a living room that’s one part uncluttered Scandinavian stylishness, one part hygge-style cosiness. “The album sounds like the painting looks.”

The album she’s referring to is Folkesange, her third as Myrkur, the one-woman project she founded in the mists of the early 2010s.

Where Myrkur’s past releases have bridged worlds – black metal, post-rock, blackgaze, classical – Folkesange is different. This is traditional Scandinavian music played on traditional Scandinavian instruments, sung predominantly in Danish. There are some covers, some originals, though there’s not a trace of metal in the music or the vocals. It’s all there in the title: Folkesange. Folk Songs.

That Amalie Bruun is releasing an album of sometimes beautiful, sometimes melancholic Scandinavian folk music really shouldn’t surprise anyone who has followed her journey. Partly because that aspect of who she is has always been present in Myrkur’s music – all she’s doing with Folkesange is separating it out.

But mainly because Amalie Bruun has lived more lives than most other people. That, as much as anything, is what puts her out there on her own.

Two life-changing things have happened since Myrkur’s last album, 2017’s expansive and brilliant Mareridt, both inextricably linked.

One: Amalie Bruun got married. Her husband, Keith Abrami, is a fitness instructor and drummer with American death metal band Artificial Brain. The pair became romantically involved after Keith began playing as Myrkur’s touring drummer.

Keith is around, though he stays in the back bedroom today. This is because he is attending to the second life-changing thing that has happened to Amalie recently: the couple’s nine-week old son, Otto.

If Mareridt was the product of the vivid nightmares its creator endured before making it, Folkesange was defined by pregnancy and the impending birth of her first child.

She describes motherhood as joyous, though in her case the elation is edged with sadness. She discovered she was pregnant soon after she started writing the new album. “But I miscarried,” she says simply.

We ask if she’s OK talking about this. She nods, and explains that the miscarriage pushed her deeper into making Folkesange. A few days after entering the studio with producer (and Heilung co-founder) Christopher Juul, she discovered she was pregnant again. And that’s when the emotion really hit her.

“I was totally out of it, but in a beautiful way,” she says. “I wasn’t my normal human self. I become something else.” She laughs. “Very nauseated.”

She noticed that her vocals were different. “I never felt so in tune with singing as I did then. I had this power and this clarity, which was crazy. But it was the exact place to be, recording folk vocals with this new life growing in you.”

There were worries, of course, as well as other emotions. One of the songs on the new album, Gudernes Viljie (English translation: ‘The Will Of The Gods’) is about the miscarriage. “There were conflicted feelings, dealing with both this new life and this guilt feeling of this other life that never happened,” Amalie explains. “It was never a heartbeat, but you still feel like a mother. It was very intense.”

Amalie Bruun grew up listening to Scandinavian folk music. It resonated with her on a different level. “With my spirit,” she says. “It’s like in England: you have that singer-songwriter folk tradition, it’s historically ingrained. It shapes who you are, even if you don’t know it. Because it’s folk music, it’s told by people for people. So it’s inherited into the spirit of a population.”

Half of Folkesange’s 12 tracks are her versions of songs that she grew up listening to, while the others are her originals, though you’d be hard pushed to tell which is which. “This is a record that I wish had existed when I was young,” she says. “And it doesn’t exist, so I wanted to make it.”

Music, folk or otherwise, is in her blood. Her father, Michael Bruun, is a retired musician. He was semi-famous as a pop singer-songwriter in Denmark in the early 80s. “But he was not interested in fame,” says Amalie. “He’s shy and misanthropic.” Does she take after him? She smiles. “I do. Sometimes I wish I didn’t but I do.”

Her mother, by contrast, was a Jungian psychologist. “She tried her best not to bring her work home, but she did. You get analysed every day.”

As well as folk music, Amalie loved classical music as a child. She learned piano as a toddler, took up violin at five, and eventually attended music college as a teenager. “I wasn’t pushed into anything. It was all my choice. I was never interested in anything else.”

The first metal record Amalie Bruun fell in love with was Transilvanian Hunger, Darkthrone’s sub-lo-fi black metal masterpiece. Before that she’d listened to the stuff teenagers listen to: Nirvana, Björk, that kind of thing. Aside from her older brother’s Metallica and Judas Priest records, she’d never listened to much metal.

“Usually that transition takes years, right?” she says. “But all of a sudden I hear Transilvanian Hunger. It reminded me of classical music.”

“The Starter Pack” is how she jokingly describes Transilvanian Hunger today. “If you like that, a lot other black metal sounds really pleasant. A lot easier on the ear.”

When she was 22 years old, Amalie Bruun bought herself a one-way plane ticket to New York and started another life. It was the city’s rich and romantic musical history that drew her there: the poets, the punks, the freaks, the superstars. She arrived with no cellphone and nowhere to stay. “I didn’t know what I was doing,” she says. “But that’s what New York is. You just go there and see what happens.”

She found a place to stay with friends of friends from back in Denmark, and walked all over the city, giving her demo CD to venues. “Just piano music,” is how she describes what she was doing. “Me singing little melodies.”

She played anywhere that would have her, in front of whatever crowds were there. “Oh, it wasn’t the cool people,” she says. “It was definitely uncool. But it was never about fame. I just wanted to go out and earn my stripes a little bit.”

In the early 2010s, she met guitarist and co-vocalist Brian Harding, and they put together Ex Cops. Based in oh-so-trendy Brooklyn and playing shoegaze-inflected alt-pop, they basically screamed ‘hipster’.

She recoils at the suggestion. “I fucking hate that,” she says vehemently. “I hate the whole hipster thing.”

Ex Cops were ultimately small fish in a big indie rock pond – their main claim to fame was that their second album was executive-produced by Smashing Pumpkins major domo Billy Corgan. Amalie liked being in Ex Cops, but she liked the music industry a lot less. Or at least the part of it she where she found herself.

“I would be in the studio, working on ideas I had written and people would say, ‘Let’s just let Amalie get it out of her system,’” she says. “I was so offended by that. There were comments on what I would wear, whether or not I could have armpit hair in photos. It takes away your agency as a musician and as a woman.”

There were two Amalie Bruuns while she was living in New York. Or rather, there was one living two separate lives.

There was one Amalie Bruun who was making music with Ex Cops and dipping her toes into the world of modelling – she appeared, raven-haired, in a Chanel advert directed by the legendary Martin Scorsese – and, even more bizarrely, alongside 90s crooner Michael Bolton dressed as Forrest Gump in a video by spoof R’n’B group The Lonely Island (Bolton was dressed as Forrest Gump, not her).

Then there was Amalie Bruun the black metal fan. She mentioned her love of the genre in Ex Cops interviews, even if she sounded almost apologetic about it. “I was,” she concedes. “People thought it was too weird.”

Few people picked up on the references anyway, let alone knew that she was quietly working on a project of her own in the shadows: Myrkur.

She had been writing folk melodies on the violin for years. Gradually she added more and more metal elements. Once in a while she dared play it to other people.

Eventually word reached underground metal stronghold Relapse Records, who released her self-titled debut mini-album in 2014. Back then her identity was a mystery: she was as much apparition as musician. “I wanted the music to speak for itself,” she says of her anonymity, as if it’s the most obvious thing ever.

But mysteries don’t stay mysterious for long these days. When someone joined the dots and uncovered her other life as one half of a trendy Brooklyn indie-pop band, the keyboard warriors went into swivel-eyed overdrive. She was a fake. A poser. Worse, a woman – one who’d dared gatecrash the testosterone-heavy sausage party that is the black metal scene.

“I was blissfully unaware of it,” she says of the negative attention she initially attracted. “Then it was, like, ‘Why am I being hated by people who don’t know me at all. At least get to know me.’” She shrugs. “It didn’t affect me much. I was there to play music, not fuck around with all that stuff.”

She has a theory: that people objected to the fact that she’d worked with Kris ‘Garm’ Rygg, frontman with former black metal avant-gardists Ulver. “Honestly, what really pissed off a lot of people in the beginning was that I did work with some of the Scandinavian black metal artists that they look up to. I think that was very annoying and provocative to that crowd.”

Not that she was a woman? She thinks carefully.

“I think it’s the fact that I didn’t follow the rules of how women in metal should behave. I’m not the first woman in metal, I just did it a little bit more my own way.”

Anyway, she says with a faint smile, she wasn’t above a little button-pushing herself.

“I was never deliberately provocative,” she begins. “But when I realised how little it took I did take a bit of pleasure in it. I knew that if you post a picture with Attila from Mayhem, then they’re just going to go off. But it’s not like I did that just to piss people off...”

If Mareridt silenced the haters, or some of them at least, then Folksange, with its absence of volume, will probably fire them up again. Amalie Bruun couldn’t care less if it does. She has more important concerns. Such as her new life, as the mother of Otto.

She’s not pretending that motherhood won’t impact on how she approaches her career. There will be no big world tours around Folkesange, for one. “You can’t pretend it doesn’t play into it as a woman. Maybe as a man, it’s different. I know a lot of metal musicians, they have kids and they continue the same life. That’s cool, but when you’re a mother you can’t do that. I want the two sides of my life to co-exist.”

Has she worked out how that will work?

“I don’t know yet how that works.”

Is she looking forward to it?

“It’s nerve-wracking.”

Is she worried?

“No, I’m not worried. I’m in control. It will be how I plan it to be.”

With perfect timing, the sound of a baby crying drifts from the back room. Amalie gets up and returns a few seconds later holding Otto, a tiny bundle of nine-week-old humanity.

It’s only then that you realise how unique Amalie Bruun, and Myrkur, is: not just a woman operating in such a male-dominated field, but a mother as well.

Before we leave her and her family, she says that she’s looking forward to following up Folksange with “another metal-style record with distorted guitars”. But for now that’s in the future. Another chapter, another life.

#Myrkur #2020 interviews

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davidmann95 · 5 years

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So, what's the deal with Kingdom Hearts? I mean, it's a Disney/Final Fantasy crossover, right? Hard to see why would that cause such dedicated whatever.

I’ve had this in my drafts for a while, and given today’s the series’ 17th anniversary it seems like the time to finally get back and finish it. Simple answer: the music slaps and you just want the soft children to get to go home.

Long answer: Even now people joke about the baseline absurdity of a universe in which Donald Duck can go toe-to-toe with Cloud, and while I think 17 years in we’re past the point where it’s time to accept that this is just a part of the landscape for these characters, yes, that does remain objectively bonkers. It’s not a natural, intuitive combination like your JLA/Avengers, this is Mortal Kombat vs. DC Universe-level “well, I suppose they both exist in…the, uh, medium of visual storytelling” stuff, other than I suppose that they both tend towards fantasy in this case. And then that whole wacko premise got hijacked by Tetsuya Nomura for an extended epoch-spanning drama driven by labyrinthine, (occasionally literal) dream logic mythology where it’s genuinely impossible to tell at this point what’s being thrown in by the seat of the creators’ pants and what was planned out since day one, pretty much casting aside the franchises that were in theory the main appeal as relevant parts of the plot even as you still hang out with Baymax from Big Hero 6. Step back even a touch, and there will always be a whiff of derangement about the entire affair - it’s simply baked in at this point.

My controversial opinion however: it’s actually good. There are structural issues and awkward moments and aspects ill-served, I’d never deny that, but even diehard lifelong Kingdom Hearts fans tend towards prefacing appreciation with at least two or three levels of irony and self-critique. I suppose it’s in part a response to the general reaction to it I mentioned before, but no, I absolutely think these are genuinely good, ambitious stories build on a foundation that’s still holding strong. An important note in service of that point: Winnie the Pooh, maybe Hercules, and with III Toy Story aside, I have basically zero childhood nostalgia for any of the properties involved. Wasn’t a huge Disney kid outside maybe very very early childhood, and only dabbled with Final Fantasy after the fact (still intend to play through XV someday though). It won me over young, yes, but on its own.

The building blocks help: the characters designs are great, the individual Disney settings in their platonic representations of various locales and landscapes make perfect towns packed with quirky locals to roam through on your quest, the Final Fantasy elements are tried and tested for this sort of thing, the original worlds each have their own unique aesthetics and touchstones and come out lovely, by my estimation the gameplay’s fun adventure/slasher stuff even if it’s had ups and downs over the years, the actors largely bring it, it all looks pretty, and as noted, the score is as good as it gets. They’re games that look, sound, and play good made up of component parts that unify into a sensible whole. And for me, the scope and convolution of the plot that so many leap at as the easy target - with its memory manipulations and replicas and time travel and ancient prophecies and possessions and hearts grown from scratch and universes that live in computers and storybooks and dreams - is half the appeal; I live for that kind of nonsense. Not that folks aren’t justified as hell in taking jabs at it, but I’ll admit I often quietly raise an eyebrow when I see the kind of people I tend to follow having an unironic laugh at it given *gestures toward the last 40 years of superhero comics*.

All that through is ultimately window dressing. The most powerful appeal of Kingdom Hearts is I suppose hidden if you’re going by commercials and isolated GIFs and whatnot, and even the bulk of the content of the average Disney world, charming as they are. It’s deceptively easy to pick out something else as the fundamental appeal too; even if I’d call them incredibly well-executed examples of such the character archetypes it deals in are relatively broad, and while it handles the necessary shifts in its tone from fanciful Disney shenanigans to apocalyptic cosmic showdowns for the heart of all that is with incredible skill - and that might be its most unique aspect, and certainly a critical one - a lot of that comes down to raw technical ability on the part of the writers, appropriate dramatic buildup, and demarcation between environments and acts of the story.

The real heart of the matter, to speak to my typical audience, is that Kingdom Hearts in a profound way resembles 1960s Superman comics and stories inspired by the same: it’s 90% dopey lovely cornball folk tale stuff, until every now and again it spins around and sucker punches you in the goddamn soul with Extremely Real Human Shit. Except here instead of being lone panels and subtext, it builds and builds throughout each given adventure until it takes over and flips for the finale from fairytale to fantasy epic.

That can probably be credited directly to Final Fantasy creator Hironobu Sakaguchi suggesting to Tetsuya Nomura to try treating this weird gig seriously instead of as the licensed cash-in it seemed destined to be, since if this didn’t have a soul the target audience would recognize it. But in spite of that seriousness, it’s perhaps its most joyfully mocked aspect in its entirely unselfconscious dedication to making Hearts and Feelings and Light and/or Darkness the most important things in the universe that lets it do what it does. It’s childish in the most primal way, absolutely, but what that translates to is that there aren’t cosmic or personal stakes that swap places as major or subsidiary at any given point, because in this world they’re always literally the same thing. There’s no major relationship where the fate of a primal power or a last chance at salvation doesn’t ultimately hang in the balance depending on how it shakes out, and there’s no prophecy or ultimate weapon or grand scheme that doesn’t have direct, fundamental ramifications on the life of an innocent or the memories that define them or whether they’ll ever be able to find a place to call home. ‘Hearts’ is an all-encompassing theme, whether in strength of will or redemption or questions of personhood or the ties that bind us, and by making it a literal source of power, it lends personal dimension to the unfathomable universal and the grand weight of destiny to whether or not someone can come to terms with who they want to be or apologize to those they’ve wronged. It’s a world where emotional openness and personal growth ultimately works the same way and achieves the same results as doing calisthenics in five hundred times Earth’s gravity does in Dragon Ball. and it’s tender and exuberant and thoughtful enough where it counts to take advantage of that as a storytelling engine.

That’d be why Sora works so well as the main character, because he straddles the line most directly between those poles. He may stand out as a spiky anime boy when actually next to Aladdin and the rest, but when it comes down to it he’s a Disney character, just a really nice, cheeky, dopey kid who wants to hang out with his friends and go on an adventure and believes in people really really hard. As the stranger in a strange land he’s a tether to a wider, sometimes more somber and weighty world when he’s sticking his head into the movie plots, but when he’s in the midst of stacked-up conspiracies and mythic wars that make all seem lost, he’s the one whose concerns remain purely, firmly rooted in the lives of those connected to him. Other characters get to go out there into bleak questions of self-identity or forgiveness, but while he might wrestle with doubt and fear Sora’s the guy who holds the ship steady and reminds all these classic heroes and flawed-yet-resolute champions and doomed Chosen Ones what they’re fighting for by just being a really good dude.

Given superhero comics are my bread and butter it doesn’t come up much, but Kingdom Hearts is really about as foundational to the landscape of my imagination as Superman and company, and while 100% that’s in part because it came into my life early it didn’t take hold by chance. It manages its stakes and its drama in a way and on a scale unlike just about anything else I’ve ever seen (even prior to getting to the weird mythology stuff that’s so profoundly up my alley), and somehow the aesthetics and gameplay and dialogue and all the million and one details that needed to come together to facilitate that story joined together into something that’s become one of the most curious, beloved touchstones of its medium. It’s a small, lovely bastion of warmth and sincerity in a way that only feels more like a breath of fresh air with time, playing out over decades a bunch of kids’ journeys to try and find the people they love most and help them and go home together when everything in the universe seems to be against them. It’s special in ways that will for me always be unique and meaningful, and I’m glad it seems to have plenty more in it before it’s through.

And seriously THAT MUSIC.

#Kingdom Hearts #Sora #Analysis #Opinion

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obtusemedia · 6 years

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Top 25 Songs of 2018: Honorable Mentions

It’s year-end list season again! And with that comes my sixth annual top 25 list.

But before we countdown the best that 2018 gave us, here’s 15 songs that just missed the cut. Like in 2017, this year had more quantity than quality when it came to singles, meaning although there were only a couple legitimate contenders for the top spot, there were plenty of solid songs that I had to give a shout out to. So apologies to great acts like boygenius, Florence+The Machine and Childish Gambino (although he easily had the best music video this year) for just missing the cut.

Let’s get into it!

“Nobody” by Mitski

There are plenty of songs about loneliness, but Mitski turns that emotion into insanity on “Nobody.”

Her emotions ramp up and become more desperate throughout the indie-pop track, as Mitski’s pleads for companionship intensify. She wants to find love, but frankly, she also just needs human connection. And as the one-word chorus repeats into oblivion — “Nobody, nobody, nobody, nobody...” the situation becomes more and more helpless.

My main issue with Mitski’s 2018 album, Be The Cowboy, was that most of the short vignette-style songs weren’t memorable. That’s not the case for the manic, disco-tinged “Nobody,” which instantly became a standout in her impressive catalog.

“Heat Wave” by Snail Mail

I’m not sure what it says about indie rock that its most hyped newcomer is mostly copying the sounds of the ‘90s, but when the tunes are as good as “Heat Wave,” I’m not going to complain.

Nineteen-year-old prodigy Lindsey Jordan, aka Snail Mail, delivers with a simple love song perfect for lazy summer days. Jordan’s vocals are charmingly warbly and mesh well with the crunchy guitars that wouldn’t sound out of place on a Pavement album. It’s catchy enough for soccer moms and with enough alt-rock nostalgia to grab any indie rocker’s ear. There’s a good reason Snail Mail’s star has shot to the top this year among the Pitchfork set.

“Me and Michael” by MGMT

IT’S THE COMEBACK OF THE CENTURY!

That’s not even hyperbole: After they released three generation-defining classic singles, MGMT’s relevance disappeared after their 2010 album Congratulations intentionally alienated audiences (despite being pretty solid). Then, their 2013 self-titled album was straight-up bad.

But thankfully, MGMT decided to return to the synthpop jams that brought them success 11 years ago, while keeping their weirdo quirks intact. And it was a winning formula, as the bombastic single “Me and Michael” proves.

“Michael” is painfully ‘80s, from the glittery keyboards to the thundering drum machine beat. Yet, many of the instruments are off-key and frontman Andrew VanWyngarden’s hipstery vocals aren’t exactly Duran Duran-esque. And the clash of styles helps create a solid tune, the band’s best in eight years.

“Elastic” by Joey Purp

Remember how Azealia Banks used to pump out hip-house bangers like it wasn’t even hard? Then she lost her mind, and now “212″ is a relic of a better time.

Thankfully, Chicago native Joey Purp is picking up the slack, although he puts a much more minimalist spin on the sound. “Elastic” is a very simple, skeletal song, with Purp nearly mumbling over a steady, bouncing beat with couple vocal samples to liven things up. “Elastic” shows that when it comes to club bangers, you really don’t need to overthink things.

“Nameless, Faceless” by Courtney Barnett

Melbourne indie rocker Courtney Barnett’s second album, Tell Me How You Really Feel, had a noticeably more frustrated outlook than her 2015 debut. A prime example is the album’s lead single, “Nameless, Faceless,” all about the difficulties of being a woman in a world that treats them horribly.

Barnett goes after internet trolls during the song’s verses with the droll, snarky tone that made her indie-famous, but the chorus is where things take a dark turn. Paraphrasing The Handmaid’s Tale author Margaret Atwood, Barnett sings, “Men are scared that women will laugh at them ... Women are scared that men will kill them.” She then adds that she holds her keys between her fingers in-between her fingers to protect herself at night.

It’s a fearful song for fearful times, and more proof that Barnett is one of indie rock’s best songwriters.

“Electricity” by Silk City and Dua Lipa

Producer giants Diplo and Mark Ronson teamed up to create a perfect homage to ‘90s house. It’s bouncy, effervescent, and features one of pop’s best voices: Dua Lipa. The fact that a dance jam this perfect was only barely a hit in the U.S. is a total shame.

“After The Storm” by Kali Uchis feat. Tyler, The Creator and Bootsy Collins

I’m not typically an R&B guy, but I couldn’t resist newcomer Kali Uchis’ debut Isolation this year, especially its smooth throwback single, “After The Storm.”

Uchis glides over the off-key synth backdrop, expressing post-breakup optimism with ease. The sticky melody and relaxed vibe are helped out by a blast of smooth (if off-kilter) loverman shtick from Tyler, The Creator and some fun adlibs from funk icon Bootsy Collins. But this is Uchis’ show, and she barely needs to lift a finger to hold listeners’ command.

“Please Don’t Die” by Father John Misty

After releasing an overstuffed and underwhelming album last year, Father John Misty, AKA singer-songwriter Josh Tillman, decided to keep it simple this year, and I’m back on his bandwagon.

One reason for that is how blunt and personal his songwriting is again, particularly on “Please Don’t Die.” Tillman’s concept album God’s Favorite Customer focuses on the real-life story of how his depression caused him to hide out in a hotel for two straight months, and the heartbreaking “Please Don’t Die” tackles this scenario from the singer’s wife’s point of view.

She constantly reminds Tillman that his potential suicide won’t be a victimless crime during the soaring chorus, and he laments how his spiraling has affected her in the somber verses. There’s no snarky winks to the audience here — just Tillman nakedly depicting how his emotional chaos effected those around him.

“My My My!” by Troye Sivan

I never paid too much attention to Australian former YouTuber Troye Sivan. Now I’m regretting that choice, thanks to “My My My!”

Pure bubblegum pop doesn’t play much of a role in today’s music landscape, so it’s hard to call any version of that subgenre “modern,” but that’s honestly how I would describe this jam. It’s a slice of stuttering tropical pop with some indie and ‘80s flavor to it, and Sivan himself sells the tune like he’d been singing these types of songs for years in a boy band. I’ll be keeping tabs on Sivan from here on out.

“Light On” by Maggie Rogers

Last year, I was floored by Maggie Rogers’ unique blend of rootsy nature sounds with blue-eyed soul, particularly in her stellar single “Dog Years.” It seems like she isn’t fixing what ain’t broken, as “Light On” is a continuation of that sound.

Although it isn’t quite as transcendent as her early singles, “Light On” is still a quality power ballad, with a nice mix of acoustic guitar and organic synths, complete with a showstopping, melancholy chorus. Rogers still knows her way around a gorgeous melody, and I’m sure she’ll continue to fill her niche as the best music you’ll probably hear at REI.

“The Opener” by Camp Cope

Camp Cope have had it up to here with shitty men, and “The Opener” is a scathing indictment of the hypocrisy the trio constantly face.

Lead singer Georgia McDonald wails over a ‘90s alt-rock groove about sexism both in the dating world as well as the music industry. The latter is where she reserves her sharpest lines, going after men who’ve said her success isn’t her own doing, and being told to book smaller venues by the same guys who will “preach equality” in public. And of course, how do these men in power maintain their faux-feminist image? “‘Just get a female opener, that’ll fill the quota.’” Scathing.

“We Appreciate Power” by Grimes feat. HANA

If “We Appreciate Power,” the (as of writing this) brand-new Grimes single, was trimmed by a minute or so, it might have made the actual list. It’s a smidge on the repetitive side at its current 5:30-length.

But dear lord: This is a BANGER. As just about every critic has said, the production here is an aggro mix of Nine Inch Nails and Korn, complete with squealing guitars, a pounding, synthetic beat and some random screams thrown in the mix for fun. And yes — it works. Put it on during the next workout and see how fast you start going.

Throw in some legitimately creepy lyrics about artificial intelligence and totalitarianism and you’ve got a classic Grimes single. If only it was a bit shorter...

“Lake Erie” by Wild Pink

For a band from Brooklyn, Wild Pink are shockingly good at creating music that sounds like the sun setting on a Midwestern corn field.

“Lake Erie” is so close to The War On Drugs’ signature sound — heartland rock mixed with whispered vocals and shoegaze-y atmospherics — that I’d call it a ripoff, if it wasn’t arguably better than anything The War On Drugs has put out in a few years. It’s emotive, gorgeous and not too pretentious, like something Bruce Springsteen could’ve released 35 years ago.

“Noid” by Yves Tumor

No, unfortunately, “Noid” isn’t about retro Domino’s ads. It’s much darker than a claymation pizza mascot.

Yves Tumor’s art-rock track is fairly normal for its first half. It even has shades of Marvin Gaye’s “What’s Going On” in the lyrics wondering about the sad state of the world. Then, things get weird: the bass starts playing in a different key, the background fills with static and screams, and Yves Tumor keeps singing along, and his lyrics about being “scared for my life” start to seem less like a protest anthem and more like a horror soundtrack. It’s a chilling experience.

“Party For One” by Carly Rae Jepsen

Queen Carly releases another pop banger and you think it’s not going on my list? Come on, now.

I’m not going to pretend like “Party For One,” Jepsen’s triumphant breakup anthem, is on the same level as her all-time classic singles. It’s the kind of bubblegum that she could write in her sleep.

But why penalize a perfectly great song just because the artist has done better in the past? “Party For One” might not be “Run Away With Me,” but it’s still a solid piece of synth cheese that no doubt makes Canada proud.

#top 25 songs of 2018 #pop #rap #indie rock

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aion-rsa · 3 years

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How The Sopranos Changed TV Analysis Forever

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When The Sopranos first aired over 20 years ago, audiences had never before seen that type of complex storytelling on the small screen. The program was acclaimed for its otherworldly acting and intricate attention to detail, but there were individuals outside of the Sopranos set that helped audiences understand a show that was much more dense and rich than anything that had ever come before it. Without widespread Internet access and with social media not even a mere thought in anybody’s imagination, it was up to pioneering TV analysts to make sense of this new type of prestige television that HBO was letting into our homes.

There is arguably no journalist who has covered The Sopranos in greater depth for the last two decades than Alan Sepinwall. Now Rolling Stone’s chief TV critic, Sepinwall helped shape the narrative of television discourse just as Sopranos creator David Chase forged a revolutionary subject to evaluate. The New Jersey native started his career writing at the Newark Star-Ledger, putting him in an intimate position to cover The Sopranos close to the show’s setting. He went on to write The Sopranos Sessions with Matt Zoller Seitz, a collection of episodic analyses and interviews with show creators that is now viewed as one of the definitive documents covering the series. Due to these resume highlights, his presence covering The Many Saints of Newark is a must heading into the theater to see the film.

Den of Geek spoke with Sepinwall via email for a wide-ranging discussion on his personal ties to the New Jersey area, how TV journalism was shaped by HBO’s megahit and vice versa, and how the analysis landscape has evolved in the last 20 years.

You famously got your start writing for the same paper Tony Soprano picked up from his driveway each morning on The Sopranos. How much did this personal connection to the Jersey universe in the show affect your career trajectory and do you think you would have become the same type of critic without these ties?

Oh, I was incredibly lucky. Right place, right time. It’s a bit like being the music writer for the Liverpool Daily Post when The Beatles started playing at the Cavern Club in 1962. Not only did the show reach out to The Star-Ledger for help designing those fake newspapers, but one of my editors had gone to Rutgers with Jim Gandolfini, and I grew up one town over (and a few decades later) from David Chase. So there were all these connections that gave me better access and a broader base of knowledge. And then the morning after the show ended, David liked and trusted me enough to very reluctantly give me the only interview he gave about the finale for a long, long time. The show put me on the map, and my focus on it over those later seasons made me a better critic.

We’ve always wondered how you are able to separate what your favorite shows are from what you think the best shows are. Is it hard to not show bias towards The Sopranos in your writing because of your longstanding history with it?

I’ve criticized plenty of episodes of the show, and even whole seasons at times. (Though revisiting the show when I co-wrote The Sopranos Sessions made me look more fondly on, say, season four.) I think there’s a degree to which I know the show so well at this point that I probably look at it differently from more casual viewers, but I’ve never felt in the tank for it.

Do you think David Chase waited too long to make The Many Saints of Newark? There is a good amount of interest in the film, but could there have been more if it was made more recently after the series finale?

I think the movie is actually coming along at a very good time. Sopranos had a huge moment during the pandemic when it seemed like everyone was using the quarantine as an excuse to either watch the show for the first time or rewatch it for the first time in years. A whole new generation discovered the show and will appreciate Many Saints in a way they wouldn’t have if the movie had come, say, 5 or 6 years ago. And also, it allowed Michael Gandolfini to mature into an actor capable of playing the young Tony as well as he does in the film.

Do you think Tony Soprano’s template for anti-heroes was ultimately a good thing for society at large? Bad men being depicted as badasses on TV was almost too abundant in the years after The Sopranos, but did the ones who actually got it right pay off at large in your opinion?

I think there is definitely a degree to which our lauding of bad guys like Tony or Walter White helped make more recent political developments possible. Sopranos and the shows it inspired encouraged people to root for assholes provided they were interesting or charismatic enough.

Do you think The Sopranos, in general, has aged well? Do you think it has been surpassed in any way by more modern storytelling, or are the elements that made it special in 1999 still going as strong as ever? Will the film prove in any way that this universe is timeless?

When Matt Seitz and I started working on The Sopranos Sessions, I was terrified that the show would feel dated, and/or like an inferior copy of the many series that copied it over the last two decades. Instead, the opposite happened. Not only did the show hold up, but I wound up enjoying a lot of it even more than I did the first time around. (Again, see season four.) My appreciation for Jim Gandolfini in particular went way up, to where I stopped considering him on the same level with Bryan Cranston, Ian McShane, et al, and felt comfortable saying he was head and shoulders above any other dramatic performance in TV history. Sopranos was so far ahead of the curve, and so many of its imitators only copied the superficial aspects of it, that when you get exposed to the real deal, it’s still incredible.

What has been the biggest difference you’ve noticed in your readers’ reception to your Many Saints of Newark writing compared to your Sopranos stuff back in the day? Have audiences grown more intelligent through the years which allows you to dive deeper in your analysis, or is the market oversaturated now which makes it harder for striking criticism to stand out?

The big difference so far is that the movie’s not out yet. Over time, The Sopranos became a show where my most notable writing appeared after individual episodes were available. I’m planning to do something similar about Many Saints when it comes out. But audiences are definitely expecting deeper analysis of television — or, in this case, of films based on TV shows — than what the media was doing when Sopranos debuted.

The Sopranos was a landmark series for countless reasons, with one of the more important ones being that the depth of the material allowed for TV criticism to really capitalize on its unique qualities and expand exponentially as a medium. But perhaps journalists like yourself don’t get enough credit in making audiences understand that what they were watching was important. How bidirectional was the relationship between the show’s popularity and the analysis of it?

Over the years, the best compliment my writing has gotten has been when someone tells me they didn’t fully appreciate everything a show or episode was doing until they read my take on it. I think shows like Sopranos or Breaking Bad or The Wire are so obviously great that they don’t need analysis from me or anyone else. But I feel like the explosion in TV criticism inspired by shows like them wound up enhancing the experience for viewers who wanted to dig deeper than what they got from watching alone.

What is the biggest difference you have noticed in your job requirements between covering shows for Rolling Stone now and reporting on them back in New Jersey for the Star-Ledger? Has covering The Many Saints of Newark brought back nostalgia for earlier in your career?

Leaving aside the very seismic economic changes to the media business in general, the biggest difference is expectations. People want more coverage, and they want it to be more in-depth and thoughtful than what was happening at the start of my career in the mid-’90s. The very idea of writing about shows and movies for people to read after they watched felt largely alien back then. Now it’s a huge part of how people cover and consume media.

It was also really exciting and surprising to be back in Sopranos country again after so long. (David) Chase is always a fascinating — if challenging — interview subject, and I got to do the kind of in-depth interview with Michael Gandolfini that I never got the chance to with his press-shy dad. It’s been wonderful.

Do people go to you for Sopranos stuff in ways that they wouldn’t for other reporters in the industry? Has this helped you career-wise, like when you get to do big features for Rolling Stone for the Many Saints of Newark? Do cast and creators on the show view you as an authority on the show the way readers do?

Rolling Stone has a fantastic group of movie writers, but they asked me to handle a lot of their Many Saints coverage. And I’ve been happy to function as a human Sopranos Wiki for friends and fellow critics who have been boning up on the show to prep for the movie. There were even a few times conducting interviews with the Many Saints creative team where someone like (director) Alan Taylor would joke that I knew parts of the show better than they did. As areas of expertise go, it’s not a bad one to have.

cnx.cmd.push(function() { cnx({ playerId: "106e33c0-3911-473c-b599-b1426db57530", }).render("0270c398a82f44f49c23c16122516796"); });

Who is your favorite person from the show to interview throughout the years? Do you have a favorite interview you have done with someone from The Sopranos universe?

The Michael Gandolfini profile I did for Rolling Stone is one of my favorite things I’ve ever written in my whole career. But Chase is the best interview, in part because he’s so tough that it forces me to sharpen every question to a razor point, in part because he has just thought so deeply about every aspect of the show, and now of the movie. I always feel like I’ve gone ten rounds in the ring with David, but it always feels worth the effort.

The post How The Sopranos Changed TV Analysis Forever appeared first on Den of Geek.

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#aion-rsa #Den of Geek

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screamingforyears · 7 years

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BEST OF 2017: TOP TEN

The TOP TEN, a collection of my 10 favorite albums of the year. These were the albums that demanded the most of me and the ones I found myself repeatedly going back to again & again…

CIVIL LUST

‘CONSTITUTIONS’

SELF-RELEASED

CIVIL LUST combine, then blend, all the aesthetic pleasures that make a great Goth Pop record on their debut LP ‘CONSTITUTIONS.’

The Salt Lake City based duo (Christian Riley and Isaiah Michael) are masters of their craft, who nail the details to a tee. 'Constitutions’is an exercise in classic post-punk tropes, but ones that have been further refined by years of study and more than capable craftsmanship.

The Cure bass lines, the Ian Curtisian vocals, to the Tears for Fears exuberance, Civil Lust create art that is sinewy yet soft (take one listen to “Receive” and tell me I’m wrong).

“Even Further” literally pulls you further into Civil Lust’s majestic ways with an echoed drum machine beat, tingled guitar lines, and Riley’s longing while the slow groove of the sensual “A Man You Will” is the type of sound the group perfect. The devil’s in the detail.

‘Constitutions’ and its able bodied creators construct a seamless 7 track album and further enrich an already fertile modern goth landscape...

DEATH BELLS

‘STANDING AT THE EDGE OF THE WORLD’

BURNING ROSE / FUNERAL PARTY

DEATH BELLS, the Sydney based group of: Maurice Santiago (Bass), William Canning (Vocals), Aron Postolovic (Guitar), Rimas Veselis (Guitar), David Gauci (Synth), and Luca Watson (Percussion) seem to understand the power of gloomy guitar based indie, the kind that held court throughout the genre’s most influential decade and like many of the amazing groups mining these fields, they seem to understand the importance of detail and the need to move beyond mere homage.

DB’s beautifully bleached William Canning is a frontman to be reckoned with, as he parlays the looks, voice, words, and bravado into a force that demands attention, but not at the expense of working as an important cog to his band’s sturdy wheel. A singer is only as good as the foundation that surrounds him, so luckily for us the rest of the Bells are a top-notch unit.

‘STANDING AT THE EDGE OF THE WORLD’ is a pure guitar record through and through, one that borrows equally from paisley jangle, arena reaching grandness, and moody post-punk while being executed with aplomb by Veselis & Postolovic’s dual attack.

“Only You” finds guitars loudly pinging over a steady rhythm section, allowing the coldly effervescent vocals to take center stage. The group hold court and have once again presented a lively, yet somber piece of buttoned up pop with “Only You.”

Death Bells sound hopeful yet weary on their engaging debut album, coming together as a cohesive & bold unit unafraid to reach big while retaining all the detached cool of their forebears...

DRAB MAJESTY

‘THE DEMONSTRATION’

DAIS

DRAB MAJESTY, the project created and fronted by premiere goth alien Deb Demure, returned in 2017 with their second proper LP.

‘THE DEMONSTRATION’ sees Drab Majesty doubling down on what they do so well, finely tuned new wave goth, but better. Demure’s former LA based bedroom experiment (which has morphed into a two-man group with the addition of Mona D) has seen its profile & popularity rise, after successful tours supporting the likes of King Dude and Cold Cave.

Drab Majesty are the torchbearers for a certain strain of Goth, where the dark wave crashes full on into brooding Reagan era new wave pop. Demure captures a specific sound, whereas every production trick is precise and aesthetic rules the land. This attention to detail, along with Deb’s unique and heavily treated guitar style, is what sets Drab apart from the sea of Goth indebted groups.

The guitar tones captured throughout the album are phenomenal, as witnessed on the sci-fi waltz of “Not Just A Name.” Reminiscent of Duran Duran’s more subdued moments, only way fucking spacier.

Drab Majesty are masters of ethereal Goth, steeped in dated production tricks, while literally reaching towards the cold vastness of space. What was once a solo affair has morphed into a full fledged entity, and as the popularity grows, so to does the quality of the Drab output....

FEARING

‘A LIFE OF NONE / BLACK SAND’

FUNERAL PARTY

The kind of dark, brooding, and equally booming rock music that FEARING create on their EPs ‘A LIFE OF NONE’ & ‘BLACK SAND’ has been sorely missing in recent years.

Fearing are exactly what I look for in a great gothic rock band, they capture a mood & essence that rings true while blowing past any attempts at modesty. And while I enjoy when things are minimal & low-key, I can’t help but gush when a band, especially one steeped in gloom, comes along sounding all huge. Which is precisely how fearing Fearing operate, they create big sounding rock songs that take elements from post-punk, 90′s Alt-Rock, and deathrock and combine them into one brutalist take on Goth.

“Beyond Light” sticks to the aggressively dark template of chiming guitars, thick bass, and wallowed out vocals while “Other Life” opens up with big thunderous drums, rolling bass, and moody synths before linking with a pinging guitar and layered vocals. “Other Life” shows a growth in Fearing’s songwriting, with sprinkles of piano notes adding new depth and has easily become one of the finest entry’s in the group’s catalog.

The EP format is surely the way to go in our modern times and the Oaklanders have taken full advantage of our attention-deficits by breaking us off a nice four track stretch, as they satisfy our itch and keep us wanting more…..

GRIZZLY BEAR

‘PAINTED RUINS’

RCA

Grizzly Bear, survivors of: the Brooklyn Sonic Boom, side projects, Indie Rock’s halcyon days, expectations, New York Magazine spreads, NYC itself, personal turmoil, indie labels, adulting, Taylor Swift, and most improbably…..themselves, have triumphantly returned with their first album in 5 years titled ‘Painted Ruins.’

‘Painted Ruins’ shows the no-longer-in-one place based group of Ed Droste, Daniel Rossen, and the two Chris combo of Taylor & Bear expanding on their already impressive sonic palette, while turning the focus inward. Grizzly Bear is the perfect example of “The whole is greater than the sum of its parts,” and for a group consisting of 4 very distinct musicians/personalities it’s really saying something. As corny as it sounds, when these four get together in a room, something special happens.

Album standout “Mourning Sound” is the straight ahead rocker we’ve been waiting for, a no BS thumper filled with gorgeous guitar work per Rossen. Truly one of the best things the group has ever penned as it manages to combine wistful regret (”I made a mistake….”) with a thick groove while deploying a goosebump inducing twinkle of synth.

Like most great albums, ‘Painted Ruins’ is a grower, with each subsequent listen revealing a new hidden nugget. The foursome known as Grizzly Bear have ended their 5 year absence with something meaningful, powerful, and refreshing…

HUMAN LEATHER

‘LAZY KARAOKE’

CERCLE SOCIAL

HUMAN LEATHER, comprised of Adam Klopp (Choir Boy) & Chaz Costello (Sculpture Club), are a self described “shitty version of Tears for Fears mixed with Depeche Mode,” but don’t let the humble self-deprecation fool you, because the duo tap into something so pure and unfettered that you simply have no choice but to succumb.

And I hate to be the bearer of bad news to those who feel the need to cling onto originality, but everything’s been done already, so get the fuck over it and stop missing out on some truly great modern acts.

The Salt Lake City duo aim to break your fucking heart on their debut LP ‘LAZY KARAOKE’ which is chocked full of Reagan era bangers and aesthetically dripping odes that nail every aesthetic detail.

“Ugly Sister” is a pure synth-pop ditty cloaked in the aforementioned Tears for Fears (who at this point are impacting this generation on some Joy Division type levels) influence. The devil is in the detail, something Klopp & Costello clearly understand, as the intricate production alongside the airy & emotive vocal courtesy of Adum (who recalls Wild Beasts’ Hayden Thorpe) is something to behold.

‘Lazy Karaoke’ was easily the most talked about album within the goth/post-punk community and with good reason.

“Everything is fucking scary……”

JOHN MAUS

‘SCREEN MEMORIES’

RIBBON MUSIC

Well……..the wait is officially ended as JOHN fucking MAUS returned in 2017 with the long awaited album ‘SCREEN MEMORIES.’

The Minnesota (by way of the the World) based project never ceases to capture the imagination and does this by creating unfuckable with Goth Pop. Maus is the undisputed master of the deconstructed gem, and will remain so by adding the aesthetically pleasing extra mile in everything he touches.

‘Screen Memories’ is a fluid & fantastic listen proving that Maus hasn’t lost a single step since we last heard from him years ago. Maus, ever the pop-deconstructionist, is so well adept at creating nuanced pop songs, steeped in goth, that you almost take him for granted at this point.

While a melancholic crop of songs litter the album, the taut “Walls of Silence” allows Maus’ reverb drenched chant to roam free atop a bed of driving bass, eerie synths, and compressed snare snap. Limber, yet driving, this slice of gothic minimalism benefits from not only its creators expertise, but gains so much power from its brief 2 minute and 23 second run-time.

If you’ve been sleeping on Maus, well shame on you, it’s time for you to wake the fuck up, press play, and soak up his mile-a-minute brilliance…

NEW TODAY

‘BETTER THAN DEATH’

SELF-RELEASED

Goth comes in many shapes and sizes, from cold wave to guitar driven gloom rock and everything in between. NEW TODAY, the under the radar post-punk duo of Dante Palomba (Casuistry) & Daniel Srungaram (Two One Six), fall into the latter camp with their latest LP ‘BETTER THAN DEATH.’

The group bring the big 80’s post-punk ala the Sound, the Chameleons, and Love & Rockets, while pairing it with minimalist detail. Taking Interpol-like guitar work, which at its best has always been minimal yet evocative, while juxtaposing it with substantial movements and huge vocals that take their place in the front. Dante Palomba’s voice is a viable instrument and the group treat it as such, which is exactly why New Today fall into the Romance/Trad Goth grouping.

All the preceding beauty culminates on “The Years” in the form of an icy synth that reaches for the ether, while being reminiscent of Interpol’s slower moments (which is basically how the XX got paid) but with far greater feeling and veiled optimism. “The Years” is an emotionally moving piece, the kind that builds yet sustains, and revels in its stark beauty.

At an even 10 tracks, New Today seem to know that leaving us wanting more is the key and ‘Better Than Death’ is one of the most fully realized and expertly executed albums I’ve heard in quite awhile.

It’s good to be goth….

PROTOMARTYR

‘RELATIVES IN DESCENT’

DOMINO

PROTOMARTYR triumphantly returned in 2017 with a new Long Player titled ‘RELATIVES IN DESCENT.’

This is a guitar rock record, which I know sounds like an oxy moron, but holy fuck the standard 4-piece is done proud throughout‘Relatives in Descent.’ This is the sound of an already great band furthering their footing and flexing their well defined muscle. Each member is in supreme control of their respected instrument: from the sharp lyrical prowess and spot on vocal take of Joe Casey, to the skeletal guitar riffs that blot entire song stretches via Greg Ahee, down to the powerful rhythm section courtesy of Scott Davidson’s driving bass and the chaotic (beyond time keeping) pace of Alex Leonard’s thunderous drums.

The groggy “My Children” takes its time with a slow build of doomed kinetic energy, before opening up and falling into a rangy Proto groove of guitars, rhythm, and wordsmith diatribes. “My Children” builds and builds into a melee of guitars/drums/bass until the clouds part and the song opens up offering a chill inducing moment while Casey commands the room. The track’s guitar work in the final third is awe inspiring and note worthy.

By doubling down on what’s made them so great, while stepping out of their comfort zone, ‘Relatives In Descent’ finds Protomartyr at their finest, proving once again that the sons of Detroit are in it for the long haul....

SEXTILE

‘ALBEIT LIVING’

FELTE

The Los Angeles based death-squad known as SEXTILE have triumphantly returned with the pristinely raw ‘ALBEIT LIVING.’

Sextile are the teeth, the brute truth, the harsh reality, the gritty glitz, and the creators of the mad mad world party record we need. The harbingers of bleached catharsis, consisting of the ridiculously attractive & stylish group of: Brady Keehn (vox/guitar/synth) Melissa Scaduto (drums), LA Eddie Wuebben (synths), and the newest addition Cameron Michel (guitar/bass), are trending upwards and with great reason.

That primal drive comes from Melissa Scaduto, not only through the floor shaking beats, but through her guidance, visual appeal, and aesthetic vision. Simply put, she’s the beating heart of the group, one that’s rounded out by Brady Keehn’s Cobra Kai-like bad-boy charisma, and Eddie Wuebben’s art damaged cool.

“Sterilized” is sinisterly delightful. A manic & breathy beast, where deathrock and new wave meet late at night to perform unspeakable acts upon one another. I found myself demonstrably head bobbing upon every listen (“can’t shake it”) while looking for the nearest dance floor thanks to the boogie down bass & drums. “Sterilized”allows Keehn to do what he does so well, that uptick coda (think “Can’t Take It.”), the melody of which is so fucking strong that I find myself walking around panting “Come on and sterilize me.”

Sextile have raised the bar for everyone on ‘Albeit Living’ as they establish themselves as Felte’s flagship group through hometown-hero sincerity and a cohesive album that never overstays its welcome...

***BONUS***

DEATH OF LOVERS

‘THE ACROBAT’

DAIS

2017 closed out with a tender aesthetic bang thanks to DEATH OF LOVERS’ ‘THE ACROBAT.’

The New York based group, boasting no less than three members of the emotional-gaze band Nothing and keyboardist CC Loo, create timeless New Wave ran through a gothic dream-pop portal. It’s not a disservice or slight to say that Death of Lovers created the long lost John Hughes soundtrack that we’ve been waiting on, it’s simply that good, that infectious, and that sugary.

“The Absolute” exudes a feeling of warm nostalgia, yet teeters with an anxiety inducing nervousness that’s coyly deployed over an upbeat arrangement of giddiness. The compressed echo beat, airy synths, and razor sharp guitar lines create a solid foundation for Domenic Palermo’s up in the clouds vocal (with a harmonious assist from drummer Kyle Kimball).

Death of Lovers are keen architects of the smooth delight, as “The Absolute” is five minutes of pure stylized bliss and that’s long before the sound of an aesthetically pleasing saxophone buries it’s reedy goodness into your brain which slides in well next to yearning moody bummers like “The Lowly People” and “Divine Song.”

This is what it sounds like when Hardcore vets find their inner New Romantic (take notes Head Automatica).

Seriously, that sax tho….

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recentanimenews · 4 years

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Anime in America Podcast: Full Episode 3 Transcript

The Anime in America podcast, hosted by Yedoye Travis, is available on crunchyroll.com, animeinamerica.com, and wherever you listen to podcasts.

Episode 1 Transcript: In the Beginning There Was Fansubs

Episode 2 Transcript: Robots, Real Estate, & Silvio Berlusconi

EPISODE 3: THE LONG CON(VENTION)

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Disclaimer: The following program contains language not suitable for all ages. Discretion advised.

[Lofi music]

Alright, I’m sure you know the scene: people dressed up as their favorite characters, giant halls packed with toys and hamster plushes, hour-long lines to pack into a room to get a glimpse at creators and actors. Even if you’ve never been to an anime or comic book convention before, you know exactly what they’re like. You’ve seen the photoshoots, read the reports, or probably saw that one episode of Community where they go to an “Inspector SpaceTime” convention. Inspector Spacetime.

Conventions are a huge part of fandom. In 2020 alone, there are 62 anime conventions scheduled for the United States. And that doesn’t even include all the comic book and movie conventions that have anime programming, like San Diego Comic Con. Before all of this, before you could go to a different anime convention almost every single weekend in a year… it all started in a hotel room in Dallas. This is Anime in America brought to you by Crunchyroll and hosted by me, Yedoye Travis.

[Lofi music]

The year was 1983. The inspiration? Star Blazers, the adaptation of Leiji Matsumoto's Space Battleship Yamato that aired in the U.S. in 1979. It was pared down from the original—names were changed, scenes were cut, and the violence was dialed back—but it still became a cult hit. So what do you do when you love something so much you just want to share it with other people? You start a convention.

The idea of conventions was not new, not even in 1983. Science fiction conventions date back to the 30s, but back then it was like, seven dudes in someone’s house reading Isaac Asimov, or some shit like that. Over time, it morphed into something that more closely resembled the modern fan convention formula—fans, panels, dealer’s rooms, special guests, and cosplay, although that specific word wouldn’t enter the lexicon until much later. Soon, fans started organizing conventions for other stuff too, like Star Trek, horror movies, and comic books.

Why was Star Blazers so special though? Up until then, most of the anime shown on broadcast television was episodic. So you could show any episode, in any order, and no one would know the difference. Not so with Star Blazers. By many accounts, it was one of the first serial anime series to air in the United States.

[Star Blazers season one theme]

You had to watch every episode, in order, to follow this rich storyline of intergalactic warfare, cosmic politics, and a brave crew recruited to retrieve technology from a faraway planet to save life on Earth from the ravages of alien nuclear technology. It was the stuff of science fiction dreams, and a lot of people were hooked.

So in 1983, three guys—Mark Hernandez, Don Magness, and Bobb Waller rented some space at the Harvey House hotel in Dallas, booked some merchandise dealers, and hosted Yamato Con 1. Their video room promised one full season of Star Blazers, as recorded off the TV, minus the commercials, and the Space Cruiser Yamato movie in its original Japanese. Back then, not everyone had a VCR because they were still incredibly expensive. The average price of a VCR in 1983 was $500, uh which, given inflation, is more now. So just think- consider that.

And that didn't even count the VHS tapes, which cost $15.99 for a blank 90-minute tape. So just the idea of being able to sit around all day watching Star Blazers with other like-minded fans seemed revolutionary and very costly. Need I remind you, it cost a lot. Yamato Con even had a dealer room, with eight merchants selling everything from model kits to manga. About 100 people showed up, which is a lot when you think about how this was way before the Internet and message boards made it possible to advertise your event on a wide scale.

There is some controversy about whether Yamato Con was technically the first ever anime convention in America, but it’s certainly one of the earliest instances of a con being devoted entirely to anime. At that time, there were already anime screenings at science fiction conventions around the country, and yes, of course, obviously it was a lot of Star Blazers.

[Lofi music]

Here's Jim Kaposztas, who in 1983 convinced New York’s oldest science fiction convention, Lunacon, to start showing Star Blazers in one of their video rooms. Side note, if his name sounds familiar, it’s because Jim is also credited with making the first ever Anime Music Video or AMV, or those videos you used to watch in like 2006 where Naruto would dance to The Pussycat Dolls or whatever it was. In Jim’s case, it was a montage of the most violent scenes from Star Blazers set to the Beatles’ “All You Need is Love,” a tribute to the British TV series, The Prisoner. Which, I’m not sure, I don’t understand how that works as a tribute, but that’s fine.

Kaposztas: My first exposure with anime at conventions was Noreascon Two, that was the 1980 World Science Fiction convention in Boston. There was a group called the “Cartoon/Fantasy Organization,” or C/FO for short, run by one Fred Patten, and he was screening anime in a small room at part of the convention. One of the things that he did was he was showing this movie called Lupin the Third Castle of Cagliostro and he was running a survey for the distribution company, Tokyo Movie Shinsha. So people would come in, they would watch this subtitled movie and then fill out forms, but other than that he was running all sorts of anime that was popular in that time frame from a lot of the early giant robot shows, to Space Pirate Captain Harlock, some of it subtitled, some of it not.

Yes, before the internet was dominated by our very privileged sub versus dub debates, some fans didn’t have a choice but to watch anime in its raw Japanese.

Kaposztas: Back then, there would be people that would narrate it which, from time to time it’d be like part right, possibly right, and bordering on some Mystery Science Theater 3000.

Okay. Let’s take a quick trip back to 1981. Reagan is president, crack is at its height, and Post It Notes were just invented. It’s December, Philcon 3, and budding anime fans are hungry for anything anime. Jim Kaposztas again.

Kaposztas: They were screening the original Space Battleship Yamato, they were screening whatever they could get a hold of. I’d seen loose episodes of Space Runaway Ideon, Mobile Suit Gundam, and a lot of the times it was people figuring out “okay, this is what’s going on in the show,” and such. Usually there would be parties like on Friday nights and Saturday nights, people would put up little signs. In the case of Gammalon Embassy it’d be a picture of Deslock that says “Gammalon Embassy, Room Whatever!” And it’d be somebody with a VCR and a bunch of tapes and they’d show stuff and try and explain it to people. Used to get like 20-30 people packed into a hotel room, staring around a small television monitor.

Jim Kaposztas was addicted. He went to Lunacon in 1982 in costume, dressed as Captain Avatar--the first commander of the starship Yamato--complete with the beard, and all the other stuff. I don’t know what that guy looks like, so I wish I could give you more information, more of a visual. But you guys have Google.

He runs into a guy named Rob Fenelon who tells him, "Hey, I have all these Yamato tapes from Japan, but no VCR," so Jim drives the 30 miles home, just to get his giant VCR, and drives all the way back. They screened Space Battleship Yamato all Saturday night, then they do it all over again on Sunday morning. Months later, Rob gets in touch and says, "Hey, why don't we put together a video room at a convention?" They made a bunch of contacts, screened some anime with the local Star Blazers Fan Club, and a year later, at Lunacon 1983, started what eventually became known as the Star Blazers Video Room. And to fill time between screeners, he would include anime music videos, the aforementioned anime music videos. The first one he made took hours to make, and required the use of two VCRs. And thus was born the AMV, all thanks to Star Blazers.

Meanwhile, in Los Angeles, where it was actually a lot easier to stumble upon manga in the wild thanks to the large Japanese-American community, Fred Patten was doing his best to raise anime into the limelight. Patten, who tragically passed away in 2018, was one of the godfathers of the American anime scene, spending a lifetime promoting and writing about anime and manga.

In 1977, he co-founded America's first anime club, the Cartoon/Fantasy Organization or the C/FO for short. Around that time, he even became friends with Osamu Tezuka, who was "bewildered but flattered" that so many American fans took the trouble to figure out the plots of his manga, for a language most of them couldn't read. Tezuka was so flattered, in fact, that in 1980, he convinced Devilman creator Go Nagai, Lupin the Third Creator Monkey Punch, and a couple other manga artists to go to San Diego Comic Con with him to check out the American manga fandom for themselves. That same Comic Con, both Tezuka and Patten were presented with Inkpot Awards—Tezuka for the film Phoenix 2772, and Patten for “Outstanding Achievement in Fandom Services and Projects.”

So while anime video rooms, Japanese guests, and even anime conventions have been around since the 80s, it wasn’t until the 90s that the convention landscape as we know it today really started to take shape. And once again, it started in Texas. As things seem to do.

[Lofi music]

Once again, there’s a little bit of controversy on which convention was technically the “first” anime con, but Project A-Kon is definitely the oldest continually running anime con in the U.S. that still exists today. The first one took place the weekend of July 28, 1990 at the Richardson Hilton in Richardson, Texas, and had an attendance of 380 people, which if you remember earlier, 100 is a lot. So now it’s 3.8 times that.

According to its flyer, it was the “first animation con run BY fans, FOR fans,” with guests like Teenage Mutant Ninja Turtles animator Louis Scarborough, Jr., Animag editor and publisher Trish Ledoux and Jeffry Tibbetts, and celebrated Disney animator Tex Henson. Tickets were only $4 a day, $6 for the weekend, and included access to two video rooms, a masquerade dance, a dealer’s room, an art show, a model contest, and something called… Japanimayhem, which they described as a “LIVE”—all caps—”anime-style RPG”.

All that at $4 a pop, obviously your next question is “What is Japanimayhem?” What the fuck is that? Who knows? Japanimayhem was a card game released in 1989, designed by Mark Camp and Stephen Grape, with the alluring subtitle, “A Game of Violence on Video for Anime Lovers.” Basically, players represented parodies of anime characters who competed to see who can rack up the most victims in a killing spree. Which… hmm. For those parents who blame violence on video games, here’s a little bit of fodder for you.

But I digress. Back to Project A-Kon. Hopefully you still remember Star Blazers from... literally two minutes ago? It is the anime that inspired so many anime video rooms and fan gatherings in the 80s? Well, it was also partially responsible for Project A-Kon. When Star Blazers was being rerun on TV in 1982, it inspired a high school student from Denton, Texas named Derek Wakefield to turn his science fiction club into a Star Blazers fan club. Thus, the EDC—the Earth Defense Command— was born. The club grew in size, eventually putting Derek in touch with the Star Blazers Fan Club in New York—the same fan club that Jim Kaposztas and Rob Fenelon worked with to organize a small screening of the series before they launched their own video track. And now you see how everything is all related.

[Lofi music]

1983, Yamato Con. EDC wasn’t involved with the event, but some of the members did show up and distribute flyers for the club, and one of those flyers found its way to an attendee named Meri Davis, who not only went on to later head the EDC… but also Project A-Kon. You see, by the late 1980s, the EDC had morphed from a Star Blazers fan club to more of an anime club in general. A really organized anime club, that had regular meetings, local chapters, fan zines, newsletters, screenings, and a tape distribution service that helped the anime scene in Texas grow like wildfire. So when one of them said, “I wish we could put on an anime con,” the wheels started turning, and from that Project A-Kon was born.

Once again, everything always comes back to Star Blazers. By the way, if anyone wants to learn more about this time period, you should definitely check out Dave Merrill’s blog, “Let’s Anime,” which is a great resource on that entire era. We’ll drop a link in the show notes just so you can check that out, ‘cause we’re nice people.

By 1990, the anime scene in America had really taken off. Thanks to the efforts of all the dedicated fan organizations, the growing availability of VCRs and fansubs, and writers like Fred Patten, Trish Ledoux, and Helen McCarthy, who was spear-heading the anime fan movement in the UK, anime in America was getting to be a big deal. So big that even the Japanese studios were starting to pay attention.

To tell this story, we gotta jump back to the 80s once again. You might be familiar with the name Studio Gainax. They’re the Japanese studio behind legendary titles like Neon Genesis Evangelion and Gurren Lagann. Well, the founders started animating as a hobby, creating short videos in 1981 for an Osaka sci-fi convention nicknamed Daicon. Like many cons, it was a pure labor of love. At that same con, the group of fans also had a table where they sold garage kits, which were these small-batch resin models that would only be available for a limited time at certain conventions. They were so successful that the following year, they launched a company called General Products, with the goal of making model kits that were actually licensed. At the same time, they continued animating under the name Daicon Films.

[Daicon IV Opening]

This was before the two officially combined to form Studio Gainax, one of the first studios that had animation and merchandising under one roof. And General Products was actually really successful. They had two brick and mortar shops in Japan, and they helped organize the Wonder Festival in 1985, a toy and figure show that still runs twice a year today.

At some point, it made sense to expand overseas. Gainax’s animation division had already dabbled in the US market in 1987 with a movie called The Wings of Honneamise, a coming-of-age tale set in an alternate world about a man who becomes the first person in space, amidst political turmoil and conflict. It’s a love letter to what humans can achieve when they dream and work together, but that’s... not really what American audiences saw. The version that premiered at Mann’s Chinese Theater in Hollywood was heavily edited, hastily dubbed, and renamed Star Quest. And it umm… it didn’t do too well. It bombed. And it basically disappeared until it was re-translated and re-dubbed in the 90s. But General Products wanted a piece of the American fandom pie, so in 1989, they launched GPUSA. They stuffed the catalog full of shiny new anime merchandise, but they wildly overestimated fans’ interest in their products. For starters, a lot of those titles hadn’t even made it overseas yet, so anime fans had no idea what they were even looking at. So due to poor planning, GPUSA flopped and closed its doors a few years later. But not before they sponsored… AnimeCon.

You might better know AnimeCon by its modern name: Anime Expo. Kind of. Which, I’ll get to it later, it’s… you’ll understand soon. AnimeCon was run by Gainax, Studio Proteus, and two anime clubs: UC Berkeley’s Cal-Animage, and Bay Area’s CA-West. It was scheduled for three days, starting August 30, 1990, a couple of months before I was born, at the Red Lion Hotel in San Jose, California. Because of Gainax’s connections, they were able to get an incredible line-up of Japanese guests, including Kenichi Sonoda, Katsuhiro Otomo, Haruhiko Mikimoto, Gainax’s own Yoshiyuki Sadamoto and Toshio Okada, and amazingly, Leiji Matsumoto. And just a quick round of applause for getting all of those names in one go, first take.

Before we get ahead of ourselves—Matsumoto ended up cancelling his appearance, but the convention was a huge success regardless. It drew around 2,000 attendees, in comparison to the previous 380 and 100 figures that we dropped earlier. That was five times more than Project A-Kon 2 that same year, which had about 500 attendees.

Sadly, there never was an AnimeCon 2. They just ran out of money, they went broke. But from the ashes of AnimeCon rose the SPJA, the Society for the Promotion of Japanese Animation. A collection of Bay Area sci-fi and anime fans, they officially incorporated in April 1992 under the leadership of Mike Tatsugawa, who in 1989 had co-founded Cal Anime Alpha at UC Berkeley. They struck an agreement with AnimeCon to purchase their assets and obligations, and on the Fourth of July weekend, 1992, they put on the first ever Anime Expo. But all was not good in paradise.

[Dramatic music rises in the background]

There was a generational rift in Bay Area fandom, and it split into two camps-- East Bay versus South Bay, C/FO versus Cal Animage, the new kids on the block. The result was two competing anime conventions scheduled for 1993, held on back-to-back weekends, only 40 miles apart.

[Dramatic music fades]

Anime America was set to take place the weekend of June 25 at the Santa Clara Convention Center. Anime Expo was scheduled for the following week, July 4th weekend, at the Oakland Convention Center. It seems like July 4th is a bad time to host an anime thing, but maybe that’s just my opinion, and maybe I’ll be proven wrong in the next couple paragraphs.

Anyway, the industry was not pleased. In fact, they flat-out refused to support both conventions. In December of 1992, Viz founder Seiji Horibuchi wrote the con chairs of Anime America and Anime Expo a stern letter, pleading with them to either make nice or separate their events.

Here’s a little snippet of the letter, which was co-signed by publications and companies like Bandai, Shogakukan, Studio Proteus, Animerica, Animag, and of course, Viz.

[Piano music plays throughout]

“Dear Convention Chairmen,

We, the industry professionals listed here, do not believe that there should be two ’93 Bay Area anime conventions in close time proximity. It’s as simple as that… Japanese guests don’t have time in their busy schedules to attend two conventions. Retailers don’t have the resources to set up for two conventions. And there’s no way the fans (those outside the Bay Area, anyway) can afford to come to both cons… We’re writing to let you know we’ve talked among ourselves, and that we’ve all agreed that unless (1) there is only one Bay Area anime convention, or (2) Anime America and Anime Expo are separated by time and/or distance, we all withhold our support from both conventions… We would like to hear from you by January 8, 1993—a new year for a new convention. If we don’t hear from you, we’ll have to assume you do not wish our support… Please, won’t you consider our proposal? We don’t think we’re being unreasonable. We freely offer you our full support—the combined forces of the entire American anime industry—if only you’ll put aside whatever has been holding you back and do what’s right.”

So, they were not- they weren’t mad. They were just… disappointed, I guess. That’s a lot of words to just say “Hey bro, chill! Relax. Move the conventions. What are you doing?” This could’ve been a Tweet. It could’ve been a Tweet.

Spoiler alert, both conventions went on as planned, both had Japanese guests, and both had attendance counts north of 1,000 people. So… suck it, anime industry! Ha-ha! Both had an industry presence, as well, with A.D. Vision, informally known as ADV, opening their first preorders ever at Anime America for their subtitled release of Battle Angel. And surprise, Seiji Horibuchi ended up going to both conventions. Look at that, look at God.

Even with the fan interest, it became clear to the SPJA that change needed to happen. In 1994, they moved south to the Anaheim Convention Center, a few blocks away from Disneyland, of all places, and they’ve stayed in Southern California ever since. For the most part, they’ve always taken place on or around Fourth of July weekend. One big change, of course, is that it’s a lot bigger now. Last year, they reported around 115,000 unique attendees. For reference, that’s about the same number of people who live in the entire city of Berkeley. So [exhale]-hWow that’s umm.... that’s a come up, right there. That is a come up.

Sadly, Anime America closed its doors after its 1996 event, but the Bay Area isn’t without anime cons. These days, there’s about a half a dozen events that fans can go to scattered throughout the year.

The 90s were a really great time to be an anime fan. It’s nothing like it is now; fans are just straight up spoiled now, they got everything. All their anime streaming on demand, all the Hulus and the Netflixs. But the 90s were really good. Anime was getting distributed left and right, and you could even pop down to your local Blockbuster or Hollywood Video and rent a tape for a dollar. For the younger listeners, Blockbuster is like… it’s like Netflix, but you had to umm... you had to look a person in his face when you rent porn. [Silence] It’s like that.

[Lofi music]

Even though it was a lot easier to find anime, the best place to watch it was still anime conventions and your local anime club. Thanks to fansubs, tape trading, and pooling resources, clubs often had access to the newest shows and a vast library of titles they would routinely lend out to members. And because they already had experience booking venues for screenings and communicating with other clubs, it made sense that clubs all over the U.S. would eventually arrive at the same conclusion—let’s start an anime convention.

A few weeks after Anime Expo 1994 hosted a 2,000-attendee convention in Anaheim, all the way in Pennsylvania, a much smaller fan gathering was taking place. Started by four guys from the Penn State anime club, it was held at the Penn State Days Inn, in State College, Pennsylvania from July 29-31, 1994. They called it [Sparkling]… Otakon! Guests included comic artist Robert DeJesus, a handful of professional and fan translators, and notable members of the local anime community. Like most anime conventions, it also included screening rooms, panels, a dealer’s room, model competitions, and other now standard events. By official count, it had about 350 attendees. They weren’t going for a huge, record turnout, though. They just wanted to go to an anime convention that was efficient, well-run, and had stuff that they liked. Prior to planning Otakon, the founders had just attended a different convention, and on the way home, got to talking.

Monroe: They went to the convention, and I can’t remember which one it was, it’s on the website somewhere, and it was the four fathers, the four guys in the car. It was Bill Johnston, Mitch Hagmaier, Dave Asher, and Todd Dissinger. And the convention they went to was very, very small, but it was also apparently very badly organized, and as they were driving back from the con, they were saying “you know, we could do a better job,” and then they decided to do it.

That voice you hear is Sue Monroe. She wasn’t at the first Otakon, but she heard about it from her cousin Matt Pyson, who did go. She ended up going the second year, and she liked it so much, she asked to be on the staff. She’s been on the staff ever since, and even served as Otakon’s first female president and Con Chair in 2002.

After that first year, Otakon just kept getting bigger and bigger.

Monroe: Every year, the whole plan was “we can do better.” So we would sit down after the con and we would talk about all the things that hadn’t worked out and how could we fix it so that that wasn’t going to happen again? And by the time that I was Con Chair, we had 17,000 people, we were at the Baltimore Convention Center.

Monroe: For a while there, we were increasing at an exponential rate, because each group took something that they were interested in and just focused on making that better. Every year, it was something else that they were going to do to fix things, make them more efficient. And the whole idea was that it’s by fans, for fans, so we looked at what we would want if we were going to a convention, and we tried to make it as much like that as possible.

In 2001, Otakon surpassed 10,000 attendees. By 2004, that number had shot up to almost 21,000. Which is fucked up.

Monroe: We didn’t have enough staff to handle everybody. We had to make sure we had enough people, and since we’re an all-volunteer staff and we’re a little picky about who we bring on to staff, we just couldn’t handle that many people. We also had no room. People were very, very- well, that was also around the time that yaoi paddles came out.

Oh, okay. Yeah. Right. Yaoi paddles. Cool. Look… bro, if you know, you know. I don’t know what to say. They’re umm… they’re kinda like umm… fraternity initiation paddles- you remember the paddles they had at frat houses they would hit you with? It was that, except they said “YAOI” on them in all caps, which is a call-out to a popular genre of manga and anime featuring romantic and oftentimes sexual relationships between men. It’s gay anime, why are we saying… it’s a lot, why’re we saying it like we’re Republican Congressmen?

They were sold and popularized by a doujinshi vendor, Hen Da Ne, but if you follow the Internet crumbs back far enough, you’ll find the actual source, a woodburning artist named Mike who goes by the online handle Akicafe. In a Cosplay.com thread from 2004, he posted the origin story of the paddle. He said it started out as a joke between himself and the owner of Hen Da Ne, since a big chunk of the company’s business relies on the sale of yaoi manga and doujinshi. So he crafted the very first yaoi paddle, with nice wood burned letters, and a high gloss acrylic finish. Apparently Hen Da Ne liked it so much, they decided to mass produce them, much to Akicafe’s dismay and without his final consent. [Sarcastically] Haha, ain’t that fun, how that works?

So the paddles took off. They were sold at every convention that Hen Da Ne was at, and for a while, everyone was happy. Until people started misusing their powers. Unruly fans ran around, smacking strangers with wooden paddles, and throwing them at each other. This was around the same time “glomping” was a popular thing— and glomping, if you don’t know, is when fans would just run at each other and tackle people with bear hugs. Very violent practice. It all came from a good place, or course—it was genuine fan excitement and love for their fellow fans—but it also got to be too much. People were getting slapped and hugged without consent, and it became kinda a problem. Like, a big problem.

Monroe: We had a lot of glomping going on back then, so you’d have people running through the hallways, well not running because you couldn’t run, it was too crowded, and throwing themselves on other people. It just became very… it wasn’t fun, and if it’s not fun, why do it? When I was Con Chair in 2002, I’m the type of person who reads all of the reviews, so after 2001 I read all the reviews and I marked all the things that were problems that people had complained about in the reviews. And we used to do that every year. And then we tried to fix them, tried to make things better. But we were getting to the point where we couldn’t do that because the absolute problem was we had too many people there. It was just too full. The downtown area liked us, although it got to the point where the people at Burger King didn’t want to work on our weekend anymore, because we always shut them down.

By 2005, Otakon started capping their audience at 22,000, which is a good problem to have. The year after, they raised it to 25,000, and it just got to be too big. But despite some grumblings here and there about crowding and wait times, fans still loved it. Anime conventions had gone from being local gatherings to bucket list fan destinations. They were even hosting music concerts for legendary acts like Yoko Kanno, T.M. Revolution, and L’Arc~en~Ciel. Even Japanese fans started coming to America, just to check out these conventions.

The industry was happy, as well, and Japanese guests loved having a reason to come to the U.S., and they loved being able to meet their American fans in person. Guests like Madhouse co-founder Masao Maruyama liked Otakon so much, he’s been back 15 times since his first guest appearance in 2001. He’s even listed as an honorary staff member, which is insane. Although that origin story is kind of wild. We’ll let Sue tell that one.

Monroe: In 2002, which was my year, was his first year as a guest. And it was a wonderful time and he was a wonderful guest, but at one point somebody stole his pack that had all of his electronics in it. They just walked in while he was doing a panel and walked off with it. And his passport was in it. And it had been such a really excellent con, and here was the most terrible ending we could think of to it. And Maruyama-san voluntarily came to the Dead Dog-

For reference, the “Dead Dog” she’s referring to is slang for an informal party on the last day of a convention. It’s not quite as bad as it sounds. Maybe worse.

Monroe: We were trying to get the Japanese guests to be a part of the Dead Dog after the con, so that the staff, who worked throughout the entire convention and didn’t get to see all of stuff that the fans, the rest of the members, did, that they would have an opportunity to interact with the Japanese guests. So he was at the Dead Dog, and we discovered that this had been stolen. So a number of us went back to the BCC and it was like one of those Keystone cops things, we drove back to the BCC and we had 35 minutes that we were allowed to be in the building before our contract ran out. And we searched and searched and we went in to the- you know that wall that moves to close off a room? Well that’s where we found his bag. They had taken the electronics, but they left his passport and his tickets because they didn’t find it. So we found that five minutes before we had to be out of the building.

Luckily, no one else needed to lose their passport to be convinced to keep coming back. They just liked it. And the American market was growing really fast in the early 2000s. It was at its highest around 2002/2003, when the anime-related market in North America was valued at about $4.84 billion. Home video sales hit a high of $415 million, and fans could even buy anime at mainstream retailers like Walmart, or watch it on Cartoon Network.

Even with all that, they still kept going to anime conventions. And where the fans were, the U.S. anime distributors were, as well. Companies like Geneon, Bandai, Tokyopop, Viz, and ADV were setting up massive booths at shows like Anime Expo, which hit 25,000 attendees in 2004. Its enormity stunned long-time fans like Fred Patten, who wrote that the event seemed to “flood and overflow the Anaheim Convention Center.” He blamed the “unexpectedly poor management” as much as the crowds, lamenting that registration lines the first couple of days were four to five hours long.

Even more surprising for fans who had grown up in the era of tape trading, 2004 was the first year that anime distributors started publicly cracking down on pirated and unlicensed anime DVDs. During their Anime Expo panel, Bandai announced that they were bringing legal action on four dealers caught selling bootleg DVDs. Several other exhibitors were given warnings to remove all their counterfeit merch, and those who didn’t were kicked out and banned from the dealer’s room.

In just a decade, Anime Expo had gone from a dueling Bay Area fan convention to the largest anime con in America. [Convention music fades in] American distributors started jockeying for power, building bigger and louder booths, hosting mini concerts, and holding autograph sessions of their own. Part of it was advertising to attendees, but part of it was just to impress their business partners in Japan. [Music ends] Because so many business licensors also attended Anime Expo, it kinda turned into a… what’s the word? A pissing contest. A contest for piss.

Heiskell: It’s all Anime Expo, that’s all it is. I mean, if you go to Otakon, no one has big booths there. And then if you go to- it’s just Anime Expo is the only dick measuring contest now. And it’s gotten to the point where it’s two levels. The first of them, and then the second tier.

That’s Lance Heiskell. He was at Funimation for 13 years, first as a Senior Brand Manager, then eventually the Director of Strategy.

Heiskell: And you know, Anime Expo just makes money off of that, because to be within the corporate liensors, if you have a big booth it means that you are a, to them, you’re a big anime company. And we didn’t have a big booth until I kind of forced the issue of Fullmetal Alchemist. It’s like this is a huge show, we need to bring our- we had a corporate booth, but it was more for licensing show. So we retrofitted it for Otakon, and that was in 2004 whenever Lark and Show was there, and then our booth was- I mean, sorry, our first episode was the opening act. The first dub. And then you had all of this Japanese press there, covering Lark is Dale, covering Fullmetal Alchemist, we had like Aniplex there, and we had to have a booth. And so that was the first time that we had a big booth. Then the next year after that, I think that’s when Adam started doing the conventions, because Anime Expo we had our first like big boy booth, and that was Tsubasa was that first big booth for Funimation. I think the big booth era, I think the height of it was probably 2004, because I know that it was- yeah, it was probably 2004, 2005, because I just remember Tokyo Pop’s Monster House booth, and then it was right next to Bandai, and I remember Jerry Chu just blaring noise from speakers towards Tokyo Pop’s booth, and Tokyo Pop doing the same, that when you would walk through, your ears would just be kind of garbled. And then every 30 minutes, you’d hear the drum, they’re throwing stuff off. I do have video of that, of the drum and the throngs of people. I have video from 2005, because the Funimation booth was on the far right side, and ADV’s was on the far left side, and they gave ADV the biggest sighs because their booth was really kind of quiet until the drum. And then you just saw everybody swarming due to the them, with the big drum. So, they invite the press to throw stuff out, or just anybody to throw stuff out. I mean, that would be fun. And then, I mean ADV’s booth served two purposes, because the second level was meeting rooms, meetings with the Japanese licensors. This was before the Marriott, so it wasn’t really a good space to have meetings.

The Adam he mentions is our very own Adam Sheehan, Director of Events at Crunchyroll, who prior to coming over here worked alongside Lance at Funimation for 10 years. They know a lot about anime conventions, because they’ve both been to a LOT of them.

Sheehan: Hi, I’m Adam Sheehan, I’m Director of Events here at Crunchyroll. We do about 12 to 13 events- we attend- Crunchyroll, on a regular basis. Back in the day, when I was young and gungho at Funimation, we did up to about 25, 30. I remember like one month, I was doing one every single week for four or five weeks in a row, and I was a shell of myself at the end of it. So I was like “I’m getting too old for this, so I basically need to figure out a better way to do it,” and also, we actually focused on doing more at less, so instead of basically doing the same thing over and over again at multiple cons of different sizes. We pick or choose our ones, and then do a LOT at it, like a bigger activation. More guests, larger panels, and things like that.

Looking at Anime Expo’s attendance numbers, you wouldn’t guess that there was actually a period of time where the anime industry was kinda shaky. Right around 2006. Anime companies were launching 24-hour on-demand video channels, they were partnering with Japanese companies to directly license and distribute anime, they were expanding into more and more retail locations, and then… the bubble popped. The home video market went from $375 million in 2005 to $316 million the next year. By 2010, it would only be $200 million. Lance pins the exact apex of the bubble to the first ever North American Anime Awards, hosted in February 2007 by ADV.

Heiskell: That’s when ADV had all the Sojitz money. It’s 2007, and that’s when ADV spent so much money on that event, because it’s New York, you have to hire union camera people, that was just this big thing, and their network was really popular, they had all the Sojitz titles.

And then came the music store closures.

Heiskill: Like 2006, around September, because Funimation launched the anime online website in 2006. In 2006, Suncoast and Sam Goody had major store closures, and that was like the first cripple, because that was Tokyo Pop and it was also Pioneer, with a lot of returns. And then February was American Anime Awards, then one month later, it was- Geneon closed one month later. I mean, the bust was the music industry. The music industry crippled the anime industry. A lot of manga, and a lot of anime, was in- this was in the era when Suncoast was the number one anime retailer. It wasn’t Best Buy, it wasn’t Amazon, it wasn’t WalMart, it was Suncoast. And Suncoast was built on music. And Suncoast was Suncoast and Sam Goody and FYE and it was all the malls. And so this is when malls were still popular, but then you had some of the department stores kind of teetering where malls were still popular. And all the Suncoasts were in the malls. But then when you had the iPod, and you had iTunes, and then you know, you had just everybody shifting to digital on their music, that’s when all these stores kinda needed something else. And so they brought in- they always had anime, but they brought in anime more. And whenever manga got popular, they brought in manga. It’s very similar to when Gamestop brought in toys. Because Gamestop brought in anime around the same time, too. Because they thought it was cool. I mean even Hot Topic- and also they had Fafnir T-shirts at Hot Topic around this time. Fafnir. I saw it with my own eyes, I should’ve taken a picture for evidence. But yeah, so whenever the music- whenever Sam Goody would close a store, then everything in the store would have to be returned. And so this was a lot of manga, a lot of anime, and if you’re closing half your stores and all the anime companies would sell in a lot of product, and it was all- you could all be returned. So if you sold in 10,000 units to Suncoast, and then around that same time their stores closed, then they could say “hey, I need a refund on 8,000 of these,” and if a company just doesn’t have the money, then the anime company is on the books for it. So they owed a lot of debt to Suncoast, and Suncoast and Sam Goody and all of those kept a lot of stuff in their warehouses that they would just do these random returns. And so it was capital, it was cash. And it was the music industry that really hurt the anime industry. It wasn’t streaming, it wasn’t digital downloads, it was the music industry.

Over the next several years, the anime industry went through a lot of changes. Companies like Geneon Entertainment and Central Park Media closed, while others, like ADV, restructured and completely rebranded. Publications like Newtype USA and Anime Insider shut their doors for good, followed a few years by the closure of Borders, which is literally where I used to buy ALL of my manga. Any manga I ever read as a child: Borders. That’s where it happened. Even Best Buy, once a mini-haven for anime fans, slashed their inventory across the country. Now they got that little DVD section that’s only there to sell TVs and Playstations.

[Lofi music]

Somehow, throughout all the chaos, anime conventions kept going strong. Anime Expo kept getting bigger and bigger, hitting nearly 50,000 attendees the same year Bandai Entertainment announced it would stop producing and distributing new titles. The American anime home video market had taken a nasty beating, but fans still wanted their anime, and they still wanted to go to anime conventions. By the late 2000s, it was no longer about marathoning anime in video rooms—fans could already stream anime online, both legally and uh… less legally. Anime was everywhere. The rise of online retail meant that fans didn’t even have to go to dealer’s rooms anymore to get their merch.

What the internet couldn’t provide, though, was all that stuff that’s brought fans together for decades, even back in the early sci-fi days. Just hanging out, meeting people who share a common interest, and also cosplaying.

Okay now, I know what y’all’re thinking. Y’all’re probably thinking “Hey! Hey- hey but, isn’t- isn’t cosplay from Japan? Everybody knows that the world ‘cosplay’ comes from the Japanese portmanteau for ‘costume’ and ‘play.’” But people have been going to conventions and dressing up as their favorite characters as early as 1939, when science fiction editor, writer, and superfan Forrest Ackerman rolled up to the first World Science Fiction Convention (WorldCon for short) in what he called “futuristicostume”, a VERY dumb name.

Everyone was presumably delighted and not weirded out, because the next year, WorldCon had its first ever official masquerade, a tradition that has kept up even until now. The idea of dressing up rippled through different fandoms, from the earliest Star Trek conventions, to San Diego Comic Con, which began hosting its first official masquerade in 1974. Whether or not American science fiction cosplay inspired Japanese fans is up for debate, what we do know is that the word “cosplay” itself was coined by a Japanese writer named Nobuyuki Takahashi in 1983.

But by then, dressing up had already been a popular part of Comiket and local Japanese community gatherings and conventions since the 70s. Whatever the origin, though, the word “cosplay,” it blew up. It’s in this podcast, it blew up. Y’know, this podcast, the pinnacle of fame. Everyone knows what it means, regardless of anime fandom or even comic book nerding, at all. Everybody knows cosplay.

These days, you can hear it on mainstream TV shows, or as the punchline to late-night talk shows. It’s so popular, you can go to your local JoAnn Fabrics, turn the aisle, and see entire displays devoted to cosplay, complete with commercial patterns that look suspiciously like Sailor Moon and Vash the Stampede. Fans who don’t want to sew can even buy entire costumes from overseas retailers or wigs pre-styled for a certain character. Because as I said earlier; these kids are spoiled. They don’t work for shit. Make them do stuff. They all on TikTok. Tiktok? Doin’ the dances.

To get some insight on the ever-evolving cosplay scene, we talked to Charlene Ingram, who’s worked in the industry for 10 years as a marketing director for companies like Funimation, Viz, and Capcom. But some fans may actually know her by another name: Tristen Citrine, a celebrated cosplayer whose impeccable handiwork and love for the craft made her a frequent guest at anime conventions around the world. Her first anime convention was Anime North in 1998, in Toronto.

Ingram: I didn’t even know, honestly, at first, like I heard that they had a masquerade, and I participated in it, but I didn’t know it would be like, such a stage production. And I had from my internet browsing, and this was I mean, this was early late 90s. I had seen some of the earlier cosplay postings and message boards. I remember American Cosplay Paradise was around way back then, Tokyo Cosplay Zone, all of the almost UseNet-looking boards that the Japanese cosplayers would use, I remember looking at their pictures and seeing what they were doing and seeing how they posed and everything like that. But there was nothing like just being there and seeing it. That was… that was the real epiphany that not only were people dressing up, there was the beginnings of kind of a stage production. And it was very, very rudimentary back then. It was a lot of “walk on this stage, and pose” and the MCs back then were more akin to things like something out of like Vaudeville, where they kinda riffed with you and it was very tongue-in-cheek. There wasn’t a lot of huge theatrics, like sometimes people would maybe try to recreate a little bit of a sword fight, or something from a scene of their favorite shows, but it’s close to unrecognizable to what we have today, how much it’s grown and how much it’s matured.

Competitive by nature, she was drawn to the world of masquerade contests. Her turning point was Anime Expo [crowd cheering] where she experienced for the first time fans cosplaying and singing from the Japanese Sailor Moon live action stage plays.

Ingram: There was a Sailor Moon skit, and it was based on something that I hadn’t even heard of at that time. I didn’t know that Sailor Moon had musicals in Japan, and they’d had them since like 1994! And that was amazing, like I didn’t even know it, and these girls were on stage and they were dancing to one of the theme songs from that, and they had all the Sailor Guardians, well not all of them, they just had a few of them, but it was like nothing else in that masquerade. In that Anime Expo masquerade, it was a lot of like what I had seen at Anime North, but to see that singing and dancing, and then all of that glitter and splendor, I knew. I was like “This is the type of masquerade I want to be in, I want to be- like I want to perform, I want to have these big, bodacious things, and I gotta meet these girls.” And I didn’t get to meet them until it was a month or so later, at San Diego Comic Con. I met them, and we started chatting on the internet, and we started laughing and sharing our interests and our love for Sailor Moon and my love for anime and being this new girl on the West Coast because just like moving to Los Vegas, I was very much like a fish out of water, and I was very intimidated by folks from California because growing up, California was this magical wonderland where the best and the brightest and the most beautiful hung out, and I would never be good enough for that. So, just seeing this, just hanging out with these girls and eventually, them inviting me to be a part of the group and learning that I have this sewing ability and all these dreams that I had, it was really, that was really a game changer like I really bonded with these girls and I wanted to do something great and celebrate Sailor Moon together.

Before long, her talent and craftsmanship were being recognized, and she was getting invited to anime conventions as a special guest.

Ingram: Because I really took the bull by the horns, I was very passionate about it and I really wanted to show off my sewing ability with this new genre I was really into. And it started in 2000, and I remember that was my first time I had a guest appearance was AniMagic 2000, and it was in October of 2000. And this was a convention that happened at the end of convention season, when there was still a convention season, and it was a place for everyone to kind of chill and it was out in the middle of nowhere, it was in Lancaster, California, and it took place at this hotel that all the rooms were centered around this pool. And they did the masquerade poolside, so it was very nice and casual, it was kinda like anime camp. And that was the first time I was a guest at a convention. And then I was a guest at Anime North, and then Project A-Kon, and the list goes on and on. But really starting in around ‘98, like actively with cosplay, to get to that point was probably really unheard of by today’s standards.

Busy as she is with work, Charlene still tries to find time to cosplay, though she says that some things haven’t really changed.

Ingram: If you look at a lot of the costumes from back then, the really well made ones, and some conventions now even have exhibits for cosplayers’ costumes, especially from the past and currently. Good sewing techniques have not changed all that much over the years. The process for making things and making things well, especially with fabric craft, hasn’t really changed all that much. Your fundamentals are still your fundamentals, you just have the advent and introduction of a lot of materials, especially your themal plastics and your EVA foams and stuff like that, that have been invented that make different types of things easier. And that’s really cool, I do have a lot of fascination with the new materials as they come out, I always like to buy them and play with them and see what they’re all about, and I do like working with EVA foam, but I just feel like… I almost feel like a soul bond when I’m working on something that is fabric-based.

One thing that has popped up in the last several years, though, is the advent of the professional cosplayer. If you just Google “professional cosplayer,” you’ll get a torrent of hits. Everything from cosplayer influencer salaries, to dozens of “what is it like?” articles, to message boards filled with fans wondering how to break into the career. It’s another side effect of conventions—and cosplay—reaching a high point in mainstream culture. But for Charlene, it’s all signs that we’re living in a magical time.

Ingram: And it is very wonderful that some cosplayers can actually make a living at dressing up and going out and doing events and working events, that’s really rather magical and I really love that side of things. And I’ll say that I love all sides of professional cosplay, be it the spokesmodel type, the event worker type, the just the person at just like you go to Comiket or Tokyo Game Show and there’s a line forever and they have to bring extra security. I love that person. I love the professional cosplayers on Patreon that do pictures and chats and stuff with their fans, and they make their living that way. I even love the cosplayers that are cam girls. I love them, they’re doing- they’re living their passion, they’re living their best life.

Cosplay is now more accessible to everyone than ever before, but it also means that conventions have needed to step up in another way—by making it safer for people to be in costume. In 2014, New York Comic Con became the first major convention to publicly post signs with four simple words: Cosplay is not consent. One of its primary pleas: “Keep your hands to yourself.” No touching, no groping, and please, no gross propositioning in elevators. Basically, don’t suck, don’t be a shitty dude, and remember that under every costume is a fan just like you and me. At its core, the Cosplay is Not Consent movement is about the basic tenets of respect and personal safety. Luckily, it’s grown over time, with more and more conventions adopting their guidelines and declaring their support by posting information around the venues and in guide books. It’s hard to know for sure exactly how much it’s helping the cosplay community—only time will tell—but convention organizers hope it will at least embolden cosplayers to speak out for one another.

Ingram: But the cool thing is now, we have these signs at conventions that say “cosplay is not consent,” and we have this culture where people will say “No!” or people will call it out, or like people will correct each other and that’s really cool. And people will ask for hugs, which is also really cool. Or people will ask what your name is, and not just talk to you like you’re the character. There’s this understanding that there is a human underneath the costume that wasn’t always there before. And I think in that way, that’s also making cosplay a lot more welcoming for folks.

[Lofi music] And she is right. We’re growing and evolving, and so is fandom. As the convention scene gets bigger, our expectations for them are growing, too. Like demanding safer environments for attendees, purging counterfeits from dealer booths, and just holding everyone to higher standards. Anime fans have become a global powerhouse-- driving a market worth $18 billion worldwide. So it’s no surprise that anime conventions have grown with it. What once was just a chance for fans to cluster around a TV and watch Star Blazers is now its own ecosystem, with thriving cosplay scenes, world premieres of brand new anime titles,, concerts with the kinds of mega-stars that sell out baseball stadiums in Japan, dealer rooms the size of those stadiums, and fans who will cross continents and oceans just to hang out with their friends at these events.

There are so many anime conventions that now, instead of just going to the nearest one, fans can even decide which one they want to go to based on their vibe. Like… Anime Weekend Atlanta if they’re really into anime music video contests, or Dragon Con if they want to see some really intricate costumes across different geek genres. Or local hidden gems like Anime Los Angeles, where all the California-based cosplayers debut some of their newest builds. Or… Crunchyroll Expo, shameless plug, where you can be amongst the first fans in the world to check out new titles. From Crunchyroll. By the way, Crunchyroll Expo. Gang? Gang, gang. Squad. Yes. Do it.

Anime has also carved out increasingly large spaces at comic book conventions like San Diego Comic Con and New York Comic Con. There are video rooms that run around the clock, giant publisher booths, autograph sessions, and cosplayers galore. What once was a space carved out at these conventions by dedicated fans, is now a draw to pull in more attendees. There’s even a cosplay contest at South by Southwest, which most people probably know more for its film and music programming.

That’s not to say that anime conventions have fundamentally changed over the years. They haven’t. We just expect more from them now. Here’s Adam Sheehan again, who’s been doing this long enough to really track all the little, subtle changes.

Sheehan: Yeah, the expectations have definitely changed in that, as I mentioned when I found out AnimeCon, I had no idea what it was or that it even existed. But now it’s like you have your shopping list. You got the schedule ahead of time. If you’re looking for something new, you’re aware before you walk in. You’re like “oh, there’s a premier of this show I’ve heard about, I want to show up for that because that sounds neat.” It’s not about walking through the door and going “there’s a bunch of rooms, a bunch of people, let me figure it out.” Because of that, the expectations of what people want are different, almost based con by con. You bring DragonCon up. They do panels, they have what are called dealer’s rooms there, too; but what they’re mostly known for is the cosplay, then evening events. Everyone gets their own theme about it. Expectation for an event level is almost along that line. It’s like Anime Expo, San Diego Comic Con, you know you’re going to get some big news, some big guests showing up. Local con in Florida, you’re maybe not as much, but maybe you were expecting to go and buy stuff. And see, they’re friends, so that basically is almost an event level what people are expecting, so the exploring, if anything, basically has changed from “I don’t know anything, walking in the door, surprise me” to “I have expectations, but there’s still a chance to blow it out of the water by who’s the guest? How good’s the show? How much fun do they have with their friends?” So all those things mixed together is basically what some of the big changes are. It also helps now that anime’s mainstream, it definitely was not mainstream in the 90s, us nerdy little kids in the corners in the clubs had to basically educate other people and say “no, this exists!” Where now it’s like it’s either mentioned like on the Big Bang Theory, or there’s movies about cons, or it’s mentioned like that, so people get the general idea that a convention exists and people go there and that they buy stuff and they meet people and they dress up. So that base knowledge is good for the casual goer, even if it’s just a parent bringing a kid to their first con, they’re like “oh, this is generally what they’re going to walk into.” But you never quite know what you’re going to see. The trends I’m seeing across that since AX’s growth has been just around the overall trends of the anime world. Merch getting better, technology getting faster, or I guess more easier access to, as well as just the overall growth of anime. Like almost every single convention around the nation over the last five or six years has had either stay the same or an increase, there’s been very few that have actually gone down, because anime fandom has just been growing. And we joked at one point--God this must’ve been like four or five years ago, at one point?-- that we were looking like, we did the math and said “oh, if you take every convention around the country, small, large, no matter what size the event, there’s a con every single weekend of the year, including Christmas and New Year’s that you can go to.” So basically if you want do the full otaku livestyle, you could be at a con every single weekend for a straight year, and never stop.

Where are anime conventions going to go from here? Only time will tell. But even during the short history of anime in America, they’ve changed so much that it’s hard not to be excited about their future. So the next time you go to a convention and you’re just standing around, waiting for an autograph from your favorite director or voice actress, take a moment to look around and think about the humble origins of anime conventions. And how it all started with Star Blazers.

Peace.

By: [email protected]

#Anime #News #Latest in Anime News by Crunchyroll!

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theoldlesbianwithcats · 7 years

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Remember that French TV show (Dix pour cent) I told you about, that made their lesbian main character sleep with a man? Now that character is pregnant with him of course, but the creator of the show Fanny Herrero (a straight woman) has a very good reason, don’t worry!

“Andréa is gay but she’s liberated enough to, on a one-night-stand, have sex with a man and not have a problem with it, because her sexuality is mature and fulfilling enough that she doesn’t ask herself questions. From the beginning, I knew that this character would have a very rich, complex and liberated libido, and for me that goes beyond sleeping with women. I think Andréa is more modern than that.”

Did you hear, ladies? A modern woman with a rich, complex, fulfilling sex life = a woman who wants to have sex with a man! How progressive!

Anyway, for once a Buzzfeed article about lesbians isn’t completely awful, so @sespursongles and I translated it in English :

Why movies and TV have to stop making lesbians sleep with guys

Marie Kirschen, Buzzfeed France, 14th May 2017

Like recently in the TV show Dix Pour Cent (Call My Agent in English), it regularly happens that characters introduced as gay or lesbian eventually sleep with a person of the opposite sex... to the gay fans’ great regret.

Andréa Martel is a small revolution. The main character of France 2′s TV show Dix pour cent, whose second season just ended, is charismatic, stylish, loudmouthed, beautiful, touching, badass, funny and... a lesbian. A lesbian main character in a prime time TV show on a big national channel ? It’s never been seen before in the French audiovisual landscape, so timid about LGBT themes.

There were a few made-for-TV movies about female homosexuality, often quite badly done, a few secondary characters, sometimes a bit clumsy. But nothing as exciting as this at peak viewing time. Andréa is a multidimensional, very well-written protagonist. Her homosexuality is there, without it being a problem, without being hidden. The icing on the cake, Andréa is wonderfully played by Camille Cottin. THE star of Dix pour cent, that’s her.

Like many lesbian viewers, hungry for visibility, I was hooked immediately. And then there was the third episode of the second season, broadcasted at the end of April. Andréa is competing with her boss, Hicham, to seduce a model. During a party at a castle, Hicham ends up winning the game : he enters a bedroom with the model. But that’s without considering Andréa’s hurt ego who, a bottle in her hand, decides to join them. Her catchphrase : “You didn’t think you’d have her all to yourself?!” But, as this improvised threesome begins, Andréa and Hicham forget immediately about the pretty blonde, kiss passionately and roll on the bed. Reaction of the abandoned model (and our reaction) : “Seriously ? (sigh)”

After loving women openly for eight episodes, Andréa abandons a blue-eyed goddess for her cruel, manipulative boss? Some viewers were a bit surprised, even disappointed.

[Tweets embedded in the article :]

@RomainBurrel (journalist for a cultural magazine and a gay magazine) It sucks to see one of the rare and best lesbian characters sleep with a dude... @PrincesseYuyu LET US HAVE A LESBIAN IN A FRENCH TV SHOW, DAMMIT, STOP SHIPPING HER WITH HICHAM. It depresses me.

@keedz75 Of course the gay character can’t be happy being a lesbian and must answer heterosexual fantasy by becoming bi

“I received a few harsh remarks”, tells Fanny Herrero, the creator of the show, to Buzzfeed. “There are gay women who took it badly. I can understand it because it’s quite rare to have a lesbian main character on TV, so we shouldn’t make her sleep with a guy, I get it. The relation to sex is quite liberated in Dix pour cent, there’s a freedom of tone, I thought that freedom of tone was enough and that it would let us play with the codes.”

Fanny Herrero clarifies that, if she’s straight, there are two gay women in the writing team. Visibly upset by those reviews, she concedes that :

“Maybe I took it too lightly. At that moment, we didn’t realize it could hurt. Maybe we should have been more delicate, but we write characters, we don’t write for a cause. From a writing point-of-view, we have a chessboard of characters that we animate and sometimes we exaggerate a bit for dramatization. Maybe we’re going to push characters faster to places where, in real life, they wouldn’t go, where it would take more time.”

Beyond Dix pour cent, if that little twist made people angry, it’s because it adds to the long list of films and TV shows where a main character is introduced as a lesbian (we’re not talking of bisexual or questioning characters, but characters clearly presented as gay) to make her have sex with a man a few minutes after.

The film lesbians hate the most

One film in particular embodies this trope: Chasing Amy wins the Oscar for Most Hated Film of the 90s in the lesbian community. The hero, played by Ben Affleck, befriends Joey, beautiful and liberated. He asks her a series of stupid questions about gay women and wonders how lesbian sex can count as "real sex" since, he reasons, there can be no real penetration without a penis. When - wait for it - he falls madly in love with Joey, she tries to make him understand that his advances are inappropriate and that he doesn't respect her identity… before jumping into his arms, in the rain, like in the worst kind of rom-com, and deciding that she’s found "the one".

One night, after some (obviously amazing) sex, she tells him why she ended up falling in love with him, because he "gets her". Ben reacts with a joke: "Can I at least tell people all you needed was some serious deep dicking?" Needless to say, after watching this film I felt like throwing my computer on the floor and setting it on fire. A few other examples? In The Kids Are All Right, a lesbian mother played by Julianne Moore, whose sex life with her partner has gone stale, indulges in an affair with Mark Ruffalo's character (and unlike the boring lesbian sex, their hetero sex scenes are muy caliente). In Gazon Maudit, Josiane Balasko's character decides that she must have sex with Alain Chabat in order to get pregnant. When it comes to TV shows - the only lesbian couple in Queer as Folk faces a serious crisis when Lindsay cheats on her girlfriend with a particularly unlikable jerk (and again, their hetero sex is very sexy while Lindsay — literally! — falls asleep while having sex with her girlfriend.) Same thing in the American Skins, in which the lesbian heroine falls for a boy right from the beginning, or in the Netflix show Dear White People, where we discover that the teacher who refuses to marry her girlfriend to resist "heteronormativity" is having an affair with a young male student. This plot twist applies to the boys as well. In The Wedding Banquet, a closeted Taiwanese gay man ends up having sex with his beard. More recently, in Toute Première Fois, the gay protagonist, about to marry his partner, has to come out "in reverse" to his family after meeting a beautiful Swedish woman. On TV, Clara Sheller's gay best friend ends up sleeping with her, just like Hannah's in Girls, who suddenly becomes interested in the group's hottie for no apparent reason. The list goes on and on… Viewers always complain: why add an all too rare gay character only to straighten them up, even temporarily? This kind of storyline is criticised as an overused trope. The "lesbian sleeps with a guy" plot line is one of the three major tropes condemned by the website "LGBT Fans Deserve Better", that listed 46 characters in this category. "Did we have to do that?" fumes lesbian website Autostraddle about Dear White People. "Haven’t we been fighting against this ridiculous trope for decades?" With this trope, screenwriters also contribute to making bisexuality invisible. The idea that one must be either gay or straight is an example of casual biphobia. Screenwriters, if you feel like the character you are creating could be attracted to both sexes, why not just label them bi?

A cliché that echoes homophobic remarks

Of course, we could oppose to disappointed fans the fact that, in real life, those kinds of stories can actually happen. Homosexuality is not only about desire, it’s also a question of identity. It can happen that a person identifies as “gay” or “lesbian”, because they think it’s the label that represents their identity the best, but one night, they end up with someone of the opposite sex in their bed. Sexuality is sometimes more fluid than cultural identities we identify with. It’s not about banishing those stories from our screens. But we can question their recurrence : why are those stories present so often in fiction when, in real life, it’s frankly not the most common?

Also, in real life, it also happens for example that straight men, drunk or not, end up sleeping with another man. Again, sexuality is sometimes more fluid than the labels we use to define ourselves. But this story is barely told. How can we explain that the gay-who-goes-both-ways cliché comes back so often in fiction, when its straight equivalent is so rare among the ocean of straight roles?

Above all, if that trope is so annoying to concerned viewers, it’s also because it echoes those old homophobic tunes we keep hearing all day, and that it seems to validate : “You’ll find the right man/woman”, “How can you be so sure that you’re not straight? Did you try at least?”, “It’s only a phase”.

With that bonus point for the lesbians : according to some people, a relationship between women can’t be considered “real” sex, so they will end up sleeping with a men at some point. I can’t count how many endless discussions I’ve had with straight people who wouldn’t imagine that I could be not interested by males, even though I’m a lesbian. When I mention my love story, some people can’t help wondering what I do in bed. Of “homosexuality” they only remember “sexuality”, and for them “lesbian” means porn. If you type “lesbian” in Google, the first results you’ll find will be many porn scenes where people of the opposite sex make an appearance. So dudebros think it’s legitimate to try their luck...

[Tweets in the article :]

@BabascoGueria 1 lesbian character out of 1000 and even she has to sleep with a guy. How original.

@BabascoGueria Some homophobes harass lesbian women and are convinced that they can convert them. Thanks for perpetuating that cliché.

What if it was that old idea that gay men and lesbians are above all hypersexual beings, free from norms, with wild sex lives, that made the writers do with them what they’d never do with their boring straight characters? Would it be easier for them to imagine a rock’n’roll Andréa surprising us with her conquests, rather than the boring Mathias Barneville ou the funny Gabriel Sarda— even if, in reality, there are many Mathias who can also have sex with men...

Beyond hetero sex, motherhood

“Andréa is gay but she’s liberated enough to, on a one-night-stand, have sex with a man and not have a problem with it, because her sexuality is mature and fulfilling enough that she doesn’t ask herself questions”, thinks Fanny Herrero. “From the beginning, I knew that this character would have a very rich, complex and liberated libido, and for me that goes beyond sleeping with women. I think Andréa is more modern than that.”

The writer highlights the fact that, on the other hand, she would have never written that same intrigue for the character of Colette, way more traditional. [Colette is Andréa’s love interest. Andréa slept with Hisham after Colette dumped her.]

In Dix pour cent, the hetero sex especially permits to continue with the question of motherhood, since Andréa gets pregnant. “I wanted to confront Andréa with that question, because she’s more rough with her relation to motherhood. I wanted to make a portrait of a woman who becomes a mother differently from what we usually see, I wanted her to be upset by that pregnancy.” For the writer, there’s no question of making her plan an ART (assisted reproductive technology), to make her take a train at Gare du Nord to go have an insemination in Belgium, between two appointments with JoeyStarr and Juliette Binoche. Not the character’s type. It had to happen to her. Hence the “threesome” option.

And that pregnancy is also used to make Colette come back, suddenly moved by Andréa who’s lost in that situation. And that’s where Dix pour cent makes a quite clever move, which puts it, in spite of a few mistakes, lightyears away from Chasing Amy. Hicham being particularly hateful and Colette being adorable, the viewer ends up wishing that Andréa wins the love of her ex-lover back and that the boss of ASK, the biological father, leaves them alone. “I found that interesting to tell myself what the viewers would think : ‘no she’s not going to sleep with a man, we want her to go back with Colette’”, says Fanny Herrero, amused. “I like tickling that kind of emotion.” A plot twist that, for once, we hadn’t seen coming.

#frenchbian #lesbian representation #lesbophobia

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Insects Quotes

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• “Are you okay?” he says, still looking at me, and I feel my smile slip, fade, and the silence that falls over us then is so total I can’t hear anything, not the rush-hiss of my heart pounding in my chest, not the sounds all around us; insects, wind, and the distant clatter of others’ lives in houses built close but not too close because when we look out our windows we all like to pretend that everything we see is ours. But Ryan is not mine. – Elizabeth Scott • a country encapsulates our childhood and those lanes, byres, fields, flowers, insects, suns, moons and stars are forever reoccurring. – Edna O’Brien • A fly, Sir, may sting a stately horse and make him wince; but, one is but an insect, and the other is a horse still. – Samuel Johnson • A human being should be able to change a diaper, plan an invasion, butcher a hog, conn a ship, design a building, write a sonnet, balance accounts, build a wall, set a bone, comfort the dying, take orders, give orders, cooperate, act alone, solve equations, analyze a new problem, pitch manure, program a computer, cook a tasty meal, fight efficiently, die gallantly. Specialization is for insects. – Robert A. Heinlein • A net set up to catch fish may snare a duck; a mantis hunting an insect may itself be set upon by a sparrow. Machinations are hidden within machinations; changes arise beyond changes. So how can wit and cleverness be relied upon? – Zicheng Hong • A refuge is supposed to prevent what? The genes from flowing out of sight? This refuge idea won’t stop insects from moving across boundaries. That’s absurd. – Jeremy Rifkin • A single swallow, it is said, devours ten millions of insects every year. The supplying of these insects I take to be a signal instance of the Creator’s bounty in providing for the lives of His creatures. – Ambrose Bierce • A standard saying among fly fishermen is that trout spend anywhere from 80 to 90 percent of their time feeding below the water’s surface on the immature forms of aquatic insects. Some anglers are even more precise, but whatever the exact percentage , it’s safe to say that to fully appreciate any tailwater fishery you will have to learn the fine art of nymphing. – Ed Engle • A stray fact: insects are not drawn to candle flames, they are drawn to the light on the far side of the flame, they go into the flame and sizzle to nothingness because they’re so eager to get to the light on the other side. – Michael Cunningham • A tree is a thought, an obstruction stopping the flow of wind and light, trapping water, housing insects, birds, and animals, and breathing in and out. How treelike the human, how human the tree. – Gretel Ehrlich • A worm tells summer better than the clock, The slug’s a living calendar of days; What shall it tell me if a timeless insect Says the world wears away? – Dylan Thomas • Ah, Meese has brought us her finest goblets! A moment, whilst Kruppe sweeps out cobwebs, insect husks and other assorted proofs of said goblets’ treasured value. – Steven Erikson • All of nature talks to me – if I could just figure out what it’s saying – trees are swinging in the breeze. They’re talking to me. Insects are rubbing their legs together. They’re all talking. They’re talking to me. – Laurie Anderson • Although you should respect venomous snakes and approach them with caution, most snakes you encounter in an urban environment are harmless and beneficial because they eat insects, mice and other rodents. – Robert Pierce • An innocent bird is not innocent from the insect’s point of view! Only man can attain the rank of innocence through becoming a peaceful vegetarian! – Mehmet Murat Ildan • An insect is more complex than a star..and is a far greater challenge to understand. – Martin Rees • Around the steel no tortur’d worm shall twine, No blood of living insect stain my line; Let me, less cruel, cast the feather’d hook, With pliant rod athwart the pebbled brook, Silent along the mazy margin stray, And with the fur-wrought fly delude the prey. – John Gay • As Gregor Samsa awoke one morning from uneasy dreams he found himself transformed in his bed into a gigantic insect. – Franz Kafka • At seventy-three I learned a little about the real structure of animals, plants, birds, fishes and insects. Consequently when I am eighty I’ll have made more progress. At ninety I’ll have penetrated the mystery of things. At a hundred I shall have reached something marvellous, but when I am a hundred and ten everything I do, the smallest dot, will be alive. – Hokusai

jQuery(document).ready(function($) var data = action: 'polyxgo_products_search', type: 'Product', keywords: 'Insect', orderby: 'rand', order: 'DESC', template: '1', limit: '68', columns: '4', viewall:'Shop All', ; jQuery.post(spyr_params.ajaxurl,data, function(response) var obj = jQuery.parseJSON(response); jQuery('#thelovesof_insect').html(obj); jQuery('#thelovesof_insect img.swiper-lazy:not(.swiper-lazy-loaded)' ).each(function () var img = jQuery(this); img.attr("src",img.data('src')); img.addClass( 'swiper-lazy-loaded' ); img.removeAttr('data-src'); ); ); ); • Be able to recognize the dangerous snakes, spiders, insects, and plants that live in your area of the country.- Marilyn vos Savant • Beasts, birds, and insects, even to the minutest and meanest of their kind, act with the unerring providence of instinct; man, the while, who possesses a higher faculty, abuses it, and therefore goes blundering on. – Robert Southey • Because there is something helpless and weak and innocent – something like an infant – deep inside us all that really suffers in ways we would never permit an insect to suffer. – Jack Abbott • Ben: “Gorog’s no assassin! She’s my best friend.” Mara: “She’s an insect, Ben.” Ben: “So? Your best friend’s a lizard.” Mara: “Don’t be ridiculous. Aunt Leia is my best friend.” Ben: “Doesn’t count. She’s family. Saba is a lizard.” Mara: “Okay, maybe my best friend’s a lizard. – Troy Denning • Better to be an animal than a man, an insect than an animal, a plant than an insect, and so on. Salvation? Whatever diminishes the kingdom of consciousness and compromises its supremacy. – Emile M. Cioran • Bird taxonomy is a difficult field because of the severe anatomical constraints imposed by flight. There are only so many ways to design a bird capable, say, of catching insects in mid-air, with the result that birds of similar habitats tend to have very similar anatomies, whatever their ancestry. For example, American vultures look and behave much like Old World vultures, but biologists have come to realize that the former are related to storks, the latter to hawks, and that their resemblances result from their common lifestyle. – Jared Diamond • By ‘nationalism’ I mean first of all the habit of assuming that human beings can be classified like insects and that whole blocks of millions and tens of millions of people can be confidently labeled ‘good’ or ‘bad’…By ‘patriotism’ I mean devotion to a particular place and a particular way of life, which one believes to be best in the world but has no wish to force on other people. Patriotism is of its nature defensive, both militarily and culturally. Nationalism, on the other hand, is inseparable from the desire for power. – George Orwell • By the River Piedra I sat down and wept. There is a legend that everything that falls into the waters of this river — leaves, insects, the feathers of birds — is transformed into the rocks that make the riverbed. If only I could tear out my heart and hurl it into the current, then my pain and longing would be over, and I could finally forget. – Paulo Coelho • Cats are like insects. They should be left outside to clean up the garbage. – Michael Mewshaw • Compassion is an emotion of which we ought never to be ashamed. Graceful, particularly in youth, is the tear of sympathy, and the heart that melts at the tale of woe. We should not permit ease and indulgence to contract our affections, and wrap us up in a selfish enjoyment; but we should accustom ourselves to think of the distresses of human, life, of the solitary cottage; the dying parent, and the weeping orphan. Nor ought we ever to sport with pain and distress in any of our amusements, or treat even the meanest insect with wanton cruelty. – Hugh Blair • Each moss, Each shell, each drawling insect, holds a rank Important in the plan of Him who fram’d This scale of beings; holds a rack which, lost Would break the chain, and leave behind a gap Which Nature’s self would rue. – Benjamin Stillingfleet • Each particle of matter is an immensity, each leaf a world, each insect an inexplicable compendium. – Johann Kaspar Lavater • English is full of booby traps for the unwary foreigner. Any language where the unassuming word fly signifies an annoying insect, a means of travel, and a critical part of a gentleman’s apparel is clearly asking to be mangled. – Bill Bryson • Even within the most beautiful landscape, in the trees, under the leaves the insects are eating each other; violence is a part of life. – Francis Bacon • Every blade of grass, every insect, ant, and golden bee, all so amazingly know their path, though they have not intelligence, they bear witness to the mystery of God and continually accomplish it themselves. – Fyodor Dostoevsky • Every living being on earth loves life above all else. The smallest insect, whose life lasts only an instant, tries to escape from any danger in order to live a moment longer. And the desire to live is most developed in man. – Hazrat Inayat Khan • Every man has the basis of good. Not only human beings, you can find it among animals and insects, for instance, when we treat a dog or horse lovingly. – Dalai Lama • Everything is a hero: A lighthouse which gives light to us; weeds that provide shelter to little insects; a water drop which quenches a thirsty ant! Everything that helps us to live is a hero! • Everything is determined, the beginning as well as the end, by forces over which we have no control. It is determined for the insect, as well as for the star. Human beings, vegetables, or cosmic dust, we all dance to a mysterious tune, intoned in the distance by an invisible piper. – Albert Einstein • Everything is important. To the smallest insect, even the mouldering tree, the deepest stone in the drift. – Marlene van Niekerk • For us, a pretty bird is a pretty bird; for an insect, pretty bird is an ugly enemy! – Mehmet Murat Ildan • From inanimate object, to microorganism, to plant, to insect, to animal, to human, there is an evolving level of intelligence. – Bryan Kest • From my earliest memories I was fascinated by animals. I would explore my backyard for insects and gaze at anthills until my elbows became sore. When I was 8, my mother bought me a book of North American birds and I’ve been keen on birdwatching since. – Jonathan Balcombe • Garden: One of a vast number of free outdoor restaurants operated by charity-minded amateurs in an effort to provide healthful, balanced meals for insects, birds and animals. – Henry Beard • Happy insect! what can be In happiness compared to thee? Fed with nourishment divine, The dewy morning’s gentle wine! Nature waits upon thee still, And thy verdant cup does fill; ‘Tis fill’d wherever thou dost tread, Nature’s self’s thy Ganymede. – Abraham Cowley • Herein lies our problem. If we level that much land to grow rice and whatever, then no other animal could live there except for some insect pest species. Which is very unfortunate. – Steve Irwin • Historical Re-creation, he thought glumly, as they picked their way across, under, over or through the boulders and insect-buzzing heaps of splintered timber, with streamlets running everywhere. Only we do it with people dressing up and running around with blunt weapons, and people selling hot dogs, and the girls all miserable because they can only dress up as wenches, wenching being the only job available to women in the olden days. – Terry Pratchett • How describe the delicate thing that happens when a brilliant insect alights on a flower? Words, with their weight, fall upon the picture like birds of prey. – Jules Renard • How poor, how rich, how abject, how august, how complicate, how wonderful is man! Distinguished link in being’s endless chain! Midway from nothing to the Deity! Dim miniature of greatness absolute! An heir of glory! A frail child of dust! Helpless immortal! Insect infinite! A worm! A God! – Edward Young • How would you like to have a thousand brilliantly colored cliff swallows keeping house in the eaves of your barn, and gobbling up insects over your farm at the rate of 100,000 per day? There are many Wisconsin farmsteads where such a swallow-show is a distinct possibility. – Aldo Leopold • Human beings ought not to draw in their antennae at every ungentle touch, like supersensitive insects. – E. T. A. Hoffmann • I always liked the idea that America is a big facade. We are all insects crawling across on the shiny hood of a Cadillac. We’re all looking at the wrapping. But we won’t tear the wrapping to see what lies beneath. – Tom Waits • I craved your warmth. I hugged myself, rubbing my fingers up and down. I guess people are like insects sometimes, drawn to heat, A kind of infra-red longing. – Lucy Christopher • I do not see why men sheould be so proud insects have the more ancient lineage according to the scientists insects were insects when man was only a burbling whatisit. – Don Marquis • I fear no man, no woman; flower does not fear bird, insect nor adder. – Hilda Doolittle • I got a little studio in Chicago and practiced. I realized I had to earn some money. So I went to work for an advertising agency where my job was mostly drawing insects for a company that sold an insecticide spray. – Claes Oldenburg • I had that trapped feeling, like some sort of a poor insect that you’ve put inside a downturned glass, and it tries to climb up the sides, and it can’t, and it can’t, and it can’t. – Cornell Woolrich • I hate banana bread. It’s too suspicious-looking. I always thought the cooked banana looked like insect legs. – Elizabeth Berg • I hated the words. Each one was like a big live insect in my mouth. – Glen Duncan • I have always found thick woods a little intimidating, for they are so secret and enclosed. You may seem alone but you are not, for there are always eyes watching you. All the wildlife of the woods, the insects, birds, and animals, are well aware of your presence no matter how softly you may tread, and they follow your every move although you cannot see them. – Thalassa Cruso • I listen to the summer symphony outside my window. Truthfully, it’s not a symphony at all. There’s no tune, no melody, only the same notes over and over. Chirps and tweets and trills and burples. It’s as if the insect orchestra is forever tuning its instruments, forever waiting for the maestro to tap his baton and bring them to order. I, for one, hope the maestro never comes. I love the music mess of it. – Jerry Spinelli • I love insects. They are amazing. – Andrea Arnold • I never kill insects. If I see ants or spiders in the room, I pick them up and take them outside. Karma is everything. – Holly Valance • I personally feel that parachute files give a more realistic impression of an insect to the fish that views the fly, since the hackles are in the same position as the insect’s legs, and when tied with brightly colored hackles, these flies are easier to see on the float. A final advantage is that in rough water, a parachute-hackled dry fly will float longer and better than a conventional one – Lefty Kreh • I tell you solemnly, that I have many times tried to become an insect. But I was not equal even to that. I swear, gentlemen, that to be too conscious is an illness — a real thorough-going illness. – Fyodor Dostoevsky • I think it’s so archaic that cosmetic companies are still using animal by-products and insects in their products! It’s 2016, why is anyone still doing that? – Jeffree Star • I think that the leaf of a tree, the meanest insect on which we trample, are in themselves arguments more conclusive than any which can be adduced that some vast intellect animates Infinity. – Percy Bysshe Shelley • I think we are just insects, we live a bit and then die and that’s the lot. There’s no mercy in things. There’s not even a Great Beyond. There’s nothing. – John Fowles • I thought the earth remembered me, she took me back so tenderly, arranging her dark skirts, her pockets full of lichens and seeds. I slept as never before, a stone on the river bed, nothing between me and the white fire of the stars but my thoughts, and they floated light as moths among the branches of the perfect trees. All night I heard the small kingdoms breathing around me, the insects, and the birds who do their work in the darkness. All night I rose and fell, as if in water, grappling with a luminous doom. By morning I had vanished at least a dozen times into something better. – Mary Oliver • I wanted to know the name of every stone and flower and insect and bird and beast. I wanted to know where it got its color, where it got its life – but there was no one to tell me. – George Washington Carver • I was really interested in collecting insects. – Satoshi Tajiri • If all insects disappeared, all life on earth would perish. If all humans disappeared, all life on earth would flourish. – Jonas Salk • If all mankind were to disappear, the world would regenerate back to the rich state of equilibrium that existed ten thousand years ago. If insects were to vanish, the environment would collapse into chaos. – E. O. Wilson • If all the insects were to disappear from the earth, within 50 years all life on earth would end. If all human beings disappeared from the earth, within 50 years all forms of life would flourish. – Jonas Salk • If we go on the way we have, the fault is our greed and if we are not willing to change, we will disappear from the face of the globe, to be replaced by the insect. – Jacques Yves Cousteau • If we were to wipe out insects alone on this planet, the rest of life and humanity with it would mostly disappear from the land. Within a few months. – E. O. Wilson • If you had an alien race that looked like insects, then they would build robots to look like themselves, not to look like people. – Kevin J. Anderson • If you see a thing that looks like a cross between a flying lobster and the figure of Abraxas on a Gnostic gem, do not pay it the least attention, never mind where it is; just keep quiet and hope it will go away – for that’s your best chance; you have none in a stand-up fight with a good thorough-going African insect. – Mary Kingsley • If you want to study one of these strange organisms, you had better have a good justification. It’s not good to say I want to study gene organisation in some obscure insect that no one’s ever heard about. – Thomas Cech • I’m always very interested in breeding. Raising cacti is breeding. My lotus plant collection is breeding. The insects are breeding. – Takashi Murakami • I’m writing a film called ‘Bug.’ It’s an original script, and it’s not about killer insects. It’s a thriller set in a high school. The bug of the title refers to a surveillance device. – Wes Craven • In handling a stinging insect, move very slowly. – Robert A. Heinlein • In my grandparents’ time, it was believed that spirits existed everywhere – in trees, rivers, insects, wells, anything. My generation does not believe this, but I like the idea that we should all treasure everything because spirits might exist there, and we should treasure everything because there is a kind of life to everything. – Hayao Miyazaki • In my life outdoors, I’ve observed that animals of almost any variety will stand in a windy place rather than in a protected, windless area infested with biting insects. They would rather be annoyed by the wind than bitten. – Tim Cahill • In my youth, I spent my time investigating insects. – Maria Sibylla Merian • In summer the empire of insects spreads. – Adam Zagajewski • In the future, I mean to be a fine streamside entomologist. I’m going to start on that when I am much too old to do any of the two thousand things I can think of that are more fun than screening insects in cold running water – Thomas McGuane • In the vast, and the minute, we see The unambiguous footsteps of the God, Who gives its lustre to an insect’s wing And wheels His throne upon the rolling worlds. – William Cowper • In time they sank and decayed, and nothing is left of them except an occasional impression in stones, in stones now found in deserts and on high mountain peaks. Birdless forests block the sun in uninhabited lands. Insects swirl in the air. And then, in a majestic, bloodthirsty, and mighty heave, the spinal columns of the vertebrates rise as monstrous lizards and fabulous creatures; dragons flinging their fearful bellows up to a steaming sky… Slowly they become birds, birds as light as undreamt dreams. The searing roars become birdsong, whimpering flutes on warm nights. – Erik Fosnes Hansen • Insect life was so loud that when you parked the car and got out it sounded as if you had suddenly tuned into a radio frequency from another planet. – David Samuels • Insect politics, indifferent universe. Bang your head against the wall, but apathy is worse. – Don Henley • Insect resistance to a pesticide was first reported in 1947 for the Housefly (Musca domestica) with respect to DDT. Since then resistance to one or more pesticides has been reported in at least 225 species of insects and other arthropods. The genetic variants required for resistance to the most diverse kinds of pesticides were apparently present in every one of the populations exposed to these man-made compounds. – Francisco J. Ayala • Insects are my secret fear. That’s what terrifies me more than anything – insects. – Michael O’Donoghue • Insects are not only cold-blooded, and green- and yellow-blooded, but are also cased in a clacking horn. They have rigid eyes and brains strung down their backs. But they make up the bulk of our comrades-at-life, so I look to them for a glimmer of companionship. – Annie Dillard • Insects are what neurosis would sound like, if neurosis could make a noise with its nose. – Martin Amis • Insects have their own point of view about civilization a man thinks he amounts to a great deal but to a flea or a mosquito a human being is merely something good to eat. – Don Marquis • Insects leave (Madagascar periwinkle) Catharanthus roseus out of their diets. So, for that matter, do deer. The reason is that the plants are loaded with alkaloids so potent that they are the source of vincristine and vinblastine. These are drugs important in routines of chemotherapy for treating Hodgkin’s disease and certain forms of leukemia. – Allen Lacy • Iris all hues, roses, and jessamine Reared high their flourished heads between, and wrought Mosaic; underfoot the violet, Crocus, and hyacinth with rich inlay Broidered the ground, more coloured than with stone Of costliest emblem: other creature here Beast, bird, insect, or worm durst enter none; Such was their awe of man. – John Milton • Is it reasonable to suppose that we can apply a broad-spectrum insecticide to kill the burrowing larval stages of a crop-destroying insect … without also killing the ‘good’ insects whose function may be the essential one of breaking down organic matter and maintaining healthy soil? – Rachel Carson • Is not disease the rule of existence? There is not a lily pad floating on the river but has been riddled by insects. Almost every shrub and tree has its gall, oftentimes esteemed its chief ornament and hardly to be distinguished from the fruit. If misery loves company, misery has company enough. Now, at midsummer, find me a perfect leaf or fruit. – Henry David Thoreau • It began as this desire to do this science fiction movie about perhaps one of the last insects left that nobody’s done anything on, which is the cockroach – and truly one of the most frightening insects. – Michael O’Donoghue • It skims in through the eye, and by means of the utterly delicate retina hurls shadows like insect legs inward for translation. Then an immense space opens up in silence and an endlessly fecund sub-universe the writer descends, and asks the reader to descend after him, not merely to gain instructions but also to experience delight, the delight of mind freed from matter and exultant in the strength it has stolen from matter. – John Updike • It was the hour when gauze-winged insects are born that only live for a day. – Lord Dunsany • It’s time to stop pretending I’m ok with things I’m not ok with like all insects and Foster the People. – Greg Behrendt • It’s very easy to make insects move. Because they do move mechanically without the rippling of flesh as you mentioned. They move more like real tinker toys and you can make models of them quite easily. – Michael O’Donoghue • I’ve always gone with Kafka’s model of establishing the world from the first line, as in Kafka’s famous line from Metamorphosis, “Gregor Samsa woke up from uneasy dreams to find himself transformed into a gigantic insect” (or beetle or cockroach, depending on the translation). I have to have that first line before I can go further. – Laurie Foos • I’ve become a much more serious young insect. – Andrew Denton • I’ve come to realize that the mark is the primal gesture, the internal connection of the caveman to the cosmos; an impossibility similar to an impulse in an insect’s nervous system that it could somehow reduce to dust a steel beam by endlessly crawling over it. – Joel-Peter Witkin • Large flocks of butterflies, all kinds of happy insects, seem to be in a perfect fever of joy and sportive gladness. – John Muir • Life is hard for insects. And don’t think mice are having any fun either. – Woody Allen • Little soldier, little insect You know war it has no heart It will kill you in the sunshine Or happily in the the dark Where kindness is a card game Or a bent up cigarette In the trenches, in the hard rain With a bullet and a bet. – Conor Oberst • Lobsters displays all three of the classic biological characteristics of an insect, namely: 1. It has way more legs than necessary. 2. There is no way you would ever pet it. 3. It does not respond to simple commands such as “Here, boy!” – Dave Barry • Love has its own instinct, finding the way to the heart, as the feeblest insect finds the way to its flower, with a will which nothing can dismay nor turn aside. – Honore de Balzac • Make them free, and they will quickly become wise and virtous, as men become more so; for the improvement must be mutual, or the injustice which one half of the human race are obliged to submit to, retorting on their oppressors, the virtue of men will be worm-eaten by the insect whom he keeps under his feet – Mary Wollstonecraft • Many of the earth’s habitats, animals, plants, insects and even micro-organisms that we know to be rare may not be known at all by future generations. We have the capability and the responsibility to act; we must do so before it is too late. – Dalai Lama • Men should stop fighting among themselves and start fighting insects. – Luther Burbank • My 10th Sonata is a sonata of insects. Insects are born from the sun… they are the sun’s kisses. – Alexander Scriabin • My painting is not violent, it’s life that is violent. Even within the most beautiful landscape, in the trees, under the leaves, the insects are eating each other; violence is a part of life. We are born with a scream; we come into life with a scream and maybe love is a mosquito net between the fear of living and the fear of death. – Francis Bacon • Nations! What are nations? Tartars! and Huns! and Chinamen! Like insects they swarm. The historian strives in vain to make them memorable. It is for want of a man that there are so many men. It is individuals that populate the world. – Henry David Thoreau • Natural selection certainly operates. It explains how bacteria will gain antibiotic resistance; it will explain how insects get insecticide resistance, but it doesn’t explain how you get bacteria or insects in the first place. – William A. Dembski • Nature will bear the closest inspection. She invites us to lay our eye level with her smallest leaf, and take an insect view of its plain. – Henry David Thoreau • No insect hangs its nest on threads as frail as those which will sustain the weight of human vanity. – Edith Wharton • No one knows, incidentally, why Australia’s spiders are so extravagantly toxic; capturing small insects and injecting them with enough poison to drop a horse would appear to be the most literal case of overkill. Still, it does mean that everyone gives them lots of space. – Bill Bryson • No poetic phantasy but a biological reality, a fact: I am an entity like bird, insect, plant or sea-plant cell; I live; I am alive. – Hilda Doolittle • None of God’s Creatures absolutely consider’d are in their own Nature Contemptible; the meanest Fly, the poorest Insect has its Use and Vertue. – Mary Astell • Now summer is in flower and natures hum Is never silent round her sultry bloom Insects as small as dust are never done Wi’ glittering dance and reeling in the sun And green wood fly and blossom haunting bee Are never weary of their melody Round field hedge now flowers in full glory twine Large bindweed bells wild hop and streakd woodbine That lift athirst their slender throated flowers Agape for dew falls and for honey showers These round each bush in sweet disorder run And spread their wild hues to the sultry sun. – John Clare • Of all the systems of the body – neurological, cognitive, special, sensory – the cardiological system is the most sensitive and easily disturbed. The role of society must be to shelter these systems from infection and decay, or else the future of the human race is at stake. Like a summer fruit that is protected from insect invasion, bruising, and rot by the whole mechanism of modern farming; so must we protect the heart. – Lauren Oliver • Of what use, however, is a general certainty that an insect will not walk with his head hindmost, when what you need to know is the play of inward stimulus that sends him hither and thither in a network of possible paths? – George Eliot • One cannot overestimate the power of a good rancorous hatred on the part of the stupid. The stupid have so much more industry and energy to expend on hating. They build it up like coral insects. – Sylvia Townsend Warner • One night a friend lent me a book of short stories by Franz Kafka. I went back to the pension where I was staying and began to read The Metamorphosis. The first line almost knocked me off the bed. I was so surprised. The first line reads, “As Gregor Samsa awoke that morning from uneasy dreams, he found himself transformed in his bed into a gigantic insect. . . .” When I read the line I thought to myself that I didn’t know anyone was allowed to write things like that. If I had known, I would have started writing a long time ago. So I immediately started writing short stories. – Gabriel Garcia Marquez • One of the really remarkably beneficial aspects of genetic engineering is that much of the previous methodology for controlling pests and so forth is through chemicals that affect a very broad spectrum of insects, for example, or fungicides that control fungi. – Nina Fedoroff • Our treasure lies in the beehive of our knowledge. We are perpetually on the way thither, being by nature winged insects and honey gatherers of the mind. – Friedrich Nietzsche • People have this idea that nature dictates a sort of 1950s sitcom version of what males and females are like. That is just not the case in the insect world. – Marlene Zuk • Perfect hexagonal tubes in a packed array. Bees are hard-wired to lay them down, but how does an insect know enough geometry to lay down a precise hexagon? It doesn’t. It’s programmed to chew up wax and spit it out while turning on its axis, and that generates a circle. Put a bunch of bees on the same surface, chewing side-by-side, and the circles abut against each other – deform each other into hexagons, which just happen to be more efficient for close packing anyway. – Peter Watts • Plant consciousness, insect consciousness, fish consciousness, all are related by one permanent element, which we may call the religious element inherent in all life, even in a flea: the sense of wonder. That is our sixth sense, and it is the natural religious sense. – D. H. Lawrence • Politics is made up of two words: “Poli,” which is Greek for “many,” and “tics,” which are bloodsucking insects. – Gore Vidal • Primates need good nutrition, to begin with. Not only fruits and plants, but insects as well. – Richard Leakey • Say, will the falcon, stooping from above, Smit with her varying plumage, spare the dove? Admires the jay the insect’s gilded wings? Or hears the hawk when Philomela sings? – Alexander Pope • She was afraid of all that and so much more, but what terrified her most was inside of her, an insect of unnatural intelligence who’d been living in her brain her entire life, playing with it, clicking across it, wrenching loose its cables on a whim. – Dennis Lehane • Shrimp are the insects of the ocean. They’re bottom feeders. So they’re delicious, but they’re the bugs of the sea. – Baron Vaughn • Since I turned the fields back to their natural state, I can’t say I’ve had any really difficult problems with insects or disease. – Masanobu Fukuoka • So important are insects and other land-dwelling arthropods that if all were to disappear, humanity probably could not last more than a few months. – E. O. Wilson • So there you have it: Nature is a rotten mess. But that’s only the beginning. If you take your eyes off it for one second, it will kill you. Thorns, insects, fungus, worms, birds, reptiles, wild animals, raging rivers, bottomless ravines, dry deserts, snow, quicksand, tumbleweeds, sap, and mud. Rot, poison and death. That’s Nature.It’s a wonder you even step outside of your cabin, I said.My bravery exceeds my good sense, he said. – Lee Goldberg • So, when I say ‘match the hatch’, if the fish are taking the nymph, and you’re actually producing a replica of a flying insect, you’ll catch fresh air. – Rex Hunt • Sometimes human beings are very much like bees. Bees are fiercely protective of their hive, provided you are outside it. Once you’re in, the workers sort of assume that it must have been cleared by management and take no notice; various freeloading insects have evolved a mellifluous existence because of this very fact. Humans act the same way. – Neil Gaiman • Specialization is for insects. – Robert A. Heinlein • Specialization is for insects… The race of man? He’s a whole other creature. – Robert A. Heinlein • Spray a book with insect spray, drop it in a bag, add some mothballs and seal it. Put it in another bag and seal it. Another. The packages piled up on the floor, each a book sealed in four plastic envelopes. – Larry Niven • Stothard learned the art of combining colors by closely studying butterflies wings; he would often say that no one knew what he owed to these tiny insects. A burnt stick and a barn door served Wilkie in lieu of pencil and canvas. – Samuel Smiles • Suppose that insect wings developed primarily as thermoregulators and then were used for skimming and finally flying, evolving along the way. What would they be “for”? Or what is the skeleton “for”? For keeping one upright, protecting organs, storing calcium, making blood cells…? – Noam Chomsky • The air was calm and insects had not yet risen off the water, that crisp time of morning before the sun strikes, when it is still cool enough to work out solutions to sticky problems. – April Smith • The best gardener is a baby killer. Baby insects are much easier to kill than adults, and haven’t yet developed the big mouths and voracious appetite of the adolescent. – Janet Macunovich • The careful insect ‘midst his works I view, Now from the flowers exhaust the fragrant dew, With golden treasures load his little thighs, And steer his distant journey through the skies. – John Gay • The clearest window that ever was fashioned if it is barred by spiders’ webs, and hung over with carcasses of insects, so that the sunlight has forgotten to find its way through, of what use can it be? Now, the Church is God’s window; and if it is so obscured by errors that its light is darkness, how great is that darkness! – Henry Ward Beecher • The colours of insects and many smaller animals contribute to conceal them from the larger ones which prey upon them. Caterpillars which feed on leaves are generally green; and earth-worms the colour of the earth which they inhabit; butter-flies, which frequent flowers, are coloured like them; small birds which frequent hedges have greenish backs like the leaves, and light-coloured bellies like the sky, and are hence less visible to the hawk who passes under them or over them. – Erasmus Darwin • The ‘control of nature’ is a phrase conceived in arrogance, . . . when it was supposed that nature exists for the convenience of man . . . . It is our alarming misfortune that so primitive a science has armed itself with the most modern and terrible weapons, and that in turning them against the insects it has also turned them against the earth. – Rachel Carson • The darkness grew apace; a cold wind began to blow in freshening gusts from the east, and the showering white flakes in the air increased in number. From the edge of the sea came a ripple and whisper. Beyond these lifeless sounds the world was silent. Silent? It would be hard to convey the stillness of it. All the sounds of man, the bleating of sheep, the cries of birds, the hum of insects, the stir that makes the background of our lives – all that was over. – H. G. Wells • The deeper men go into life, the deeper is their conviction that this life is not all. It is an unfinished symphony. A day may round out an insect’s life, and a bird or a beast needs no tomorrow. Not so with him who knows that he is related to God and has felt the power of an endless life. – Henry Ward Beecher • The eye sees the physical body, other individuals, even insects, worms and things. It sees everything that is within its range. The body too is a thing that the eye sees, along with the rest. So, how can we conclude that the body is the I? – Sathya Sai Baba • The German passion for bureaucracy — for written and signal forms . . . to move about, to work, to exist — is like a steel pin pinning each French individual to a sheet of paper, the way an entomologist pins each specimen insect . . . – Janet Flanner • The heart should have fed upon the truth, as insects on a leaf, till it be tinged with the color, and show its food in every … minutest fiber. – Samuel Taylor Coleridge • The insect-youth are on the wing, Eager to taste the honied spring, And float amid the liquid noon! – Thomas Gray • The instinct of brutes and insects can be the effect of nothing else than the wisdom and skill of a powerful ever-living agent. – Isaac Newton • The jungle looked back at them with a vastness, a breathing moss-and-leaf silence, with a billion diamond and emerald insect eyes. – Ray Bradbury • The life of an uneducated man is as useless as the tail of a dog which neither covers its rear end, nor protects it from the bites of insects. – Chanakya • The mortal enemies of man are not his fellows of another continent or race; they are the aspects of the physical world which limit or challenge his control, the disease germs that attack him and his domesticated plants and animals, and the insects that carry many of these germs as well as working notable direct injury. This is not the age of man, however great his superiority in size and intelligence; it is literally the age of insects. – Warder Clyde Allee • The only clear thing is that we humans are the only species with the power to destroy the earth as we know it. The birds have no such power, nor do the insects, nor does any mammal. Yet if we have the capacity to destroy the earth, so, too, do we have the capacity to protect it. – Dalai Lama • The only sensible approach to disease and insect control, I think, is to grow sturdy crops in a healthy environment. – Masanobu Fukuoka • The Planet drifts to random insect doom. – William S. Burroughs • The poor dog, in life the firmest friend, The first to welcome, foremost to defend, Whose honest heart is still the master’s own, Who labours, fights, lives, breathes for him alone, Unhonour’d falls, unnoticed all his worth, Denied in heaven the soul he held on earth, While man, vain insect hopes to be forgiven, And claims himself a sole exclusive heaven. – Lord Byron • The positive evidence for Darwinism is confined to small-scale evolutionary changes like insects developing insecticide resistance….Evidence like that for insecticide resistance confirms the Darwinian selection mechanism for small-scale changes, but hardly warrants the grand extrapolation that Darwinists want. It is a huge leap going from insects developing insecticide resistance via the Darwinian mechanism of natural selection and random variation to the very emergence of insects in the first place by that same mechanism. – William A. Dembski • The rain water enlivens all living beings of the earth both movable (insects, animals, humans, etc.) and immovable (plants, trees, etc.), and then returns to the ocean it value multiplied a million fold. – Chanakya • The Reproductions of the living Ens From sires to sons, unknown to sex, commence… Unknown to sex the pregnant oyster swells, And coral-insects build their radiate shells… Birth after birth the line unchanging runs, And fathers live transmitted in their sons; Each passing year beholds the unvarying kinds, The same their manners, and the same their minds. – Erasmus Darwin • The rhythms of nature – the sounds of wind and water, the sounds of birds and insects – must inevitably find their analogues in music. – George Crumb • The souls you have got cast upon the screen of publicity appear like the horrid and writhing creatures enlarged from the insect world, and revealed to us by the cinematograph. – James Larkin • The spider is an animal who eats mosquitoes. That’s why I love the spider – it is the only way we have to deal with these insects. – Louise Bourgeois • The transformation scene, where man is becoming insect and insect has become at least man and beyond that – a flying, godlike, shimmering, diaphanous, beautiful creature. – Michael O’Donoghue • There are men from whom nature or some peculiar destiny has removed the cover beneath which we hide our own madness. They are likethin-skinned insects whose visible play of muscles seem to make them deformed, though in fact, everything soon turns to its normal shape again. – E. T. A. Hoffmann • There are, as is known, insects that die in the moment of fertilization. So it is with all joy: life’s highest, most splendid moment of enjoyment is accompanied by death. – Soren Kierkegaard • There’s no denying that the way horror has been packaged in the past has done it no favours. Lurid black covers adorned with skulls, corpses crawling with insects and scantily clad maidens being chewed into by vampires — all good clean fun, but it doesn’t do much to give the genre an air of respectability or seriousness to the casual browser. – Tim Lebbon • There’s this shop in New York I go to; it has bones and fossils and insects that are like works of art. I have a few on my wall. – Eva Green • These sprays, dusts, and aerosols are now applied almost universally to farms, gardens, forests, and homes-nonselective chemicals that have the power to kill every insect, the ‘good’ and the ‘bad,’ to still the song of birds and the leaping of fish in the streams, to coat the leaves with a deadly film, and to linger on in soil-all this though the intended target may be only a few weeds or insects. Can anyone believe it is possible to lay down such a barrage of poisons on the surface of the earth without making it unfit for all life? They should not be called ‘insecticides,’ but ‘biocides.’ – Rachel Carson • Things without defense: insects, kittens, small boys. – Paul Fussell • Thousands of men breathe, move, and live; pass off the stage of life and are heard of no more. Why? They did not a particle of good in the world; and none were blest by them, none could point to them as the instrument of their redemption; not a line they wrote, not a word they spoke, could be recalled, and so they perished–their light went out in darkness, and they were not remembered more than the insects of yesterday. Will you thus live and die, O man immortal? Live for something. – Thomas Chalmers • Today I am sure no one needs to be told that the more birds a yard can support, the fewer insects there will be to trouble the gardener the following year. – Thalassa Cruso • Too many creatures both insects and humans estimate their own value by the amount of minor irritation they are able to cause to greater personalities than themselves. – Don Marquis • Tourists moved over the piazza like drugged insects on a painted plate. – Shana Alexander • Travel is said to be broadening because it makes us realize that our way of doing things is not the only one, that people in other cultures live differently and get by just fine. Insects do that, too, only better. – Marlene Zuk • TZETZE (or TSETSE) FLY, n. An African insect (“Glossina morsitans”) whose bite is commonly regarded as nature’s most efficacious remedy for insomnia, though some patients prefer that of the American novelist (“Mendax interminabilis”). – Ambrose Bierce • Unwittingly, every event and every microorganism – insect, fish, bird, animal, etc. – is playing a role that maintains a perfect balance to our ecosystem, which also includes our atmosphere. Have you ever considered that we, you and I, are also apart of that? – Bryan Kest • Vast chain of being! which from God began, Natures ethereal, human, angel, man, Beast, bird, fish, insect, what no eye can see, No glass can reach, from infinite to Thee, From Thee to nothing. – Alexander Pope • Very little makes me feel vulnerable these days. I hit my absolute apex of vulnerability when I returned to my home state of Louisiana, during the Gulf oil spill disaster, and witnessed mass devastation to every demonstration of life surrounding me – from grass, trees, bayous, insects, to animals and people – we all felt demolished. – Ian Somerhalder • war with poison and chemicals was not so rare in the ancient world … An astounding panoply of toxic substances, venomous creatures, poison plants, animals and insects, deleterious environments, virulent pathogens, infectious agents, noxious gases, and combustible chemicals were marshalled to defeat foes – and panoply is an apt term here, because it is the ancient Greek word for ‘all weapons. – Adrienne Mayor • We blame Walt Disney for goldenrod’s undeserved bad name. Despite Sneezy’s pronouncement, plants such as goldenrod with heavy, insect-carried pollen rarely cause allergic reaction. – Janet Macunovich • We can allow satellites, planets, suns, universe, nay whole systems of universes, to be governed by laws, but the smallest insect, we wish to be created at once by special act. – Charles Darwin • We hope that, when the insects take over the world, they will remember with gratitude how we took them along on all our picnics. – Bill Vaughan • We know of no behavior in ants or any other social insects that can be construed as play. – Bert Holldobler • We ought never to sport with pain and distress in any of our amusements, or treat even the meanest insect with wanton cruelty. – Hugh Blair • We urgently need an end to these false assurances, to the sugar coating of unpalatable facts. It is the public that is being asked to assume the risks that the insect controllers calculate. The public must decide whether it wishes to continue on the present road, and it can do so only when in full possession of the facts. – Rachel Carson • We’ve got a good inspection system in Arizona managing products that come from other parts of the county that could carry insects that could become problematic. – Carl E. Olson • What a difference that extra 120 ppm has made for plants, and for animals and humans that depend on them. The more carbon dioxide there is in the atmosphere, the more it is absorbed by plants of every description – – and the faster and better they grow, even under adverse conditions like limited water, extremely hot air temperatures, or infestations of insects, weeds and other pests. As trees, grasses, algae and crops grow more rapidly and become healthier and more robust, animals and humans enjoy better nutrition on a planet that is greener and greener. – Paul Driessen • What is more obscene: the idea that one can apologize for the hubris and deceit that is Obama and his health care, or the actual need some have for an apology from an entity so evil that he would toy with the lives of millions as though they were insects and he God? This is hard to tell. – Ilana Mercer • What would be left of our tragedies if an insect were to present us his? – Emile M. Cioran • When harvests are exuberant, joy and health follow in their train; but let delusive prosperity draw industry from agriculture; let an insiduous disease attack one of its important products; let an insect, or a parasite, fasten on a single esculent, and mark the effect upon commerce and human life. Upon such an event all business is deranged. – Elias Hasket Derby • When I see nature, when I look into the sky, the dawn, the sun, the colors of insects, snow crystals, the night stars, I don’t feel a need for God. Perhaps when I can no longer look and wonder, when I believe in nothing – then, perhaps, I might need something else. But I don’t know what. – Michelangelo Antonioni • When the moon shall have faded out from the sky, and the sun shall shine at noonday a dull cherry red, and the seas shall be frozen over, and the icecap shall have crept downward to the equator from either pole . . . when all the cities shall have long been dead and crumbled into dust, and all life shall be on the last verge of extinction on this globe; then, on a bit of lichen, growing on the bald rocks beside the eternal snows of Panama, shall be seated a tiny insect, preening its antennae in the glow of the worn-out sun, the sole survivor of animal life on this our earth – a melancholy bug. – William Jacob Holland • When we mistake what we can know for all there is to know, a healthy appreciation of one’s ignorance in the face of a mystery like soil fertility gives way to the hubris that we can treat nature as a machine. Once that leap has been made, one input follows another, so that when the synthetic nitrogen fed to plants makes them more attractive to insects and vulnerable to disease, as we have discovered, the farmer turns to chemical pesticides to fix his broken machine. – Michael Pollan • When we seed millions of acres of land with these plants, what happens to foraging birds, to insects, to microbes, to the other animals, when they come in contact and digest plants that are producing materials ranging from plastics to vaccines to pharmaceutical products? – Jeremy Rifkin • When we usually think of fears, in comics or in films, it’s most often fears on a relatively superficial level: fear of murderous insects, of ghosts, of zombies, or even fear of dying. – Boaz Lavie • While an ant was wandering under the shade of the tree of Phaeton, a drop of amber enveloped the tiny insect; thus she, who in life was disregarded, became precious by death. – Martial • Who has the right to decide that the supreme value is a world without insects even though it would be a sterile world ungraced by the curving wing of a bird in flight. The decision is that of the authoritarian temporarily entrusted with power. – Rachel Carson • Winding her arms close around his neck, she closed her eyes. To be embraced, safe in a man’s arms when she had never expected it to happen again, this would be enough.Time sheltered their embrace, enfolding them within a summer scented capsule that felt endless and theirs alone. The fragrance of grass and sunlight and nearby water sweetened each breath. Theirs was the music of birds ans the lazy buzz of insects and the beating of two hearts. Yes, she thought, she didn’t need more. This would be enough. – Maggie Osborne • Words can enhance experience, but they can also take so much away. We see an insect and at once we abstract certain characteristics and classify it – a fly. And in that very cognitive exercise, part of the wonder is gone. Once we have labeled the things around us we do not bother to look at them so carefully. Words are part of our rational selves, and to abandon them for a while is to give freer reign to our intuitive selves. – Jane Goodall • You cannot speak of ocean to a well-frog, the creature of a narrower sphere. You cannot speak of ice to a summer insect, the creature of a season. – Zhuangzi • You must walk sometimes perfectly free, not prying or inquisitive, not bent on seeing things. Throw away a whole day for a single expansion, a single inspiration of air. You must walk so gently as to hear the finest sounds, the faculties being in repose. Nature will bear the closest inspection. She invites us to lay our eye level with her smallest leaf, and take an insect view of its plain. – Henry David Thoreau • You shall find books and sermons everywhere, in the land and in the sea, in the earth and in the skies, and you shall learn from every living beast, and bird, and fish, and insect, and from every useful or useless plant that springs from the ground. – Charles Spurgeon • You were just a boy on a bed in a room, like a kaleidoscope is a tube full of bits of broken glass. But the way I saw you was pieces refracting the light, shifting into an infinite universe of flowers and rainbows and insects and planets, magical dividing cells, pictures no one else knew. – Francesca Lia Block

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equitiesstocks · 5 years

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Insects Quotes

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