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musiconanironingboard · 2 years

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15 May 2022: CHIRP CD Blowout Sale.

CHIRP is the Chicago Independent Radio Project, and my good friend Owen has been associated with it for years. The station announced a fundraising CD sale, consisting of donations and other unwanted acquisitions the station has accumulated. This event brought to mind the fabled “Crap-a-Record” charity sales I attended in days of yore (my brother coined that term, crap-a-record), first when I lived in Champaign, Illinois, and then in my earliest years in Chicago there was an ALS charity sale out in the parking lot of Old Orchard Mall in Skokie. At these sales, everything was generally a dollar, and the CHIRP CD Blowout had the exact same kind of setup: tables in a parking lot, no guarantees, garbage filed right alongside gems, nothing alphabetized, with most everything a dollar.

I got to the event before it began because I traveled there with Owen, and he had to set up audio equipment as he was going to be the first of several DJs to spin tunes while shoppers browsed the discs. Within five minutes of the sale beginning, it started to rain. The rain was intermittent, but people just shopped right through the passing storm. I went inside during the worst of it; I knew there would be plenty more CDs when I got back out there. When a box started running low, they’d replace it with another box full of discs. It’s a shame about the rain, because I saw an otherwise mint two-disc reissue of Bob Mould’s Workbook get ruined by the weather. I would have snapped that up in a second had it been intact.

The event was held at, of all things, a Christian brewery. I suppose it was there because the radio station is immediately across the street. I’ll admit the facility was beautiful, not to mention picturesque as it is on a nicer stretch of the Chicago River, but with all the beers named after biblical references and the general religious vibe I doubt I’ll go back unless there is another music blowout of some sort.

At the event, CHIRP handed out totebags, and I basically looked at every box, throwing anything in my totebag that I had even a passing interest in. This can feel a bit like a game show, and I ended up with things I would never have purchased at regular used-CD prices. I’m going to start out with a couple of pictures and then give an inventory of everything and say a few words about why I got each one.

Below we have the 50 items that are in good enough shape that I’d be willing to add them to my permanent collection (if I end up liking them, that is; I have no doubt some of these will eventually get donated or traded).

Here are the 10 discs that wound up being in terrible condition, scratched beyond what I will tolerate. In the moment, there was no chance to stop and check condition. And as the money went to a non-profit, I don’t consider it money thrown away even though these discs will probably go to the trash can. They’re not good enough to be sold, and no one really wants to receive a donation of destroyed CDs.

Here’s the lineup of the 50 things that have a chance of sticking around. I plan to process these by listening to roughly one per week beginning in January 2023.

1. Ramblin’ with Mose, Mose Allison (Prestige, 1962)—I have a dozen or so albums by the jazz pianist/vocalist, and I always enjoy them.

2. Mama’s Gun, Erykah Badu (Motown, 2000)—I’d never be interested in this were it not, reportedly, one of my girlfriend’s favorite albums. That doesn’t really compute to me and I decided I needed to find out what this sounds like. A top nominee to be donated after I hear it.

3. Shine Bright, Marcia Ball (Alligator, 2018)—I already own one album by this Louisiana blues pianist/vocalist and it’s really not my bag; this wound up in my stack simply because Ball is familiar to me and I always like having two albums by somebody instead of just one. But this could easily get donated.

4. Biophilia, Bjork (Nonesuch, 2011)—There was a moment where I decided I’d buy every Bjork album and do a catalog study. That effort petered out quickly, but for a buck I’ll take another one, and its glossy digipak was miraculously in pristine shape.

5. Booth and the Bad Angel (Mercury, 1996)—Because of a deep dive I recently took into the Twin Peaks universe I’ve actively been wanting this, a collaboration between David Lynch collaborating composer Angelo Badalamenti and Tim Booth, frontman of the group James.

6. Bottle Rockets/The Brooklyn Side, The Bottle Rockets (2013 Bloodshot twofer reissue of 1993 & 1994 East Side Digital releases)—This Missouri group fits decently with my general interest in Americana, and I recall a good couple of singles from my days in university-radio programming.

7. Fat City, Shawn Colvin (Columbia, 1992)—I was a Colvin fan in college and programmed this album (her second) at the radio station, and went to see her perform twice while she promoted it. I’ve always wanted a copy and never made it happen until now.

8. A Few Small Repairs, Shawn Colvin (Columbia, 1996)—I liked “Sunny Came Home” from this, Colvin’s fourth album, so much that I bought the cassette single, something I almost never did. I never felt like taking a plunge on the album, but it’s an easy purchase for a buck, especially when already buying Fat City.

9. Walking in London, Concrete Blonde (IRS, 1992)—I’d rather have bought Bloodletting, its 1990 predecessor, which I owned once before and traded, but I figure I need something by the band back in my collection, and here it is.

10. Cracker (Virgin, 1992)—I’m not particularly fond of this album or this band, and I’ve owned it and sold it before, but for a buck I’ll take it back. It’s a staple of my college years even though I vastly prefer David Lowery’s previous band Camper Van Beethoven.

11. Greatest Hits, Devo (Warner Bros., 1990)—I’ve got a zillion Devo albums, mostly on vinyl; why not grab their hits CD for a dollar?

12. The Dance, Fleetwood Mac (Reprise, 1997)—I own every other Fleetwood Mac album of the Buckingham/Nicks era, so why not grab this live album? It can’t be that bad.

13. Us, Peter Gabriel (Geffen, 1992)—I’ll never find a mint-condition UK vinyl copy of this like I owned in college and stupidly sold, so it’s time I accept that and get this album back even if it’s via a dollar CD.

14. The Benny Goodman Story (MCA CD abridged reissue of 1964 Decca release)—The epitome of “I grabbed anything that held even passing interest”; I don’t have any Goodman, and here’s a 20-track selection. Why not.

15. Get the Gore, Gore Gore Girls (Bloodshot, 2007)—I could probably donate this gimmicky band’s album right now and never think of it again, but I grabbed it initially because I once saw them open for The Waco Brothers and thought it would least be worth the 40 minutes of hearing it once.

16. Go to Heaven, Grateful Dead (Arista, 1980)—I own a lot of Dead albums, but never owned this one.

17. All Things Must Pass, George Harrison (2001 Parlophone reissue of 1970 Apple release)—This is the dopey one with the colorized cover. In very nice shape for $2, even though I have multiple other copies of the album? Of course.

18. Walk On, John Hiatt (Capitol, 1995)—I’m in the middle of a John Hiatt catalog study and I need this. I’ve not heard it since checking it out at the library when it was new.

19. Celebrity Skin, Hole (DGC, 1998)—A late-’90s staple (just meaning it was ubiquitous at the time), and I enjoy Hole now and then. I don’t hold any high expectations, but for a dollar I’ll let it in the door.

20. Night and Day, Joe Jackson (A&M, 1982)—A favorite and I’ve only owned it on vinyl before this.

21. Blue Earth, The Jayhawks (Twin/Tone, 1989)—The only Jayhawks album I didn’t own. Easy buy.

22. Greatest Hits Volume I & Volume II, Billy Joel (Columbia, 1985)—I own this on vinyl, but there’s gonna come a day I’ll be glad to have some of his hits I can throw on the iPod for easy access. Maybe.

23. Fever in Fever Out, Luscious Jackson (Grand Royal/Capitol, 1996)—Another post-college ’90s staple I don’t care about, but will find out about for a dollar.

24. Deserted, Mekons (Bloodshot, 2019)—I used to intentionally buy this band on vinyl and CD; I’ve not done that for a while, but for a dollar I’ll do it.

25. Offramp, Pat Metheny Group (ECM, 1982)—I generally like Metheny; I saw him perform live in 1988 or 1989 and somehow haven’t owned any of his albums (not counting the soundtrack to The Falcon and the Snowman, which I bought for a Bowie song).

26. The Best of Morphine, Morphine (Rykodisc, 2003)—I like Morphine and this compilation has some songs unavailable elsewhere, plus it’s in an intact and pristine green Ryko case, worth a dollar by itself.

27. Falling Out, Peter Bjorn & John (Hidden Agenda, 2005)—I have this on vinyl but my other PB&J CDs will feel less lonely with a copy of this next to them.

28. Fear of a Black Planet, Public Enemy (Def Jam, 1990)—A classic and I’m happy to not have to play my valuable original vinyl when I want to hear it.

29. Blood Sugar Sex Magik, Red Hot Chili Peppers (Warner Bros., 1991)—I can’t stand this band, but I apparently want to hear this thing one more time. I owned a heavily edited vinyl promo during my radio days and if I’m gonna own this I’d rather have that back, but it sells for hundreds. I look forward to getting rid of this once I’ve heard it again.

30. The King & I, The Residents (Enigma, 1989)—I’ve got a billion Residents and have never heard this one, which I’ll gladly do for a dollar.

31. Hot Rocks 1964-1971, The Rolling Stones (1986 ABKCO reissue of 1971 London release)—Another thing I own on vinyl but am happy to have a CD copy of for easier access.

32. Sweet Oblivion, Screaming Trees (Epic, 1992)—Frontman Mark Lanegan died recently, so he’s been on my mind, and I’ve never owned this ’90s staple.

33. Night Moves, Bob Seger and the Silver Bullet Band (Capitol, 1976)—I sense a Seger deep dive in my future and it’ll be good to have this in an iPod-friendly format.

34. Against the Wind, Bob Seger and the Silver Bullet Band (Capitol, 1980)—See above, though unlike Night Moves I do not own this on vinyl.

35. Blue Boy, Ron Sexsmith (SpinArt/Cooking Vinyl, 2001)—I liked his debut album a lot at the time and haven’t kept up with him at all; for a buck I’ll find out what he was up to 20 years ago.

36. Exit Strategy of the Soul, Ron Sexsmith (Yep Roc, 2008)—See above.

37. Negotiations and Love Songs 1971-1986, Paul Simon (Warner Bros., 1988)—A lengthy solo Simon hits comp for a dollar? Sure.

38. A River Ain’t Too Much to Love, Smog (Drag City, 2005)—Slowly making my way to a complete collection of Bill Callahan’s discography, at least up to the point where he did that awful covers album with Will Oldham.

39. Play, Squeeze (Reprise, 1991)—I owned this in college and since reinvigorating my Squeeze interest after seeing them perform a few years ago, I’ve been wanting it back.

40. We’ll Never Turn Back, Mavis Staples (Anti-, 2007)—I don’t buy every Mavis Staples album, but I buy a lot of them, and with Ry Cooder producing I’m happy to snag this; I didn’t start buying her music until the album that came after this one.

41. Blast from Your Past, Ringo Starr (Parlophone, 1976)—After a few beers, if a guy across from you says “Oh wow, anyone want a Japanese Ringo album?” you just holler “I’ll take it!”

42. Ten Summoner’s Tales, Sting (A&M, 1995)—I can tolerate Sting to a degree, and I had a promo copy of this in college. For a dollar I’ll see if I need to trade it again.

43. True Stories, Talking Heads (Sire, 1986)—I have very little Talking Heads on CD, and I’m happy to obtain it when it’s a dollar.

44. 89/93: An Anthology, Uncle Tupelo (Legacy/Columbia, 2002)—I’ve never loved this pre-Son Volt/pre-Wilco group, but for a dollar I’ll take a clean digipak copy of it.

45. Life in Perspectives of a Genuine Crossover, Urban Dance Squad (Arista, 1991)—This had to be the beer talking; if I’m going to buy an Urban Dance Squad album (we played the band at my university radio station), it should be their debut, but for a dollar I guess I wanted a nostalgia trip.

46. Lucinda Williams (1998 Koch reissue of 1988 Rough Trade)—I’ve never owned this one, though I have a dozen of her others, and this copy has six bonus tracks.

47. Songs in the Key of Life, Stevie Wonder (Motown, 1976)—Another landmark thing I have on vinyl but am happy to obtain a cheap CD copy of.

48. Live in Los Angeles, X (2005 Shout Factory release of 2004 performance)—I’ve never really considered this part of the proper X discography, but for a dollar I’m sure it’s wortwhile.

49. Afterburner, ZZ Top (Warner Bros., 1985)—I’ve obtained enough ZZ Top lately, what’s another one for a buck?

50. Deadicated, various (Arista, 1991)—I’ve always wanted a copy of this Grateful Dead tribute album, specifically so I could get the Elvis Costello version of “Ship of Fools.”

Now, a bit about the 10 discs that are too trashed to keep:

1. Bring the Family, John Hiatt (A&M, 1987)—I’ve long owned this on vinyl, but needed a CD copy for my ongoing Hiatt catalog study. I’ll try ripping this to iTunes before discarding.

2. Slow Turning, John Hiatt (A&M, 1988)—Sea above.

3. Poetry for the Beat Generation, Jack Kerouac & Steve Allen (1990 Rhino reissue of 1959 Dot release)—On May 8, a week before this CD sale, I finished Big Sur, my first Jack Kerouac book, so he was on my mind. This disc is the most destroyed of them all; it looks like someone used it to sand roof shingles with. In good shape, it’s not cheap; Discogs’ cheapest copy is $20. The cheapest copy of the original LP is $5000. I doubt this disc would even import to iTunes.

4. Diesel and Dust, Midnight Oil (Columbia, 1987)—Another I’ve long had on vinyl and wanted for the iPod.

5. Graceland, Paul Simon (Warner Bros., 1986)—See above.

6. Daydream Nation, Sonic Youth (Engima, 1988)—I’ve long owned this on vinyl, but the only CD copy I have is an expanded, two-disc reissue, and I wanted a plain-old original CD. Whereas most everything in the sale was $1, this wrecked mess was $3. Ugh!

7. A Thousand Leaves, Sonic Youth (DGC, 1998)—Another I’ve long had on vinyl and wanted on CD as well.

8. Paul McCartney Rocks, Paul McCartney (Capitol, 1990)—This promo disc is perhaps the most unusual thing I found in the sale; I’ve never heard of it before, and while there’s nothing on this catalog sampler that’s very rare or revelatory, I was pleased to find it. Pity, then, that’s it’s significantly scratched and the ink on the label side is partly melted off! Discogs has copies beginning at $10, so I might end up with a good copy in the future.

9. Unclogged, X (Infidelity, 1995)—Another live album by the band, this one is acoustic. After buying an acceptable copy of their 2005 Live in Los Angeles at this CD sale, Unclogged would be the only album by X that I don’t own.

10. ...To the Last Dead Cowboy, The Waco Brothers (Bloodshot, 1995)—I’m not a Waco Brothers completist like I am with Jon Langford’s primary band Mekons, but for a dollar I’ll take another one (even though I did leave other Waco Brothers albums behind at the sale; I should have left this wrecked copy of their debut behind as well).

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almaqead · 2 months

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"The Cloth." From Surah Seven, Al Araf, "The Heights."

Ramadan Day 6.

Donald Trump and his fellow party members and their flawed, filthy religion are still armed and ready to destroy humanity. Men wearing panty hose over their heads are still smuggling drugs, guns, weapons, and kidnapping children to serve in their war against God.

Vladimir Putin still haunts the world with his threats of nuclear annihilation, and the weatherman is sweating hold and cold both in his underpants. At the same time!

We agreed we would make a statement about these things, that they would come to an end and life would return to its ordained state so all could praise God in His Righteousness.

This must go faster, as fast as we woud like our prayers to Him answered, it is now our turn to read the Quran and reply to His. Shelter for the world is all He asks for.

7: 137-140.

And ˹so˺ We made the oppressed people successors of the eastern and western lands, which We had showered with blessings. ˹In this way˺ the noble Word of your Lord was fulfilled for the Children of Israel for what they had endured. And We destroyed what Pharaoh and his people constructed and what they established.

We brought the Children of Israel across the sea and they came upon a people devoted to idols. They demanded, “O Moses! Make for us a god like their gods.” He replied, “Indeed, you are a people acting ignorantly!

What they follow is certainly doomed to destruction and their deeds are in vain.”

He added, “Shall I seek for you a god other than Allah, while He has honoured you above the others?”

Commentary:

I have created Four Directions to follow in order to reach Shelter, AKA the onset of Masjid. The Values in Gematria are:

v. 137: We made the oppressed people successors. Eastern Lands are those all of us occupy now. We are rubbing the sleep out of our eyes, about to assess what was undone the day before. All the way on the other side of the clock are the Western Lands, all that was done that should have and could have been done.

The Value in Gematria is 14551, ידה‎הא‎, "Her hand, yes, yes."

The word for her in Arabic is Hawaa, which is another way to say Allah which has the following etymology:

Scholars insist that the form חוה (hwh) occurs over three separate roots, which have nothing to do with each other. But anyone with some poetic merit will notice that the most fundamental idea beneath all three of these is the act of investing one's personal sovereignty into a living collective in order to form a symbiotic whole.

In nature this phenomenon occurs when molecules cluster up "voluntarily" to form living cells, or when many living cells form one organism or when many human minds form one living culture.

In the Bible this phenomenon is described most clearly in Genesis 2:7, where God gathers the dust of the earth into a viable composition and injects into it the breath of life.

He performs the exact same miracle but at a different scale of complexity when he gathers the descendants of Abraham (who were to be like the dust of the earth; Genesis 13:16) into a viable composition and releases into that gathering the Spirit (ACTS 2:1-2).

Also From 48:10- two yeses = two hands, not just the one.

Indeed, those who pledge allegiance to you, [O Muḥammad] - they are actually pledging allegiance to Allāh. The hand1 of Allāh is over their hands.2 So he who breaks his word only breaks it to the detriment of himself. And he who fulfills that which he has promised Allāh - He will give him a great reward.

v. 138: We brought the Children of Israel across the sea and they came upon a people devoted to idols. One cannot pray to God when one is trouble and then turn to a man and get into it again.

The Value in Gematria is 7692, זו‎‎ט‎ב‎, "that's right!"

v. 139: What they follow is certainly doomed to destruction and their deeds are in vain. The Value in Gematria is 5539, ט‎ההג‎ ‎ ‎"kill the steering wheel."

v. 140: He added, “Shall I seek for you a god other than Allah, while He has honoured you above the others?” The Value in Gematria is 4924, דטב‎ד, dtbd, "the fabric of religion."

Personal sovereignty depends on the end of all oppression. It is safeguarded by the "cloth" the words found in the Book, the most compelling of which is Zakah.

There cannot be tyranny and zakah at the same time. The steering wheels of war, oppression, slavery, corruption, and violence wherever they are have to be put to death just as the Quran says or the Pillar of Zakah is violated.

The United States of America is the biggest threat to Zakah on the surface of the world. America which serves on the Security Council of the United Nations has promised it guarantee financial and military aid and a just and fair way of life to everyone on this planet.

Because of corruption, it has become incapable of this on its own soil and the people of Ukraine and Israel have already felt the consequences of it elsewhere. This neglect and abuse of the law is overheating the planet, causing the spread of death, disease and famine that will take years to heal from. The danger is real and growing, but nothing conclusive is being done. No where on this planet is there a conclusive fight between good and evil taking place, and this is not what we promised.

As the Verse says "who breaks his word harms himself."

The planet is witnessing persons who have taken the Oath of Office and Oath of Service, the Badge and the Bar postulate and predict the greatest rip off of time, wealth, hope, happiness, and prosperity in human history. Donald Trump has to be put in jail and this has to stop. Joe Biden needs to stop it. The world needs to insist. He is permitting a man who was illegally sworn into office and attempted a siege to run for office a second time, the Russians are slaving their own people to a war they cannot hope to win, and civil rights violations are widespread in American states.

We made a promise there would no longer be slavery on earth but it is happening all over again.

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mylyricpages · 2 years

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‘SONGS OF ALL OUR YESTERDAYS’ ( FULL LENGTH VERSION ) ( 2009 )

‘SONGS OF ALL OUR YESTERDAYS’

On this collection of lyrics I again wanted to push the envelope, and to push myself. I wanted to push for something more ambitious in both length and structure.

Similar to the departure on ‘Age Of The Restless Heart’ the songs are all told through a main character, from a first person perspective throughout. It tells the story of the central character, referred to simply as Son of the Streets, who is a homeless teenager living in the city of London, as well as Mother Revolution and St. Moses. The narrative focuses on Son of the Street’s struggles to conform to the rules of a world he believes has lost its way, which leads him on a quest for first cultural revolution, then later a quest for personal redemption.

In difference to the previous collection this collection was always intended to be a rock opera right from its beginnings. Without a doubt it’s a very different collection to what I’d planned. It was originally conceived as a direct follow up to ‘Age Of The Restless Heart’, but in the writing I realised it was becoming something quite different …

Hope you enjoy

James Ellis

ACT I

01. SONGS OF ALL OUR YESTERDAYS 02. REQUIEM FOR THE MODERN AGE I. MARCH OF THE DOGS II. DEAD SOLDIERS III. VALENTINES & BULLETS 03. DEARLY DEPARTED 04. MOTHER REVOLUTION / THE GUNS OF LONDON 05. WHILE YOU WAIT FOR YOUR LIFE 06. UNDERDOG INFERNO / EULOGY

ACT II

07. A LAMENT FOR THE UNSUNG HEROES 08. LIFE VS. DEATH / SONGS OF REDEMPTION I. TIME’S UP/ CHILDHOOD’S END II. US VS. THEM III. SPACES INBETWEEN 09. DEATH WILL NEVER CONQUER ALL 10. ARE WE THE DROWNING? July 2009 - September 2009

01. SONGS OF ALL OUR YESTERDAYS

( Sound of white noise/ tuning of a radio… )

( Sound of a heartbeat/ indistinct voices… )

When your heart stops beating And when you no longer believe Is it time, is it time to give up on the fight When your faith begins to fall apart And you no longer give a damn Is it time, is it time to give up on all you believed was right

Is this a time, is this a time to sing our songs out loud Is this a time, is this a time to sing out, our secret voices from the crowds Is this a time, is this a time to sing with the voices of the streets Is this a time, is this a time to sing out, to sing out with all the choirs of the abandoned ones Is this a time, is this a time to sing out, to sing out to reclaim the lives of the innocent ones

Is this a time, is this a time to sing out, to sing out again Is this a time, is this a time to rise up, to rise up again

When your heart stops beating And you lose all sense of belief Is it time, is it time to join up with the fallen out on the streets

When your soul begins to stop searching and you no longer give a damn Is it time, is it time to give up on the fire that burnt bright in our dreams Is this a time, is this a time to fight against this modern world Is this a time, is this a time for the quiet voices to finally be heard Is this a time, is this a time to rise up to rise up

Soldiers of the streets, sing out with the choir Sing, sing, the songs of all Our broken hearts

do we still give a damn if you don’t give a damn do we still give a damn if you don’t give a damn at all

02. REQUIEM FOR THE MODERN AGE

( I ) MARCH OF THE DOGS

I am the hallowed Son of the Streets bloodshot and deadbeat and full of pain I am the pawn of love and rage My belief trampled beneath My feet where I lost my faith In the rain

All I need is a small belief to believe in All I want is something to fight for

I am the prodigal that never returned battle scarred and burnt and full of self defeat I am the child of war and peace A son of a bitch revolutionary my heart lost to the modern disciples of these streets

All I need is a small belief to believe in All I want is something to fight for

Is this a time, is this a time For the dogs to march On the government halls Is this a time, is this a time For the abandoned sons to rise up for calls of the lost Is this a time, is this a time For us to question the punishment that you and I never deserved Is this a time, is this a time For the dogs to march On the government halls Is this a time, is this a time to reclaim all of our forgotten lives ( II )

DEAD SOLDIERS

tell my mama her son ain’t dead yet tell her, tell her, I ain’t gone yet I just got a war to fight On these streets of bitterness and regret tell her, tell her, I just gotta fight For something in these times When nobody fights for nothing

tell her, tell her, I just gotta fight fight for something on these streets tell her, tell her, I just gotta find find something to believe in again

tell her, tell her, I finally found a hymn for all the dead soldiers tell her, tell her, I finally found a song for all the fallen ones

And I can’t come home again And I can’t come home Again Until the last of their song Has been sung

I’ve heard, I’ve heard the sound of the soldiers lament On these streets I’ve heard, I’ve heard the voices Of the lost and the Innocent on these streets I’ve sung, I’ve sung out a warning to those that can hear me sing

And I can’t come home again And I can’t come home Again Until the last of their song Has been sung

If none of us care, will anybody care If nobody cares, do any of us care at all ( Sound of marching feet/ indistinct chants… )

( III )

VALENTINES & BULLETS

If you don’t give a damn do we still give a damn If you don’t give a damn do we still give a damn If you don’t give a damn do we still give a damn at all

All our lives we’ve been searching All our lives we’ve been waiting For a way out Slipping away, buried in our own self doubt losing a grip on our beliefs All our lives we’ve been searching All our lives we’ve been waiting For a way out All our lives, all our lives Show us, show us how to hold our heads high again We will be, we will be patiently waiting for a sign We will be, we will be patiently waiting for a revolution in our times All our lives we’ve been searching All our lives we’ve been waiting For a way out All our lives we’ve been thieves And we’ve been lovers All our lives it’s been us Us against them All our lives we’ve been waiting For a way out

All our lives, all our lives

All our lives we’ve been searching All our lives we’ve been waiting For a way out All our lives All of our lives

03. DEARLY DEPARTED

the heroes of this city used to be the saviours of the beaten and the forever damned the heroes of this city used to Shout out and Sound the alarm the heroes of this city used to fight, to fight for us all Where, where are all the heroes of this city Where, where are all the heroes we loved so very much Are they, are they, the ones With the dearly departed We miss so much

the heroes of this city used to be the saviours of the lost and the holy condemned the heroes of this city used to dream the dreams that we always dreamt the heroes of this city used to believe, to believe in us all

Where, where are all the heroes of this city Where, where are all the heroes we loved so very much Are they, are they, the ones With the dearly departed we miss so very much

Where, where are all the heroes We used to love so very much Where are all the heroes We loved so very much

Daddy put on the uniform Daddy went off to war Daddy went off to fight For us all Daddy never returned at all What for? What for? Daddy went off to fight For the government Daddy went off to fight For all of the innocent Daddy never returned at all What for? What for?

Is he, is he, one of the ones we lost Is he, is he, one of the ones we miss so very much

04. MOTHER REVOLUTION / THE GUNS OF LONDON

( A )

She’s a revolution, she’s a petrol bomb In the head, she’s enough to wake up the dead In us all She’s an angel, she’s a saint She’s a cause to fight for She’s a belief to even die for

She’s a revolution She’s a revolution In my heart

She’s a revolution, she’s a vigilante in the head, she’s enough to wake up the dead In us all She’s an angel, she’s a saint She’s a hand grenade to the heart She’s the depth charge to rip a life apart

She’s a revolution She’s a revolution In my heart

She’s a revolution, she’s a fire bomb In the head, she’s enough to wake up the dead In us all She’s an angel, she’s a saint She’s a kiss with a fist She’s the bitterest pill on the list She’s a revolution She’s a revolution In my heart

She’s a true believer She’s a true believer She gives me a reason to fight She’s a true believer She’s a true believer She lights up the endless night She’s a martyr, she’s martyr, she gives me a cause to fight for She ‘s a revolution She’s a revolution She’s a mother Of these streets She’s a revolution She’s a revolution She’s a mother Of these streets ( B )

St. Moses, coming down from Somewhere up above spreading a message of rage and love St. Moses, battered Priest of these streets show us a sign, show us a sign saviour of our shattered dreams

St. Moses, holy father to all the abandoned of these streets show us a sign, show us a sign preacher of war and peace St. Moses, holy voice for the unseen of these streets show us a sign, show us a sign, saviour of our lost beliefs

St. Moses, assassin for the damned a born here that doesn’t belong a travelled soul that refuses to give up on our song St. Moses, saviour of our lost beliefs a napalm angel in disguise upon these streets

who’s gonna save us who’s gonna save us now I hear you, I hear you shout out to me now

‘We are the Guns of London join us in the night We are the Guns of London join us in our fight Who else is gonna fight for those lost to the streets Who else is gonna fight for those that lost their belief

Welcome to heaven and hell Son of the Streets Wake up, wake up Son of the Streets it’s time, it’s time for the modern heroes to rise up off their feet’

05. WHILE YOU WAIT FOR YOUR LIFE

Hey you, it’s not worth it at all if it’s not worth the fight Hey you, it’s just another wall We have to climb Hey you, don’t let them cast a shadow onto the light

Hey you, if you can’t tell heaven from hell then there’s no hope at all Hey you, if together we fight then together we fall

Are we feeling lonely, feeling old Are the heroes we believed in now all ghosts

Hey you, while you wait for your life to begin it’s all gonna pass you by Hey you, we’re both walled up hands banging against the stone Hey you, there’s nothing to return to Hey you, there’s no more going home

Hey you, if you let them steal away our dreams then there’s no hope at all Hey you, if together we fight then together we fall

And no one sings the age old lullabies And no one says farewell or goodbye in these times anymore

Are we feeling lonely, feeling old Are the heroes we believed in now all ghosts Hey you, all you and I need Is a mother revolution to save us

Hey you, all you and I need Is someone to believe in us

Hey you, all you and I need Is someone to give us a sign

06. UNDERDOG INFERNO / EULOGY

( Sound of marching feet/ indistinct shouts… )

Nobody ever said that life was fair And nobody ever said We’d end up Nowhere Nobody ever said that life was fair And nobody ever said We’d get to live before our last breath Nobody ever said that our hearts Would beat until the day we died And nobody ever said Our dreams would disappear into the night

Nobody ever said that our voices would be heard Nobody ever said that our voices would be heard

We’re crying out loud we’re crying out loud Still there’s not a single voice that’s heard through these crowds

Wake up, wake up, wake up Fight, fight fight Our song is burning the flames are burning bright tonight Wake up, wake up, wake up Fight, fight fight

Our dreams are burning On the streets of London tonight Wake up, wake up, wake up Fight, fight fight Our dreams are burning On the streets of London tonight

So, rise up, rise up Guns of London And start this fight So, rise up, rise up Guns of London And march on into the night rise up, rise up, and march into the inferno rise up, rise up, and march into the inferno March on March on

( Sound of glass smashing/ indistinct chants / indistinct shouts / sound of two loud shots… )

they’re never gonna believe we’re the same And is it you and me that’s really to blame I just saw St. Moses Shot down dead on the streets today

these streets are never gonna be the same And is it you and me that’s really to blame I just saw our dreams go down in flames on the streets today

I guess I never saw that bullet until it brought me to the ground I guess I never saw it coming Never heard a sound

Is this how, how it all ends?

Is this how, how it all ends? ( Sound of police sirens/ indistinct shouts… )

07. A LAMENT FOR THE UNSUNG HEROES

( Sound of a heartbeat/ sounds of a hospital/ indistinct voices … )

“… gunshot to the chest, Dr. Waters…”

“… get him on the table…”

“… we’re losing him, we’re losing him…”

Is it time to sleep, is time to lay my head down Is it time to be a ghost In this world that’s always brought me down Is it time to dream is it time to rest my tired eyes Is it time to save my soul from this world that’s full of worn out lies

Summer’s gone and autumn finds me and once again I walk this lonely road And the memories of my life they still haunt me

I walk this road, I walk this road where the heroes and the innocents walked before me I walk this road, I walk this road where my father walked before me

And it’s coming closer and I’m feeling so far away

Oh father, father, there’s a light out ahead of me I’m not sure if it’s a sign there’s times and there’s places I thought I’d lost here in this great divide

Oh, father, father, I can hear your voice now It’s distant but oh so clear I hear it now I hear it now Oh, father, father, I can see all my life now It’s all flashing right before my eyes I see it now I see it now Oh, father, father, I see it so clear as I find myself here at death’s door now It shines through the shadows I understand now I understand now Oh, father, father, I hear that beautiful sad, sad song you used to sing that lament for all the unsung heroes I hear it now I hear it now

Oh, father, father, where am I gonna go from here? Where am I gonna go from here? “… patient is stabilized, but remains in a critical condition…” ( Sound of a heartbeat/ sound of an EPG machine… )

08. LIFE VS. DEATH / SONGS OF REDEMPTION

( I )

TIME’S UP/ CHILDHOOD’S END

( Sound of birds/ sound of distant traffic/ indistinct voices of children… )

time’s up, time’s up, let my heart have its rest time’s up, time’s up, let me lay down my weary head before I go before I go

time’s up, time’s up, this time goodbye will not be farewell time’s up, time’s up, is it too late for my soul to sell before I go before I go

time’s up, time’s up, in the world outside I’m fading fast upon a hospital bed time’s up, time’s up, now I won’t ever get a chance to live before my last breath before I go before I go

Oh, father, father, when last I spoke to you the things that should have been said were never said at all and now time’s up time’s up for me as well Mama, I’m leaving this place today Mama, I’m never coming home again Mama, goodbye is no longer farewell And I’m never coming home Mama, ‘cause no longer is this house my home We were good in our time but now that song has been sung the last time for us We were good in our time but now the sun has set upon us And we must continue on in our separate ways

Mama, I’m leaving this place today Mama, I’m never coming home again Mama, it’s the same old fears And it’s the same old show Mama, year after year chasing the same old ghosts We were good in our time but now it’s the same old doubts and the same old ground We were good in our time but what have you found now that you find you’re still here on your own

Mama, today I’m leaving for a very different view Mama, today I’m leaving you Mama, today goodbye Is no longer farewell today goodbye is no longer farewell

( II )

US VS. THEM

I don’t need no banner to fight for my cause in here, I don’t need to question What it’s all been for in here I don’t need to struggle for my breath in here I don’t need to question the right to be myself in here

And I’m feeling fine now I’m feeling fine, I’m floating

And it’s peaceful and it’s never lonely at all in here And there’s something beautiful about not feeling a thing in here And there’s no fight and no pain in here And there’s something beautiful about forgetting it all in here

And still I’m sure of at least one damned thing It’s always gonna be us And it’s always gonna be them

It’s always gonna be It’s always gonna be Us vs. them Us vs. them

And what it all comes down to in the end is it’s us against them

It’s us vs. them, it’s us vs. them Us is us, and them is them It’s a game of a game And it’s always the same and nothing ever really changes ( Sound of distant chants/ indistinct voice heard through megaphone… )

( III )

SPACES INBETWEEN

( Sound of a faint heartbeat/ indistinct voices… )

“… the patient appears to be in a deep coma state and is unresponsive…”

Hello, hello, I’m doing very well now I can’t feel the present Or even the past

Not sure if there’s anybody out there at all now there’s a deep mist spread upon the glass Mama, if you were here you would Not understand, mama, you’re not here now and for that I’m glad

Hello, hello, I’m doing very well now Isn’t this such a great place where I can’t feel a thing Not sure if there’s anybody Out there at all now there’s a storm growing ever distant now I’m happy in here Mama if you believe you can help then I don’t believe you should Mama, I’m so far away now And the way I feel is good

Mama, mother revolution has left me She sat at my bedside She whispered in my ear Mama, mother revolution has gone so far away from here Mama, am I all alone in here? Mama, am I all alone in here?

Mama, sometimes when I was a child I wanted to get lost inside my head Mama, sometimes when I was a child I wished the bloody bastards would just drop dead Mama, I’m so far away now I’m so far from home Mama, I’m so far away now I’m so far from home

Mama, I hear a sweet voice singing in my head Mama, is it you I can here? Mama, I hear a sweet voice singing softly out to me Mama, is it you? Mama, is it you? 09. DEATH WILL NEVER CONQUER ALL

( Sound of a music box/ sound of a storm- rain tapping… )

the blue skies are laughing at me and the sun refuses to shine upon the sea Mama, something’s not right in here at all feel as if I’m falling down down from the highest cloud memories rushing up toward me from the ground Mama, something’s not right in here at all

Mama, I want to come home again Mama, I want to come home again Mama, I want to get up off this bed of mine

Help me now, help me now No more songs of revolution now Help me now, help me now No more songs of revolution now Mama, I just want to come home again

Death will never conquer all Death will never reign over me Death will never conquer all Death will never conquer me

I’m not going to cry and fall crash to my knees and just simply crawl I refuse to see the writing upon the last wall Death will never conquer all Death will never reign over me Death will never conquer all

I’m gonna tear down tear down this wall of veils I’m gonna tear down tear down this wall of veils 10. ARE WE THE DROWNING?

Oh, father, father, I hear that beautiful sad, sad song you used to sing to me that lament for all the unsung heroes Oh father, father, I still hear it now Oh, I still hear it now

Oh father, father are we no longer still the lost and the drowning Are we no longer the swallowed by the sea Are we no longer the ones that always needed to fight for a reason to be

Oh father, father, are we no longer the lost and the confused with the song raging in our heads needing blood stained reminders of who we used to be as we lay in our beds? Oh father, father, are we no longer the stranded and the lost upon these long forgotten streets Are we no longer fighting the sadness that somehow slowly crept into all our dreams?

Are we no longer the ones that wanted to find something to fight for? Are we no longer the ones that wanted to find something to die for?

Oh, father, was all we needed just something to live for?

Was all we really needed just something to live for?

“… patient is showing positive responsive signs to stimulation…”

( Sound of a heartbeat getting louder/ sound of an EPG machine… )

“… Hello?…” ( Sound of a loud heartbeat/ sound of waves up to a dead stop… )

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archer3-13 · 2 years

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I really wanna stress how fascinating it is that, well metal gear as a series has always been more then just a 'video game' as it were, metal gear rising the dumb action game everyone mocked as being the most ludicrous parody of metal gear story telling during its initial release has itself effectively transcended the bounds and limitations of its mortal coil through the most fitting possible medium it could have done so, the power of memes.

cause like sons of liberty, rising is heavily centered on the concept of memetic inheritance, drawing back to the richard dawkins definition of the word and concept more so then what memes are in modern practice. inheritance of ideas effectively, cultural, sociological, historical inheritance rather then genetic inheritance. in sons of liberty it was part of a discourse on sequels and solid snakes own fame following the original metal gear solid, information control in the digital age and the chaos of personal identity.

rising retains the chaos of personal identity in a digital age but flips the equation somewhat on its head, rather then information control the core idea is on information chaos as it were, how information becomes impossible to control because its naturally 'grows'. as the patriots ai states in their little speech in sons of liberty, they're purpose isn't so much dictatorial rule but the process of creating 'context' in the digital age, an age in which information accumulates at an alarmingly rapid pace well existing in perpetuity. the 'problem' of everyone having their own truth separated into their own bubbles, conflicting information effectively that the patriots purpose is to effectively prune and select the 'best' truth from. not the objective truth, but the truth that they deem most advantageous to human development.

compare to mgr where that chaos is embraced by the villains as a means of instigating their own plans and ideals, desperado assassinates the president of an unspecified African nation lighting the flames of a civil war that allows them to conduct all manner of business under the table. they collect child soldiers and intentionally go out of their way to train them to be unhinged/unstable as means of driving future conflict through whatever arbitrary decisions these soldiers make. armstrong himself lays out that the whole 2nd war on terror schtik is just a quick and dirty way for him to propel himself into the white house/power and dissolve the very idea of a nation state. and i think monsoons speech illustrates this essential difference pretty well: memes arent something that can be cultivated, they're natural and inevitable, they're 'passed on' which leads to mutation and change regardless.

the patriots think memetic inheritance needs to be cultivated so that the objectively best ideas flourish, world marshal and desperado feel the objectively best ideas will naturally flourish and cultivation is inherently counter productive to that. we can see that further in how each group of villains conduct 'war' as a reflection of their ideals. the patriots aim to control war and conflict to the last detail going as far as recreating the shadow moses incident as a means of field testing how far they could go. world marshal aims to muddy the water, let lose anyone with enough guts and a gun to do whatever they want, 'suppliers' as sundowner puts it rather then managers like the patriots.

rambling aside, basically what i find fascinating is that mgr is a game effectively about the chaos and mutation of 'memetic inheritance'. mgr's cultural legacy has in many ways been about extensive memetic mutation and chaos.

#metal gear #metal gear rising

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dustedmagazine · 3 years

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Listening Post: The Harry Smith B-Sides

Nearly 70 years ago, Harry Smith, through Folkways Records, produced his landmark Anthology of American Folk Music. For the six-record release, Smith curated over 80 tracks from his personal collection of 78s. The process itself, with all of Smith's idiosyncrasies, drew some attention itself, but the music and the sense of a lost history recovered gave the compilation its power. The Anthology's monumental impact on both musicians and scholars continues to this day, and essential part of folk music, Americana and ethnomusicology.

Smith took his recordings from the A-sides of his vinyl collection, and rounding up the accompanying B-sides became its own sort of avocation for collectors. If the music presented in the original series was this good, this weird, this curious, it would obviously be entertaining and informative to hear all the flip sides, too. Producing such a set makes a clear fit for Dust-to-Digital, and the label (working with collectors John Cohen and Eli Smith) has done just that with The Harry Smith B-Sides. The set comes in a wonderful package with extensive essays and Smith-influenced blurbs on each track, a perfect companion piece for folk fans.

Of course, it wouldn't be a Smith set without some conversation focusing outside the recordings themselves. The label made the decision to drop three songs with racist lyrics, a choice made in the context of 2020's chaos, but with an awareness of balancing various historical and cultural concerns. As we took up our Dusted conversation about the collection, we had plenty of music to listen to, but we also had a number of extracurricular concerns of our own, which only feels appropriate. What is this set? How do we listen or curate? What are the commercial or academic needs here? None of those questions would matter, though, if the music wasn't just so intriguing, and that's what drew us in. Our conversation below includes contributions from Bill Meyer, Jonathan Shaw, Justin Cober-Lake, Andrew Forell, and Marc Medwin.

Intro by Justin Cober-Lake

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Jonathan Shaw: I confess that I've just gotten around to listening to some of this — first 20 songs yesterday.

You always know, in an abstract way, that folk music like this is full of murder, sex, and suffering. But it's bracing to hear it in the flesh. Some of the songs are really funny, too. Enjoying it a lot.

Bill Meyer: This set really hits the listener with all that stuff, doesn’t it? Three songs in and “John Hardy” confronts you with a gun-toting murderer who gets arrested while drunk in a barroom. Since it was released in 1931, which was over a decade into Prohibition, I find myself wondering, did West Virginia even have bars at the time? I suppose a lot of the drinking was done on private property. The song actually relates events that occurred in 1893-1894, nearly four decades prior to the recording.

One thing I love about this material is the way it projects you back in time and confronts you with what has changed, and what has not. It also gets you thinking about the advance of time. Smith had such a large collection of 78s partly because he was a compulsive collector, but also because the record labels decided to sell off 78s to clear warehouse space for the new LP format. The records included on the anthology were originally released between 1927 and 1932, and they were only about 20 years old when Smith compiled the Anthology of American Folk Music for Folkways Records, (the original idea was hatched by Smith and Folkways’ Moses Asch in 1947, and the three double LPs were released in 1952).

Skip down a couple more songs, and Buell Kazee “The Wagoner’s Lad” has class differences/prejudices, friction between adolescent hormones and economic realities, and hard truths about the way young women’s fortunes were dictated by others. Harry Smith must have really liked this record, which is back by “The Butcher Boy,” because he included both sides, back to back. While other artists were included in the Anthology more than once, the only other record to have both sides included is the Alabama Sacred Harp Singers’ “Rocky Road” / “Present Joys.” In both cases, The B-Sides simply reverses the songs’ order from the original Anthology of American Folk Music.

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Jonathan Shaw: "The Butcher's Boy" knocked me out with its gritty gruesomeness. The convenient reading on all the intensity is that the lives of the people who composed the traditional songs — many lost to time — must have also been full of violence and suffering. The experience of working class folk (and peasants, and subsistence farmers, and so on) was certainly full of toil. But it's also the case that an appetite for violence and darkness has always existed, and culture finds ways of satisfying it. 19th century folk didn't have horror cinema, but there was a reason that all those Gothic novels and penny dreadfuls sold like crazy.

Bill Meyer: Whether it’s “The Butcher Boy” or Grand Theft Auto, people like to expose themselves to an acceptable level of titillating violence. Songs like this were proven entertainment, and some of the performers on this box were show biz professionals who understood that material like this pulled and held a crowd.

Andrew Forell: Then add the Old Testament fire and brimstone to the mix and the nexus of damnation and salvation. If life was brutal, often short and ended by violence whether murder, suicide, work accidents, childbirth or disease the fatalism and stoicism of many of the songs is still tempered with both gimlet eyed persistence and grim humor.

That Sister Mary Nelson is not messing about.

Bill Meyer: Should we talk about the New York Times article, including the issues raised by that article about the decision to remove three songs, the attitudes and mores about gender and relationships expressed in the songs (if we removed the songs about men killing women, it would be a shorter record, wouldn’t it? And why did they kill those women? Could it be because they had sex, and the women got pregnant, and abortion was not legal/accessible, and these guys didn’t want to “mess up their lives” like the jocks, frat boys, and other sexually violent individuals of today who similarly ask for a pass on the consequences of being sexually violent?), the musical content and performance styles (ex: I notice that Buell Kazee’s banjo playing is a backdrop that conveys motion and is harmonically congruent with his singing, but aside from that congruence it is not connected to the vocal melody.), what it communicates about things that have changed (ex: what happened to some of those accents? I feel like this music is a window onto a regional America whose differences have been flattened out.) or not.

And, of course how it relates in structure and intent and content to the original Anthology of American Folk Music, such as what happens to Smith’s organizational strategies [ballads, social music, songs] when you flip all the component records over? How does it change things to go from 6 12” records [and later 6 compact discs] to 4 compact discs? And who is this thing for, and what do we think about that? One thing that I have not yet seen acknowledged in the discussion of removing songs is that Harry Smith, apart from being badly in need of money, really wanted to say some things to mid-20th century America. The Anthology drew upon the records of the 20s and 30s to talk to America of the 50s - what does Dust to Digital have to say in American in 2020? I think that has a lot to do with the decision to NOT REPRODUCE AND DISTRIBUTE (which I think is a bit different from censor, although it is certainly another form of exclusion) certain racist songs.

Marc Medwin: Loads to discuss here, and I'm even a bit intimidated to enter into a discussion like this, but here goes. For now, I'll point out, tangentially, that Archeophone, another independent historical label, released a two-disc set of minstrel show reconstructions earlier this year. I think it's very well done, not least because of Tim Brooks' thoroughly researched liner notes, in which, here oversimplified, he compares the minstrel show to Saturday Night Live. I had to think about it for a while, but I take his point. I'm still trying to get my head around which approach is better: Do we sidestep the issue on disc but leave in the commentary, as the Ledbetters did, or do we confront history head-on, as do Archeophone's Richard Martin and Meagan Hennessy?

Andrew Forell: Having just read the NYT article, I’m also in two minds about this. I can see both sides and agree that racist material is especially problematic in the current climate but thus it was ever so. I will think on this further but if Smith was using material from the 1920s & 1930s to comment on the US of the 1950s, depending on his motives & perspective which I need to read up on some more, is there something to be said about the U.S. in 2020? Is this part of the Ledbetter’s project here? As Bill said there’s also a pile of explicit and alluded to sexual violence in this collection. Are there differences between this issue in folk music from 1920 and pop(ular) music since 1950? I’m just thinking aloud so please humor me ... I’ll consider it more and see if I can put this all more clearly.

Bill Meyer: I think there’s room for both. Each approach has merits, and each has problems. At The Minstrel Show represents that phenomenon but presenting entire shows and providing supporting information about them. If you want to know what the shows were about, a set like this is where to go, and there’s historical benefit in that. It is aimed for a historically focused niche audience, and it serves a very precise historical purpose. When you’re performing a primarily historical function, you want to clearly represent the history and will be judged according to how you do this. But it also makes the work of people who like old, racist songs and who prefer the CD format easy.

Dust To Digital aspires to make nice things that can be sold in quantity. In The NY Times article, Lance Ledbetter discussed not wanting to put something out that casual listeners might hear. When you put that much effort into the packaging and presentation, you are putting out something that at a certain level aims to please. Ambushing casual listeners with epithets that begin with the words C and N is displeasing. And while by presenting a collection of songs recorded between 1927-32 the B-Sides presents historical material, it’s actually a really odd sort of historical document. It is relating not just to the history of American music, but the history of records. One uncharitable way to describe it would be “80-odd performances that Harry Smith passed over.” Or, by going ahead and answering the question, “what if you flipped over all the records that made up the Anthology of American Folk Music?”, you could say that it’s a record geek’s mix tape made good. It’s worth noting that while Smith owned all those records, he didn’t include any songs with racist epithets in the Anthology. Clearly, he made a choice not to include them. Dust to Digital started this endeavor from a position of respect for what the Anthology represented; what would the label be doing if it propagated a collection of songs that went against Smith’s proscriptions?

Both the original Anthology and the B-Sides operate within a cultural milieu. When Smith accepted his life-time Grammy in 1991, he expressed joy at seeing America changed by music. He wanted the USA to recognize some things about itself that were being aggressively whitewashed in the early 1950s. So what does Dust to Digital say to nation now? And what is it listening to when it decides what it wants to say? One concern that has been looked at more closely at the impact of speech on people’s feelings. I grew up in a time when it was deemed important to be exposed to Mark Twain’s writing; now it’s fairly asked, where do you get off requiring people to read something that is upsetting?

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Andrew Forell: I take the point but equally, upsetting things exist and perhaps confronting them head on and dealing with the discomfort is a worthwhile exercise?

Bill Meyer: I think there is definitely a point to confronting upsetting things and dealing with them head on. And I also think there is something to be said for people deciding when and how they will be so confronted, and having some input into what is deemed an appropriate tool for doing the confronting. The Ledbetters have prioritized the intentional step to refrain from reissuing songs with racist content, which will mark this box as a product of 2020.

Justin Cober-Lake: This part of the conversation fits in, maybe, with one of the thoughts I've been having about the set, and one that I discovered comes up in the liner notes to the set. This box collects the B-sides from the records that made up Smith's original anthology. The liner essay posits that this fact gives the new set a more uncontrolled sweep — that rather than just seeing the music that the industry in the 1920s and 1930s thought could be marketable, we get a wider range of what people felt like playing. I don't know if that's true or not. What I was thinking about listening through was more like: what makes these tracks "B-sides"? When I listen to this music — and I make this division tentatively — I listen about half to enjoy and about half to learn about or be immersed in a somewhat alien world. I'm interested in studying mass culture and how it intersects with American history. So, a set like this raises questions for me about what we actually learn (if anything) about going to the flipside of records.

To me, removing tracks feels odd because it takes away from the scholarship side of the work. It presents a deliberately sanitized version of the music of the times (assuming we have a representative sample to start with), and it does so explicitly to allow the casual listener the comfort of enjoyable listening. To me, it removes a bit of the time travel element, although I wouldn't notice the absence of songs I previously didn't know existed. It makes a statement that this set is to listen to be enjoyed more than to be a work of completion. I'm fine with that idea. If someone wants to listen to old folk music without worrying about skipping tracks (even with all the general or gender-based violence present), that's fine. It's funny to me, though, to have a concrete goal collecting all of Smith's B-sides, and then deliberately not doing so.

All of which sort of tangentially addresses two topics: 1) to include or not the offensive material; and 2) more interesting to me, what exactly *is* this set? A jukebox? A research accomplishment? A study of history or good background music?

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Jonathan Shaw: I'm always in favor of more speech rather than less, especially if the speech is ugly or dangerous. But I have the decided privilege of not finding the triggering words disturbing or troubling to myself, personally. Practically, I want to hear people say what they say, so I can get a handle on who they are. Historically, I want to situate the speech, and hearing as much of it as possible helps with that task. The more effectively I can situate it, the more incisively I can consider slippery stuff, like intent and ideological function.

Having been involved up close in some of the discussions about Twain's Huck Finn, I can report that much of the discussion I heard was not nuanced, but reactive. The presence of the n-word (ugh, I hate that evasion) in a "white mouth" was enough. Discussion done, with the assumption of moral clarity firmly in place. I can't get with that.

It's also striking that the set features some pretty hair-raising violence performed on women's bodies, and some strong language about the necessity of accepting Christ as your personal savior or off to hell you go. Someone is going to take offense to that stuff, too--but apparently the feelings of those likely-to-be-offended folks (or, one hopes, the social politics at stake in the determination of offense) don't pose a problem for the box set's curators.

I'm listening for the history, for sure--and for the considerable pleasures provided by the music. Both are rich, complicated. I guess I'd like to have all the complication in front of me, so I can make up my own mind about how to respond.

Justin Cober-Lake: That's pretty much where I come down, too, especially given the other potentially offensive material included.

Bill Meyer: What is this? It is the answer to a big what-if question that has been posed by some record nerds over the years. What was on the other side of all those 78 rpm records that Harry Smith compiled on the original Anthology of American Folk Music? This set answers that question, with three songs out of 84 removed from the playing sequence but discussed in the accompanying book. Even calling them B-sides is a bit of a stretch since I can think of at least two records where Smith included both sides of the record. While I have not check to confirm this, he might have selected the B-sides for inclusion on the original Anthology, so technically some of the songs included might be A-sides. But B-sides has a nice ring to it, right?

This collection would not exist without Smith’s original work, and its existence is a testament to the enduring influence of that work upon the people who put the set together (as the notes describe, Dust to Digital is just the label that put it out in its current, boxed set form; 78 collectors have circulated versions of this collection of songs for years). It’s a sequel to the Anthology of American Folk Music, with annotation done in self-conscious tribute to Smith’s pseudo-journalistic descriptive style. It is an extension of Smith’s non-academic pursuit of knowledge and things (he didn’t just collect records), and an homage to his idiosyncratic approach to compiling information. It is not a scholarly document; it is an elegantly executed equation.

Justin Cober-Lake: Oh, I get that, and I think you summarize it very nicely. I guess my question might be more accurately put as something like: What does one do with it? And I imagine your answer would still be similar, but, acknowledging its origins and clear purpose, how do we receive it? I'm not a collector in that sense. I like the music, and I'm interested in the history. This one has particular resonance because of Smith and the back story (and I will say the physical product is wonderful). But would Dust-to-Digital or the Ledbetters or the other people connected with the project expect of me? I think there are two answers. One is to revel in the completion of the set, to know what's on the other side of those 78s, and that makes less sense with three tracks removed. The second one is to put it on and enjoy the music. They talk about it playing as the background in a store. That one makes less sense given the violence here; store music is either much more anodyne or deliberately edgy if in an edgy place (I mean, as edgy as an independent record store).

So, for me, I can't quite finish the collection. I can't quite — and wouldn't want to — use it as background music. I want to start unpacking it. How does this music fit into either/both folk music history or music industry history? If I want to experience the sounds of the late 1920s and early 1930s, what does this set offer that a similar one (if there is a similar one) wouldn't, aside from the knowing satisfaction of connecting it to Smith?

None of which, to be clear, means the music isn't intrinsically enjoyable, in which case I wouldn't personally feel like raising these questions. And, to be fair, I'm happy to continue think of this from a meta-angle or to pause that at any point and talk about the music itself.

Bill Meyer: Yeah, this might play in the background at a store, or someone’s house. People put all sorts of non-background sound on and talk over it because they like those sounds in the first place. But I think it does exist to be delved into and listened to intentionally, not accidentally. You don’t accidentally buy a $70 boxed set (although you might randomly get one for Christmas).

But to turn our attention from what isn’t on the collection to what is, I’ve thought a bit about what does and doesn’t change when you flip Harry Smith’s selections over. Smith was an occult kind of guy, and I think he saw the original Anthology as a multi-level, coded communication. The pacing certain changes when you switch from six LPs with about seven songs each to four CDs with 20-odd songs each. An LP side is a moment; a filled-up CD is a commitment.

The differences in content aren’t always dramatic. The flip sides of the songs on Volume One: Ballads tend to also be story songs, and they tend towards similar themes — love, murder, and tragedy. But you don’t have to get far to hit a song where it’s evident why Smith didn’t include it. The first is the excised fifth track by Bill & Belle Reed. But Smith’s tolerance for schmaltz screened out stuff like Chubby Parker’s hopelessly sentimental “Down on the Farm.”

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The transition from disc one to disc two isn’t disorienting, since we’re still in ballad territory. And by luck of the draw, disc two has a dynamite starter by street-corner singers William & Versey Smith. “Everyody Help the Boys Come Home” implores listeners to shell out in support of the war effort, which means that its news was already nearly a decade late when it was recorded in 1927. But they sell it so relentlessly that it’s not hard to imagine it being such a crowd-stopper and hat-filler that they would have wanted to keep it in their repertoire.

But the end of disc two is truly jarring. The 20th track, “Moonshiner’s Dance Part Two” by Frank Cloutier and the Victoria Cafe Orchestra, is a waltz that sounds so woozily soused that you can imagine advocates for both temperance and tippling using to as an exhibit in support of its cause. Then come two stern sides of Biblical instruction by the Rev. J. M. Gates. While Smith’s sequencing suggested that he saw secular celebration and Christian praise as two sides of the same coin, which is why he had an LP of each in Volume Two: Social Music, he didn’t put them on the same side of a record.

Random chance works its magic again at the jump from Social Music to Volume Three: Songs, which now takes place in the middle of disc three. The final piece of sacred music, by Rev. D. C. Rice and his Sanctified Congregation, contains a warning in its title, “He’s Got His Eyes On You.” The narrator in Clarence Ashley’s “Dark Holler Blues,” whose unwillingness to countenance the possibility that the object of his desire could ever end up with another man, sounds like he is cruising to become the subject of a murder ballad in the very near term; maybe the fear of God could stay his hand?

The most radical change, for me, comes near the end of disc two.

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Justin Cober-Lake: That end of disc two is just bizarre, for exactly the reasons you describe. The transition into disc three, though, makes sense. "Present Joys" and "Rocky Road" seem to respond to the brimstone preaching with joyful music. I don't usually think of Sacred Harp singing as this energetic and it opens up the spiritual run with a better tone than Rev. Gates. The run that opens disc three works well and even if "He's Got His Eyes on You" is meant as a warning, it sounds like a party (and part of the appeal to some and probably the lack of appeal to others is the, shall we say, amateur vocals on this track).

I kind of laugh that Smith has a whole category that's just "Songs," but I also don't know what else to do without endless subgrouping. The move from banjo-based blues (some of it from the mid-Atlantic but feeling to me like a predecessor of later Mississippi Hill Country stuff) to awkward accordion accompaniment makes for a fun listen, but not exactly a smooth one.

Jonathan Shaw: I don't know enough about the regional and historical intricacies of the music and the collections to make much productive critical sense of the transitions. But given my own proclivities, the sharper the contrasts, the more I like them. It would be glib, ridiculously so, to indicate that those sharp contrasts represent something like the inherent weirdness of everyday life. But still, the quotidian is always stranger than we like to think. And more violent.

I appreciate Justin's point about the tone of the Rev. Gates songs; ideologically I have little interest in the discourse of the "born again." (I think Toronto's Fucked Up have a pretty good line on that...) But man, what performances, by the Rev and his congregation. I especially like the moments at which language falls away, and there's just the voices, moaning and wailing in overlapping waves. Something gets registered there that exceeds spiritual cant. I sort of love the way the second disc bottoms out there, in that strange intensity. Not sure what sort of coded message that might communicate, but it sure feels a kind of way. Yikes.

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Then there's the shift to the Alabama Sacred Harp Singers, and again, it's the opening 45 seconds that knock me out, similarly outside of language, just vocalizing something. Almost Pentacostal in their ululations. I can't get next to the themes, but the sounds are just remarkable, and moving. All of that sets me up for Sister Mary Nelson, and her fellow singers. She's got an undeniable voice, full of blood and thunder, a hard-won glory. It's the range of religious ecstasy, over a run of a half-dozen songs.

Marc Medwin: I can't stop listening to that Mary Nelson track, blood and thunder for sure, but I'm going to tangent for just a moment. A royal telephone? Technology and its attendant book as archetypal symbols? The past beyond recall and the need for redemption grounded in something in flux, approaching the present? The only other example coming to mind at the moment, and it's a real stretch, is the "man in the moon" coming "down in a bah-loon!" I guess those polarities we've been discussing are deeply embedded, even in humorous ways!

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Justin Cober-Lake: I kind of wonder about that, too, Marc. I think there's a superficial reading in which technology is shunted aside in favor of religion, but I don't think that's it. I think she's using a relatively new and exciting technology to make an old point. The whole thing sounds ancient to us, but in context, it's almost like a contemporary sermon illustration, using the then-modern world to help explain a theological point. It only sort of works (the idea of being in the book doesn't really map between phone book and the book of life), but it makes for a very specific sort of time capsule.

Jonathan Shaw: Really interesting, Marc and Justin. I wonder how the Mary Nelson track was collected. It sounds relatively more polished, in terms of quality of sound, than the Rev. Gates songs, which sound like they were recorded in a church or worship space of some sort. To what extent was the technology of recording present to these singers? I wonder how its presence framed or otherwise changed the performances.

Bill Meyer: Symbols and archetypes run deep because that’s what they do. But I also listen to this and I think I’m hearing loose associations related to having to come up with sermons and songs on an ongoing basis. I imagine Sister Nelson sitting at the table, thinking “what’s my metaphor for prayer this week,” and then the lightbulb goes off. “Prayer’s like a telephone to God! This thing’s going to write itself!”

I’ve never really listened to Toronto's Fucked Up, what do they say about being born again?

Marc Medwin: Even more off-topic, but there's the related question of restoration. Did the same person/people do the restoration work on all these tracks as on the original anthology? Restoration can change the sound quite a lot, but at least we know these recordings are electrical. It would be a fascinating side trip to dig into the participants' relationships and reactions to technology, not to mention technological reference in these tracks, but it's beyond the scope of what we're doing!

Jonathan Shaw: Marc, it would be a lot to track down, but I'm also provoked by the issue. Some of us romanticize folk as being somehow inherently pre-modern, and hence also "pure" or uncorrupted by the logic of modernity's markets — for commodities and for culture. But for me, some of the most interesting folk music (and keep in mind that I essentially know squat about the tradition) insists on its modern contexts. Woody Guthrie's many songs about conflict with industrial processes of production come to mind. So, for sure, all the ways that technology figures in the collection interest me.

Bill, in Fucked Up's song "Son the Father," they sing, "It's hard enough being born in the first place / Who would ever want to be born again? / It's taken this long just to get to this place / So what's the point in ever being born again?"

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Bill Meyer: Regarding restoration, I think the original Anthology was transferred at least twice; first, when the album was compiled, and then again when it was re-released on CD in 1997. Charlie Pilzer did the restoration for the CD edition. Michael Graves did the restorations for the B-sides. The difference between restoration technology and practice in 1997 and 2020 is profound, and one thing that is notable about the B-sides is how little surface noise you hear most of the time.

You make a good point regarding that coded message, Jonathan. The song apportionment of the B-sides prior to the decision to excise racists songs was 21, 22, 20 and 21 songs. This suggests that it could just as easily been 21, 20, 22, and 21, so why not put Rev. Gates on disc 3 with the other spirituals? Maybe the producers wanted to send a message to those partying Cajuns and moonshiners that preceded him on disc 2.

My association to this lyric is to remember a line from Peter Gabriel’s song, “Humdrum:” “Out of woman comes a man, spends the rest of his life trying to get back again.”

#dusted magazine #listeningpost #harry smith #folkways #dust to digital #lance ledbetter #folk #blues #country #b-sides

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vgprintads · 3 years

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‘Metal Gear Solid 4: Guns of the Patriots - “Chiru”‘

[PS3] [JAPAN] [MAGAZINE, SPREAD] [2008]

“Ever since Shadow Moses... FOXDIE has been breeding continuously in the nanomachine colony inside your body and dispersing into the air. But there are no more targets to attack, so there haven't been any more outbreaks.

However, if the receptors continue to wear down... It'll become a killer virus that attacks untold numbers of victims. (...)There are no antibodies, either. I don't know what percentage of the receptors have to break down, or how many people will be targeted when that happens. What is certain is that people will begin to catch FOXDIE through airborne transmission. It'll start with those closest to you... Then, one by one, they'll lose their lives. The part of the virus that distinguishes between individuals will start to break down in about (...)three months at the most.

Ironic, isn't it? You've spent your entire life saving the world from Metal Gear - from nuclear annihilation. And now... You're becoming a doomsday device yourself. I can't predict exactly how devastating the epidemic will be. Whether just one percent of the human race could unlock the broken receptors... Or whether we all can. In either case, three months from now you'll be a walking biological weapon. If it were up to me, you'd be quarantined already.” ~Naomi Hunter, Metal Gear Solid 4: Guns of the Patriots

Source: Gēmaga (ゲーマガ), May 2008 || personal collection

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overload159 · 3 years

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Fn Browning Model 1922 Serial Numbers

Fn Browning Model 1922 Serial Numbers 222

Fn Browning Model 1922 Serial Numbers Manufacture

Fn Browning Model 1922 Serial Numbers For Sale

John Moses Browning probably completed the prototype for his “New Model” pistol in 1908. This can be deduced from the fact that it was patented in Belgium on 20 February 1909, though it is often reported that the prototype was made in 1909 or even 1910. The gun was never patented or manufactured in the U.S. Manufacture of the New Model in 7.65mm by Fabrique Nationale (FN) of Belgium began late in 1912. Manufacture in 9mm Browning Short (.380 caliber) probably began a few months later. FN deliberately delayed release of the new design for nearly three years because sales of the Old Model were still brisk. Once released, the Browning Automatic Pistol, New Model, quickly supplanted the Old Model. However the Old Model (Model 1900) continued in production right up to the beginning of the Great War in 1914, in order to fulfill Belgian military contracts.

The year model designations 1900 and 1910 apparently did not come into use until sometime after World War I, though the guns were both always known as the Browning Automatic Pistol. By 1910, the word “Browning” was virtually synonymous with “automatic pistol” in much of Europe. FN’s instruction manuals in the 1920’s continued to refer to the gun as the “Browning Automatic Pistol, New Model,” but this gradually gave way to “Browning Automatic Pistol, Model 1910,” and after World War II to “Browning Automatic Pistol, Model 10.”

FN Browning Model 1922 Description: FN Browning Model 1922. This has been in my father’s safe for 40 to 50 years. See photos for cosmetic condition. All matching serial numbers. Perfect working condition. Very clean and shiny bore. I’m not interested in any trades or any creative stuff. USPS Money order only. May 03, 2011 Gentlemen, I am confused concerning FN 1922 serial numbers. I understand that wartime serial numbers continued into aprox 155,000 under German occupation. I need help dating this Browning M1922. Serial number is. (in FN Browning Pistols. I am not aware of any serial numbers beginning with 'Y' for FN 1922 model. FN Browning M1922 - P.626(b), P641(b) 1st Variation WaA613. 2nd Variation WaA613. 2nd Variation WaA103. 2nd Variation WaA140. Commercial Variation. The model, although invented by JB, wasn't produced as a Browning until 1955, when they were marked 'BAC' and 'Model 1955'. FN made a little over 701,000 of them in the 71 years of production (1912-1983), and I know FN was well into the 20,000 serial number range by 1914 - only two years after intro. Fn Browning 1922-collectible. 'This is an FN manufacture of the Browning 1922 in. Download Windows X64 Driver Rtkvac64.sys.It's also rare to find one with all-matching serial numbers like this.

The New Model was lighter and less complicated than its predecessor, while retaining the remarkable reliability and accuracy of the Old Model. Pollard notes that the New Model is “...smaller and handier, but has a much more appreciable recoil.” Both guns are blowback operated. The 1910 model follows the Savage Automatic Pistol in placing the recoil spring around the barrel, rather than over the barrel as in the 1900 model. The recoil spring is secured by a bushing with bayonnette-style lugs on the front of the slide. The Model 1910 also incorporates a grip safety like the 1903 Colt and 1903 FN Grand Modele. The patent drawing shown in Anthony Vanderlinden’s book FN Browning Pistols: Side-Arms that Shaped World History shows a lanyard ring in the lower rear corner of the left grip, but in actual production the lanyard was an option and was rarely seen except for police and military purchases.

Fn Browning Model 1922 Serial Numbers 222

Unlike the Model 1900, which was only available in 7.65mm Browning (.32 ACP), the Model 1910 was offered in both 7.65mm Browning and 9mm Browning Short (.380 ACP). John Moses Browning had asked “UMC” Thomas of the Union Metallic Cartridge Company to design the .380 ACP in 1907 because Colt wanted a larger, heavier bullet for the 1903 Colt Pocket “Hammerless”. Browning specified that the case length for the new cartridge must be identical to that of the .32 ACP. The idea was that the only modification necessary for the gun to use the new cartridge would be a new barrel and magazine. The .380 barrel for what became the 1908 Colt Pocket “Hammerless” had the same external diameter as the .32 barrel for the 1903 Colt, but a slightly larger bore. When Browning set out to design the Model 1910 FN Browning, he designed it so that only the barrel need be changed to convert from one caliber to the other. The 1910 magazines for the two calibers were identical, even though they were marked 7.65mm or 9mm to match the respective barrels. The magazine holds seven rounds of 7.65mm (.32) or six rounds of 9mm Short (.380).

The relatively small size and sleek lines of the Model 1910 made it easily concealed, and the the lack of protrusions such as large sights or a slide release lever made the gun easy to draw quickly from a pocket. A 9mm (.380 ACP) Browning Model 1910 was used to assassinate the Archduke Ferdinand and his wife the Duchess Sophie Chotek, thus igniting World War I. (For many years it was thought the gun used was the “Old Model” 1900 Browning, primarily because the press at the time simply reported that the Duke and Duchess had been assassinated with a Browning pistol, and the “Old Model” was very well known, whereas the “New Model” was not.)

The grip safety on the Model 1910 directly blocks the sear (not the disconnector as reported by W.H.B. Smith), preventing it from moving downward and releasing the striker. The manual safety lever merely locks the grip safety in place so that it cannot be depressed, though an external lug on the manual safety lever also moves into a notch in the slide to prevent the slide from being opened. When the magazine is withdrawn a lever moves up and likewise blocks the grip safety from being depressed--hence, the arm cannot be fired unless the magazine is fully inserted.

The earliest grips on the 1910 FN Browning were made of checkered horn and featured a logo similar to that of the Model 1900, with a facsimile of the gun above the FN monogram in an oval at the top. These grips were only used for a few months and are now exceedingly rare. They were succeeded by checkered horn grips with the FN monogram in an oval at the top. According to Vanderlinden, horn continued in use until the beginning of World War II, after which molded plastic was used. Horn grips are easily identified by their flat backs, whereas plastic grips have depressions in their backs from the molds. After World War II wood grips were sometimes used for the Model 1910, most with rudimentary checkering, though some luxury models featured very finely checkered wooden grips.

Guns produced in the first year of production (1912-1913) have a cutout area on the lower forward portion of the slide that extends beyond the front edge of the frame. Very early on, however, this cutout area was reduced in length so that it ended just before the front edge of the frame, making a more natural-looking curve that melded with the curve of the frame and the bow of the trigger guard. Early guns with the longer cut may be considered rare.

The serial number is on the right side of the frame, just above the trigger. The right side of the slide is blank. The inscription on the left side of the slide remained the same throughout production, though there were minor changes in the characters and spacing which cannot all be reproduced here. See Vanderlinden for complete details. Guns made prior to World War I feature serif characters in upper case with the exception of the “de”.

Fn Browning Model 1922 Serial Numbers Manufacture

FABRIQUE NATIONALE D’ARMES de GUERRE HERSTAL BELGIQUE BROWNING’S PATENT DEPOSE

Fn Browning Model 1922 Serial Numbers For Sale

After World War I the inscription changed to sans-serif characters, but retianed the lower-case “de”.

FABRIQUE NATIONALE D’ARMES de GUERRE HERSTAL BELGIQUE BROWNING’S PATENT DEPOSE

There was a return to serif characters in the 1925-1929 time period, after which the legend appeared in all upper case sans-serif letters (including the “DE”).

FABRIQUE NATIONALE D’ARMES DE GUERRE HERSTAL BELGIQUE BROWNING’S PATENT DEPOSE

Finally, the space between “Browning’s Patent” and “Depose” was eliminated.

FABRIQUE NATIONALE D’ARMES DE GUERRE HERSTAL BELGIQUE BROWNING’S PATENT DEPOSE

Belgian proof marks were stamped on the left side of the frame just above the trigger, and in the same location, just above, on the slide. Proof marks were also stamped on the barrel such that they could be seen through the ejection port.

There were some variations in barrel bushings over the lifespan of the gun, which are documented in Vanderlinden.

The Model 1910 FN Browning was manufactured from 1912 through 1975. Production was halted during the two World Wars, though a few were assembled from parts during the German occupation in World War II. There was no interruption in serial numbers. Year-by-year production figures are not available, but it is known that approximately 69 ,000 had been made by the beginning of World War I in 1914, and approximately 467,760 had been made by the beginning of World War II. Total production is estimated to have been 704,247.

Field Stripping

Remove the magazine and make sure the chamber is empty.

Use a barrel bushing key or a spanner wrench to depress the barrel bushing and turn it 90° to unlock it. Be careful because the bushing is under spring pressure.

Ease the bushing off the front of the slide and remove the recoil spring.

Draw the slide back to the second detent on the left side and lock it in position with the manual safety lever.

Turn the barrel counterclockwise (as you face the front of the gun) approximately 90° to unlock its lugs from engagement with the slots in the frame.

Lower the safety lever and draw the slide and barrel off the frame.

References

Automatic Pistols, by H.B. Pollard. WE, Old Greenwich, Connecticut. Reprint of 1921 edition. FN Browning Pistols, Side-Arms that Shaped World History, by Anthony Vanderlinden. Wet Dog Pub., Greensboro, NC: 2009. John M. Browning, American Gunmaker, by John Browning and Curt Gentry. Doubleday, New York: 1964. NRA Book of Small Arms: Vol. I, Pistols and Revolvers, by W.H.B. Smith. NRA, Washington, D.C.: 1946. Pistols of the World, by Ian V. Hogg and John Walter. Krause, Iola, WI: 2006. “UMC Thomas: A Recognition,” by Jim Foral. Gun Digest, 1998.

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ramblinganthropologist · 3 years

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Fictober 21 - 20 and 21

Fanfiction

Fandom: Dragon Age II

Summary: Aveline normally enjoys when people find bounties. Problem is... the Hawkes enjoy it a bit too much. They know they’re not allowed to collect... do they do it just to piss her off? (Yes. Yes they do.)

Warnings: Some violence, mild threat

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“Why… why is it always you two?”

It should have been an easy day for Aveline. But then they walked in.

Most people enjoyed, or at least didn’t mind, their friends coming to see them at work. If you were a shopkeeper, maybe they would buy something. At the very least, they could keep you company through a boring shift, tell a few jokes as they went about their day to liven up the mood. However, when your job involved policing one of the worst cities in the Free Marches, you didn’t exactly enjoy seeing your friends at your place of business.

Especially when they were partially why said city was such a nightmare some days…

“Hey, that’s what we’re known for. Besides, you should be thanking us. Instead of risking your guards down some dark alley, we found the pickpocket gang hanging around the Hanged Man. It should be safe until the next guy moves in at the very least.” Avery Hawke, older but smaller, was on the ground for once instead of on her adopted brother’s shoulders. She was still grinning like the cat that ate the pigeon, so Aveline had an idea of who had had… fun… to say the least. “Now… about that bounty?”

It never ended well when the Hawkes started asking questions about bounties. She needed a drink… damn the fact she was still on the clock.

Kirkwall – the City of Chains. Also known as the City of People Moving too Fucking Slow for Their Own Damn Good.

“Ugh, come on people… I could outpace you on foot, and your legs are like the length of my entire fucking body!”

“That guy looks like he has legs double the length of your entire body… no, wait, he’s Qunari.”

Moses’ deep voice rumbled through the square as he threaded through the Lowtown crowd. After a long day of being a general nuisance to Templars and guards alike, it was time to head home for some dinner and well-deserved rest. After all, it was hard to keep Kirkwall from utter disaster on an empty stomach.

At least that’s what they told themselves. Others in well-polished armor that never saw a good fight in its entire existence may have disagreed.

“If he’s Qunari, that’s four times. I swear, I come up to their knees if I’m lucky. Put me next to the Arishok and he could probably punt me back to Ferelden.” Avery snorted at the idea. “Good thing I’m nowhere near his feet most of the time.”

Her brother nodded, still scanning the crowd as he walked. “The darkspawn would love to have you as a snack.”

“Hey, I’m all gristle. They’d break a tooth gnawing on my hide.”

Then she laughed again – it wasn’t the worst sound, but she’d heard better. Regardless, they were getting closed to the Hanged Man and the opportunity to stop in to see their favorite writer. With any luck, he’d let them in on the juicy details of his latest story.

And without… well, they’d survived the Hanged Man’s ale plenty of times. If it hadn’t killed them yet, they were immune.

“Guess we should go in and bug Va- “Avery’s words trailed off as her eyes narrowed. She then tapped Moses on the back of his neck, nodding towards a nearby alley once she got his attention. “Hey, don’t look now but I think I see someone gunning for you.”

Moses, like always, kept his face blank as he walked. To the crowd of about to be onlookers, he would have registered as normal. However, they all missed that he had let go of her ankles and one of his hands had gone into his pocket.

It made it easier to cast subtly if he needed to, but he probably wouldn’t. That’s what the gremlin on his shoulders was for.

“Doesn’t he look like the one Aveline’s been looking for?” His tone never changed. “That supposed pickpocket that’s been getting away from the guard for weeks now?”

She could practically see the poster – gaunt face, staring eyes. It was like the one expression the sketch artist could do. Regardless, thanks to her work at the Rose she had heard plenty of rumors while keeping the workers safe and unbothered by their clients. Drunk, horny people didn’t exactly tend to be subtle.

“Jethann said one of the guys he sees on the regular got fleeced by him, so he’s moving between Low and Hightown clearly.” Avery wasn’t as subtle in her motions, so she did her best to avert her attention. Her ears did the work anyway – the footsteps were coming towards them. “Rumor is the guy’s an apostate, but I don’t buy that.”

Beneath her, her brother nodded. “Probably good at sleight of hand. If he actually did magic, he wouldn’t need to pickpocket. He could just make you give him your money.”

“Well, unless he’s a shitty apostate who can’t enchant his way out of a paper bag.” Avery snorted. “You never know with who shows up in Kirkwall. Pickpocket isn’t the worst career choice for somebody like that.”

No, but it would be if he tried anything with Moses. Judging by the fact he was getting closer, that was looking more likely by the second. Honestly, they felt bad for the guy – he had no idea what he was about to get into should he try anything.

Besides, Moses didn’t keep his money in his pockets anyway. That was a rookie movie.

The pair played it calmly enough as they passed the man by. Avery’s sharp eyes picked up the subtle movements of his hands as he bumped – really, brushed up with intent to grab the pocket area – into Moses. He then feigned looking flustered as he backed up, holding up his free hand.

“Sorry about that! Crowd’s a little busy for me… not used to Kirkwall yet.”

“Don’t worry about it.” Moses nodded his head, and they parted. Then they kept walking, until they were sure he was out of earshot. Once he was, he looked up at the gremlin perched on his shoulders. “Well, how should we handle this?”

The half-elf craned her neck towards the crowds. “I still see him, might be smart to follow him in case he tries this on somebody who actually had money on them. Besides, isn’t there a bounty on his head or something?”

Or something probably – Aveline hated to pay them when they did her job for her. But the bragging rights were nice too. If they worked it right, the public nature of the case would get some sovereigns in their various hiding places – not pockets. Never put money in the pocket, that was a rookie mistake.

“You go first. You blend into crowds better.” Moses picked her up like she was a sack of flour and placed her on the ground. Avery then nodded and took off, following where she had seen the man gone. Thanks to her small size, he didn’t see her coming – he was too focused on having made off with his prize to notice he was being tailed.

Either this was a rookie mistake, or he had backup. Lucky for Avery, so did she.

She eventually tailed the man to a rundown building in Lowtown, close to the docks. As the gulls screamed and sailors unloaded their wares, Avery watched as he entered through a surprisingly strong looking door. When it clicked shut, she shook her head and approached.

Lucky for her, she’d learned to pick locks in Lothering years ago. Thanks, Harritt.

“Been a while since I’ve used these.” She pulled her tools out of a pouch on her belt and began to work. As the air filled with the soft sound of metal on metal, her ears remained sharp. Someone was in the background, no doubt watching her. Maybe that was his backup, waiting for the chance to knife her in the back.

Instead, they bashed face first into the door when she rolled to the side.

“You guys are fucking loud, you know that?”

The man on the ground groaned as blood spurted from a broken nose. He didn’t have the build for a bruiser – this one batted cleanup. Whoever the heavy hitters were, they were elsewhere. She’d bet on at least one being inside to guard the stash, and probably a few more were scattered about on guard duty. Once their small friend went down, it be go time.

On cue, footsteps approached. Avery didn’t turn to look over her shoulder, preferring instead to return her tools to their pouch. The motion gave her access to her leg, and more importantly what lay underneath. Normally, she was a sword woman – but it never hurt to have a good knife on hand when it came to a back-alley brawl.

And… well, this was pretty back alley.

“I don’t know how you found this place, but if you give us all your money, we’ll let you go without too much of a fight.” The biggest guy had a scar cutting through his greasy looking beard. He had the look of a warrior who had gone to seed years ago – she’d bet a guard, maybe even a Templar recruit. No armor though, so he had dropped out or been expulsed before taking final orders. It was the only point in his favor as she eyed him up, waiting for the first move.

One of the other bruisers didn’t look too comfortable, though. He was fidgeting, and the grip on his battered sword wasn’t exactly in kill mode. There was always at least one bitch not down for the murder – he was theirs.

“Sal, she’s just a kid… for all we knew we stole her money for dinner. Can’t we just let her go? She can’t have much on her.”

Ah, moral and stupid. Her favorite combo.

The big guy rounded on his friend, cheeks turning red. “She knows where we are! The second we let her go, she runs off to the guard to collect the bounty and we all wind up in jail! You ever been in the Gallows, because I have and I’m not going back.”

Desperate – meant he was likely to make the mistake of turning his back on his opponent. Avery slipped the knife from the holster strapped to her leg while they argued, holding it at her side so they didn’t see. All the while, she listened – movement had stopped on the other side. If it went south outside, they’d come out.

“Then you do it, I’m not having any part in this. I only joined because we were stealing from those rich bastards in Hightown. This is wrong.” Moral code sheathed his sword and started to walk away. That was his mistake – the big guy slugged him, and he went down hard. Wasn’t dead, but definitely concussed.

That… was stupid. Never reduce your own numbers.

Sal rounded back on her, a gleam in his eyes. “Now, you get to decide – money or your life? I can go either way, kid.”

Avery rolled her eyes as she kept her knife concealed. “I don’t know, your friend had the right idea. I could just run away and get the bounty, pretty sure I’m faster than you.”

“And I have a weapon.” He brandished it – what a piece of shit. Did he think it was impressive? She had done better before she had even started working with a blacksmith in Lothering. “So… guess we’re doing this the hard way. Better luck in the next life, kid. At least you had spunk.”

She hated the word spunk.

After he spoke, Sal lunged. Lucky for Avery, he telegraphed for days – she easily dodged and brought up her hidden knife. Blood spurted from the long cut on his arm as she spun out of the way, shifting into her defense position as she watched. For a moment, he just looked confused – and then he saw the knife.

“Fuck, I knew you weren’t some kid.” He grit his teeth. “Boss, we got trouble!”

The door slid open, and suddenly it was 3 on 1. Avery didn’t sweat, though. Instead, she flicked the blood off her knife and waited. Usually with groups with this, they talked first. It pumped them up, and in their mind, it made her nervous. If they were incompetent fighters, they would use that to get a quick stab in.

If they were freaks, they’d enjoy it. Time to see what kind they were…

“Wasn’t she with the big guy you just hit?” The bruiser with the main pickpocket was good at hiding – if not for his size, he would have been a great spy or lookout. Sadly, sometimes hormones won – boy, didn’t she know about that. “On his shoulders or something?”

The thief gave her a blank look. “Guess he sent his shoulder elf to get the money back. You going to get beaten if you don’t come back with it?”

Oh, great – a pickpocket, AND a racist. Her other favorite combo.

“I came on my own, we’re not joined at the hip.” She let the light gleam against the blade of her knife as she changed position. “Besides, all you got from my brother was some trick seeds. I’d let them go before they stain your hands bright red, but hell, for all I know that’s a fashion trend right now. FYI, they burn too, so uh… I’d get rid of them before they set your operation on fire.”

That was a lie, but it was fun to watch the pickpocket glance towards the building with wild eyes. He motioned for his guard to go in, which made it just two on one. They probably still liked those odds.

They were of course, stupid as hell.

“You two are smarter than you look.” The pickpocket pulled a short length of wood from his jacket. Immediately, the air hummed. Guess they had been right about him being a shitty mage. “Too bad you’re not getting out of here, kid. Nothing personal, it’s just business.”

And then he jabbed his small wand forward, the air crackling with electricity. Avery was bad with electricity -it was just a little too fast for her. She winced as it crackled against her skin – it didn’t burn, thanks to the wards Moses had sewn into her clothes – but it still hurt.

Lucky for her, things got fun when it hurt.

“Oh, buddy, that was a big mistake.” She grinned, exposing her sharpened teeth. In the light, her eyes were a thin slit in a sea of blue as the adrenaline began to pump through her veins. “You gotta be new to Kirkwall if you didn’t hear what happens when you make me hurt.”

Then she was off like an arrow loosed by an archer, her steps quickened by the effects of the pain. This time, she was fast enough to dodge the lightning. Then she had the pickpocket up against the wall by the collar of his shirt, holding him a few inches off the ground with her reaver strength.

He smelled like piss. Good.

“What the fuck are you?” He struggled uselessly against her grasp. “Sal, what the fuck are you standing around for, take her the fuck out!”

But Sal wasn’t answering because he was taking a nap in the dirt with his friend. No doubt Moses had cracked his skull when he’d brought his staff down, but at least he wasn’t dead. Not yet anyway, but at the moment still alive.

Avery grinned as she heard him approach, too focused on holding the man against the wall. “There’s one more inside. He’s a big guy, but that shouldn’t be a problem for you.”

Her brother headed inside, and she could hear the sounds of a brief battle that ended in a wet sound that hinted at the winner. In front of her, the man paled as he realized it was now 2 on 1, and he was up against a wall with a twitchy reaver ready to tear him into bite sized bits for the fish to snack on.

This was usually the part they started bargaining or cursing the gods – depended on how religious they were.

“You picked the wrong people to mess with, my friend.” Avery pressed him in a little further as Moses reappeared, bag slung over his shoulder. “Find anything good?”

He shook his head. “Most of it was junk. They probably sold the good stuff off.”

Probably – it was a decent plan. No doubt once they were done, they would’ve turned the junk around and sold it somewhere else. No one would have been the wiser, especially not in Lowtown. Junk sellers popped up and disappeared all the time as they shifted around the city. Not a bad way to make a living if you ignored who they were stealing off of.

The pickpocket was still struggling, but he had stopped trying to break her fingers. “Why do you care? I didn’t steal anything off you!”

Avery sighed as she lowered him a little. “Because you’re fucking with Lowtown. And we have a thing with pissing off the captain of the guard.”

“Two birds, one stone.” Moses concluded, looking at the bodies on the ground. “Four bounties, it looks like.”

She shook her head. “Let the one go, he seems decent. Three should be enough to make Aveline pop a blood vessel anyway. We got the main course right here.”

She turned to smile at her target, now with very wet pants from where he had pissed himself. He knew where he was going now, and there was no way out. More importantly, it had dawned on him who he was dealing with.

It would have been hard not to – how many giant men and tiny half elves wandered around Kirkwall as a pair.

“Shit… you’re Hawke.”

Then he didn’t say anything more – Avery slammed him against the wall to knock him out. Then down to the floor he went so he could be taken off to the city guard for the bounty. Overall, not bad score.

They should do this sort of public service more often.

---

“So, he tried to pick Moses’ pocket… and you followed him to his operation. Then you took out his gang and brought them back here.”

Aveline could feel the vein pulsing in her forehead as she looked down at her desk. The wanted posters for three of her current headaches were spread out, marked complete by one of her men. In front of her stood the one who had caught them, grinning.

She enjoyed messing with her.

“Yep. In one afternoon, you clear three guys off your board.” Avery laced her fingers behind her back. “Now, I know you won’t give us bounties for all three, but I think we should at least get one of them. We saved you a lot of work.”

She shot the half elf a blank look. “What did I say the last time you brought someone in? You cause more problems than you solve when you try to help me out. You two are on the no-collection list.”

They were at the top, in fact. It was honestly saving Kirkwall and the City Guard money – all the people they wiped out had bounties the pair couldn’t collect. That went straight back to the city. It was honestly not an unpleasant situation, spare the fact it let her with a debt to pay that money couldn’t cover.

She hated this part.

“Well, damn. Guess you’re just going to have to owe us one…” Avery looked over at Moses, grinning in the way Aveline hated. “How many is that?”

“At least 5.” Moses’ tone may have been flat, but his eyes told her he was enjoying this as much as his sister. “From this year alone.”

Avery whistled low as she turned back to the desk. “Well, we’ll just keep a running tab on the favors. No doubt we’ll figure out when to use them.”

All Aveline could do was rub her aching forehead. This was why she hated working with the Hawke siblings; they knew just what to do to make her angry. Worst of all, she couldn’t do anything about it – either she ignored the rules and paid them, or she owed them. It was a catch-22, and one she had apparently found herself in 5 times that year already.

That was a surprisingly small number… maybe they were taking the year off.

“Fine… just… leave before you start a fight with the viscount.”

Moses was already motioning for his sister to climb back on. The two left after that, and Aveline was at last alone with her completed bounties and a killer headache. She sighed, pinching the bridge of her nose, as she got up to file them away.

She knew she was going to regret those favors… it was just a question of when or how much. Maybe next time she should just pay them their damn money…

“No… that would only encourage them.” She sighed. No doubt about it – she needed a drink. Hopefully, she’d make it to the end of her shift so she could do something about it. With any luck, the Hawkes wouldn’t cause any more chaos.

Then again, it was Kirkwall. Chaos was its natural state, and her job was to go against that. They didn’t pay her enough for this…

#fictober 21 #ramblinganthropologist's writing #Avery Hawke #Moses Hawke

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dreaminginthedeepsouth · 3 years

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LETTERS FROM AN AMERICAN

July 25, 2021

Heather Cox Richardson

Both Democratic Senator Mark Warner of Virginia and Republican Senator Rob Portman of Ohio told television hosts today that they expect an infrastructure deal on the $579 billion bill this week. Senate Majority Leader Chuck Schumer (D-NY) has said that he will delay the Senate’s upcoming recess until this bipartisan bill and another, larger bill that focuses on human infrastructure are passed. House Speaker Nancy Pelosi (D-CA) says she will not hold a vote on the smaller infrastructure bill until the larger bill, which is a priority for Democrats, passes the Senate.

There are a lot of moving pieces in this infrastructure bill that have more to do with politics than with infrastructure.

First, what is holding up the bill in the Senate is a disagreement about the proper ratio of funding for roads and public transportation. When Congress passed the Federal-Aid Highway Act in 1956, starting the creation of 41,000 miles of interstate highways, lawmakers thought that gasoline taxes would pay for the construction and upkeep of the highways. Congress raised the gas tax four times, in 1959, 1983, 1990, and 1993. But, beginning in 2008, as fuel efficiency went up, the gas tax no longer covered expenses. Congress made up shortfalls with money from general funds.

In 1983, in order to gain support for an increase of $.05 in the gas tax from lawmakers from the Northeast who wanted money for mass transit, Congress agreed to establish a separate fund for public transportation that would get one out of every five cents collected from the gas tax. This 80% to 20% ratio has lasted ever since.

Now, Republican negotiators are demanding less money for public transportation and more for roads, sparking outrage from Democrats who note that a bipartisan agreement has stood for almost 40 years and that changing the ratio between public transportation and roads will move us backward. According to the Environmental Protection Agency, in 2019, fossil fuels used in transportation produced 29% of U.S. greenhouse gases.

Portman, the lead Republican negotiator, says that Republicans have made a “generous offer” and that it will provide a “significant increase” in transit money. "Democrats, frankly, are not being reasonable in their requests right now,” he said.

Republicans want to deliver money to rural areas where people depend on driving, even though there are far more people who live in areas that benefit from public transportation. Rural areas, of course, are far more likely than urban areas to be full of Republican voters.

Democrats in the House are eager to address climate change. On July 21, Chair of the House Committee on Transportation and Infrastructure Peter DeFazio (D-OR) and 30 Democratic members of the committee wrote to Pelosi and Schumer to urge them to include instead the terms of the INVEST in America Act the House passed on a bipartisan basis earlier this month. That bill offered a forward-looking transportation package that expanded public transportation even as it called for road and bridge repair. “We can’t afford to lock in failed highway-centric policies for another five years,” they wrote.

But there is a larger story behind this transportation bill than the attempt of Republicans to change a longstanding formula to keep themselves in power. Republicans who are not openly tying themselves to the former president want to pass this measure because they know it is popular and they do not want Democrats to pass another popular law alone, as they did with the American Rescue Plan when Republicans refused to participate.

Democratic leadership wants to work with those Republicans to pass a bipartisan bill because it will help to drive a wedge though the Republican Party, offering an exit ramp for those who would like to leave behind the increasing extremism of the Trump Republicans.

Trump Republicans are, indeed, becoming more extreme as the House’s select committee on January 6 takes shape. After the Senate rejected a bipartisan commission to investigate the insurrection, House Speaker Pelosi and the House voted to establish a select committee. Its structure was based on one of the many committees established by the Republican-controlled House to investigate the attack on U.S. government facilities in Benghazi, Libya, in 2012. It permitted the minority to name 5 members, to be approved by the Speaker.

Minority Leader Kevin McCarthy (R-CA) tried to undercut the committee by appointing three members who had challenged the counting of the certified votes on January 6, including Jim Jordan (R-OH), who was at a December meeting with Trump and other lawmakers when they discussed protesting the vote count on January 6, and Jim Banks (R-IN), who attacked the committee, saying: “Make no mistake, Nancy Pelosi created this committee solely to malign conservatives and to justify the Left’s authoritarian agenda.” When Pelosi rejected Jordan and Banks, McCarthy pulled all five of his appointees.

But Pelosi had already established the committee’s bipartisanship when she appointed Representative Liz Cheney (R-WY), a staunch Republican who voted with Trump more than 90% of the time but who openly blamed him for the January 6 insurrection. Today, Pelosi added Adam Kinzinger (R-IL) to the committee as well.

Kinzinger is an Iraq War veteran who was one of the 10 House Republicans who voted to impeach Trump in January. "Let me be clear, I'm a Republican dedicated to conservative values, but I swore an oath to uphold and defend the Constitution—and while this is not the position I expected to be in or sought out, when duty calls, I will always answer," Kinzinger said in a statement.

McCarthy promptly tweeted that the committee had no credibility because Pelosi had “structured the select committee to satisfy her political objectives.”

McCarthy is scrambling, not least because he will almost certainly become a witness for the committee.

But there is more. With Trump out of office, pressure is ramping up on those who advanced his agenda. News broke on Thursday that the FBI had received more than 4500 tips about Brett Kavanaugh during his nomination proceeding for confirmation to the Supreme Court, and had forwarded the most “relevant” of those to the White House lawyers, who buried them, enabling the extremist Kavanaugh to squeak into a lifetime appointment to the court.

In Georgia, law enforcement officers indicted 87 people in what they are calling the largest gang bust ever in the state. Seventy-seven are part of the “Ghostface Gangsters” gang of white supremacists whose network stretched from Georgia to South Carolina to Tennessee. “The gang’s culture, structure, leadership, chain of command, and all involved in the furtherance of this ongoing criminal enterprise have been charged,” law enforcement officers said.

Meanwhile, vaccinated Americans are becoming increasingly angry at the unvaccinated Trump supporters who are keeping the nation from achieving herd immunity from the coronavirus. Some Republicans are starting to call for their supporters to get vaccinated.

As pressure mounts, McCarthy is not the only one who has signed onto the post–January 6 Trump party who is ramping up his rhetoric. This weekend, when presented with a gun, Trump’s disgraced former National Security Adviser Michael Flynn told the crowd, “Maybe I’ll find somebody in Washington, D.C.”

Representative Paul Gosar (R-AZ), who has been linked to the planning for the January 6 insurrection, suggested at an Arizona rally for the former president last night that the rioters were peaceful and that the real criminals were “insiders from the FBI and DOJ.” It seems likely he is hoping to discredit those organizations before more information comes out.

At the same rally, the former president spoke for almost two hours, reiterating his lie that he won the 2020 election and suggesting he would be reinstated into the White House before the next election. (He was weirdly fixated on routers.) He blamed Arizona Governor Doug Ducey, Senate Minority Leader Mitch McConnell, former Vice President Mike Pence, and Kavanaugh for his loss of the White House, and praised his former lawyer Rudy Giuliani.

“The radical left Democrat communist party rigged and stole the election,” he said.

A final note tonight: We lost a great American, Bob Moses, today. I don’t want to tack him on to tonight’s letter; he deserves his own. So hold this space. Until then, Rest in Power, Dr. Moses.

—-

Notes:

https://fas.org/sgp/crs/misc/R45350.pdf

https://www.epa.gov/ghgemissions/sources-greenhouse-gas-emissions

https://transportation.house.gov/news/press-releases/chair-defazio-leads-30-transportation-and-infrastructure-committee-members-in-urging-congressional-leadership-to-include-transformational-policies-from-the-invest-in-america-act-in-infrastructure-legislation

https://www.nbcnews.com/politics/congress/transit-money-emerges-last-major-obstacle-bipartisan-senate-infrastructure-deal-n1274788

https://www.nbcnews.com/politics/congress/senators-hopeful-bipartisan-infrastructure-spending-bill-could-land-monday-n1274960

https://www.npr.org/2021/07/25/1020464213/nancy-pelosi-adam-kinzinger-january-6-committee

Ron Filipkowski @RonFilipkowskiMichael Flynn is presented with a rifle as a gift in Yuba, CA, and says that now “maybe I’ll find somebody in Washington, DC.” 609 Retweets1,212 Likes

July 25th 2021

https://www.washingtonpost.com/nation/2021/01/13/ali-alexander-capitol-biggs-gosar/

Aaron Rupar @atruparRep. Paul Gosar turns reality on its head by portraying January 6 as a mostly peaceful affair, then pushes an absurd conspiracy theory that the real criminals on that day were "insiders from the FBI and DOJ" 1,182 Retweets4,650 Likes

July 24th 2021

https://www.nytimes.com/2021/07/22/us/politics/kavanaugh-fbi-investigation.html

https://www.wrdw.com/2021/07/22/georgia-gov-kemp-will-visit-augusta-discuss-large-scale-gang-bust/

https://www.politico.com/news/2021/07/24/trump-election-claims-rally-500719

https://www.wrdw.com/2021/07/23/87-locals-charged-biggest-gang-bust-state-history/

Aaron Rupar @atruparTrump has been speaking for more than 90 minutes now. He's currently goading his audience into booing the US women's soccer team. 735 Retweets3,061 Likes

July 25th 2021

LETTERS FROM AN AMERICAN

HEATHER COX RICHARDSON

#political #Heather Cox Richardson #Letters From An American #history #infrastructure #corrupt Gop #criminal GOP #January 6 2021 #capital insurrection

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thebrokenblackman · 4 years

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KRS-One - “Ah Yeah!” Critical Analysis by Hakeem Ture

“If hip hop has the power to corrupt young minds, it also has the ability to uplift them.” - KRS-One

The musician is a natural master of vibration and emotion. Many musicians have been able to make us dance. Many have been able to draw on relatability because nobody is the only person like them in the world. Perhaps some have even made us cry or provided soundtracks for intimate moments. Only few musicians have taken on the task of socially and historically educating their listeners through their music.

Even fewer have been able to combine the mastery of teaching with mastery of rhythm. Those who do this become legends like; Nate King Cole, B.B. King, Nina Simone, Bob Marley, Chaka Khan and Fela Kuti’ and their influence lives throughout generations. In 1995 Krs-One released a self-titled album that came in the sunset of his reign. His career would mirror the sepia filter of the album cover.

This album had dominant auras of militancy and rebellion that Krs-One fans had not heard since Boogie Down Productions - Criminal Minded. Krs-One was able to both appease his day one fans and gain the younger generation of Hip Hoppers who were listening to artists such as: Nas, Redman,Das Efx, Tupac, and A Tribe Called Quest. The message and timing of this album may have been divine. Let us look at the historical events of the year(s) Krs-One was creating this album in. In 1994, the United States congress had successfully completed the first step of becoming fascist by Voting to Censure Dr. Khalid Muhammad, National Advisor of the Nation of Islam. Bill Clinton and Joe Biden led Democrats to pass the The Violent Crime Control and Law Enforcement Act and effectively fueled the prison industrial complex. South Africa held it first election since intergrating with the apartheid government and Invisble Man author Ralph Ellison had passed. Hip Hop was the soul vehicle of expression to protest the genocide that had been going on and KRS One was one of its leaders. The youth looked toward this leader to deliver an album reflective of their mindstate and he delivered.

Imperative of a classic work of musical art, this album is composed of multiple great songs, but in my opinion the cornerstone song of the album is undeniably “Ah Yeah”. In this song he masterfully uses three 16 bar verses to empower and mobilize his listener much in the same way Dr. Khalid Muhammad did. This track starts with the establishment of an a capella warcry. He writes in response to western power’s having done such an incredible job destroying the rebel instinct that Afrikan people possess by publicly shaming our leaders and traditions. These lyrics are him trying to raise the psyche of a fallen warrior class and put revolt back in its holy place as opposed to the negative connotation that has been applied by the white power structure. He essentially made a chant-like hook with an underlying message of “This is your enemy, This is how to handle him, and THIS is okay”. The aim focuses on redirecting the accumulated anger of a traduced peoples that is often mistargeted toward self so that we may be collectively progresssive.

He bellows:

“Ah yeah, that's whatcha say when you see a devil down

Ah yeah, that's whatcha say when you take the devil's crown

Ah yeah, stay alive all things will change around

Ah yeah, what? Ah yeah!”

Then comes the establishment of an eerie bass line. This song structure is familiar to fans of his earlier work. It was what they were longing for. For a few albums he took the perspective of being in the classroom or office as opposed to in the battlefield with his men. He had returned to fight with us like Haile Selassie. Immediately he establishes a dual level of respect. One with his men and one with his deterrent.

“So here I go kickin' science in ninety-five

I be illin', parental discretion is advised still

Don't call me nigga, this MC goes for his

Call me God, cause that's what the black man is

Roamin' through the forest as the hardest lyrical artist

Black women you are not a bitch you're a Goddess

Let it be known, you can lean on KRS-One

Like a wall cause I'm hard, I represent God”

In the first 2 bars of the preceding excerption he lets us know he intends to drop some knowledge, but it will not be filtered for political correctness or comfortability. The following 2 bars he establishes both a tone of encounterment and identity. Then he goes on to explain from which direction he came much like Saint Maurice's appearance upon the plagued people of Europe to let them know he has navigated and he is no spook. He goes on to talk to his listener and the most important of them, the women.

In 1994, fresh off a press tour on which she gained popularity from criticizing Bill Clinton, Sister Souljah published her first book that was heralded by black scholars and youth alike entitled No Disrespect. Her Influence was cemented in the minds of black youth and played a huge role in raising generational consciousness by dealing with topics like “how the black woman is viewed by black men” and “the black woman’s role in repairing the black family structure”. She had solely been awarded leadership duties by a disregarded demographic in a scapegoated culture and was handling it with the grace of Misty Copeland. Her and the women she raised to consciousness needed the camaraderie of Krs One. He goes on to sell to himself:

“Wack MC's have one style: gun buck

But when you say, "Let's buck for revolution"

They shut the fuck up, can't get with it

Down to start a riot in a minute

You'll hear so many Bowe-Bowe-Bowe, you think I'm Riddick

While other MC's are talkin' bout up with hope down with dope

I'll have a devil in my infrared scope,”

In the first five bars he addresses the enemies of the oppressed people within the oppressed people. These “Wack MC’s” are the Uncle Toms’ and Judas of the rebellious, afro-centric movement that is Hip-Hop. He says they lack discipline and do not have the self awareness to rescue themselves. In comparison with himself who uses that energy toward an ultimate goal, Independence through revolution. In the succeeding excerption KRS briefly displays the cognitive processing and coping mechanism of a warrior:

“WOY

That's for calling my father a boy and, klak, klak, klak

That's for putting scars on my mother's back, BO

That's for calling my sister a ho, and for you

Buck, buck, buck cause I don't give a motherfuck

Remember the whip, remember the chant

Remember the rope and

You black people still thinkin' about voting?

Every President we ever had lied!

You know, I'm kinda glad Nixon died.”

Throughout the preceding excerption KRS skillfully uses onomatopoeias to create a setting for his listener. There is a battle going on. Shells casings are falling to the ground and bullets are flying from high caliber weapons. He is in the thick of it and then an enemy approaches him. He musters the courage to engage with his assailant by remembering the suffrage the morals of his enemies’ elected nation-state has caused his ancestors. Then he rejoices in the death of one of their leaders, Richard Nixon.

In the second verse Krs-One addresses an age-old topic of discussion for spiritual people that was brought forth to the Afrikans of today by Noble Drew Ali, “The Prophetic Soul”. This belief dates back to ancient Buddhism in the caves of Asia taught to us by Dr. Ivan Van Sertima in his book “African Presence in Early Asia”. This belief entails that all the prophets of the world including but not limted to; Adam, Jesus, Buddha, Muhammad, and himself were the same soul being reborn until its mission is completed.” Krs-One puts himself and a couple others in this divine line of being.

“This is not the first time I came to the planet

concern every time I come, only a few could understand it

I came as Isis, my words they tried to ban it

I came as Moses, they couldn't follow my Commandments

I came as Solomon, to a people that was lost

I came as Jesus, but they nailed me to a cross

I came as Harriet Tubman, I put the truth to Sojourner

Other times, I had to come as Nat Turner

They tried to burn me, lynch me and starve me

So I had to come back as Marcus Garvey, Bob Marley

They tried to harm me, I used to be Malcolm X

Now I'm on the planet as the one called KRS

Kickin' the metaphysical, spiritual, tryin' to like

Get with you, showin' you, you are invincible

The Black Panther is the black answer for real

In my spiritual form, I turn into Bobby Seale

On the wheels of steel, my spirit flies away

And enters into Kwame Ture”

In the beginning of the third verse he briefly continues the theme of possessing The Prophetic Soul but now, he does not speak from a perspective of being the people who had the soul. He speaks from the perspective of the soul. This soul is traveling and looking for a host. In the first two bars he speaks of how he was able to travel without detection from the government’s surveillance. Then, he goes on to finally choose a host that is relevant to the demographic of people it intends to reach. This host is stylish and his image is relatable, so the people will be receptive of his message through familiarity.

“In the streets there is no EQ, no di-do-di-do-di-do

So I grab the air and speak through the code

The devil cannot see through as I unload

Into another cerebellum

Then I can tell em, because my vibes go through denim

And leather whatever, however, I'm still rockin”

After the prophetic soul latches on to the host, KRS-One, it manifests purpose with grassroot organization and motivational speaking. Being KRS-One founded the Stop the Violence Movement in 1988 and was solely responsible for mobilizing many of the most influential Hip Hoppers against Gang Violence and Culture he had plenty of knowledge to give on the topic.

“We used to pick cotton, now we pick up cotton when we shoppin'

Have you forgotten why we buildin' in a cypher

Yo hear me kid, government is building in a pyramid

The son of God is brighter than the son of man

The spirit is, check your dollar bill G, here it is

We got no time for fancy mathematics

Your mental frequency frequently pickin' up static

Makin' you a naked body, addict and it's democratic

They press auto, and you kill it with an automatic”

Too often credit for the creation and establishment of a culture or society is given to one person as opposed to being evenly distributed amongst the support structure. How many times have you been taught the legacy of all the men that signed the declaration of independence? It is likely that you’ve only been taught about Thomos Jefferson. Just like there would be no Fidel Castro without the parallel influences of Che Guevara and Camilo Ceinfuegos there would be no Hip-Hop without KRS ONE. Perhaps without his tenacity, passion, and will it would have been infiltrated and exploited before it reached its full maturity. If that would have happened America would not have its current number one export. In his prime most consumers who listened to his message and gazed upon his image said “OH NO!” from fear of what they could not understand. Today, we look at his legacy of art and effort and cant help ,but smile and yell “AH YEAH!”.

“If hip hop has the power to corrupt young minds, it also has the ability to uplift them.” - KRS-One

He bellows:

“Ah yeah, that's whatcha say when you see a devil down

Ah yeah, that's whatcha say when you take the devil's crown

Ah yeah, stay alive all things will change around

Ah yeah, what? Ah yeah!”

“So here I go kickin' science in ninety-five

I be illin', parental discretion is advised still

Don't call me nigga, this MC goes for his

Call me God, cause that's what the black man is

Roamin' through the forest as the hardest lyrical artist

Black women you are not a bitch you're a Goddess

Let it be known, you can lean on KRS-One

Like a wall cause I'm hard, I represent God”

“Wack MC's have one style: gun buck

But when you say, "Let's buck for revolution"

They shut the fuck up, can't get with it

Down to start a riot in a minute

You'll hear so many Bowe-Bowe-Bowe, you think I'm Riddick

While other MC's are talkin' bout up with hope down with dope

I'll have a devil in my infrared scope,”

“WOY

That's for calling my father a boy and, klak, klak, klak

That's for putting scars on my mother's back, BO

That's for calling my sister a ho, and for you

Buck, buck, buck cause I don't give a motherfuck

Remember the whip, remember the chant

Remember the rope and

You black people still thinkin' about voting?

Every President we ever had lied!

You know, I'm kinda glad Nixon died.”

“This is not the first time I came to the planet

concern every time I come, only a few could understand it

I came as Isis, my words they tried to ban it

I came as Moses, they couldn't follow my Commandments

I came as Solomon, to a people that was lost

I came as Jesus, but they nailed me to a cross

I came as Harriet Tubman, I put the truth to Sojourner

Other times, I had to come as Nat Turner

They tried to burn me, lynch me and starve me

So I had to come back as Marcus Garvey, Bob Marley

They tried to harm me, I used to be Malcolm X

Now I'm on the planet as the one called KRS

Kickin' the metaphysical, spiritual, tryin' to like

Get with you, showin' you, you are invincible

The Black Panther is the black answer for real

In my spiritual form, I turn into Bobby Seale

On the wheels of steel, my spirit flies away

And enters into Kwame Ture”

“In the streets there is no EQ, no di-do-di-do-di-do

So I grab the air and speak through the code

The devil cannot see through as I unload

Into another cerebellum

Then I can tell em, because my vibes go through denim

And leather whatever, however, I'm still rockin”

“We used to pick cotton, now we pick up cotton when we shoppin'

Have you forgotten why we buildin' in a cypher

Yo hear me kid, government is building in a pyramid

The son of God is brighter than the son of man

The spirit is, check your dollar bill G, here it is

We got no time for fancy mathematics

Your mental frequency frequently pickin' up static

Makin' you a naked body, addict and it's democratic

They press auto, and you kill it with an automatic”

#krs one #krs1 #hip hop #90shiphop #boombap #african art #African American Art #african history

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