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lhs3020b · 4 years ago

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“Nightfall”, by Asimov and Silverberg

I haven’t picked a book apart in a while, so have some mildly-disjointed thoughts on Asimov & Silverberg’s 1989 novel, mostly focused on the somewhat-ropey astronomy, but looking at a few other things as well...

"Nightfall" is a late-1980s novel-length expansion of the 1950s story of the same name. The basic premise is, "what about a world with no night?"

The planet Kalgash (Lagash in the short story - no relation to Ur or Sumer insofar as I know!) orbits the G-type star Onos, which is in turn one part of a complex multiple system containing six stars in total. With that many stars, there is always one in the sky somewhere. The other five suns are Trey and Patru (a co-orbiting pair of A-type stars), Tanu and Sitha (another co-orbiting pair, this time B stars) and lastly Dovim, a red dwarf. You can see several oddities immediately - note that the stars have neatly sorted themselves by spectral type! And there's only the one red dwarf (Dovim, implied to be an early-M-type object), when you'd expect loads as a) star formation is an efficient machine for making red dwarfs and b) ~75-80% of all stars are red dwarfs.

As for the system architecture, I've struggled to come up with anything sensible. The below scribbling would make (some) sense, but fails the "always a sun in the sky from anywhere on Kalgash" test, as Dovim will often "fall behind" Onos on its orbit around the barycentre:

Presumably Onos has to pass quite regularly between the Patru/Trey and Sitha/Tano pairs - what this implies for Kalgash's climate and thermal balance I'll leave as an exercise for the reader! Also, the formation history of this system must be weird. Kalgash's complex biosphere implies an age of several billion years, but A and B stars have far shorter life expectancies. Is Onos actually a star that formed elsewhere, which was captured into the system later on?

Anyway. Kalgash orbits Onos, supposedly alone, and there is no night - even if it's only reddish inadequate Dovim, there's always a sun in the sky. Always. Forever. And this sentence is 100% certified to contain no lies, evasions or elided truths of any kind. *Ahem.*

The native Kalganians - supposedly some sort of non-terrestrial non-humanoid life, though the book flip-flops this many times - apparently cope very poorly with darkness. Even as little as 15 minutes in complete dark is apparently enough to induce permanent psychosis. This makes it just as well that Kalgash is a loner object, with no moons or nearby planets or other local bodies that could cause eclipses ... ooops.

Basically, the plot of the novel concerns some scientists who discover evidence of Mass Effect-style periodicities in the collapses of historical civilisations on Kalgash. About every 2000 years, *something* happens that seems to cause people to go collectively go mad and burn down any settlement they might be living in at the time. It seems to be sudden - it stops as soon as it starts - but the destruction is near-complete. And guess what? It's almost 2000 years since the last time civilisation toasted itself.

Meanwhile, Kalganian astronomers have recently developed a theory of universal gravitation, based on studying the motions of the suns (plausible; you'd have a lot of data to work with there). Only there's a problem. Kalgash itself is stubbornly not-quite-conforming to the predictions of the models, and in fact the deviations seem to be getting larger. The theory seems to be wrong - what horror! what sadness! gravity fails!

Or does it? In fact some Kalganian theorists notice something odd - you can explain the planet's motion perfectly if you assume the presence of a second planetary-mass object. Once you plug this in, you can figure out where this body would have to be. The results are ... worrying. You see, this hypothetical Kalgash Two is apparently closing in on Kalgash-Prime. It won’t collide with Kalgash Prime, but it will get close enough to block out sunlight.

Now, the book isn't 100% clear whether Kalgash-Two is a moon or another planet. I think it has to be a planet - its orbit apparently takes 2000 years, which would certainly take a moon entirely outside Kalgash's Hill sphere; Onos would have "snatched it away" onto a stellar orbit. Another oddity is that no-one can see Kalgash-Two - even here on Earth you can see the Moon clearly by day, and given what we know of the dynamics of this system, Two would present a large disk when it enters opposition with Kalgash-Proper. In the book it's speculated that Two's surface rock might be bluish in colour, which might "camouflage" it against the sky. I'm dubious about this - yes, Turquoise-The-Mineral Is A Thing, but an entire planet made of it? To me, this feels a bit "off", geologically.

Anyway, the astronomers realise that if it exists, Kalgash-Two is only a matter of weeks away from by-passing Kalgash itself. And when it does, it will arrive when half the planet has a rare "one-sun" day. That sun is, of course, the red runt Dovim itself, and Two will pass between Kalgash and Dovim. Depending on how big Two is, it could entirely block the sun out. Things are about to get dark! The other five suns will all be on the other side of the planet, but Kalgash rotates, so the other hemisphere will apparently get a taste of darkness too.

Now, note how odd the dynamics of this eclipse are. Apparently the umbra - the region of full shadow - is bigger than Kalgash itself, and the eclipse takes an entire Kalganian rotational period to pass. The book never - IIRC - tells us how fast Kalgash spins. It's certainly possible that a Kalganian "day" is far shorter than a terrestrial one, but it's implied to be at least a dozen or so hours. (The suns don't "move" fast enough against the sky for anything less.) So just how big is Kalgash-Two? To create an eclipse lasting multiple hours, it must be large. Honestly I think it would be hard to do this at a size smaller than that of a gas giant. Is something bigger than Jupiter swinging by, just outside the Roche limit? (No-one on Kalgash notes any seismic events - there's no upsurge in tremors, no disruption to tides or odd behaviour from gravimeters, like you would expect if a super-Jovian body was closing in on you, which is an inconsistency.) Anyway, sure enough, Kalgash Two shows up on queue. Suddenly the reddish gloom of a one-sun day starts to darken, and the horrified masses look up to see a massive bite eating into the side of Dovim! Rapidly and with maximum fuss, the sun goes out! Basically what happens next is like "Pitch Black", except with mad people instead of cannibalistic alien monsters. You'll note I haven't said a lot about the characters yet. There's not a lot to say - they're all very much "straight from central casting". They aren't objectionable, but they're not particularly memorable either. The plot itself has two threads - the astronomers' growing concerns about the impending disaster, which in turn puts them into conflict with a politically-influential cult, who claim to be preparing for the imminent return of "the stars". While the book is formulaic and the characters are fairly-average, it is a fun read; the pages turn without too much difficulty!

In case anyone's wondering about where exactly the authorities are in all of this, well, on eclipse night they prove completely useless. If I remember correctly, the government fails to take any warnings seriously and officials dismiss the astronomers as cranks. Basically they’re running on “January to March 2020″ rules - sadly I can no longer dismiss this pattern of behaviour as unrealistic, depressing as that is! When the night itself arrives, IIRC, the staff at the local power company manage to go mad ahead of almost everyone else (apparently there were no bulbs inside the turbine hall, or something) and their rampage plunges Saro City into the worst-timed power outage ever. Also, making matters worse, Saro probably didn't have any municipal lighting (because why would it?) and apparently most people don't have much in the way of torches or candles at home. So the darkness-maddened people react by torching everything that will burn (fire = light = MASS PYROMANIA!). How they're all able to find matches while a) utterly-demented and b) fumbling around in the dark ... yeah, that never gets explained.

Now we arrive at another oddity: on the night itself, people actually are able to see. They can see the stars without any trouble - which makes no sense. Why would their eyes be evolved to function in low-light conditions? But see the stars they do. There are several pages of the astronomers (those who survive the first few hours of the eclipse-chaos) boggling at the sheer scale of the universe they find themselves in. (In fairness, this is quite a cinematic moment ... basically the ~400 years of the Copernican revolution, which wasn't really "complete" here until Hubble demonstrated that the Great Nebula of Andromeda was a physically-separate galaxy in the 1920s? Kalgash's scientists get the entire thing, mainlined into their stunned brains in about 1 hour.

Their disorientation is certainly understandable.

Incidentally, there's another astronomical oddity here. Kalgash Two should be visible - a dark disc blocking out the sky in the direction where Dovim "should" be - but no-one remarks on it. Also, Two seems to have no atmosphere at all, because Kalgash-Proper doesn't experience any total-lunar-eclipse style blood-Moon. (What exactly is Two? It has to be at least as large as a gas giant, but it's also airless? What is this thing? Is it a planet at all?) Anyway, the eclipse does eventually end, after a few hours. While there are survivors, society has essentially collapsed. The damage is roughly the same as a median-scenario Great Powers nuclear exchange would be here on Earth (except minus the craters and radioactivity).

Just think - if the utilities provider for Saro City hadn't pulled an ERCOT, it's quite possible they could have got through the night without a mass casualty event. While people would have been frightened, if they'd had working lights to huddle around while Two passes by overhead, they might have been able to ride it out. But that didn't happen, of course. (If I was a cynic, I might say the real story of "Nightfall" is the cost of inept/crony-coddling infrastructure policies when the once-in-a-century event pays you its rare-but-inevitable visit.) Anyway, the ending of the book, unfortunately, is pure Silverberg. That is to say, it's rushed, lazy and addresses none of the themes, character-development or even some of the earlier plot-events of the book. On the last two pages of the book, the surviving scientists decide to join forces with the menacing theocratic star-cult, because apparently religious totalitarianism is somehow the only way to save the world, post-nightfall. Yeaaaaaaaaaaaah. Incidentally, here we see some of the typical narrative ticks of a certain sort of mid-century SF writer. Note how any sort of change (nightfall! social chaos!) just *has* to be BAD and SCARY, and they instantly seek refuge in anti-democratic authoritarianism. You see this tick a lot in so-called "Golden Age" writers - it's almost a trope of their behaviour. (It's also interesting given the cross-links between people like Heinlein and the military/industrial complex, or Pournelle and the GOP.) So the TL;DR summary ... "Nightfall" is a novel that follows the spirit of hard SF (if not the letter, as seen above) and has some iffy ideological/mimetic moments ... but, it works as a potboiler and (disappointing ending aside) is definitely a fun read. Just don't expect the celestial mechanics to be in any way workable.

Oh, and here comes Kalgash Two...

#LHS reads #books 2021 #Nightfall #Isaac Asmiov #Robert Silverberg #another post where I nitpick all the astronomy

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citrussdance · 5 years ago

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SONG TRANSLATION KNOCK ON YOUR GATE! by Masatoshi Ono

. . . vanguard. again. on a whim.

i swear i’m translating bungaku shoujo as i format this.

KANJI

ちがう！絶望などもうしないもう逃げないどんな明日でもいいひとりなんかじゃないからいつか未来できっと会おう

傷ついたことは言うな痛そうな顔もすんなどうしょうもなくなってしまうぜ

時空の闇に落ちて悲鳴もあげないで退屈を飼いならせるのかい

勇気はオートマチック迷うもんじゃない君が向くほうが前だ

行こうもう戻れない道を行けばいい未来が待っている叩け君のGATE

ちがう！絶望などもうしないもう逃げないどんな明日でもいいひとりなんかじゃないからいつか未来できっと会おう

ひとりで背負い込みむなひとりで泣こうとすんなしょうもない悪いクセだぜ

自由を奪われて不自由を喰わされて真っ当に生きてけるワケない

すれ違うように会えないけどおなじ思い出がある

もしも世界が夢をわすれても思い出すように叩け君のGATE

甘い絶望と言う罠に惑わされんなそんなもん未来じゃない僕らの未来じゃないそうさ嘆いてるヒマはない

君は僕のカガミだからわかるんだ怖いのも辛いのもわかるんだカッコつけんなよひとりになろうとすんな

行こうもう戻れない道を行けばいい未来が待っている叩け君のGATE

ちがう！絶望などもうしないもう逃げないどんな明日でもいいひとりなんかじゃないからいつか未来できっと会おう

ROMAJI

chigau zetsubou nado mou shinai mou nigenai donna ashita demo ii hitori nanka ja nai kara itsuka mirai de kitto aou

kizutsuita koto wa iu na itasou na kao mo sunna doushou mo nakunatte shimauze

jikuu no yami ni ochite himei mo agenaide taikutsu wo kainaraseru no kai

yuuki wa AUTOMATIC mayou mon janai kimi ga muku hou ga mae da

ikou mou modorenai michi wo ikeba ii mirai ga matteiru tatake kimi no GATE

chigau zetsubou nado mou shinai mou nigenai donna ashita demo ii hitori nanka ja nai kara itsuka mirai de kitto aou

hitori de shoi-komimuna hitori de nakou to sunna shou mo nai warui kuse da ze

jiyuu wo ubawarete fujiyuu wo kuwasarete mattou ni ikitekeru wake nai

surechigau you ni aenai kedo onaji omoide ga aru

moshimo sekai ga yume wo wasuretemo omoidasu you ni tatake kimi no GATE

amai zetsubou to iu wana ni madowasarenna sonna mon mirai ja nai bokura no mirai ja nai sou sa nageiteru hima wa nai

kimi wa boku no kagami dakara wakarunda kowai no mo tsurai no mo wakarunda kakko-tsukenna yo hitori ni narou to sunna

ikou mou modorenai michi wo ikeba ii mirai ga matteiru tatake kimi no GATE

chigau zetsubou nado mou shinai mou nigenai donna ashita demo ii hitori nanka ja nai kara itsuka mirai de kitto aou

ENGLISH

no! i won’t despair anymore i won’t run away anymore any “tomorrow” is fine because i’m not alone someday, let’s meet in the future

don’t talk about your wounds don’t make a pained face, either- i won’t know what to do

while lost in the darkness of space-time, don’t scream out, either can you tame the tediousness?

courage is automatic- not something to hesitate over whichever way you’re facing is forward

let’s go- we can take the path we can’t return from the future is waiting knock on your gate

no! i won’t despair anymore i won’t run away anymore any “tomorrow” is fine because i’m not alone someday, let’s meet in the future

don’t shoulder all your problems by yourself don’t try to cry alone it’s a pointless bad habit

with our freedom stolen, forced to accept captivity, there’s no reason to live respectably

just like how we pass by each other, we can’t meet, but we have the same memories

even if the world forgets its dreams so that it remembers, knock on your gate

don’t be tricked by that trap called sweet despair something like that’s not the future- it’s not our future that’s right- there’s no free time to grieve

you are a mirror of me that’s why i understand- the scary things and hard things, i understand them all don’t try to act cool don’t try to be alone

let’s go- we can take the path we can’t return from the future is waiting knock on your gate

no! i won’t despair anymore i won’t run away anymore any “tomorrow” is fine because i’m not alone someday, let’s meet in the future

#jpop #anisong #vanguard #cardfight!! vanguard #cardfight vanguard #knock on your gate #masatoshi ono #translation #english translation #japanese translation

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blackclover1x144fan · 5 years ago

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fruitsbaskets2e22 · 5 years ago

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❍❍❍ Formats and Genres ❍❍❍ See also: List of genres § Film and television formats and genres Television shows are more varied than most other forms of media due to the wide variety of formats and genres that can be presented. A show may be fictional (as in comedies and dramas), or non-fictional (as in documentary, news, and reality television). It may be topical (as in the case of a local newscast and some made-for-television films), or historical (as in the case of many documentaries and fictional series). They could be primarily instructional or educational, or entertaining as is the case in situation comedy and game shows.[citation needed] A drama program usually features a set of actors playing characters in a historical or contemporary setting. The program follows their lives and adventures. Before the 20200s, shows (except for soap opera-type serials) typically remained static without story arcs, and the main characters and premise changed little.[citation needed] If some change happened to the characters’ lives during the episode, it was usually undone by the end. Because of this, the episodes could be broadcast in any order.[citation needed] Since the 20200s, many series feature progressive change in the plot, the characters, or both. For instance, Hill Street Blues and St. Elsewhere were two of the first American prime time drama television series to have this kind of dramatic structure,[20][better source needed] while the later series Babylon 3 further exemplifies such structure in that it had a predetermined story running over its intended five-season run.[citation needed] In 2003, it was reported that television was growing into a larger component of major media companies’ revenues than film.[3] Some also noted the increase in quality of some television programs. In 2003, Academy-Award-winning film director Steven Soderbergh, commenting on ambiguity and complexity of character and narrative, stated: “I think those qualities are now being seen on television and that people who want to see stories that have those kinds of qualities are watching television.

❍❍❍ Thank’s For All And Happy Watching❍❍❍ Find all the movies that you can stream online, including those that were screened this week. If you are wondering what you can watch on this website, then you should know that it covers genres that include crime, Science, Fi-Fi, action, romance, thriller, Comedy, drama and Anime Movie. Thank you very much. We tell everyone who is happy to receive us as news or information about this year’s film schedule and how you watch your favorite films. Hopefully we can become the best partner for you in finding recommendations for your favorite movies. That’s all from us, greetings!

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cvrnewsdirectindia · 6 years ago

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Ginger Baker dead: Cream drummer dies, aged 80

Ginger Baker, the legendary drummer and co-founder of rock band Cream, has died at the age of 80.

Last month, the musician’s family announced he��was critically ill in hospital, but no further details of his illness were disclosed.

On Sunday morning, a tweet on his official Twitter account stated: “We are very sad to say that Ginger has passed away peacefully in hospital this morning. Thank you to everyone for your kind words over the past weeks.”

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Baker had suffered from a number of health issues in recent years. He underwent open heart surgery in 2016 and was forced to cancel a tour with his band Air Force after being diagnosed with “serious heart problems”.

The drummer, who is widely considered to be one of the most innovative and influential drummers in rock music, co-founded Cream in 1966 with Eric Clapton and Jack Bruce. The band released three albums before splitting in 1968, after which he formed the short-lived band Blind Faith with Clapton, Steve Winwood and Ric Grech. A fourth Cream album was released after the band disbanded.

leftCreated with Sketch. rightCreated with Sketch.

1/61 Dean Ford

Ford, whose real name was Thomas McAleese, was the frontman of guitar-pop group Marmalade. The band the first Scottish group to top the UK singles chart, with their cover of the Beatles’ Ob-La-Di, Ob-La-Da in December 1968. Ford died in Los Angeles on 31 December 2018, at the age of 72 from complications relating to Parkinson’s disease.

Getty

2/61 Pegi Young

A singer, songwriter, environmentalist, educator and philanthropist, she was also married to Neil Young for 36 years. She died of cancer on 1 January, aged 66, in Mountain View, California.

Getty

3/61 Daryl Dragon

The singer and pianist achieved fame as half of the musical duo Captain & Tennille, best known for their 1975 hit “Love Will Keep Us Together”. Dragon died on 2 January, from kidney failure in Prescott, Arizona, aged 76.

Getty Images

4/61 Darius Perkins

The actor was best known for playing the original Scott Robinson on Neighbours when the show launched in 1985 on Australia’s Channel Seven. Perkins died from cancer on 2 January, aged 54

Ten

5/61 Bob Einstein

The Emmy-winning writer appeared in US comedy shows Curb Your Enthusiasm and Arrested Development, becoming known for his deadpan delivery. He died on 2 January, shortly after being diagnosed with leukemia, aged 76.

HBO/Kobal/REX/Shutterstock

6/61 Carol Channing

The raspy-voiced, saucer-eyed, wide-smiling actor played lead roles in the original Broadway musical productions of Gentlemen Prefer Blondes and Hello, Dolly!, while delivering an Oscar-nominated performance in the 1967 film version of the musical Thoroughly Modern Millie. Channing died on 15 January of natural causes at her home in Rancho Mirage, California at the age of 97.

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7/61 Mary Oliver

Oliver, a winner of the Pulitzer Prize, wrote rapturous odes to nature and animal life that brought her critical acclaim and popular affection, writing more than 15 poetry and essay collections. She died on 17 January, aged 83, in Hobe Sound, Florida.

Getty

8/61 Windsor Davies

The actor was best known for his role as Battery Sergeant-Major Williams in the TV series It Ain’t Half Hot, Mum, which ran from 1974 to 1981. He died on 17 January, aged 88, four months after the death of his wife, Eluned.

Getty

9/61 Jonas Mekas

The Lithuanian-born filmmaker, who escaped a Nazi labour camp and became a refugee, rose to acclaim in New York and went on to work with John Lennon, Yoko Ono, Janis Joplin and Andy Warhol. He died on 23 January, aged 96, in New York City.

Chuck Close

10/61 Diana Athill

The writer, novelist and editor worked with authors including Margaret Atwood, Philip Roth, Jean Rhys and VS Naipaul. She died at a hospice in London on 23 January, aged 101, following a short illness.

Getty

11/61 Michel Legrand

During a career spanning more than 50 years, the French musician wrote the scores for over 200 films and TV series, as well as original songs. In 1968, he won his first Oscar for the song “The Windmills of Your Mind” from The Thomas Crown Affair film. He died in Paris on 26 January at the age of 86.

Getty

12/61 James Ingram

The singer and songwriter, who was nominated for 14 Grammys in his lifetime, was well known for his hits including “Baby, Come to Me,” his duet sung with Patti Austin and “Yah Mo B There,” a duet sung with Michael McDonald, which won him a Grammy. Ingram died on 29 January, aged 66, from brain cancer, at his home in Los Angeles.

Getty

13/61 Dick Miller

The actor enjoyed a career spanning more than 60 years, featuring hundreds of screen appearances, including Gremlins (1984) and The Terminator (1984). The actor died 30 January, aged 90, in Toluca Lake, California.

Warner Bros

14/61 Jeremy Hardy

The comedian gained recognition on the comedy circuit in the 1980s and was a regular on BBC Radio 4 panel shows, including The News Quiz and I’m Sorry I Haven’t A Clue. He died of cancer on 1 February, aged 57.

Rex

15/61 Clive Swift

Known to many as the long-suffering Richard Bucket in Keeping Up Appearances, the actor’s first professional acting job was at Nottingham Playhouse, in the UK premiere of JB Priestley’s take the Fool Away, in 1959. He died on Friday, 1 February after a short illness, aged 82.

Rex

16/61 Julie Adams

The actor starred in the 1954 horror classic Creature From the Black Lagoon, playing Kay Lawrence, the girlfriend of hero ichthyologist Dr. David Reed (Richard Carlson) and the target of the Creature’s obsessions. She died 3 February in Los Angeles, aged 92.

Rex

17/61 Albert Finney

The actor was one of Britain’s premiere Shakespearean actors and was nominated for five Oscars across almost four decades – for Tom Jones (1963), Murder on the Orient Express (1974), The Dresser (1983), Under the Volcano (1984) and Erin Brockovich (2000). He died aged 82, following a short illness.

Getty

18/61 Peter Tork

Born in 1942 in Washington DC, Tork became part of The Monkees with Micky Dolenz, Michael Nesmith and Davy Jones in the mid-sixties, when the group was formed as America’s Beatles counterpart. All four were selected from more than 400 applicants to play in the associated TV series The Monkees, which aired between 1966 and 1968.

GETTY IMAGES

19/61 Mark Hollis

As the frontman of the band Talk Talk, Hollis was largely responsible for the band’s shift towards a more experimental approach in the mid-1980s, pioneering what became known as post-rock, with hit singles including “Life’s What You Make It” (1985) and “Living in Another World” (1986).

20/61 Andy Anderson

Musician Andy Anderson, former drummer for The Cure and Iggy Pop, died aged 68 from terminal cancer, after a long and successful career as a session musician

Alex Pym/Facebook

21/61 Lisa Sheridan

Having attended the Carnegie Mellon School of Drama in Pittsburgh, Sheridan went on to star in a string of film and TV credits of the next two decades, including Invasion and Halt and Catch Fire. She died aged 44, at her home in New Orleans.

Getty Images

22/61 Janice Freeman

Freeman appeared on season 13 of the TV singing competition The Voice, making a strong impression early on with her cover of ‘Radioactive’ by Imagine Dragons, performed during the blind auditions. She had an extreme case of pneumonia and had a blood clot that travelled to her heart. She died in hospital on 2 March.

Getty Images for COTA

23/61 Keith Flint

Flint quickly became one of the figureheads of British electronic music during the Nineties as a singer in the band The Prodigy. He died, aged 49, on 4 March.

EPA

24/61 Luke Perry

Perry rose to fame as teen heartthrob Dylan McKay in ‘Beverly Hills, 90210’, and most recently played Fred Andrews in The CW’s ‘Riverdale’. He died on 4 March after suffering a ‘massive stroke’, his representative said in a statement.

AFP/Getty Images

25/61 Jed Allan

Allan was best known for his role as Rush Sanders, the father of Ian Ziering’s Steve Sanders, on Beverly Hills, 90210; Don Craig on Days of Our Lives; and CC Capwell on Santa Barbara. He died on Saturday, 9 March, aged 84.

Rex Features

26/61 Hal Blaine

As part of the Wrecking Crew, an elite group of session players, Blaine played drums on some of the most iconic songs of the 1960s and 1970s, including The Beach Boys’s “Good Vibrations”, the Ronettes’s ”Be My Baby”, and Simon & Garfunkel’s “Mrs Robinson”. He died on 11 March, aged 90.

Getty

27/61 Pat Laffan

The Irish-born actor had roles in almost 40 films and 30 television shows, including in BBC’s Eastenders, Stanley Kubrick’s Barry Lyndon, and RTE’s The Clinic. He died on Friday, 15 March, aged 79

28/61 Mike Thalassitis

Mike Thalassitis was a semi-professional footballer before finding fame on the third season of Love Island. He died aged 26.

Rex Features

29/61 Dick Dale

Dale is credited with pioneering the surf music style, by drawing on his Middle-Eastern heritage and experimenting with reverberation. He is best known for his hit “Misirlou”, used in the 1994 film Pulp Fiction. He died on Saturday, 16 March, aged 81.

Getty

30/61 Bernie Tormé

Guitarist Bernie Tormé rose to fame in the seventies before joining Ozzy Osbourne on tour in 1982, following the death of guitarist Randy Rhoads in a plane crash that same year. The Dublin-born musician died on 17 March, 2019 at the age of 66.

YouTube

31/61 Andre Williams

R&B singer and songwriter Andre Williams co-wrote “Shake a Tail Feather” among many other hits, signing first with Fortune Records then with Motown. The Alabama native, who relocated to Detroit as a young man, died on 17 March, aged 82.

YouTube

32/61 Scott Walker

The American British singer-songwriter and producer who rose to fame with The Walker Brothers during the Sixties and was once referred to as “pop’s own Salinger”, died on 22 March, aged 76. He was one of the most prolific artists of his generation, despite shunning the spotlight following his brief years as a teen idol, and released a string of critically acclaimed albums as well as writing a number of film scores, and producing albums for other artists including Pulp.

Rex

33/61 Agnès Varda

French New Wave filmmaker Agnès Varda died on 29 March, aged 90. She was best known for the films “Cléo from 5 to 7” and “Vagabond” and was widely regarded to be one of the most influential experimental and feminist filmmakers of all time.

AFP/Getty

34/61 Tania Mallet

Model and Bond girl Tania Mallet died on 30 March, aged 77. She earned her only credited acting role opposite Sean Connery in 1964 film Goldfinger, playing Tilly Masterson.

United Artists

35/61 Boon Gould (right)

One of the founding members of Level 42, Boon Gould, died on 1 March, aged 64. He was a guitarist and saxophone player.

Rex Features

36/61 Freddie Starr

Comedian Starr was the star of several eponymous TV shows during the 1990s such as Freddie Starr, The Freddie Starr Show and An Audience with Freddie Starr. Starr was the subject of one of the most famous tabloid headlines in the history of the British press, splashed on the front page of The Sun in 1986: “Freddie Starr ate my hamster.” Starr was found dead in his home in Costa Del Sol on 9 May 2019.

Rex

37/61 Peggy Lipton

Twin Peaks star Peggy Lipton died of cancer, aged 72 on 11 May.

38/61 Doris Day

Doris Day became Hollywood’s biggest female star by the early 1960s starring in Calamity Jane, Pillow Talk and Caprice to name a few. Day died on 15 May after a serious bout of pneumonia.

Rex

39/61 Andrew Hall

Andrew Hall died on 20 May, 2019 after a short illness, according to his management group. The actor was best known for playing Russell Parkinson in the BBC show Butterflies and Marc Selby in Coronation Street. He had also recently appeared as The Gentleman in Syfy’s Blood Drive.

Photo by ITV/REX

40/61 Carmine Cardini

Carmine Cardini, who was most famous for playing two different roles in the Godfather franchise, died on 28 May, 2019 at Cedars Sinai Hospital, aged 85. He played Carmine Rosato in The Godfather Part II (1974) before returning to the franchise in 1990 as Albert Volpe in The Godfather Part III.

Paramount Pictures

41/61 Leon Redbone

Leon Redbone died on 30 May, 2019, aged 69. The singer-songwriter, who was noticed by Bob Dylan in the Seventies and was an early guest on Saturday Night Live, released more than 15 albums over the course of four decades.

Photo by Chris Capstick/REX

42/61 Cameron Boyce

Disney Channel star Cameron Boyce died in his sleep on 6 July, aged 20. His family later confirmed the actor, who appeared in Jessie and descendants, had epilepsy.

Getty

43/61 Rip Torn

Rip Torn, the film, TV and theatre actor, died on 9 July, 2019, aged 88. His career spanned seven decades.

AFP/GETTY

44/61 Michael Sleggs

Michael Sleggs, who appeared as Slugs in hit BBC Three sitcom This Country, died from heart failure on 9 July, 2019, aged 33.

BBC

45/61 Rutger Hauer

Dutch actor Rutger Hauer famously played replicant Roy Batty in Ridley Scott’s Blade Runner. As Batty, he delivered the iconic “tears in the rain” monologue. Hauer died on 19 July, 2019 aged 75.

TIZIANA FABI/AFP/Getty Images

46/61 Paula Williamson

Actor Paula Williamson, who starred in Coronation Street and married criminal Charles Bronson, was found dead on 29 July, 2019.

Getty

47/61 David Berman

David Berman, frontman of Silver Jews and Purple Mountains, died by suicide on 7 August, 2019, aged 52.

MediaPunch/REX

48/61 Peter Fonda

Peter Fonda died of respiratory failure due to lung cancer on 16 August, 2019. aged 79, his family said. He was the co-writer and star of counterculture classic Easy Rider (1969).

49/61 Ben Unwin

Home and Away star Ben Unwin was found dead aged 41 on 14 August, according to New South Wales Police. He starred as ‘bad boy’ Jesse McGregor on the popular Australian soap between 1996-2000, and then 2002-2005 before switching to a career in law

Getty

50/61 Franco Columbu

Italian bodybuilder, who appeared in The Terminator, The Running Man and Conan the Barbarian, died on 30 August, 2019, aged 78. The former Mr Olympia enjoyed a successful career as a boxer and was best friends with Arnold Schwarzenegger.

Getty Images

51/61 Kylie Rae Harris

The country singer died in a car crash on 4 September, 2019, at the age of 30. Harris, of Wylie, Texas, she was scheduled to perform at a music festival in New Mexico the next day.

YouTube / Kylie Rae Harris

52/61 LaShawn Daniels

Songwriter and producer LaShawn Daniels died 4 September aged 41. He was best known for his collaborations with producer Darkchild, and had songwriting credits on a number of pop and R&B classics by artists including Beyonce, Destiny’s Child, Janet and Michael Jackson, Lady Gaga, Brandy and Whitney Houston.

Rex

53/61 Carol Lynley

The actor, best known for her role as Nonnie the cruise liner singer in The Poseidon Adventure, died on 3 September at the age of 77.

Dove/Daily Express/Getty Images

54/61 Jimmy Johnson

Jimmy Johnson, revered session guitarist and co-founder of the Muscle Shoals Sound Studios, died 5 September 2019, aged 76.

55/61 John Wesley

John Wesley, the actor who played Dr Hoover on The Fresh Prince of Bel-Air, died in September 2019 aged 72 of complications stemming from multiple myeloma, according to his family. His other acting credits included Baywatch as well as the the 1992 buddy cop comedy film ‘Stop! Or My Mom Will Shoot’.

YouTube / Warner Bros Domestic Television Distribution

56/61 Daniel Johnston

Influential lo-fi musician Daniel Johnston died in September 2019 following a heart attack, according to The Austin Chronicle. His body of work includes the celebrated 1983 album ‘Hi, How Are You’.

ALAIN JOCARD/AFP/Getty Images

57/61 Ric Ocasek

Ric Ocasek, frontman of new wave rock band The Cars, died 15 September at the age of 75.

Ocasek was pronounced dead after police were alerted to an unresponsive male at a Manhattan townhouse. A cause of death has yet to be confirmed, though The Daily Beast reports that an NYPD official said Ocasek appeared to have died from “natural causes”.

Ocasek found fame as the lead singer of The Cars, who were integral in the birth of the new wave movement and had hits including “Drive”, “Good Times Roll” and “My Best Friend’s Girl”.

Astrid Stawiarz/Getty Images for Netflix

58/61 Suzanne Whang

The former host turned narrator of HGTV’s House Hunters died on 17 September. She was diagnosed with breast cancer in 2006 and initially recovered, until the disease returned in October 2018.

Rodin Eckenroth/Getty Images

59/61 Robert Hunter

The lyricist, who’s behind some of the Grateful Dead’s finest songs, died on 23 September at the age of 78. His best known Grateful Dead songs include ‘Cumberland Blues,’ ‘It Must Have Been the Roses,’ and ‘Terrapin Station’.

Larry Busacca/Getty Images for Songwriters Hall Of Fame

60/61 Linda Porter

Linda Porter, best known for her role as elderly supermarket employee Myrtle on the US sitcom Superstore, died 25 September after a long battle with cancer. She also appeared in series including Twin Peaks, The Mindy Project, ER and The X-Files

Tyler Golden/NBC

61/61 Ginger Baker

Ginger Baker, the legendary drummer and co-founder of rock band Cream, died at the age of 80 on Sunday 6 October after being critically ill in hospital. The musician co-founded Cream in 1966 with Eric Clapton and Jack Bruce.

Alamy

1/61 Dean Ford

Getty

2/61 Pegi Young

A singer, songwriter, environmentalist, educator and philanthropist, she was also married to Neil Young for 36 years. She died of cancer on 1 January, aged 66, in Mountain View, California.

Getty

3/61 Daryl Dragon

Getty Images

4/61 Darius Perkins

The actor was best known for playing the original Scott Robinson on Neighbours when the show launched in 1985 on Australia’s Channel Seven. Perkins died from cancer on 2 January, aged 54

Ten

5/61 Bob Einstein

HBO/Kobal/REX/Shutterstock

6/61 Carol Channing

Getty

7/61 Mary Oliver

Getty

8/61 Windsor Davies

Getty

9/61 Jonas Mekas

Chuck Close

10/61 Diana Athill

Getty

11/61 Michel Legrand

Getty

12/61 James Ingram

Getty

13/61 Dick Miller

Warner Bros

14/61 Jeremy Hardy

Rex

15/61 Clive Swift

Rex

16/61 Julie Adams

Rex

17/61 Albert Finney

Getty

18/61 Peter Tork

GETTY IMAGES

19/61 Mark Hollis

20/61 Andy Anderson

Musician Andy Anderson, former drummer for The Cure and Iggy Pop, died aged 68 from terminal cancer, after a long and successful career as a session musician

Alex Pym/Facebook

21/61 Lisa Sheridan

Getty Images

22/61 Janice Freeman

Getty Images for COTA

23/61 Keith Flint

Flint quickly became one of the figureheads of British electronic music during the Nineties as a singer in the band The Prodigy. He died, aged 49, on 4 March.

EPA

24/61 Luke Perry

AFP/Getty Images

25/61 Jed Allan

Rex Features

26/61 Hal Blaine

Getty

27/61 Pat Laffan

28/61 Mike Thalassitis

Mike Thalassitis was a semi-professional footballer before finding fame on the third season of Love Island. He died aged 26.

Rex Features

29/61 Dick Dale

Getty

30/61 Bernie Tormé

YouTube

31/61 Andre Williams

YouTube

32/61 Scott Walker

Rex

33/61 Agnès Varda

AFP/Getty

34/61 Tania Mallet

Model and Bond girl Tania Mallet died on 30 March, aged 77. She earned her only credited acting role opposite Sean Connery in 1964 film Goldfinger, playing Tilly Masterson.

United Artists

35/61 Boon Gould (right)

One of the founding members of Level 42, Boon Gould, died on 1 March, aged 64. He was a guitarist and saxophone player.

Rex Features

36/61 Freddie Starr

Rex

37/61 Peggy Lipton

Twin Peaks star Peggy Lipton died of cancer, aged 72 on 11 May.

38/61 Doris Day

Doris Day became Hollywood’s biggest female star by the early 1960s starring in Calamity Jane, Pillow Talk and Caprice to name a few. Day died on 15 May after a serious bout of pneumonia.

Rex

39/61 Andrew Hall

Photo by ITV/REX

40/61 Carmine Cardini

Paramount Pictures

41/61 Leon Redbone

Photo by Chris Capstick/REX

42/61 Cameron Boyce

Disney Channel star Cameron Boyce died in his sleep on 6 July, aged 20. His family later confirmed the actor, who appeared in Jessie and descendants, had epilepsy.

Getty

43/61 Rip Torn

Rip Torn, the film, TV and theatre actor, died on 9 July, 2019, aged 88. His career spanned seven decades.

AFP/GETTY

44/61 Michael Sleggs

Michael Sleggs, who appeared as Slugs in hit BBC Three sitcom This Country, died from heart failure on 9 July, 2019, aged 33.

BBC

45/61 Rutger Hauer

Dutch actor Rutger Hauer famously played replicant Roy Batty in Ridley Scott’s Blade Runner. As Batty, he delivered the iconic “tears in the rain” monologue. Hauer died on 19 July, 2019 aged 75.

TIZIANA FABI/AFP/Getty Images

46/61 Paula Williamson

Actor Paula Williamson, who starred in Coronation Street and married criminal Charles Bronson, was found dead on 29 July, 2019.

Getty

47/61 David Berman

David Berman, frontman of Silver Jews and Purple Mountains, died by suicide on 7 August, 2019, aged 52.

MediaPunch/REX

48/61 Peter Fonda

Peter Fonda died of respiratory failure due to lung cancer on 16 August, 2019. aged 79, his family said. He was the co-writer and star of counterculture classic Easy Rider (1969).

49/61 Ben Unwin

Getty

50/61 Franco Columbu

Getty Images

51/61 Kylie Rae Harris

The country singer died in a car crash on 4 September, 2019, at the age of 30. Harris, of Wylie, Texas, she was scheduled to perform at a music festival in New Mexico the next day.

YouTube / Kylie Rae Harris

52/61 LaShawn Daniels

Rex

53/61 Carol Lynley

The actor, best known for her role as Nonnie the cruise liner singer in The Poseidon Adventure, died on 3 September at the age of 77.

Dove/Daily Express/Getty Images

54/61 Jimmy Johnson

Jimmy Johnson, revered session guitarist and co-founder of the Muscle Shoals Sound Studios, died 5 September 2019, aged 76.

55/61 John Wesley

YouTube / Warner Bros Domestic Television Distribution

56/61 Daniel Johnston

ALAIN JOCARD/AFP/Getty Images

57/61 Ric Ocasek

Ric Ocasek, frontman of new wave rock band The Cars, died 15 September at the age of 75.

Ocasek found fame as the lead singer of The Cars, who were integral in the birth of the new wave movement and had hits including “Drive”, “Good Times Roll” and “My Best Friend’s Girl”.

Astrid Stawiarz/Getty Images for Netflix

58/61 Suzanne Whang

The former host turned narrator of HGTV’s House Hunters died on 17 September. She was diagnosed with breast cancer in 2006 and initially recovered, until the disease returned in October 2018.

Rodin Eckenroth/Getty Images

59/61 Robert Hunter

Larry Busacca/Getty Images for Songwriters Hall Of Fame

60/61 Linda Porter

Tyler Golden/NBC

61/61 Ginger Baker

Alamy

Baker was named number three on Rolling Stone’s 100 Greatest Drummers of All Time list, and is the subject of the documentary Beware of Mr. Baker.

“Gifted with immense talent, and cursed with a temper to match, Ginger Baker combined jazz training with a powerful polyrhythmic style in the world’s first, and best, power trio,” said the Rolling Stone article. “The London-born drummer introduced showmanship to the rock world with double-kick virtuosity and extended solos.”

Lewisham-born Baker was known for being a mercurial and argumentative figure, whose temper frequently led to on-stage punch-ups.

His father, a bricklayer, was killed in the Second World War in 1943, and Baker was brought up in near poverty by his mother. He joined a local gang in his teens and when he tried to quit, gang members attacked him with a razor.

Baker suffered from heroin addiction, which he acquired as a jazz drummer in the London clubs of the late 1950s and early 1960s. He once told The Guardian he came off heroin “something like 29 times”.

Tributes for the drummer have been pouring in on Twitter.

Paul McCartney called Baker a “wild and lovely guy”, writing: “We worked together on the ‘Band on the Run‘ album in his ARC Studio, Lagos, Nigeria. Sad to hear that he died but the memories never will.”

Baby Driver director Edgar Wright wrote: “RIP the music giant that was Ginger Baker. The beat behind too many favourite songs from Cream, The Graham Bond Organisation and Alexis Korner’s Blues Incorporated.”

Rock journalist Mark Paytress tweeted: “Like Hendrix, Ginger Baker was a name synonymous w/ early days rock. Once you heard him play, saw pics & footage, he seemed to embody the music’s power, the culture’s adventure. Spending a day w/ him in 2014 magnified it all. Lost a big one this morning.”

Slipknot’s Jay Weinberg simply wrote: “Thank you Ginger Baker.”

from CVR News Direct https://cvrnewsdirect.com/ginger-baker-dead-cream-drummer-dies-aged-80/

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recentanimenews · 6 years ago

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Bookshelf Briefs 7/3/19

Candy Color Paradox, Vol. 2 | By Isaku Natsume | SuBLime – I liked this volume of Candy Color Paradox more than I expected to, which was a pleasant surprise. When Kaburagi’s sister, whom he hasn’t seen in eight years, turns up, it at first seems like Onoe is going to go along with her suggestions to take Kaburagi down a peg, but he resists and attempts to reconcile the siblings instead. Next, to keep Kaburagi from having to do one of the deceitful assignments he occasionally undertakes to get a big scoop, Onoe does it instead, leading Kaburagi to treat him coldly for a while—since the major reason he likes Onoe is that he is largely incapable of deception—until they finally talk it out. In her author’s notes, Natsume-sensei says this was originally intended to be the final volume, and it certainly feels that way. I’m not sure we need more, but I reckon I’m intrigued enough to continue. – Michelle Smith

Dead Mount Death Play, Vol. 2 | By Ryohgo Narita and Shinta Fujimoto | Yen Press – Given this is from the author of Baccano! and Durarara!!, a certain amount of crazy antics are expected, but it really boggles the mind how bonkers this series gets, particularly its strange obsession with sharks. We also get introduced to a possessed mechanical pencil, but the bulk of the volume is spent realizing that Polka’s family is still around and has its own issues, and that the Corpse God needs to deal with those if he’s going to continue to use said body as he sees fit. This includes saving the lives of two supposedly creepy but actually really sweet twins—twins appear in Narita’s works a lot. There’s some nasty gore here, as you’d also expect, but I really am liking this title more now. – Sean Gaffney

Magi: The Labyrinth of Magic, Vol. 36 | By Shinobu Ohtaka | Viz Media – I sense the author may be feeling a little bad about all the times that she’s made Alibaba the laughingstock of the manga, given how much he’s praised in this volume. We continue to truck along with the final confrontation, as Sinbad agrees to Alibaba’s suggestion… but David is not taking this lying down, leading to a very funny “no, it is I who am controlling you!” war. That said, it’s a little hard to save the world when everyone in the world wants to die and thinks you’re traitors, which is the situation we end up with in the second half. I admit I am rather annoyed that Morgiana is not participating in this final battle, and given that the next volume is the last I don’t see that changing. Will still get it to see how this overall very good series ends. – Sean Gaffney

Missions of Love, Vol. 17 | By Ema Toyama | Kodansha Comics – I’ll be honest, this is starting to feel pretty dragged out. Yukina having to reveal to Shigure that she writes cell phone novels and has been using her life (and his) as material is obviously the big climax, but we aren’t there yet, so instead we see Hisame back in jerk mode, as he tries to redo all the earlier scenes Yukina had with Shigure and “rewrite” those memories with ones featuring him. If nothing else, this shows off his own immaturity. As for Akira and Mami, they get a cliffhanger… I assume. We get a cliffhanger moment, but it’s only two-thirds through the book, and we cut back to Yukina for the rest. Is Akira dying? Confessing? Moving? In any case, perhaps because it comes out slower now, I am more weary of this potboiler. – Sean Gaffney

Monster and the Beast, Vol. 1 | By Renji | Yen Press – The genesis of Monster and the Beast is the result of Renji looking for a fantasy BL manga about a middle-aged man and a non-human, not finding any, and so deciding to simply create one. Cavo is the titular monster, a large and powerful but sensitive and kind-hearted demon who leads a lonely, isolated life since everyone is afraid of him. (Cavo is an absolute dear.) The beast in the title refers to Liam, a sexually insatiable man who doesn’t seem to have a fearful bone in his body and who delightedly hits on anyone and everyone regardless of gender or apparently even species. This tends to get him both out of and into a significant amount of trouble. Various circumstances bring the two together, Cavo acting as Liam’s protector and guide as he flees his pursuers. I’m curious to see how the drama and their so far chaste relationship develop. – Ash Brown

Monster and the Beast, Vol. 1 | By Renji | Yen Press – Theoretically this is the latest in a mini-manga genre we’ve seen of monsters and humans falling in love despite obvious differences. In reality, it turns out to be the latest in a different but equally popular genre, the uke being dragged around by the ridiculously charismatic seme. The uke in this case is the monster, who rescues Liam, a mature gentleman who looks like he stepped out of Ristorante Paradiso, and finds that Liam was in fact, trying to have a good time in the woods with the other men, but it was going badly. The reason to read the book is Liam, who is bisexual and loves to show it off, and the monster’s mind-blown reactions to him – as well as a bit of tortured desire. Not sure how this will play as an extended series, but I liked it. – Sean Gaffney

Tomo-chan Is a Girl!, Vol. 4 | By Fumita Yanagida | Seven Seas – There’s a lot of backstory in this book, as we find out how Tomo, Jun and Misuzu all met as kids, how Jun could easily mistake Tomo for a boy, and the bond that forms between them. Back in the present day, though, things are still in stasis, but that may change after a trip to the beach, which involves Tomo actually wearing a bikini top and doing things like licking ice cream off her shoulder, which gets Jun to realize that hey, maybe his tomboy friend who can kick his ass really IS a girl. The other reasons to read this series are Carol and Misuzu, who may have risen to become my favorite supporting characters in a manga. They bounce off each other so well. This is fantastic 4-koma. – Sean Gaffney

Whenever Our Eyes Meet…: A Women’s Love Anthology | By Various Artists | Yen Press – Typically, the characters in this women’s love anthology are professionals, like office workers, café owners, postal clerks, etc. Most of the stories are about the start of a relationship, be it through reuniting with a former coworker in a taxi cab or having a one-night stand turn up in the office the next morning or what have you. It’s pretty cute, but the problem is that the stories are far too short to get any real sense of the characters or for the formation of couples to mean much of anything. My favorite story involved the café owner and an artist, since they had unknowingly mutually inspired each other by being passionate about their work, and my least was the two-page (!) story about a married mother who cheats with a female part-timer. All in all, this just isn’t a keeper for me. – Michelle Smith

By: Ash Brown

#Anime #News #Manga Bookshelf

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mediumbroad451 · 3 years ago

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timomaraus · 4 years ago

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May 18, 2021

Washington Post Why men and women feel pain differently (Editor’s Note: Simple. Aches are from Mars. Pain is from Venus.)

Washington Post A GOP congressman compared Capitol rioters to tourists. Photos show him barricading a door. (Editor’s Note: Hey, anyone who has lived in a place that gets overrun by tourists can relate. Sometimes you’re willing to do anything to keep them away.)

Washington Post Trump DOJ tried to unmask a Twitter account behind ‘mean tweets and bad memes’ that teased Rep. Devin Nunes (Editor’s Note: See, that’s just wasteful. It’s silly to try to tease Devin Nunes. His own words and actions do him far more harm than any outside voice could.)

Washington Post Colonial Pipeline hit by new computer problem (Editor’s Note: When the brand name is “Colonial,” isn’t the expectation that the IT will be a bit antiquated?)

CNN Famous Galapagos rock formation has collapsed (Editor’s Note: Surely it was just a coincidence that Yoko Ono was in the vicinity.)

CNN TItanic replica now under construction in China (Editor’s Note: Antarctica is preparing the replica iceberg.)

CNN Solar Orbiter mission spots eruption from the sun (Editor’s Note: Since most solar eruptions originate around sunspot groupings, are you saying the Solar Orbiter spotted a spot?)

NBC News Joe Rogan criticized, mocked after saying straight white men are silenced by ‘woke’ culture (Editor’s Note: And yet, Joe Rogan still speaks.)

NBC News Obama on UFO videos: ‘We don’t know exactly what they are’ (Editor’s Note: Well, that would be the “U” part of Unidentified Flying Object.)

NBC News Mines were once the beating heart of eastern Ukraine. Now they are the ticking time bomb (Editor’s Note: Did Edgar Allen Poe have something to do with this headline?)

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lanadelreyfiles-blog · 8 years ago

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Lana Del Rey is Complex’s Summer 2017 Cover Story. Lana Del Rey Talks "Lust for Life," Avoiding Cultural Appropriation, and Getting Political For six years now Lana Del Rey has attracted and foiled critics with pop music that does not sound like any of her peers. The mild, smoky voice, the judicious use of rap production, the juxtaposition of classic American images and sounds with hyper-contemporary, crass language, from these elements Lana makes music that feels at once familiar and strange. ‘Lust For Life’ is her most ambitious album yet, and as Lana explains in her third Complex cover appearance, it emerged from a period of self-examination that, when it ended, left her "looking at everything else" the world has to offer. Hopeful and questioning, the album engages with the tumultuous and oftentimes terrifying politics of 2017 on songs like ‘God Bless America—And All the Beautiful Women in It’ and ‘When the World Was at War We Kept Dancing.’ Elsewhere, this more expansive worldview means features from artists like Stevie Nicks, Playboi Carti, Sean Ono Lennon, and ASAP Rocky. "I was ready to have some of my friends jump on the record," she says,"[and] they were all naturally a little bit lighter than me." Lightness is, in some ways, the operating principle for Lana Del Rey right now. At 32, her career is no longer "guesswork," the way it was when she first began. The questions of authenticity and agency that greeted her upon arrival are irrelevant. There's only Lana Del Rey. This interview has been edited for clarity and length.

— You were living in New York when you put out ‘Born To Die’ and I know that you went from being like normal New Yorker who rides the subway to Lana del Rey who's on Page Six and is the subject of long thinkpieces in the Times. Lana Del Rey: That was fucked up. It just changed it. I remember I was working somewhere else and I was on my way back from there and I was getting on the 6 train, and TMZ was behind me the whole time. — On the train? LDR: Yeah, I had run into this camera-man. It was the first time I had seen a paparazzi, but he wasn’t taking pictures, he was just filming. I don’t even know if I had ever seen that before ‘cause it’s someone with a VHS following you around. — Was he trying to talk to you? LDR: Yeah, and I was answering and I sounded crazy. I went down and got my ticket, swiped it, waited for the train. I looked behind me, the guy had got a ticket too, and he was waiting too. I was like, Wait, is this real life? Honestly from then on one of those guys I had seen that day was just always there. I thought to myself, I think I gotta move somewhere. — Your first three covers are all fairly serious, sort of oscillating between kind of almost sad and maybe a little bit aloof on the ‘Honeymoon’ one. This is the first one where you’re smiling. LDR: Well, the ‘Honeymoon’ cover I thought was more just casual. I felt like I was in a more casual space. But this was definitely in an even more lighter space altogether. My sister, Chuck, shot it, but we shot it in the parking lot behind the scenes of my ‘Love’ video. We didn’t know if we were going to get the cover but we definitely knew I was gonna smile. We took a couple frames, and we developed it that week, and I felt like that was the one. — For being a fairly dark time to live in the world, it’s kind of interesting that this is actually your most optimistic work, at least in its titling and its imagery. What’s the genesis of that? LDR: Well there was a little bit of a shift in me naturally. I felt like I had kind of said a lot and done a lot through the records. I was ready to have some of my friends jump on the record [and] they were all naturally a little bit lighter than me, so that was kind of happening in my world. I felt like two years of recording really dark tunes would not be fun. — You do touch on problems of the world and politics in this work in a way that your previous albums did not. Was that a conscious decision? LDR: On the last records I needed to look inward to figure out why things had gone so far down one path, and then I kind of came to the end of my self-examination and I naturally was looking at everything else. But, of course, all my experiences and romantic relationships and stuff are still peppered in to some of the songs on this record. Also, with Obama as the president, me and everybody I know, I think we felt very safe and protected, felt like we were being viewed the way we wanted to be viewed, in terms of the world. So there wasn’t as much to say except, like, look how far we’ve come and it’s getting better, getting even better. I feel like there was quite a shift. — With this record you have infused more politics than ever before. I think it’s not necessarily a political record, but it is a record of the day. I don’t know this for a fact, but I would imagine that you have a decent number of sort of middle American fans for whom Trump’s inauguration and administration is not problematic. How do you negotiate expressing your own honest feelings about these things, and do you think about whether or not it’s going to piss them off, or is this something that has inspired ire from people who at one point were in you core? LDR: You don’t negotiate when it comes to your work or your art. You stand totally firm and take the consequences. In terms of losing fans I don’t care. Period. [Laughs.] — The last two albums, ‘Honeymoon’ and ‘Ultraviolence,’ it seemed like you concentrated on making stuff for yourself, and perhaps for your core audience. With this record, it at appears that there is a more expansive ambition. LDR: I would consider it as a not turning away from the possible bigger-ness of it, compared to the other two. Before, I felt maybe I wanted to be more protective of my own space and stuff with the last two records. — Was that a reaction to the success of records like the remix to ‘Summertime Sadness’? LDR: I think it was a reaction to more people knowing who I was right away. So I was like, Let me just check myself and get myself into a place where I’m sure I like what I’m doing, and I know I like the production. With the ‘Summertime Sadness’ remix, I had told you before, I didn’t hear that song until it was on the radio and I came back from a show in Russia, and I heard it on the radio. I mean, obviously in general I like to have my hands all over the production. — Was that a weird feeling to like - LDR: It was a weird… — Is it weird also that it’s probably - LDR: That it’s a huge song? — ...your biggest hit? LDR: Really? You’re gonna say that? — I mean, radio numbers at least. LDR: No, you’re probably right. — Probably not your most important song, but… LDR: I think ‘Video Games’ is right up there. I was more sensitive about it then because when you’re new you’ve got so much to prove. You don’t have that many chances. That’s real. I’d consider it at the time just being careful. You know, in terms of collabs or sponsorships or whatever. — Is it freeing now to feel that you can do whatever feels good in the moment? LDR: Yeah. It is actually. — Do you feel like that played into the larger ambition of ‘Lust For Life’? LDR: Rocky’s on the record, and when he’s in town and I’m here, I’m just down at the studio anyway. Or the same with Abel, you know? I’ll just go down and listen to what he’s working on. I realized, Why do I not have my friends on my record? It was pretty natural but I guess with Abel, everything he does now is so big, so at another time maybe that would’ve felt like a little bit scarier or something, but now it just feels right. — What do you mean? LDR: Well, he’s super out there and he’s got a lot of radio stuff so I don’t know if I would’ve known what to do with a big radio song. I’m not saying I have one on this record… — But if you are to have one, you feel confident that it would be exciting? LDR: That I would be happy, yeah. — David Byrne from the Talking Heads wrote an amazing book about the history of music, and he goes into the significance of radio in how songs are formatted, and the idea that it’s like three minutes with three hooks and a bridge—there’s nothing in nature that says that that’s how music should be composed. It’s strictly about how radio programmers want to get three songs per commercial break, so that has sort of trained the artists to work within those confines. LDR: For sure. And they’re not terrible confines to work within. It’s kind of fun to make a short song with a cute chorus. But I think if you’re writing it yourself it’s important to have half the record at least where you’ve got a little bit of your life in there, or a little bit of an opinion. I think if you’re really good you can do both. I was thinking of Bob Dylan. — What is the measure of success for you? LDR: The one thing that stayed the same is, for me the measure of success with the record is just that it gets finished. [Laughs.] For real. — Did Sean Lennon make the record? LDR: He made it. — I saw that you took these pictures with a horse, but it was not a horse that was coming out of a pond on his estate, so I didn’t know if that was like a subliminal shot. LDR: It’s not, no. Horses have just been a random theme somehow. He ended up producing the track we made, ‘Tomorrow Never Came,’ and that’s the only track on the record that I wrote over the last two years that I didn’t feel like it was mine. I felt like I had written it for someone else, which I… I’ve never really felt like that. Then I was looking at the lyrics and I had a lyric about John Lennon and Yoko, so I called Sean and asked him if he would do a duet with me. He said that he was his dad’s biggest fan, so it would be really natural. — The other thing I’ve noticed is that almost all the people that you work with are men. Is that something you ever think about, or that bothers you? LDR: Well, it’s weird because the people in my close production life are men. I guess I’m thinking of like Rick [Nowels] and my two engineers, Dean Reed and Kieran Menzies, who have changed my whole musical life and my sound and my records. But in my personal life, there’s just so many women. Well there’s not many female producers, for sure. There’s some great female songwriters though. That’ll probably change. — When you think about yourself as a songwriter, how do you think you’ve changed from ‘Born To Die’ days to what you’re writing now? LDR: Maybe just the ability to integrate my own experiences with what I’m observing. To be able to reflect back, like a good mix of inner world, outer world. — Toxic relationships were very much the fuel of a lot of the writing on those first albums, as you have moved to a sort of happier, more solid place, perhaps making better life decisions - LDR: Trying. — How do you think about your romantic life, and how do you think about it within the context of your songwriting? LDR: I feel like in this record there’s—with the songs that are “love songs,” or about relationships, I feel like I come off almost more annoyed about the way things are going rather than like, “Oh, poor me.” There’s like a moving that I get from my own stuff, because sometimes my own stuff is a little bit revealing to me, you know, about myself. — With a lot of artists who write very personal stuff, when they get to this point in their career it sometimes gets more difficult to unearth and reveal those things because of success and fame and the work. LDR: That’s so true. — Do you feel like it’s a greater challenge now? LDR: Yeah, but I’ve never been somebody who turned away from really hard work. I’m always looking to put the footwork in. Like with the mixing, if it takes eight months I will mix for eight months. If the master doesn’t come back right I’ll find someone else to do it. With the personal stuff I mean, if I feel like I’m just not getting it right I’ll just keep on trying different things until I feel like I’m hitting my stride in that department. I don’t know, finding your own path is not for the faint of heart. It’s the harder path. It’s easier to just keep doing the same shit over and over again and then be surprised when it’s still the same results. Somehow that’s easier than just doing something different. — A lot of what got written about you in the beginning, and in a somewhat real way, you had developed a character. I imagine a large part you, and then perhaps something that’s imagined. As you’ve gotten further and further into your career do you feel like the lines between those things have changed or blurred? LDR: I mean, that’s what most of the thinkpieces are about. You know, there’s a lot of stuff I could’ve not said in the songs and I said it anyway. It didn’t always serve me to talk about some of the men I was with and what that was like, and then not comment on it further. So that’s some of my experiences and where I lived and what it was like. It would’ve been easier to just not say that and then deflect all of the questions about it afterwards. — So do you think that was sort of overstated? LDR: I didn’t edit myself when I could have, because a lot of it’s just the way it was. I mean, because I’ve changed a lot and a lot of those songs, it’s not that I don’t relate but… A lot of it too is I was just kinda nervous. I came off sort of nervously, and there was just a lot of dualities, a lot of juxtapositions going on that maybe just felt like something was a little off. Maybe the thing that was off was that I needed a little more time or something, and also my path was just so windy just to get to having a first record. I feel like I had to figure it out all by myself. Every move was just guesswork. — It’s kind of funny because you were in your mid-twenties when you sort of came out and I do think if you look at artists that dropped their first albums between like 25 and 27, whether it’s an Eminem or Jay Z, it’s like, if you looked at their work at 22 - LDR: Yeah, exactly. It’s different. — It would’ve been very raw and unfocused. There was no Slim Shady for Eminem at 22, but at 26 he had the full 360 package. LDR: Jay Z talks about that too, like how he really, really lived by the time he was 26. There was a real perspective he was coming from. So, yeah, it’s a real age where... — You can put together a project that's more fully formed. LDR: Right. And my perspective was fully formed, it just wasn’t a great outlook. It’s not so much a persona question with me, it’s just more like what was going on with that girl, you know? Like, where was she coming from? — There’s been an inordinate amount of conversation around the idea of cultural appropriation, and Katy Perry kind of stepped right in it with her performance on SNL. You have moved fairly organically from the singer/songwriter world into hip-hop, and back out and back in without much commotion. Why do you think that is? LDR: I never feel like I’m not where I’m supposed to be, you know? No matter who I’m with, I’m always still doing my own thing. I can’t remember the last time I was in a club or somewhere and felt like, Man, I’m not supposed to be here. I’ve been kind of doing it for so long I feel like everybody I’m friends with, everyone I know just knows I’m all about the music. — Do you have any consideration for the critics and all of the sort of dissection for your art at this point? LDR: Yeah, sometimes. I have a song called ‘Get Free’ which closes my record, and it started by, it told my whole story, I guess, and my thoughts on where I want to go next; and then I realized, I actually don’t want to tell my whole story, I don’t want to talk about it. — How do you negotiate what you keep for yourself and what you are ready to share? LDR: Sometimes I just can’t resist to just tell it like it really is for myself and the way that I feel.

#Lana Del Rey #Complex #Magazine #Complex Magazine #Interview #Editorial #2017 #July 2017

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geebs1856-blog · 6 years ago

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Art & (my) Life: Final Paper

In this course I had jam-packed experience with art. Through the experience I learned the seven ideas about art. Of these ideas some stuck out and were what showed me how it applies to my life. The second idea about art we learned was identity. We talked about the different types of identities such as race, ethnicity, gender, religion, political parties, ideologies and several others. Identities are subjective to people and they may have set opinions or not accept people of other identities. Identity in art is an interesting concept because whenever someone judges you for your identity you are oppressed but yet when you choose identify thats empowering. We discussed how artists can express and embrace their identity in their artwork. The class activity we did with identity was making zines. I made an angry zine about living with my roommate. In my zine I identified my feelings toward my roommate and problems I had with him and his living habits. It was a great format to rant about my problems at home. After this assignment I was motivated to talk to my roommate about how things had been. We came to some agreements and the problems we faced mostly diminished. Learning about identity in art made me remember to respect other people's identities and helped me identify some of my own. As a Business Finance major, I identify as someone who thinks with logic and facts. Since I identify myself in this way I can be judged. For example, some might say I’m in this major because it is profitable and can be risky and that might make people think I’m only interested in making lots of money. However this isn’t the case, I’m in this major because I want to help others be more responsible with their money and teach them how to make it grow. So that they can be prepared for the stages of life, college, starting your career, getting married, having kids, and retirement.

Another important idea of art is about the importance and power of speech. We were on the topic of speech for about 2 weeks. We discussed ways speech had been used in different time periods. Pablo Picasso’s Guernica recreates political speech because it was made in response to the Nazis bombing Guernica during the Spanish Civil War. I learned that speech can be conveyed in action art like Yoko Ono & John Lennon’s Bed-in for Peace. In efforts to create speech about peace during the Vietnam War, Lennon and his wife held two week long Bed-Ins for Peace. Each Bed-In was held at a different hotel, their effort was to protest with nonviolence and experiment ways to promote peace during a time of war. We also discussed how speech art could right for people’s right as we saw with The Guerilla Girls. Formed in 1985 in New York City a group of women that fought for sexism and racial equality. We looked at their ad questioning the lack of women in the Met. Museum.

The last idea about art we learned was remix, the art of our time. We discussed the freedoms & fears, and the empowerment & risks of internet culture. Social media platforms allow people to share their feelings and opinions to the world in forms of art. Whether it be text, photos, or videos people share them to their profile/blog just like art on a canvas. This idea helps prove that art is everywhere and apart of our everyday lives. The activity we did with remix idea of art was to make our own remix or words, images, and other media. I remixed to images with the cropping and pasting tool on Snapchat. We talked about copyrights and how to determine whether its okay to use someone else’s work.

After a semester in this class learning about the ideas about art, meeting and exploring artists work, and creating my own got me to see the importance of art and gain a new perspective on it. This course was my first visual art class, before this I had only been in a Theater Arts class. I can say that this semester I learned more about art than I expected. My experience with art was very minor until this course. I like how art is taught because it is different than other subjects because of how you are able to converse and create it. I agree with the idea/plans of turning STEM into STEAM. Art is just as important as science, technology, engineering and math. Art has a significant influence in the world all throughout history and continues to do so today. My understanding of art has evolved this semester in several ways. Thanks to this course I am able to identify different types of art, find patterns within it, and determine what the underlying message of the piece stands for. Overall I feel I am more comfortable with art and appreciate its use in the world. Although I don’t have a major that is artistic I still think art will continue to remain apart of my life.

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sciencebulletin · 6 years ago

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Oldest galaxy protocluster forms 'queen's court'

Using the Subaru, Keck and Gemini Telescopes, an international team of astronomers has discovered a collection of 12 galaxies that existed about 13.0 billion years ago. This is the earliest protocluster ever found. One of the 12 galaxies is a giant object, known as Himiko, which was discovered a decade ago by the Subaru Telescope and named for a mythological queen in ancient Japan. This discovery suggests that large structures such as protoclusters already existed when the universe was only about 800 million years old, 6 percent of its present age. In the present universe, galaxy clusters can contain hundreds of members, but how these clusters form is a big question in astronomy. To understand the formation of clusters, astronomers search for possible progenitors in the ancient universe. A protocluster is a dense system of dozens of galaxies in the early universe, growing into a cluster. Yuichi Harikane, a JSPS fellow at the National Astronomical Observatory of Japan who led the team of astronomers explains, "A protocluster is a rare and special system with an extremely high density, and not easy to find. To overcome this problem, we used the wide field of view of the Subaru Telescope to map a large area of the sky and look for protoclusters." In the map of the universe made by the Subaru Telescope, the team discovered a protocluster candidate, z66OD, where galaxies are 15 times more concentrated than normal for that era. The team then conducted follow-up spectroscopic observations using the W.M. Keck Observatory and Gemini North telescope, and confirmed 12 galaxies which existed 13.0 billion years ago, making it the earliest protocluster known to date. Interestingly, one of the 12 galaxies in z66OD was a giant object with a huge body of gas, known as Himiko, which was found previously by the Subaru Telescope in 2009. "It is reasonable to find a protocluster near a massive object, such as Himiko. However, we're surprised to see that Himiko was located not in the center of the protocluster, but on the edge 500 million light-years away from the center." said Masami Ouchi, a team member at the National Astronomical Observatory of Japan and the University of Tokyo, who discovered Himiko in 2009. Ironically, the mythological queen Himiko is also said to have lived cloistered away from her people. Ouchi continues, "It is still not understood why Himiko is not located in the center. These results will be a key for understanding the relationship between clusters and massive galaxies." This research will be published on September 30, 2019 in The Astrophysical Journal, titled "SILVERRUSH. VIII. Spectroscopic Identifications of Early Large Scale Structures with Protoclusters Over 200 Mpc at z~6-7: Strong Associations of Dusty Star-Forming Galaxies." Provided by: National Institutes of Natural Sciences More Information: Yuichi Harikane, Masami Ouchi, Yoshiaki Ono, Seiji Fujimoto, Darko Donevski, Takatoshi Shibuya, Andreas L. Faisst, Tomotsugu Goto, Bunyo Hatsukade, Nobunari Kashikawa, Kotaro Kohno, Takuya Hashimoto, Ryo Higuchi, Akio K. Inoue, Yen-Ting Lin, Crystal L. Martin, Roderik Overzier, Ian Smail, Jun Toshikawa, Hideki Umehata, Yiping Ao, Scott Chapman, David L. Clements, Myungshin Im, Yipeng Jing, Toshihiro Kawaguchi, Chien-Hsiu Lee, Minju M. Lee, Lihwai Lin, Yoshiki Matsuoka, Murilo Marinello, Tohru Nagao, Masato Onodera, Sune Toft, Wei-Hao Wang. SILVERRUSH. VIII. Spectroscopic Identifications of Early Large Scale Structures with Protoclusters Over 200 Mpc at z~6-7: Strong Associations of Dusty Star-Forming Galaxies. The Astrophysical Journal (2019). arXiv:1902.09555 Image: The blue shading shows the calculated extent of the protocluster, and the bluer color indicates higher density of galaxies in the protocluster. The red objects in zoom-in figures are the 12 galaxies found in it. This figure shows a square field-of-view 24 arcminutes along each side (corresponding to 198 million light-years along each side at a distance of 13.0 billion light-years). Each zoom-in figure is 16 arcseconds along each side (corresponding to 2.2 million light-years). Credit: NAOJ/Harikane et al. Read the full article

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fruitsbaskets2e22 · 5 years ago

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hotelbones · 6 years ago

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Deconstructing Scores

Flux Scores

Semiotics

Understanding Flux scores:

“They are people who are really trying to turn you on to the superlative activities you do everyday.” – Allison Knowles https://vimeo.com/36770983

“What I want people to see is how really simply things can be done if you concentrate on that’s what what you’re doing.” – Allison Knowles

Event scores were the dominant Fluxus work, which particularly was distributed in Fluxus Boxes. One of the first of these boxes was George Brect’s Water Yam.

Dick Higgins called Fluxus scores “intermedia”, “a dialectic between media”. Intermedia is not media supported by other media, but rather media that is at the same time another media.

Dick Higgins also published scores called “Danger Music”. These scores imply both visual and audible elements. Some of them are dangerous and pretty much impossible, while some others are mundane.

“How an event score should be performed depends on its notation it uses and the degree of freedom that the score offers. While some scores are so free that one could think that a performer could do anything, this freedom often compels the performer to restrict and edit their work.” – Virginia Anderson

What details can be understood by analyzing all aspects of the score? Does the title give more context to the score than the text?

Some of these pieces attempt to transcend the objects into music and theater. As Allison Knowles does with her performances of her salad piece.

From Virginia Anderson’s analysis of scores, it seems that event scores aren’t meant for the performer to experience, but simply as an alternative to performance. I’ll look for alternative takes.

As I go deeper into learning about fluxus scores, it seems that while these may parallel games in a sense that there are instructions to follow, they are not actually games. These are in fact performances that have play-like elements. How am I making this distinction? With event scores it appears that none of them were meant to be performed by a person for the sake of performing them, but they were meant to be performed for others as music or theatre would. For this reason it isn’t exactly helpful to state that these are forms of games, but it may be valuable to view them through the lens of games instead.

This also may change with later scores.

George Brecht – “a deeply personal, infinitely complex and essentially mysterious, exploration of experience. No words can ever touch.” (Project in Multiple Dimensions)

An aesthetic form that Brecht theorized was that of the “Chance-Image”. Chance being based off the latin words taken from dice falling.

“The word ‘chance’ (with a Latin root relating to the falling of dice) can conveniently be taken to mean the cause, or systems of causes, responsible for a given effect is unknown or unlooked-for or, at least, that we are unable to completely specify it. Of course, in the real world, causes are also effects, and effects causes.” – Brecht Chance Imagery

An appeal of chance-imagery is to place the artist’s images to be equal with that of nature’s images as the mind is capable of infinite image formation. Thus making the artist’s work nothing special.

“Words only permit us to handle a unified reality by maneuvering arbitrarily excised chunks.” – Brecht Chance Imagery

“In the event, everyday actions are framed as minimalistic performances, or, occasionally, as imaginary and impossible experiments with everyday situations.” - Hannah Higgins Fluxus Experience

Kotz and Ouzounian point out that part of the problem with Fluxus scores all being put into a single category is that their process becomes homogenized and Brecht’s work becomes known as performance.

In George Brecht’s notebooks he saw the idea of scores in other musical pieces and took note of them as study material: Anton Webern’s Symphony Op. 21 (1928), Karlheinz Stockhausen’s Klavierstücke XI (1956), an unnamed composition by Christian Wolff for prepared piano (probably Duo II for Pianists), and Music of Changes (1951). Brecht saw the number of pitches as “events” in these pieces. In some ways this could be similar to looking at event scores as games.

“My life is devoted to research into ‘the structure of experience’” – Notebook entry January 1959

George Brecht saw a really really scientific view of the world. Looking at everything from the causal and physics level.

George Brecht’s first exhibition “Towards Events” is weirdly reminiscent of my own semi-exhibition I had inside of the Statens Museum for Kunst. Objects were accompanied by instructions to be performed. There is probably some interesting things to be found by comparing my Irrational Games exhibit to this one.

“Brecht’s model of the Event was arguably an attempt to realize such an enlightenment by pointing to the chanced form as an arbitrary subdivision of the ‘unified whole’ of the universe. An arrangement of an object or objects is a ‘performance’ of this whole in that it frames moments or subdivisions within it, i.e. ‘[gives] order (physically or conceptually) to a part of the continuum with which [a person] interacts’.” – Ouzounian

“Some Event scores illustrate this concept quite explicitly. Three Aqueous Events, for example, lists three momentary states that an aqueous ‘object’ may occupy over time: ice, water, steam.6 A realization of this score entails performing (arranging, observing, ordering) these objects/states and, through this performance, revealing their condition as arbitrary points within a continuous field, and indeed their existence within a continuous state of flux between these points. In making this observation, the performer ideally realizes, and more precisely experiences, his or her own place within this continuum. Such an experience entails a kind of transcendence in which any stable sense of self is at least momentarily undermined through its connection to this larger system of flux” – Ouzounian

“In this way, an Event score not only structures occurrences, but also experiences, ones that are ultimately transformative in nature.” – Ouzounian

These event scores seems to have come from George Brecht’s interest in the systems of a score interacting with the systems of the world. Or maybe more specifically, he was interested in designing a score so that the systems of the two became indistinguishable.

Something else to consider when using Event Scores as precedents, is a lot of it was response to the forms of art in the 60’s. If I am creating something that is relevant to the field of games, ideas and theory should be translated. Again, the idea that just because Event Scores have game-like elements, doesn’t mean we should take them as games.

What are the conditions that make an event possible? Events are produced in a chaos, in a chaotic multiplicity, but only under conditions that a sort of screen intervenes. --Gilles Deleuze, The Fold: Leibniz and the Baroque

“Events are an extension of music” – Brecht interview by Irmeline Lebeer (1971)

“Arguing against the commonsense, mass-media idea of an event, Deleuze pinpoints two qualities which will be relevant in this context: "even a short or instantaneous event is something going on," "events always involve periods when nothing happens.” – Liz Kotz

“The best Fluxus "composition" is a most non-personal, "ready-made" one like Brecht's "Exit"-it does not require any of us to perform it since it happens daily without any "special" performance of it. Thus our festivals will eliminate themselves (and our need to participate) when they become total readymades (like Brecht's exit)” – Maciunas in Fluxus etc./Addenda II

Intervention I by Jennie Hahn and Cory Tamler

Intervention III

So looking at modern scores, how have they continued this practice, and why have they? These interventions above were created by Cory and Jennie to reframe humans and non-humans as characters and participants in a dialogue about the ecosystem.

Why scores though? It seems like these scores are more of a personal and accessible way for people to reframe their actions, body, and mind in relationship to the environment. In the same way that George Brecht’s Word Event triggers a multitude of thoughts related to the concept behind the word “exit”, In Kinship provokes thinking about communities, objects, and psychogeography. Also similar to something like Yoko Ono’s Watch Piece I these pieces ask the performer to do something that may be seemingly illogical, but upon performing reframes abstract concepts in a new way.

CAConrad – (SOMA)tic Poetry Exercise

Something about CAConrad’s work really puts me off. I think part of it feels like there is an air of trying to make work similar to Fluxus and also trying to maintain the artistic elements of poetry. For example, listening to Phillip Glass on the floor, feels like a very artsy thing to do. Which sounds stupid, but idk it just seems like a bit much. However, in contrast to that feeling what I find interesting about CAConrad’s work is the communication of a personal narrative through the score. This score isn’t just for the reader to see the world in a new way, but to understand CAConrad in a new way. Thinking about the score in this way, listening to Phillip Glass may be artsy, but that is because CAConrad is artsy and they want you to understand how they felt at this point in time. In this way it is fairly reminiscent of Mattie Bryce’s EAT.

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