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catofoldstones · 8 months

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The bemoaning of s@nsan's loss of popularity by shippers fascinates me because iv'e seen a lot of ancient fans stance on it was that sansa's flaw is liking pretty things/people so her lesson should be to marry the hound for humility yet not ONE of them look inside the text that all the men that attack/abuse/molest sansa all find her pretty or are infatuated with pretty women worst abuse them, the double standard of fans against sansa fascinates me as they ignore one of sansa's character traits is to treat people with courtesy,they also ignore every character has been attracted to pretty people even j0n yet not one person says that hes vain for liking val based on her attractiveness, the only person iv'e seen thats been as criticized is d@ny simply for her infatuation in daario and dismissal of quentyn and while we as readers didnt like that she did that she's also a teenager(and doesnt know quentyn) again there's huge double standard for girls and boys in this fandom yet no one saw it

im getting off track but basically s@nsan's loss of popularity shouldn't be such a surprise when there's a whole new generation of readers that might not have the same readings or bias from previous years especially when a lot of it was just misogynistic undertones

Has san/san lost popularity? It’s still heralded as one of the most iconic ships to come out of the game of thrones and late 2000s/ early 2010s in general, isn’t it? And the san/san posts I see have a good number of notes, always around and upwards of 400, which is a hefty number to me. But yes, it has definitely left major pop-culture discourse centres.

I have heard a lot about this “flaw” you are talking about and I consider myself extremely lucky that i didn’t join the fandom earlier. I absolutely cannot imagine being in the fandom from the 90s to 2018 as a Sansa stan, when hating her was the norm. I was just about to bring up this point you mentioned, that all men, who are full grown adults btw, lust after Sansa based on her looks. They consider her pretty and want them all for herself, and all the while she’s a 12 year old.

“Why should I be guilty? My wife wants no part of me, and most especially not the part that seems to want her.”

Tyrion VII, ASOS

“Give your Florian a little kiss now. A kiss for luck.” He swayed toward her. Sansa dodged the wet groping lips, kissed him lightly on an unshaven cheek, and bid him good night. It took all her strength not to weep.”

Sansa IV, ACOK

And these are just two people, with one out of many such instances each, among a hoard of men who think of her like that. A very simple answer to all of this is misogyny, in and out of the universe. Of course the entire san/san fandom has no hive mind, they were apparently the first ones to come up with the qitn Sansa theory while also coming up with the cottage theory, but shipping a 12 year old with a grown man who almost raped her at knifepoint is an open letter invitation for haters to find a settling point for making sansa suffer without actually getting called out for it. It becomes such a perfect cover for actively hating a 12 year old because even the haters realise how insane that actually is.

I think the “flaw rectification” argument was birthed to fuse the thought that yes, sansa did bad things, here’s how we can still enjoy her character while the undercurrent of unfounded hatred runs through the ship while we conveniently never acknowledge it. Obviously new readers came along who had never interacted with the fandom and realised “hey, what the fuck?” and had a different opinion of “that’s a defenceless 12 year old girl who actually did nothing wrong”. I’m sure there were voices who expressed such opinions before but were silenced. Internet is such a friendly place after all.

The “courtesy” thing is so true. She literally has no option but to respond the way she does. One wrong word and she might get beaten or killed. That girl is terrified and only trying to survive. Considering Sansa’s action as anything but survival mechanism is so superficial. This is so analogous to how women today are polite to men while because they’re scared that the men might hurt them/kill them. It’s the same shit, times ten, with Sansa. This also goes for when San/dor catches her during the battle of black water and demands a “song” from her (which is a thinly veiled euphemism for rape), and Sansa sings him a hymn of Mother’s mercy as a way to protect herself.

As for the Dany thing, I just want to say, what exactly is wrong about a teenage girl having a crush? Why is she termed as “lovesick” and “stupid” and “annoying” anytime she shows any interest in a guy? And it’s always the dudebros screaming this the loudest. Obviously, Daario is not a good choice and Dany herself acknowledges that.

“Daario might whisper words of love when the two of them were as one, but she knew it was the dragon queen he loved. If I gave up my crown, he would not want me.”

Daenerys VII, ADWD

I mean, the other shoe will definitely drop with this guy but this the first time we see Dany have a consensual relationship, which I feel is important to her arc - the relationship and the man she has the relationship with. Moreover, she has bigger fish to fry like her governance/dragons/moving towards westeros etc.

And berating her over Quentyn? Wasn’t she supposed to get married the next day to Hizdar? Didn’t she herself say that she’s not sure if Quentyn is the real deal or not? Moreover, she remembers Quaith’s prophecy about the “sun’s son” and double backs (Dany and prophecies are a whole another thing which we can talk about later) and solidifies her decision to go forward with her wedding with Hizdahr.

“Enough,” Daenerys said. “Prince Quentyn has crossed half the world to offer me his gift, I will not have him treated with discourtesy.” She turned to the Dornishmen. “Would that you had come a year ago. I am pledged to wed the noble Hizdahr zo Loraq.”

“The sun’s son. A shiver went through her. “Shadows and whispers.” What else had Quaithe said? The pale mare and the sun’s son…”

Daenerys VII, ADWD

Although, the Martells will not understand that Dany didn’t order Quentyn’s death and might antagonise her so that’s a chekov’s gun waiting to go off. Clearly, Quentyn was clearly the first leg of a bigger arc that we’ll likely see in TWOW (consider Quaith’s whole prophecy) and a part of a bigger theme Dany has to fulfill. Her decision to make Quentyn wait was not based on whether she found him ugly or not, it was based on being right in the middle of a political crisis with another volatile variable being added that has the potential to uproot a lot of what she has struggled to maintain (which ultimately does happen). Dany does have a knack of picking the worst option and that does not bode well for her governance/politics but that is not the point here. The point here is how dare a 16 year old doesn’t find a guy attractive and another guy too attractive (which is a part of a bigger theme btw) and sometimes, it’s a thin line between misogyny and valid criticism. Let’s stop flattening female characters into digestible one-dimensional beings, especially when it comes to teenagers. The fact that they have more than one motivation to act a certain way, makes them so much more enjoyable and interesting and honestly, human, like you and me.

Let’s also stop pigeonholing (12 year old) female characters into high-school mean girl clique leader trope who is so shallow and superficial that she needs to be assaulted by an “ugly” middle aged man to come to her senses. Also, that is called projection. The character that we are talking about isn’t like that at all. But whatever 🙄

Sorry I got carried away and got angry, things like these piss me off so bad. Never change, fandom, never change.

#anti sansan #fandom misogyny #anon asks t

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dustedmagazine · 1 year

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Listening Post: John Coltrane/Eric Dolphy’s Evenings at the Village Gate

In 1961, John Coltrane was reaching a wider audience via his edited single version of the Sound of Music classic "My Favorite Things.” He was also, although it seems trite to say given the trajectory of his career, in a state of transition. Moving away from his "sheets of sound" period to exploring modality, non-western scales and polyrhythms which allowed him to improvise more deeply within the constraints of more familiar Jazz tropes.

His personal and musical relationship with Eric Dolphy was an important catalyst for the development of his sound. Dolphy was an important presence on Coltrane's other key album from 1961, Africa/Brass and here officially joins the quartet on alto, bass clarinet and flute. Evenings at the Village Gate was recorded towards the end of a month-long residency with a core band of Coltrane, Dolphy, Jones, McCoy Tyner on piano and Reggie Workman on bass. The other musician featured here, on "Africa,” is bassist Art Davis.

The recording captures the band moving towards the more incandescent sound that made Live at the Village Vanguard, recorded just a few weeks later in November 1961, such a viscerally thrilling album. The hit "My Favorite Things" and traditional English folk tune "Greensleeves" are extended into long trance-like vamps. Benny Carter's 1936 classic "When Lights Are Low" showcases Dolphy's bass clarinet and in the originals "Impressions" and particularly "Africa" the quintet hit almost ecstatic grooves. Dolphy's solos push Coltrane further into the spiritual free jazz that so divided later audiences. Dolphy's flute on "My Favorite Things" and especially his clarinet on "When Lights Are Low" are extraordinary, particularly the clarity of his upper register.

The highlight for me is the 22 minute version of "Africa" that closes the set. The two basses, bowed and plucked, Tyner's chordal work and solo, the slow build from the bass solo where the music seems to meander before Jones' explosive solo heralds the return of Dolphy and Coltrane improvising together on the theme, spiralling up the register, contrasting Coltrane's long slurries with Dolphy's staccato bursts which lead to the thunderous conclusion.

As an archivist, sudden discoveries in forgotten basement boxes never surprises and the excitement never gets old. The tapes of Evenings at the Village Gate were recently unearthed in the NY Public Library sound archive after having been lost, found and lost again. Recorded by the Village Gate's sound engineer Rich Alderson these tapes were not meant for commercial use but rather to test the room's sound and a new ribbon microphone. As Alderson says in his notes, this was the only time he made a live recording with a single mic and, yes, there have been grumblings from fans and critics about the sound quality and mix particularly the dominance of Elvin Jones' drums. For me, one the best things about this is that you hear how integral Jones is not just as a fulcrum for the other soloists but as an inventive polyrhythmic presence, playing within and around his bandmates. I know that many of the Dusted crew are Coltrane fans and would love to hear your takes on the music and whether the single mic recording affects your enjoyment in any way.

Andrew Forell

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Justin Cober-Lake: There's so much to get into here, but I'll respond to your most direct question. The single-mic recording doesn't affect my enjoyment at all. I understand (sort of) the complaints, but I think they overstate the problem. More to the point, when I hear an archival release, I really want to get something new out of it. That doesn't mean I want a bad recording, but there's not too much point in digging up yet-another-nearly-the-same show (and I have nearly unlimited patience for Coltrane releases) or outtakes that give the cuts the same basic idea but just don't do it as well. I was really looking forward to hearing Coltrane and Dolphy interact, and nothing here disappoints. Having Jones so dominant just means I get to hear and think more about the role he plays in this combo. It would sound better to have the other instruments a little more to the fore, but it's not a problem (and actually Tyner's the one I wish I could hear a little better).

I think your topic suggests ideas about what these sorts of recordings — when made publicly available — are for. Is it academic material (the way we might look at a writer's journals or correspondence)? Is it to get truly new and good music out there? Is it a commercial ploy? Is it a time capsule to get us in the moment? The best curating does at least three of those with the commercial aspect a hoped-for benefit. This one probably hits all four, but I suspect the recording pushes it a little more toward that first category.

Bill Meyer: I’m playing this for the first time as I type, and I’m only to track three, so my (ahem) impressions could not be fresher.

First, I’ll say that, like Justin, I have a lot of time for Coltrane, and especially the quartet/quintet music from the Impulse years. The band’s on point, it sounds like Dolphy is sparking Coltrane, and Jones is firing up the whole band. Tyner’s low in the mix and Workman’s more felt than heard; the recording probably reflects what it was like to actually hear this band most nights, i.e. Jones and the horn(s) were overwhelming.

How essential is it? If you’re a deep student of Coltrane, there are no inessential records, and the chance to hear him with Dolphy, fairly early on, should not be passed up. But if you’re big fan, not a scholar, then you need to get The Complete 1961 Village Vanguard Recordings box and the 7-CD set, Live Trane: The European Tours, before you drop a penny on this album. And if you’re just curious, start with Impressions. This group is hardly under-documented. The sound quality, while tolerable, is compromised enough to make Evenings At The Village Gate less essential than everything I just mentioned.

I’m only just now starting to play “Africa,” so I’ll check in again after I play that.

“Africa” might be the best reason for a merely curious listener to get this album. It’s very exploratory, the bass conversation is almost casual (not a phrase I use much when discussing Coltrane), and they manage to tap into the piece’s inherent grandeur by the end.

“Africa” is a great example of this band working out what they’re doing while they’re doing it.

Andrew Forell: On Justin’s points about the function of archival releases, I’ve been going back and forth on the academic versus time capsule/good music uncovered question. There is a degree of cynicism and skepticism in these days of multidisc, anniversary box sets in arrays of tastefully colored vinyl which seemed designed for the super(liquid)fan and cater to a mix of nostalgia and fetish. Having said that specialist archival labels have done us a great service unearthing so much "lost" and under-represented music. On one hand I agree with your summation and to Bill’s point, yes this quintet has been pretty thoroughly documented and yes the Vanguard tapes would be the place to start. But purely as a fan I am more interested in live recordings than discs of out- and alternative takes. I’m thinking for example of the 1957 Monk/Coltrane at Carnegie Hall and Dolphy’s 1963 Illinois concert especially his solo rendition of “God Bless the Child," recordings that sat in archives for 48 and 36 years respectively.

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By contrast, the other recent Coltrane excavation, Both Directions at Once is wonderful but I’m not listening to it as an academic exercise, taking notes and mulling over the different takes, interesting as they are. I approach Evenings as another opportunity to hear two great musicians, in a live setting, early on in their short partnership. As Justin says, this aspect doesn’t disappoint. I agree with Bill that the mix is close to what you would you hear in the room, the drums and horns to the fore. All this is a long way to a short answer. A moment in time, a band we’ll never experience in person and when all is said and done, 80 minutes of music I’d otherwise not hear.

Jonathan Shaw: As a relative newb to this music, I can't contribute cogently to discussions of this set's relative value. Most of the Coltrane I've listened to closely is from very late in his life, when he was playing wild and free--big fan of the set from Temple University in 1966 and the Live at the Village Vanguard Again! record from the same year. None of that is music I understand, but I feel it and respond to it strongly. The only Dolphy I've listened to closely is Out There. So I'll be the naif here.

I need to listen to these songs another few times before I can say anything about them as songs, but I really love the right-there-ness of the sound. I like being pushed around by the drums and squeezed between the horns (the first few minutes of "Greensleeves" are delightful in that respect). Maybe I'm lucky to come to the music with so little context. It's a thrill to hear the playing of these folks, about whom there is so much talk of collective genius. Perhaps because my ears are so raw to these sounds, I feel like that talk is being fleshed out for me.

Jim Marks: I think that this release has both academic and aesthetic (if that’s the right word) significance for Dolphy’s presence alone. I am more familiar with the original releases than the various re-releases from the period, but it’s my impression that there just isn’t that much Dolphy and Trane out there; for instance, I think Dolphy appears on just one cut of the Village Vanguard recordings (again, at least the original release). In particular, I’ve heard and loved various versions of “Favorite Things,” but this one seems unique for the six-plus-minute flute solo that opens the track. The solo is both brilliant in itself and creates a thrilling contrast with Coltrane when he comes in. This track alone is worth the price of admission for me.

Marc Medwin: I agree concerning Dolphy's importance to these performances, and while there is indeed plenty of Coltrane and Dolphy floating around (he took part in the Africa/Brass sessions that gave us both Africa and a big band version of "Greensleeves") his playing is really edgy here. Bill is right to point toward the sparks Dolphy's playing showers on the music. Yes, the flute on "My Favorite Things" is really stunning. He's all over the instrument, even more so than in those solos I've heard from the group's time in Europe.

Jon, I'd suggest that there's a strong link between the albums you mention and the Village Gate recordings we're discussing, a kind of continuum into which you're tapping when you describe the excitement generated by the playing. The musicians were as excited at the time as we are on hearing it all now! It was all new territory, the descriptors were in the process of forming, and while Cecil Taylor, Ornette Coleman, Sun Ra and a small group of kindred spirits were already exploring the spaceways, they were marginalized. That may be a component of the case today, but it's tempered by a veneration unimaginable at the time. That's part of the reason Dolphy lived in apartments where the snow came through the walls. Coltrane had plenty to lose by alienating the critics, but ultimately, it did not stop his progress. These recordings mark an early stage of that halting but inexorable voyage. With the possible exception of OM, Coltrane's final work never abandoned the tonal and modal extremes at which he was grabbing in the spring and summer of 1961.

Jennifer Kelly: Like Jon, I'm not well enough versed in this stuff to put it context or even really offer an opinion. I'm enjoying it a lot, and I, also, like the roughness and liveness of the mix with the foregrounded drums. But I think mostly what I am drawn to is the idea that this show happened in 1961, the year I was born, and that these sounds were lost for decades, and now you can hear them again, not just the music but the room tone, the people applauding, the shuffling of feet etc. from people who are almost all probably dead now. It seems incredibly moving, and I am also taken by the part that the library took in this, in conserving this stuff and forgetting it had it and then rediscovering it. In this age of online everything-available-all-the-time, that seems remarkable to me, and proves that libraries are so crucial to civilization now and always, even as they're under threat.

Marc Medwin: A real time machine, isn't it? We are fortunate that we have these documents at all, and yes, the story of the tapes resurfacing is a compelling one! To your observations, audience reaction seems pretty enthusiastic to music that would eventually be dubbed anti-jazz by prominent members of the critical establishment!

Bill Meyer: I can imagine this music being more sympathetically received by audiences experiencing its intensity, whereas critics might have fretted because it represented a paradigm shift away from bebop models, so they had to decide if it was jazz or not.

It is amusing, given the knowledge we have of what Coltrane would be playing in five years, that this music is where a lot of critics drew a line in the sane and said, "this is antijazz."

Jon Shaw: Yes, Bill, that seems bonkers to me. I am particularly moved by the minutes in that 1966 set at Temple when Coltrane abandons his horn altogether and starts beating his chest and humming and grunting. Wonder what the chin-stroking jazz authorities made of that.

Given my points of reference, this set sounds so much more musically conventional. But the emotional force of the music is still immediate, viscerally present. Beautifully so.

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Andrew Forell: In retrospect, all those arguments seem kind of crazy. Yesterday’s heresies become tomorrow’s orthodoxies but what we’re left with is, as Jonathan says, the visceral beauty of Coltrane’s striving for transcendence and his interplay with Dolphy’s extraordinary talent which we hear here working as a catalyst for Coltrane. As Marc and Jen note the audience is there with them..

Come Shepp, Sanders & Rashid Ali, the inquisitors’ fulminations only increased and you think what weren’t you hearing?

Marc Medwin: I was just listening to a Jaimie Branch interview where she's talking about her visual art, about throwing down a lot of material and finding the forms within it. I think that might be another throughline in Coltrane's and certainly Dolphy's work, a gradual discarding of traditional forms and poossibly structures based on what I hate to call intuition, because it diminishes the process.

Then, I was thinking again about our discussion of the critics. I see their role, or their assessment of that role, as a kind of investment without reward, and yeah, it does seem bonkers now! Bill Dixon once talked about how the writers might spend considerable time and expend commensurate energy learning to pick out "I Got Rhythm" on the piano, and they're suddenly confronted with... well, the sounds we're discussing! What would you do, or have done, in that situation? It's really easy for me, like shooting fish in the proverbial barrel, to disparage critical efforts of the time, especially in light of the ideas and philosophies Branch and so many others are at liberty and encouraged to play and express now, but I wonder how I would have reacted, what my biases and predilections would have involved at that pivotal moment.

Ian Mathers: The points about historical reception are really interesting, I think. There's a famous (in Canada!) bunch of Canadian painters called the Group of Seven, hugely influential on Canadian art in the 20th century and still well known today. In all the major museums, reproductions everywhere, etc. They were largely landscape painters, and while I think most of the work is beautiful, it's so culturally prominent that it runs the risk of seeming boring or staid. I literally grew up with it being around! So it was a delightful shock to read a group biography of them (Ross King's Defiant Spirits: The Modernist Revolution of the Group of Seven, if anyone is hankering for some CanCon) and see from contemporary reviews that people were so shocked and appalled by the vividness of their colour palettes and other aesthetic choices that they were practically called anti-art at the time. It's not surprising to me that this music would both attract similar furore at the time and, from the vantage point of a new listener in 2022 who loves A Love Supreme and some of the other obvious works but hasn't delved particularly far into Dolphy, Coltrane live, or this era in jazz in general (that would be me), be heard and felt as great, exciting, but not exactly formally radical stuff.

I don't think I would have noticed much about the recording quality were people not talking about it. "My Favorite Things" seems to have the overall volume down a bit, but still seemed pretty clear to me (agree with the assessments above; Coltrane, Dolphy, and Jones very forward, others further back although even when less prominent I find myself 'following' Tyner's work through these tracks more often than not), and starting with "When Lights Are Low" that seems to be corrected. It actually sounds pretty great to me! Although I absolutely defer to Bill's recommendations for better starting places for serious investigations, I can also say as a casual but interested fan who tends to quail in the face of box sets and other similarly lengthy efforts this feels from my relatively ignorant vantage like a perfectly nice place to start. I like Justin's rubric for why these releases might come about (or be valuable), but if I hadn't heard any Coltrane and you just gave me this one, my unnuanced perspective would just be something like "wow, this is great!" But maybe I'm underthinking it. And having that reaction doesn't mean that others aren't right to recommend better/more edifying entry points, or that having that reaction shouldn't lead one to educate oneself.

Jonathan Shaw: Maybe it's a lucky thing for me to be so poorly versed in Coltrane's music, not just in the sense of having listened to precious little of it. I am even less familiar with the catalog of music criticism, which in jazz seems to me voluminous, archival in scale. But even with music I'm extensively engaged with — historically, critically — I try to understand it and also to feel it. I can't imagine not feeling what's exciting in this music, energizing and challenging in equal measure.

Like Marc, I don't want to recursively impugn the critical writing of folks working in very different contexts. But I don't like it when the thinking gets in the way of the music's emotional and aesthetic force, which to me feels unmistakably powerful here.

Ian Mathers: Yeah, maybe that's a good distinction to draw; I can imagine in a different time and place feeling like the music here is more radical or challenging than it sounds to us now. But I can't quite imagine not getting a visceral thrill out of it.

Marc Medwin: And doesn't this contradiction get at the essence of what we're trying to do? Those of us who've chosen to write about music are absolutely stuck grasping at the ephemeral in whatever way we're able! How do we balance the ordering of considerations and explanations in unfolding sentences with the spontaneity of action and reaction that made us pick up a pen in the first place?! We add and subtract layers of whatever that alchemical intersection of meaning and energy involves that hits so hard and compels us to write! In fact, the more time I'm spending with these snapshots of summer 1961, the more I decamp from my own philosophizing about critical relativity to sit beside Ian. The stuff is powerful and original, and the fact that so much of what we're hearing now is a direct result of those modal explorations and harmonically inventive interventions says that the dissenting voices were fundamentally, if understandably, wrong! It could be that the musician can be inclusive in a way the writer simply can't.

I'm listening to "Africa" again, which is for me the disc's biggest single revelation in that it's the only concert version we have, so far as I know. How exciting is that Jones solo, and how much does it say about his art and the group's collective art?!! He starts out in this kind of "Latin" groove with layers of swing and syncopation over it, he goes into a melodic/motivic thing like you'd eventually hear Ginger Baker doing on Toad, and then eases back into the groove, all (if no editing has occured) in about two minutes. He's got the music's history summed up in the time it would take somebody to get through a proper hello!! Took me longer to scribble about it than for him to play it!!

Justin Cober-Lake: I'm not sure if Marc is making me want to put down or pick up a pen, but he's definitely making me want to listen to "Africa" again. (Not that I needed much encouragement.)

Andrew Forell: Africa/Brass was the first jazz album I bought. Coming from post-punk, I found it immediately the most exciting and challenging music I’d heard and it set me off on my exploration of Coltrane, Dolphy, Coleman and their contemporaries. This version of “Africa” is a highlight for me also for all the reasons Marc, Ian and Jon have talked about.

Bill Meyer: Yeah, "Africa" is quite the jam!

A thought about critical perspective — our discussion has gotten me thinking, not for the first time, about the impacts of measures upon experience, and the limits of critical thinking when I’m also an avid listener. If I’m listening for “the best” Coltrane/Dolphy, in terms of sound quality or most focused performances, this album isn’t it. But if I’m looking for excitement, this album has loads of it, and that might be enhanced by the drums-forward mix.

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post-leffert · 2 years

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Attack on Amazon Delivery Vehicles in Brooklyn, NY in Solidarity with ATL Forest (usa)

Attack on Amazon Delivery Vehicles in Brooklyn, NY in Solidarity with ATL Forest.

Attack Amazon! Attack the Police! Defend Nature! Solidarity with ATL Forest!

On Thursday, Febuary 2nd, we attacked a Rivian charging station in Brooklyn, New York. We hit four Amazon delivery vehicles, and one Rivian vehicle as part of the cost of doing business with Amazon.

We put up a message in memory of Tortuguita, our comrade who was murdered by Atlanta pigs for fighting against “Cop City,” the latest expansion of counter insurgent state violence.

The pigs intend to increase their ability to murder us and uphold the despotic state of capitalist barbarism.

We also want to highlight the significance of the environmental struggle today. The world is sprinting to unmitigated devastation, and the impending climate catastrophe will soon make human existence unbearable.

Capitalism is now killing off all life on the planet and this sick society heralds monsters like Elon Musk as our saviors.

We unabashedly reject this deplorable vision for the future, and don’t care what the personal repercussions are.

Just like Tortuguita, we will put our lives on the line and give them up if necessary to ensure life continues.

But not life for life’s sake. We recognize that only through revolution can we succeed in destroying capitalism, and without the total annihilation of capitalism, climate catastrophe is practically inevitable.

We will never give up our attacks on the system. Our only regret is that we only got one picture and couldn’t attack more. Next time will be even better!

Solidarity with ATL Forest Defenders. Solidarity with the struggles in Latin America, the Palestinian struggle and the struggles against the exploitation the world over.

Remember the martyrs. And riot and fight like hell for the living!

Death to America!

#praxis #anarchy #anarchism #Brooklyn #New York #ATL Forest #Amazon

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justinspoliticalcorner · 6 days

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Michelangelo Signorile at The Signorile Report:

Yesterday, CNN engaged in a classic outing. It was the kind of thing journalists like me were criticized for many years ago—revealing the truth about a public figure who is a sexual moralist—because the media often saw it as an invasion of privacy no matter the person’s public actions.

So I’m glad to see they’ve finally caught up, realizing it’s a story when politicians who wield power over our lives and strip us of our rights are complete hypocrites in their own personal lives. In quite a bombshell, CNN revealed that Christian nationalist Mark Robinson, the Republican candidate for governor in North Carolina, who called LGBTQ people “filth” and viciously attacked transgender women, is a self-described “perv,” spying on women in gym showers through a peephole and watching what he described as “tr**ny on girl porn.” And that was just the tip of the iceberg. Robinson, who is Black—and was grotesquely heralded by Donald Trump as “one of the great leaders of our country” and “Martin Luther King on steroids”—called himself a “Black Nazi,” using an alias on the message board of a porn site called Nude Africa, and abhorently said he wished slavery could be brought back and he’d own a few slaves himself.

[...] Let’s be clear: Robinson is among the most hateful and publicly extreme candidates we’ve seen running for governor of any state as the candidate of a major party. He said he wanted to go “back to the America where women couldn’t vote.” He claimed feminism was “created by Satan” and said men who supported feminism were “as manly as a pair of lace panties.” He spread every kind of crazy, dark conspiracy theory—QAnon and beyond—that you could imagine. He quoted Adolf Hitler and engaged in Holocaust denial. He said transgender women should be arrested for using the women’s restroom. The hideous smear of trans women in women’s rooms is that they are a danger to girls and women because they are “men” lurking in the bathroom. But we now learn it was Robinson who is in fact a danger to women in private spaces, spying on them in gym showers.

[...] And the North Carolina GOP is still backing him, even though Robinson’s been in free fall in the polls since before this bombshell, accepting his denials and describing the CNN report as “the left” trying to “smear” Robinson. There just is no bottom, at least not for the GOP in North Carolina.

The Mark Robinson saga in North Carolina reveals how depraved the GOP are, and it may cost them in North Carolina big time (and possibly the nation).

See Also:

Daily Kos: How North Carolina Republicans blew their chance to oust Mark Robinson

#Mark Robinson #Donald Trump #2024 Elections #2024 Gubernatorial Elections #2024 Presidential Election #North Carolina

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asomethingintraining · 8 days

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Birthdays are, I think, by default, emotionally charged. They have to be. They herald your entrance to the world and mark another year of life lived. They also bring back feelings of nostalgia.

I think my favourite birthday was my 23rd birthday. I celebrated with friends from med school, with my family, and went to NY to party for a weekend. I stayed with one of my closest friends from college and my friend bought me fancy cocktails at this bar that was located on the top floor of a super tall building in downtown Manhattan. I was in the best shape of my life and seemed happy. Things were looking up. 18-21 were all pretty fun as well, celebrated in college. My first birthday away from home came just after school had begun, so I celebrated with my whole floor. The other years were with my two closest friends. For my 20th birthday, I went to this indo Chinese restaurant in lower Manhattan and we drank a bottle of wine together. If I recall correctly, they didn’t even ask for ID. 22 wasn’t the best but it wasn’t terrible, either. 24 positively sucked - I was very lonely and had no coping skills. 26 was pretty good - I went to NY, had a frightful time jet skiing, and had some really good cocktails in Brooklyn. I don’t remember my childhood birthdays well, except for my 8th birthday, where I got gifted a game cube that I was persuaded into returning in exchange for a laptop.

This year’s is going to be unremarkable. I’m far from my family and most of my friends. I won’t be going to NY this year, though I did have a long call with my friend to plan a trip to visit our close friend. I can’t drink because of the medication I’m on, and to be honest, I don’t really miss it. I only like drinking on certain occasions, when I’m with really good friends. Maybe I’ll sneak a few on my trip. I’m going to celebrate with my friend on the weekend. My family asked if I wanted to cut a cake over FaceTime, but I’d rather wait until we’re all together in person. It’s fine. I feel a little lonely, but I understand.

Conversely, this past year has been very remarkable. I finally sought out medical attention for various issues and perhaps unsurprisingly, the improvements have been significant. I made progress in therapy and am far more aware of my feelings. I see the light at the end of the tunnel with respect to my training. There are certain things that continue to bother me deeply, but I will have to leave them to God. I don’t feel like celebrating, just yet - maybe I will, when I’m 40 and a tenured professor with a family - but I do feel thankful.

This next year will be very challenging, I think. I have so much to do. And so my vow to myself, my gift to myself is to always take myself seriously. My health, my feelings, my desires. I’ve struggled with this for a long time due to the double whammy of ADHD and trauma. But I pledge that this year, I will really try. I will eat before I get light headed, take care to complete my PT exercises and exercise regularly, take my medication and sleep sufficiently (and on time). I’m worth it. May these words not be in vain and may my next birthday be one where I look back on this post triumphantly. JMD.

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openingnightposts · 6 months

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#Beatnik #EastVillage #EdwardAKliszus #LaMama #NewYorkTheater #OffBroadway

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yeoldenews · 4 months

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A selection of strange and cryptic personal ads from The New York Herald, 1860s to 1890s. 15/?

#Frank E. Howe was a special agent with the Treasury Dept #so I think he was genuinely impressed that someone managed to pick his pocket #history #writing promts #victorian #1860s #1870s #ny herald personals #personal ads #new york city #writing inspiration #writing

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chrisryanspeaks · 7 months

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of Montreal Announces 'Lady On The Cusp' out May 17 | “Yung Hearts Bleed Free” Single/Video | Headline Tour

Kevin Barnes, Of Montreal, a musical chameleon who has long called Georgia home, first set foot in the vibrant college-rock scene of Athens in 1996. Embracing an ethos of fluidity in both gender and genre, Barnes has crafted complex, delightful records that sparkle with a radical brilliance, powered by personal strife and exuberance. With a career spanning nearly three decades, Barnes and of Montreal have left an indelible mark on stages, televisions, dance floors, stereos, and within the political landscape, both locally and internationally. Now, as they prepare to bid farewell to Athens, of Montreal heralds the arrival of their latest studio venture, Lady On The Cusp, slated for release on May 17 via Polyvinyl Record Co. This album promises to be a magnificent culmination of the band’s explorations, serving as Barnes’ swansong from their Georgia roots as they embrace a new chapter in the snow-capped embrace of southern Vermont. “Lady On The Cusp” emerges from a period of transition, capturing Barnes and their partner, musician Christina Schneider, as they poised themselves for relocation. The album weaves together a rich tapestry of introspection and forward-looking optimism, all presented through Barnes’ signature prism of eclectic pop. The 10-track odyssey navigates a range of emotions—humor and melancholy, sensuality and introspection, levity and depth—ushering listeners into new territories of thought and sound. Leading the charge is the effervescent single “Yung Hearts Bleed Free,” a track that pays homage to Barnes’ influences with a mix of self-deprecation and admiration for the libertine and the lost. Released alongside a captivating video, the song embodies a candid reflection on the imperfections and beauty of a life lived without restraint, marking an exciting pivot point in Barnes’ illustrious career. Lady On The Cusp tracklisting: 1. Music Hurts the Head 2. 2 Depressed 2 Fuck 3. Rude Girl on Rotation 4. Yung Hearts Bleed Free 5. Soporific Cell 6. I Can Read Smoke 7. PI$$ PI$$ 8. Sea Mines That Mr Gone 9. Poetry Surf 10. Genius in the Wind US Headline Tour Dates 5/31: Athens, GA @ Georgia Theatre # 6/01: Chattanooga, TN @ Barrelhouse Ballroom # 6/03: Philadelphia, PA @ Underground Arts # 6/04: Brooklyn, NY @ Elsewhere # 6/05: Boston, MA @ The Sinclair # 6/06: Hamden, CT @ Space Ballroom # 6/07: Rochester, NY @ Water Street Music Hall # 6/08: Detroit, MI @ The Magic Stick # 6/09: Chicago, IL @ Lincoln Hall # 6/10: St. Louis, MO @ Delmar Hall # 6/11: Wichita, KS @ Wave (Indoor) # % 6/12: Englewood, CO @ Gothic Theatre # % 6/14: Jackson Hole, WY @ Center For The Arts % 6/15: Boise, ID @ Treefort Music Hall % 6/16: Seattle, WA @ Neumos % 6/17: Portland, OR @ Wonder Ballroom % 6/18: Eugene, OR @ WOW Hall % 6/19: Roseville, CA @ Goldfield Trading Post % 6/20: Berkeley, CA @ UC Theatre % 6/21: Los Angeles, CA @ The Regent Theater % 6/22: Phoenix, AZ @ The Crescent Ballroom % 6/23: Albuquerque, NM @ Sister % 6/25: Austin, TX @ Mohawk % 6/26: Dallas, TX @ Trees % 6/27: Springfield, MO @ The Regency Live % 6/28: Nashville, TN @ The Exit In % 6/29: Atlanta, GA @ Variety Playhouse % 6/30: Carrboro, NC @ Cat’s Cradle % 7/01: Washington, DC @ 9:30 Club % 7/02: Asheville, NC @ Grey Eagle % # w/ Godcaster % w/ Tele Novella Read the full article

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audiofuzz · 7 months

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of Montreal Announces 'Lady On The Cusp' out May 17 | “Yung Hearts Bleed Free” Single/Video | Headline Tour

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tigerstrikesasteroidnetwork · 1 year

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NY / Henri Paul Broyard: Carousel

Carousel September 16, 2023 – October 15, 2023 Opening reception: September 16, 2023, 5-7pm

Tiger Strikes Asteroid New York is proud to present Carousel, a solo exhibition by Henri Paul Broyard, curated by Yael Eban. For over a decade, Broyard's practice has examined domestic spaces and the perception and history of mark making. He uses a range of imagery to create his work, often using his own images, collected snapshot photographs, and his personal memories as source material. The artist’s interest in the vernacular is also apparent in the show’s title—Carousel references a slide projector of photos, as well as the colorful, kitschy opulence of an amusement park.

Carousel marks the first occasion the artist will reveal a glimpse behind the studio curtain by presenting a collection of canvas palettes alongside two of his signature interior paintings. Broyard uses handheld canvases as palettes while working on multiple paintings at once. He uses the palettes not only to mix colors, but to test brushes, marks, and textures that are eventually applied to the larger paintings. When a palette is nearly finished, he turns his attention towards it, perhaps adding a final mark before retiring it. At this point the palette is signed and dated with a location on the verso and stored away. When this occurs, the palette transforms from an object of utility into a record of experimentation. In a way Broyard is creating a diaristic archive of palettes that mirrors the extensive archive of photos and objects he has collected for inspiration.

While his signature paintings flirt with abstraction within a restrained, matter-of-fact framework, in the palettes Broyard is allowing himself the freedom to push each canvas to its limit. Given how integral mark making is to his work—either his own marks or those he encounters in the world—this is a unique and added layer in understanding his art practice as a whole.

Broyard will simultaneously present a solo exhibition, Piebald, at Grant Wahlquist Gallery in Portland, Maine, from September 8 – October 28.

Henri Paul Broyard (b. Los Angeles, California) received a B.F.A. in Drawing and Painting from the California College of the Arts in 2013. He attended the Klasse Peter Doig at the Kunstakademie, Dusseldorf, in 2014. Broyard has had solo exhibitions at Grant Wahlquist Gallery in Portland, Maine and Foreland in Catskill, New York. Broyard’s work has been included in group exhibitions at venues including: Deli Gallery, New York; Alexander Gray Gallery, New York and Germantown; Essex Flowers, New York; Cindy Rucker Gallery, New York; SOLA Art Gallery, Los Angeles; the School of Painting Hangzhou, China; Tom Dick or Harry, Dusseldorf; 41 Cooper Square Gallery, New York; Haphazard Gallery, Los Angeles; and 119 Essex Street, New York, amongst others. His work has been the subject of reviews and publications in ArtNews, the Portland Press Herald, and The Rib. Broyard lives and works in Brooklyn and Canaan, New York.

photos by Pratya Jankong

#tigerstrikesasteroid #tiger strikes asteroid #carousel

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ladyhindsight · 2 years

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Hi! So I'm re-reading TMI these days and can't help but feel for you anytime I stumble upon something frustating or laugh when a limb is having a life of its own lol. I don't know much about editing or the quality of the writing in general because I'm not a native english speaker so reading in english kinda makes it better, if that makes sense (even tho I now notice things thanks to your blog, and let me tell you, I had the displeasure to read a small part of the translation in french and it is so much worse that I'm fine with not getting how shitty CC's writing truly is) but omg I want to facepalm so often… Particularly now that I'm almost done with CoFA and I can see so clearly the influence of TID in it. Like in one of the first three books, when Valentine killed the Silent Brothers to get the Soul Sword, everyone insist they were ALL dead (which was stupid) but now some Brothers were away at the time so no worry, Jem is well and alive! Or Luke and Magnus could always get into the NY institute, but Simon had to stay outside because he's a vampire but now there is a sanctuary they never thought about using before because it was "out of fashion" (sure Jane) and they suddenly remember it exists! Poor Simon, knowing they could have hang out with him there all along but wouldn't bother to just think about that big room standing in front of their eyes. I was also very frustrated with the fact that no one seems to care what Valentine was doing for the last seven years after giving Jace to the Lightwoods and before coming back in CoB (yes, we do kind of find out at some point that he was probably hiding in Hodge's cabin or farm or whatever but why no one ever WONDER at least to themselves where he was?). There is also, of course, all the BS with Malec in general plus the fact that it makes no sense anyway with The Red Scrolls of Magic, but this is too painful for me to even think about. Nothing makes sense, really, as if we all knew those books better than the person who wrote them, can you imagine? I could go on for hours but I won't, I just needed to rant for a second and I felt so sorry for you who go so much deeper into that hell hole for your wonderful blog that I love. So kudos, stay strong and I can't wait to read your next post! (and sorry if this makes no sense, as I said I'm french and we all know french people can't speak english).

Hi! Thank you for the love, it means a lot. 🥰😊 I am slowly working towards the next post.

When I go through Clare’s writing, more often than before I have to just stop and think whether some things in the text are worth pointing out, because at this point stuff just begins to repeat itself a lot. Like noted in the previous message, Clare’s writing has barely improved in the course of 15+ books. I’ve made a PDF file of City of Bones with bunch of footnotes that never really made it to the blog, but the content of those notes apply to the following installments as well because of that repetition of writing mistakes, weird or weak sentence structures, choice of words, story structure, plot etc. And sometimes my opinions are just made of weird noises and frustration that I can’t put into words. 😂

Clare adding these new elements to the Shadowhunter world really show how little thought went into it in the beginning of the series. I was originally so confused when I read CoFA for the first time ever because I truly thought Valentine had killed every Silent Brother there was previous to that, and why wouldn’t we think that? It is exactly how the writing presented the case. The first three books of The Mortal Instruments feel so disjointed from everything else that came afterwards, because the world started getting bigger after them but none of those new elements were present in them (obviously they couldn’t have been, but you know). Jem as a character did not exist before Tessa appeared at the end of City of Glass to herald a prequel series. Similarly how Jace probably wasn’t Herondale when City of Bones was written. His scar appeared first in CoA, and then it was relevant for Imogen to notice it. Not that it had been an essential part of his character before the plot demanded it.

Similarly this case with Simon and the Institute Sanctuaries. In the original TMI trilogy the vampires appeared through Projections. There wasn’t such facilities mentioned before that. Clare just added things as she went along. Similarly to this, the Shadow Markets and the Scholomance. Imagine how bigger the world had been if there was even a mention of these places in the first three books? Especially since everyone has been visiting the Shadow Markets, like, always if GotSM is anything to go by. But there is that absence because, again, none of these concept existed, and retroactively writing stories about how, for instance, Jace as a kid went to a Shadow Market does not bring that same magic to the original trilogy where such concept is unheard of.

In Born to Endless Night the Sanctuaries are rendered effectively useless when Magnus’ magic can give Lily an access to wander the halls of the Institute. Aside from other grievances with that story, Clare effectively broke the rules of her own world to make it easier for Lily to be present in the party instead of writing them having a party elsewhere where Lily as a vampire could safely attend, and without this rule-bending as a surplus.

Valentine’s whereabouts, like you said, well he just kept training Sebastian and that’s about it. Every character never really thought about it more or questioned why he waited seven more years to finally resurface. Most things were just taken by face value. The first three books especially were really half-cooked, if even that, when they were published.

#Anti CC #Anti Cassandra Clare #Series discussion #Reply

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arcticdementor · 3 years

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Last week, NY Governor Andrew Cuomo was summarily defenestrated, resigning in disgrace after facing mounting pressure from his own party, which made clear at the level of the state legislature that he would be removed from power via impeachment if necessary. This represents a precipitous fall from grace for the former Empire State heavyweight - last year saw Cuomo lauded and showered in accolades, with an Emmy awarded for his COVID press briefings, a $5,000,000+ book deal chronicling his leadership during the period, and a headline spot on the first night of the DNC where the same party now calling for his scalp praised him as a hero and held him up as an exemplar of responsible pandemic management. He had been floated as a potential presidential candidate and amassed an enthusiastic following of self-described 'Cuomosexuals' - including many among the media elite - who embraced a performative infatuation with the man in Albany. He was heralded as perhaps the most popular politician in the country as the press and political establishment cheered his pandemic response. This all went out the window when NY AG Letitia James announced her investigation had determined Cuomo had sexually harassed 11 women, and virtually everyone of influence in his support base distanced themselves and called for his resignation

The core problem here is that Cuomo's pandemic response was catastrophically terrible from the start and the claims of sexual harassment were wildly overblown as part of a political takedown

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Included among that tally of 11 are women who allege, for instance, that Cuomo committed such infractions as using comical terminology like “mingle mamas”. Another person complained about his telling her that she made wearing an elaborate Personal Protective Gear gown “look good” at a public COVID press conference. A guest at a wedding, with no ties to the state government, reported that Cuomo "asked if he could kiss her". An aide claimed the Governor called her "sweetheart" and once kissed her hand. The most vocal accuser, Charlotte Bennett - who was previously sued for coordinating with another student to file knowingly fabricated sexual misconduct claims in college, both of which were withdrawn after being discredited through exculpatory evidence (a recording and text messages) - accused the Governor of making her do push-ups as an example of inappropriate office conduct; her Insta story at the time read “Life complete. [Gov. Cuomo] challenged me to a push-up competition”

This is pretty farcical. The Governor's office has rebutted the allegations in detail, but the media pressure remained overwhelming and Cuomo agreed to resign, denying the substantive allegations while issuing a defeated thank-you to his accusers in his final statement. The man who, just months prior, had been on top of the world was run out of office by a concerted outrage campaign based on functionally nothing

Meanwhile, the pandemic response that he had received such fawning praise for had - the entire time - been an egregious failure. Of all states, NY has the #2 deaths per capita from COVID (after NJ, many of whom work in NY), in significant part due to Cuomo's catastrophic decision making, including reluctance to implement initial lockdown measures, dysfunction between the state and city governments (attributed partially to Cuomo's rivalry w/ NYC mayor), supply shortages due to ignoring NY's pandemic response plan, and an Executive Order forcing nursing homes (filled with the most vulnerable citizens in the state) to take in over 9,000 active COVID-19 patients. Cuomo then overcompensated for his initial incompetence by making the state one of the most restrictive in the nation, leading to one of the worst economic outcomes of the pandemic. All of this - including the Cuomo administration's hiding of nursing home deaths - was well known the entire time Cuomo was being given trophies and multi-million book deals, given lavish media treatment (including special segments with his own brother, an obvious conflict of interest), and being fêted by the entire Democratic Party at the DNC as he boasted of his success in dealing with what he called, out of mind-numbing 'anti-racist' pandering, "the European virus"

…

So the take-away I'm left with is: performance, facts, reality, behavior simply do not matter in contemporary politics. All that matters is narrative and spin. Which means all that matters is how the media-activist complex decides to cover you. If the media chooses to hold you up as a heroic foil to a President they despise, you will be flooded with accolades and prestige even if you have among the worst outcomes of your peers; if that's no longer necessary and they want you out for being insufficiently progressive and standing in the way of female candidates they prefer, you will be ran out of town on a rail. And so, a completely unaccountable, unelected, and unrepresentative media-activist complex holds the reins of power and determines the fate of elected officials to the point that they frequently have the final say

#reddit #the motte #andrew cuomo

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skippyv20 · 4 years

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What happened today in History?

1643 Isaac Newton was baptized in St Johns Church in Colsterworth England

1801 Giuseppe Piazzi discovered 1st asteroid named Ceres

1801 United Kingdom of Great Britain and Ireland Established

1804 Haiti gains independence From France

1808 US Congress prohibits importation of slaves

1848 Britain takes Mosquito Coast from Nicaragua

1863 Emancipation Proclamation issued by Lincoln

1892 Brooklyn merges with NY to form present City of NY

1892 Ellis Island became reception center for new immigrants to US

1894 Manchester Ship Canal in England opened to traffic

1898 Lightship replaces whistling buoy at mouth of San Francisco Bay

1899 Cuba liberated from Spain by US

1901 Commonwealth of Australia established

1902 1st Rose Bowl game held in Pasadena California

1908 News Year Eve Times Square Ball Drop

1912 1st running of San Francisco’s famed “Bay to Breakers” race (763 miles)

1912 Republic of China (Taiwan) created

1913 Post office begins parcel post deliveries+

1915 Formidable a British Ship Sunk

1919 Henry Ford Stands Down

1920 United Kingdom becomes member of ECC with Ireland and Denmark

1934 Alcatraz officially becomes a Federal Prison

1934 Federal Deposit Insurance Corp (US Bank guarantees) effective

1936 1st newspaper to microfilm its current issues NY Herald Tribune

1937 Great Britain glass manufacturers required to make safe glass

1937 Old Age Pensions Started

1942 US Government stops civilian car production and manufacturers military vehicles only

1942 United Nations established

1946 Emperor Hirohito of Japan announces he is not a god

1946 Japanese Soldiers surrendered on the Island of Corregidor

1947 Coals Mines Nationalized in Great Britain

1947 Canadian Citizenship Act First Person to become Canadian Citizen was Prime Minister William Lyon Mackenzie

1948 1st newsreel in color Pasadena CA

1948 British Railways Nationalization

1951 Pay Per View Movies tested

1953 Hank Williams Dies

1954 Rose & Cotton Bowl are 1st sport colorcasts

1956 Sudan gains independence from Britain

1957 International Geophysical Years begins

1958 European Economic Community (Common Market) starts operation

1959 Bastista Flees Cuba and Castro Takes Over

1960 Cameroon gains independence from France

1962 United States Navy Seals created

1962 Beatles Decca Audition and were turned down

1962 Western Samoa gains independence from New Zealand

1965 International Cooperation Year

1966 Vietnam War

1966 Subway Strike in New York

1966 Canada Pension Plan Started

1966 Early Adopter of Warnings on Cigarette Packets

1971 Cigarette advertisements banned on TV

1972 International Book Year

1973 Britain Ireland & Demark join Common Market

1974 World Population Year

1974 Watergate

1975 International Women’s Year

1978 Pres. Ford Signs 1st major revision of copyright law since 1909

1979 International Year of the Childe

1980 Decade of Water and Sanitation

1981 Palau (Trust Territory of Pacific Is.) becomes self-governing

1981 International Year for Disabled

1983 World Communications Year

1984 AT&T broken up into 8 companies

1984 Brunei gains complete independence from Britain

1985 International Youth Year

1985 British Comedian Ernie Wise makes first Mobile Phone Call

1986 Spain & Portugal become 11th and 12th members of Common Market

1986 International Peace Year

19687 International Year of Shelter

1988 NY Carnegie Deli’s owner Leo Steiner dies

1989 Montreal Protocol phase out for hydrocarbons

1991 Canada Goods and Services Tax Introduced

1993 Czech Republic and Slovakia Created

1994 North American Free Trade Agreement

1995 Fred West Serial Killer found hanged

1995 World Trade Organization successor to the GATT Organization established

1998 European Central Bank Created

1998 California implements Anti-Smoking Laws

1999 Eleven nations make the Euro their currency

2000 New Millennium

2000 US hands over the Panama Canal to Panama

2002 12 of 15 European Unions have the new Euro currency today

2004 Property Prices Boom in the UK

2005 Tsunami Death Toll

2006 Australia temp the hottest on record hits 45 degrees Celsius

2007 Adam Air Flight 574 disappears near Polamalu in Sulawesi 102 dead

2008 Kenya Ethnic Violence

2008 Cyprus and Malta Adopt the Euro

2008 France implements Anti-Smoking Laws

2009 Slovakia adopts the Euro

2009 Russa Ukraine Gas Talks collapse

2010 Pakistan Suicide Bombing

2010 Norwegian grandmaster Magnus Carlsen #1 Chess Player

2011 Tornadoes hit Sothern Midwest States

2012 Ethnic Clashes in Nigeria

2013 North Korean Leader gives Speech

2014 Latvia Joins the Eurozone using the Euro

2014 Colorado Sells Marijuana

Who knew so much happened in History? And I bet other Anons will have other things that happened that I missed.

Wow, thank you....very cool!😊❤️❤️❤️❤️❤️

01/21

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