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jonfucius · 8 months

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Great Star Trek Rewatch - The Original Series S3

Originally posted on Twitter 2 December 2020 - 8 January 2021

Star Trek: The Original Series Season 3 is up next in my Great Star Trek Rewatch. As with ENT, DSC, STX, and TOS Seasons 1-2, mini-reviews will document my progress.

Spock’s Brain: Where is brain?! Definitely not in this episode. The camp factor is off the scales, but in terms of actual quality as a Trek episode, it’s pretty bad. McCoy’s struggle to rejoin Spock’s brain is tense, but this is a portent of Season 3’s overall quality. 1/10

The Enterprise Incident: A thrilling spy adventure, with my second-favorite Romulan commander, this is probably Season 3’s best episode. Nimoy’s performance makes you think Spock has actually turned. 9/10

The Paradise Syndrome: The Preservers are a great concept, but hoo boy is the rest of the episode problematic (to say the least). Miramanee’s death is saddening. 3/10

And the Children Shall Lead: Somehow worse than “Spock’s Brain,” this episode is painful to watch. 0/10

Is There in Truth No Beauty?: The Medusans are another great TOS creation, and the Miranda Jones twist is fantastic. Aside from Nimoy's performance as Kollos, this is another mundane entry. 7/10

Spectre of the Gun: Matt Jeffries’ greatest “guest” set design, the surreal Tombstone is an iconic setting for a great sci-fi twist on a legendary Wild West event. A little reminiscent of “Arena” or “The Corbomite Maneuver,” with now-obvious influences on TNG’s “The Royale.” 8/10

Day of the Dove: TOS gives us a third iconic Klingon in the form of the late Michael Ansara’s Kang, and the only TOS female Klingon. I feel like the writer was maybe trying to comment on US-USSR relations, but couldn’t quite make it work, but it’s still a decent S3 entry. 7/10

For the World is Hollow and I Have Touched the Sky: Kelley has rarely been better, and the malevolent AI is really just an overbearing guardian. The denouement is deus ex machina, but it’s still a decent plot. 6/10

The Tholian Web: Who knew a TOS S3 episode was going to have such lasting repercussions decades after airing? “The Tholian Web” is as consequential to later shows as “Mirror, Mirror,” even crossing with the latter thanks to ENT and DSC. 9/10

Plato’s Stepchildren: Kirk telling Alexander that size, shape, or color has no bearing on a person’s worth is astoundingly progressive for the 1960s. Sadly, the rest of the episode is a waste. 3/10

Wink of an Eye: The Scalosians’ affliction is compelling, but there’s not enough plot here to justify the runtime. The concept of an accelerated lifetime is done better decades later on VOY’s superb “Blink of an Eye.” 4/10

The Empath: About as close to a 60s-70s psychological horror story as TOS ever got, this is a solid episode that wouldn’t be out of place in one of the later series. 7/10

Elaan of Troyius: combining Helen of Troy with Pygmalion probably sounded good on paper, but it unfortunately amplifies the inherent weaknesses and sexism of both stories. Two points for France Nuyen’s performance. 2/10

Whom Gods Destroy: Mental illness is tricky to depict and this episode fails spectacularly. Marta’s death scene is incredibly cruel. I’ll give credit, however, to the late Steve Ihnat. He deftly portrayed two different mental states with subtle changes not often seen in TOS. 3/10

Let That Be Your Battlefield: Everyone praises this episode for its blunt examination of racism, especially for a 1968/9 production. But it’s a little dated in terms of storytelling craft. The chase scene goes on a little long, but using footage from WWII is a deft touch. 7/10

The Mark of Gideon: Yeah, the plot hole of an overpopulated society building a 1:1 replica of a 288m starship is silly. And the overpopulation/Typhoid Mary story line is somewhat problematic. But the initial mystery is intriguing. 4/10

That Which Survives: Losira may be for y’all, but this episode ain’t exactly for me. I’ll give the series partial credit for introducing an Indian character (yet played by a white woman). Losira’s story is another classic example of the Trek trope of subverting the villain. 5/10

The Lights of Zetar: Season 3 has a ton of body possession stories, and hardly any of them are worth a damn. This does give us the inspiration for the essential Memory Alpha wiki, but it’s otherwise another forgettable S3 entry. 5/10

Requiem for Methuselah: This story is done far more eloquently (and poignantly) with Lal and Data in TNG. The concept of Flint is fascinating, but it’s otherwise dull. 4/10

The Way to Eden: I’d rather be a Herbert than watch this one again. The anti-counterculture criticism comes across as parody, rather than insightful commentary. We don’t reach. 1/10

The Cloud Minders: Worker’s rights and the class struggle are the main thrust of this episode. Droxine’s costume is iconic, and I appreciate giving Spock another shot at romance. But it’s just another “meh” entry. 6/10

The Savage Curtain: There’s a lot of banal discussion and halfhearted stunts before we get to the thesis: evil runs when good people go to war. Hmm, sounds like something out of another sci-fi franchise 🤔. 3/10

All Our Yesterdays: If only TOS had ended on this one. Spock must confront his emotions, and has a romance, while Kirk has to solve the problem; a nice inversion of the usual TOS structure. Pour one out for Zarabeth, dead 5000 years before we meet her. 8/10

Turnabout Intruder: Shatner and Sandra Smith do excellent work playing each other’s characters. That being said: if I can’t say anything else nice, I won’t say anything at all, other than what a shame it is TOS had to end on this one. 2/10

And with that, Season 3 of TOS, and the series itself, comes to an end in my Great Star Trek Rewatch. Final score: 4.75/10. Highest score(s): “The Enterprise Incident,” “The Tholian Web.” Lowest score(s): “And the Children Shall Lead.”

TOS overall score across 3 seasons and 80 episodes: 6.32/10

#star trek #star trek tos #great star trek rewatch

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maximelebled · 3 years

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2019 & 2020

Hello everyone! So yeah, this yearly blog post is about three... four months late... it covers two years now.

I did have a lot of things written last year, last time, but the more things have changed, the more I’ve realized that a lot of things I talked about on here... were because I lacked enough of a social life to want to open up on here.

In a less awkwardly-phrased way, what I’m saying is, I was coping.

Not an easy thing to admit to in public by any means, but I reckon it’s the truth. Over the past two years, I’ve made more of an effort to build better & healthier friendships, dial back my social media usage a bit (number 1 coping strategy), not tie all my friendships to games I play, especially Dota (number 2 coping strategy), so that I could be more emotionally healthy overall.

Pictured: me looking a whole lot like @dril on the outside, although not so much on the inside. (Photo by my lovely partner.)

To some degree, I believe it’s important to be able to talk about yourself a bit more openly in a way that is generally not encouraged nor made easy on other social networks (looking at you, Twitter). I know that 2010-me would be scared to approach 2020-me; and it’s my hope that what I am writing here would not help him with that, but also help him become less of an insecure dweeb faster. 😉

Not that recent accomplishments have stopped me from being any less professionally anxious. Sometimes the impostor syndrome just morphs into... something else.

Anyway, what I’m getting at is, the first reason it took me until this year to finish last year’s post is because, with my shift in perspective, and these realizations about myself, I do want to keep a lot more things private... or rather, it’s that I don’t feel the need to share them anymore? And that made figuring out what to write a fair bit harder.

The other reason I didn’t write sooner is because, in 2018, I wrote my "year in review” post right before I became able to talk about my then-latest cool thing (my work on Valve’s 2018 True Sight documentary). So I then knew I’d have to bring it up in the 2019 post. But then, I was asked to work on the 2019 True Sight documentary, and I know it was going to air in late January 2020, so I was like, “okay, well, whatever, it, I’ll just write this yearly recap after that, so I don’t miss the coach this time”. So I just ended up delaying it again until I was like... “okay, whatever, I’ll just do both 2019 and 2020 in a single post.”

I think I can say I’ve had the privilege of a pretty good 2019, all things considered. And also of a decent 2020, given the circumstances. Overall, 2019 was a year of professional fulfillment; here’s a photo taken of me while I was managing the augmented reality system at The International 2019! (The $35 million dollar Dota 2 tournament that was held, this that year, in Shanghai.)

If I’d shown this to myself 10 years ago it would’ve blown my mind, so I guess things aren’t all that bad...!

I’ve brought up two health topics in these posts before: weight & sleep.

As for the first, the situation is still stable. If it is improving, it is doing so at a snail’s pace. But quite frankly, I haven’t put in enough effort into it overall. Even though I know my diet is way better than it was five or six years ago, I’ve only just really caught up with the “how it should have been the entire time” stage. It is a milestone... but not necessarily an impressive one. Learning to cook better things for myself has been very rewarding and fulfilling, though. It’s definitely what I’d recommend if you need to find a place to start.

As for sleep, throughout 2019, I continued living 25-hour days for the most part. There were a few weeks during which I slowed down the process, but it continued on going. Then, in late December of 2019, motivated by the knowledge that sleep is such a foundational pillar of your health, I figured I really needed to take things seriously, and I managed to go on a three month streak of mostly-stable sleep! (See the data above.)

Part of what helped was willingly stopping to use my desktop computer once it got too late in the day, avoiding Dota at the end of the day as much as possible, and anything exciting for that matter... and, as much as that sounds like the worst possible stereotype, trying to “listen to my body” and recognizing when I was letting stress and anxiety build up inside me, and taking a break or trying to relax.

Also, a pill of melatonin before going to bed; but even though it’s allegedly not a problem to take melatonin, I figured I should try to rely on it as little as possible.

Unfortunately, that “good sleep” streak was abruptly stopped by a flu-like illness... it might have been Covid-19. The symptoms somewhat matched up, but I was lucky: they were very mild. I fully recovered in just over a week. I coughed a bit, but not that much. If it really was that disease, then I got very lucky.

(Pictured: another photo by my lovely SO, somewhere in Auvergne.)

My sleep continued to drift back to its 25-hour rhythm, and I only started resuming these efforts towards the fall... mostly because living during the night felt like a better option with the summer heat (no AC here). I thought about doing that the other way (getting up at 3am instead of going to bed at 7am), and while it’d make more sense temperature-wise, that would have kept me awake when there were practically no people online, and I was trying to have a better social life then, even if had to be purely online due to the coronavirus, so... yeah.

I’ve been working from home since 2012! I also lived alone for a number of years since then. For the most part, it hasn’t been a great thing for my mental health. Having had a taste of what being in an office was like thanks to a couple weeks in the Valve offices, I had the goal of beginning to apply at a few places here and there in March/April. Then the pandemic hit, so those plans are dead in the water. I wanted 2020 to be the year in which I’d finally stop being fully remote, but those plans are now dead in the water.

Now, at the end of the year, I don’t really know if I want to apply at any places. There’s a small handful of studios whose work really resonates with me, creatively speaking, and whose working conditions seem to be alright, at least from what I hear... but, and I swear I’m saying this in the least braggy way possible... there’s very little that beats having been able to work on what I want, when I want, and how much I want.

This kind of freelance status can be pretty terrifying sometimes, but I’ve managed (with some luck, of course) to reach a safe balance, a point at which I’ve effectively got this luxury of being able to only really work on what I want, and never truly overwork myself (at least by the standards of most of the gaming industry). It’s a big privilege and I feel like it’d take a lot to give it up.

Besides the things I mentioned before, one thing I did that drastically improved my mental health was being introduced to a new lovely group of friends by my partner! I started playing Dungeons & Dragons with them, every weekend or so! And in the spirit of a rising tide lifting all boats, I managed to also give back to our lovely DM, by being a sort of “AM” (audio manager)... It’s been great having something to look forward to every week.

Something to look forward to... I’ve heard about the concept of “temporal anchors”. I had heard about how the reason our adult years suddenly pass by in a blur is because we now have more “time” that’s already in our brains, but now I’m more convinced that it’s because we’re going from a very school routine such as the one schools impose upon us, to, well... practically nothing.

I thought most of my years since 2011 have been a blur, but none have whooshed by like 2020 has, and I reckon part of that is because I’ve (obviously) gone out far far less, and most importantly there wasn’t The Big Summer Event That The International Is, the biggest yearly “temporal anchor” at my disposal. The anticipation and release of those energies made summer feel a fair bit longer... and this year, summer was very much a blur for me. In and out like the wind.

I guess besides that, I haven’t really had that much trouble with being locked down. I had years of training for that, after all. Doesn’t feel like I can complain. 😛

(Pictured: trip to Chicago in January of 2019... right when the polar vortex hit!)

Work was good in 2019, and sparser in 2020. Working with Valve again after the 2018 True Sight was a very exciting opportunity. At the time, in February of 2019, I was out with my partner on little holiday trips around my region, and, after night fell, on the way back, we decided to stop in a wide open field, on a tiny countryside path, away from the cities, to try and do some star-gazing, without light pollution getting in the way.

And it’s there and then that I received their message, while looking at the stars with my SO! The timing and location turned that into a very vivid memory...

I then got to spend a couple weeks in their offices in late April / early May. I was able to bring my partner along with me to Washington State, and we did some sightseeing on the weekends.

(Pictured: part of a weekend trip in Washington. This was a dried up lakebed.)

After that, I worked on the Void Spirit trailer in the lead to The International. In August, those couple weeks in Shanghai were intense. Having peeked behind the curtain and seen everything that goes into production really does give me a much deeper appreciation for all the work that goes unseen.

Then after that, in late 2019, there was my work on the yearly True Sight documentary, for the second time. In 2018, I’d been tasked with making just two animated sequences, and I was very nervous since that was my first time working directly with Valve; my work then was fairly “sober”, for lack of a better term.

(Pictured: view from my hotel room in Shanghai.)

For the 2019 edition, I had double the amount of sequences on my plate, and they were very trusting of me, which was very reassuring. I got to be more technically ambitious, I let my style shine through (you know... if it’s got all these gratuitous light beams, etc.), and it was real fun to work on.

At the premiere in Berlin, I was sitting in the middle of the room (in fact, you could spot me in the pre-show broadcast behind SirActionSlacks; unfortunately I had forgotten to bring textures for my shirt). Being in that spot when my shots started playing, and hearing people laughing and cheering at them... that’s an unforgettable memory. The last time I had experienced something like that was having my first Dota short film played at KeyArena in 2015, the laughter of the crowd echoing all around me... I was shaking in my seat. Just remembering it gets my heart pumping, man. It’s a really unique feeling.

So I’m pretty happy with how that work came out. I came out of it having learned quite a few new tricks too, born out of necessity from my technical ambitions. Stuff I intend to put to use again. I’m really glad that the team I worked with at Valve was so kind and great to work with. After the premiere, I received a few more compliments from them... and I did reply, “careful! You might give me enough confidence to apply!”, to which one of them replied, “you totally should, man.” But I still haven’t because I’m a massive idiot, haha. Well, I still haven’t because I don’t think I’m well-rounded enough yet. And also because, like I alluded to before, I think I’m in a pretty good situation as it is.

It’s not the first encouragements I had received from them, too; there had been a couple people from the Dota team who, at the end of my two week stay in the offices, while I was on my way out, told me I should try applying. But again, I didn’t apply because I’m a massive idiot.

(Pictured: view from the Valve offices.)

To be 200% frank, even though there’s been quite a few people who’ve followed my work throughout the years, comments on Reddit and YouTube, etc. who’ve all said things along the lines of “why aren’t you working for them ?”, well... it’s not something I ever really pursued. I know it’s a lot of people’s dream job, but I never saw it that way. I feel like, if it ever happened to me... sure, that could be cool! But I don’t know if it’s something I really want, or even that I should want?

And if you add “being unsure” to what I consider to be a lack of experience in certain things, well... I really don’t think I’d be a good candidate (yet?), and having seen how busy these people are on the inside, the last thing I want to do is waste their time with a bad application. That would be the most basic form of courtesy I can show to them.

Besides, Covid-19 makes applying to just about any job very hard, if not outright impossible right now. And for a while longer, I suspect.

(Pictured: the Tuilière & Sanadoire rocks.)

I’m still unhappy about the amount of “actual animation” I get to do overall since I like to work on just about every step of the process in my videos, but well. It’s getting better. One thing I am happy with though, is “solving problems”. And new challenges. Seeking the answers to them, and making myself be able to see those problems, alongside entire projects, from a more “holistic” way, that is to say, not missing the forest for the trees.

It’s hard to explain, and even just the use of the term “holistic” sounds like some kind of pompous cop-out... but looking back on how I handled projects 5 years ago vs. now, I see the differences in how I think about problems a lot. And to some extent I do have my time on Valve contracts to thank a LOT in helping me progress there.

Anyway, I’m currently working on a project that I’m very interested & creativefuly fulfilled by. But it has nothing to do with animation nor Dota, for a change! There are definitely at least two other Dota short films I want to make, though. We’ll see how that goes.

Happy new year & take care y’all.

#year in review

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thisfits · 4 years

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Final Days of Final Sale: Suitsupply Outlet, MR PORTER, Drake’s, Allen Edmonds, Todd Snyder, The Rake, No Man Walks Alone

Mid-January to late January marks the tail-end of after-Christmas menswear sales, as brands and retailers anticipate the arrival of spring inventory. This often means deep discounts, but also sparse inventory.

Here are a few that I’m keeping an eye on.

Suitsupply Outlet

Use code FINALSALE to enter Suitsupply Outlet.

Suitsupply’s biannual outlet sale is easily one of the most-anticipated menswear events of the year. They’re pretty much the only time you can expect a discount from the brand.

The Winter 2020 sale opened on Monday, and unlike the past few outlet sales, this one opened with a decent selection of styles and availability. Note that everything is final sale, so no returns or exchanges.

Much of it’s been picked over at this point (yeah, I should have posted about this on Monday...), but I’m seeing minor restocks of merchandise, probably from expiring shopping carts.

Note: you’ll need to enter the Outlet with code FINALSALE for the following links to work.

You could try your luck filtering for your size in Suits or Jackets, but I think your best bet for good value and selection is to browse through the Trousers. I like especially like their trousers in oatmeal wool flannel (part of the suit pictured above), a versatile but hard-to-find color. I’m also a fan of the unusual closures on their Brentwood and Braddon trousers, as well as (don’t hate me) their pleated drawstring wool Ames trousers.

Tip: Suitsupply Outlet forces you to select up to three sizes before browsing a category like Trousers, but clicking “Clear Filters” lets you see everything available—sometimes including things in your size that the filters excluded.

Suitsupply doesn’t typically announce the end date for the Outlet, but it’s a good bet that it will close early Thursday morning.

Todd Snyder Big Sale

Use code BIG30 for an extra 30% off sale merchandise at Todd Snyder.

See my previous post on this sale for picks. The cashmere donegal sweaters above are still my favorite. As a more affordable alternative, consider the merino cable crewnecks.

Sale ends tonight, January 15.

Allen Edmonds Warehouse Sale: Up to 70% Off

Extra 20% off many sale styles and factory seconds at Allen Edmonds. No code needed.

To me and many others, Allen Edmonds holds a special place in our hearts as our introduction to good shoes, that is, made with calfskin leather and Goodyear-welted. They’ve since lost a little sheen with me as MSRP creeps up and reports come in about a gradual decline in quality control. It doesn’t help that their style and design is often panned compared to English and European makers (a somewhat unfair comparison given the latter typically retail for hundreds of dollars more).

That said, you don’t have to look terribly hard to find Allen Edmonds shoes that are both stylish and a good value, especially during their current Warehouse Sale.

Note: factory seconds have the best discounts, but there’s a $25 restocking fee for returns.

The penny loafers in particular stand out for me, especially like the Mcgraw in brown calfskin ($183.98). I’m also thinking of taking a chance on the Mercer Street in brown suede ($119.98). It looks dowdy in the default three-quarters view product photo, but the profile view is more promising. I’ve been looking for a go-anywhere, rubber sole brown suede penny loafer for a couple years now, and this could fit the bill.

Finally, there are hefty discounts on the $695 shell cordovan Patriot loafer: $399.98 for firsts, $319.98 for seconds. Just be sure to carefully read the reviews; it seems many people are having fit issues.

Allen Edmonds Warehouse Sale ends January 21.

MR PORTER Sale

Up to 70% off at MR PORTER. No code needed.

If I recall correctly, you can hope for one more round of discounts in the next few days in the MR PORTER sale: an extra 20% off select items.

A lot of the more obviously desirable pieces from well-known brands are long gone at this point. Your best bet to score a deal is to search by size, which can turn up great finds from labels you’re not familiar with:

Shop XS (includes XS, XXS, and 3XS)

Shop Small

Shop Medium

Shop Large

Shop XL (includes everything from XL through 6XL)

Drake’s Winter Sale

Drake’s Sale now up to 50% off. No code needed. Pictured above: wheat herringbone tweed jacket.

Drake’s just increased the discount in their sale section to 50% across the board. While they’re a full-fledged clothing brand with outerwear, tailoring, and shirts, to me the best values in this sale are where they made their name: ties, scarves, and other accessories like pocket squares.

That said, someone please buy their Aimé Leon Dorre collab Harris Tweed blazer.

The Rake Sale

Up to 50% off at The Rake Sale. No code needed.

The story of The Rake’s online presence is kind of the opposite of MR PORTER. The latter launched as an online menswear store that included supporting editorial content. The Rake started as a high-end men’s style print magazine, and recently expanded into e-commerce, giving them a venue to connect readers to the sometimes obscure brands they cover.

Given the great brands represented—think Carmina, Drake’s, Rubinacci—I’m honestly surprised I don’t hear more about this store or sale.

No Man Walks Alone Winter Sale

Up to 50% off at No Man Walks Alone. No code needed.

This one snuck in right before publish time: I noticed No Man Walks Alone just increased the top-end discount in their Winter Sale to 50% off, although they haven’t announced the change yet by email.

This makes up for posting late about the Suitsupply Outlet, right? Maybe?

#suitsupply #mrporter #drakes #allenedmonds #toddsnyder #therake #menswear

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vivareverie · 6 years

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"So, what now?"

That's a question I've had stuck on my mind for at least the past month or so now, regarding the state of my content production and my life as a YouTuber. It's a question that I've somewhat avoided asking myself for the past year, because I somewhat naively thought "Hey, everything'll just work out". Needless to say, that isn't the case, so here I am asking myself this question now.

Before I go any further I'd like to quickly clarify something: This isn't a depression thing. It might sound like a depression thing by the way I'm writing or the overall tone of this post, but I currently have zero mental health issues and require no sympathy in that area. All this is is an introspective look at my state of affairs, looking at what I did wrong attempting to grow my channel, and where to go next.

So, let's start from the start: My channel's success was lightning in a bottle. "Surprise! Your video has gone viral!" Starting with super short meme-y pony toy videos. Well... Admittedly that was at least a few years into my "career" at that point, but all my content before then just silly "Early-teen goofing around"-type videos, once I suddenly actually had an audience to make videos for, I obviously wanted to keep going. What's important about this "Era" is that I had a theme going on. I was the "Pony toy video guy", that was where my initial audience came from, watching my ~10 second long meme-y videos for a short giggle. These videos were very short, very easy to make, and had an audience... So, why did I stop?

Three big reasons: One, money. To make videos making fun of silly pony merch, I had to buy the merch, and, to put things into perspective, that Celestia toy alone was $50. Imagine that but for every single toy in every single video and it adds up quick. The good news is that I liked collecting them, and I had the money, but that was quickly running dry. You might ask "Well, couldn't you reuse toys?", and I did a bit, however...

Two, I hated reusing jokes, and still do to this day. Even back then I'd felt I used the "Celestia toy hits thing" joke 2-3 too many times. I suppose I'd somewhat considered it a running joke- but without putting a twist on it, it was just the same thing happening over and over again. Although "toy abuse" wasn't the entirety of my content back then- I did still try to be creative about it- but nonetheless I kinda felt that well drying up. Plus, finally, there's reason three, and this one is probably a bit obvious...

Three, I wanted to try out animation. It's history time: The reason why even my earlier pony animations looked at least half-decent was because I already knew ahead of time how to use Flash, the program used to animate MLP. This was because I used Flash to learn how to make terrible bodged-together video games, some of which are still online over on Newgrounds and Kongregate (And no, I won't be linking them (Maybe at a later date)), those games, although they were pretty terrible, did inadvertently teach me how to use an animation program, meaning that, when my YouTube channel kinda blew up, I suddenly had an entire genre of media to create with at my disposal.

Thus started "Phase two" of viv, the "Short goofy animation" phase. At the time I didn't think I was gonna ditch the toy video stuff, but after a short while I felt... More satisfied with my animation work. It took me a while to nail down why, but in the end I felt like I was "Undeserving" of the amount of attention I got from my toy content, and felt as if I had to "Earn" the amount of followers I was getting. My toy videos were recorded with terrible audio, a bad camera, very little care for lighting (One video in particular's punchline was ruined because I didn't think about lighting, "Applejack Wins" I believe was the name of that one), however my animations, with the exception of a couple of my early ones having framerate issues, were very "Clean" and felt polished, something I definitely couldn't say about the majority of my toy videos.

Likewise, my standards went up, and they went up fast. I did start off making more silly goofy short stuff, but I kept setting borders for myself making content more difficult to pump out. I wanted to make music videos, but I eventually said I didn't want to make them using pre-established "stuff you could buy on itunes" tracks, worried about potential copyright ramifications. A lot of my short videos were based on clips of songs, and I stopped doing those for the same reason. This was also a very similar (Albeit technically very different) reason why I stopped using show-style puppets, and although I technically could've continued animating show-style if I wanted, my standards had gotten higher still, and I wanted to start making animations using my own "Design" of puppets. Those are the horses you see in the banner of my Patreon page, the doofy ones with the fat noses. This starts what I'd call "Phase three" of viv.

...However, where I went, the majority of fans did not follow.

My earlier content was easy to digest, easy to share around, and easy to click on. Short doofy meme videos. Phase three of viv however- Although the content I was making was finally meeting my stupid standards, it ran into two problems. One, content production got slooooow. The entirety of the first couple of "phase three" years feels like I'd gotten nothing done, despite the, well, "Objectively better" quality videos coming out. I can count how many vivshorts I have on three hands, which is... Not a lot. It's good, and all of them are great, don't get me wrong, but throughout this entire "essay" I've been leaving out one giant big huge factor regarding my content: YouTube itself.

I'm sure you've heard this a million times before, but in case you haven't: YouTube does not promote channels that don't post often. The system likes channels that make long videos, and they like them posted every day. This is... The complete opposite of the state of my channel, however. Especially these days, where my projects get larger, and the gaps between videos get longer. Unfortunately, the amount of production put into videos does not necessarily translate to views- Or at least not anywhere near the amount it does compared to my older videos.

I did make an attempt to make my channel more active with my Vivcast series, but, although that series has its fans (And I love you all much and you know who you are), I feel like all that did is hurt me during phase three viv. It littered my channel with videos that only a very niche audience would appreciate, and meant that newcomers would have difficulties finding the videos my channel was centered around when visiting my channel, which is, you know... A bad thing. All my Vivcast videos are now unlisted on my channel, but the playlist is still publicly available for those who still want to see them.

The second big reason why I got a huge dropoff of viewers from phase three viv was the change in style, or, more specifically, the lack of using MLP characters at all. I stopped being part of the trend, and went and did my own thing. It gave me more creative freedom, but it was less "Immediately appealing". It's far easier to click on "Rainbow Dash is Excited" than it is "The Second Day of Chrasmas". I've created a bubble of content that only those inside the bubble can enjoy, and this bubble is already inside the bubble of MLP itself, which, as much as I wish it wasn't so, has a huge huge huge stigma around it that to this day has never dwindled. Despite my content being less about the ponies themselves and more about the comedy or the writing or the animation, just the vague connection to MLP is a huge turnoff for potential new viewers who although might not care for MLP might still enjoy the content I may put out.

So, due to this, I have a dwindling viewerbase both because I'm not directly using MLP characters (Meaning the general MLP fans are turned off from my content) and also because I'm using pony characters in the first place (Meaning the non-brony side of the internet won't be looking at my content in the first place). I've inadvertently created a niche inside of a niche because I became complacent. I thought "Hey, if I make videos, the viewers will come, as they always have been", and that was true a few years ago, but I've diverted the train far far off course and not many people still want to stay on the ride.

...Okay, I should mention, no, 10k views per video is not bad in any way. That's really really good and many many many youtubers wish they got a fraction of the viewerbase I got, but it's all relative. In my case, I'd steered my life towards "Hey, I got a good following going, if I grow my following enough I'll be able to make YouTube videos for a living! That'll be super cool!" And that was okay for a long while, while I was "Doing the motions", while I was at college, while I was at university, while I was looking for a job and not finding any for... The entirety of 2017. That's a long time, that's, like, 4+ years at least. But, that whole time, it was fine. I was in no rush, I was in no hurry, no real problems, I'd gotten a little lazy and my content slowed down for it, but I didn't necessarily need the money so I wasn't churning out garbage 24/7 just to make sure I hit a threshold. I thought to myself "Hey, I'll think of something, eventually. 10k views per video isn't enough to make a living off of, but I'll make something that'll go viral again, eventually. It'll be fine."

However, that changed this January.

My new years resolution was to go back to making monthly videos. The Second Day of Chrasmas I made relatively quickly and I'd totally be up for keeping that going, I thought. But my free time was suddenly whisked away, and I was suddenly told I'd be "Working for the dole" for half the week, every week, for at least the next 6 months, or until somebody finally decides to hire me. If that's French to you, essentially that means that, in order to get the money I'm literally living off of, I'm now forced to spend ~15 hours every week doing tiring sweaty exhausting labour work, getting pricked, scratched, sunburned, and bitten, on top of the obligation I already had regarding finding work with the job employment agency I'm hooked up with, oh, and that's not even mentioning that I'm not earning any more doing this work than I was earning the entirety of 2017. essentially meaning that all the free time I'd grown complacent with the past year is now gone in the blink of an eye, and I'm getting nothing out of it.

...So I thought "Okay, 2018 will be the year I finally set my channel back on the right track." Suddenly that's something I can't do. I can't make videos that bring the views back when I literally don't have the time nor energy to make those videos in the first place. The past January shows it, I forgot to make the post-January update Patreon post because of how quickly the month passed by for me. My complacency led me down this track and now I'm paying the price for it.

Okay... So... What now?

This was the question I asked at the start of this post, and what you just read is my story leading up to this question. I don't know if I have the right answer to that question, but I have a few proposals.

One: Cut my ties with pony content entirely. This is a route I'd been intentionally avoiding because I didn't want to be one of "Those guys". You know, the "I'm grown up and more mature now, and therefore I cannot like or associate with pony anymore". That... In itself, I'd personally say is an extremely immature sentiment, cutting ties with who you once were is like denying part of your life existed. Likewise, if this were the route I'd take, I would never deny my association with MLP... However, I would be changing all my branding and future content to not be MLP related, and move into, say, video games stuff instead. That way I can tap into a very large audience of people that didn't exist within my bubble within my bubble. I may be able to grab that "Lightning in a bottle" once more... I wouldn't stop doing Bronies Reacts, though.

Two: ...Keep going. This is the significantly more risky route, but I still have unfinished business in pony content. The two big ones are Trigger Happy Horses and Brony Polka Animated, Trigger Happy Horses being very very well loved and a project I would be very happy to continue if I had the money and time, and Brony Polka Animated being a project I teased... Ah jeez, two years ago. Both projects would require at least several months straight of work to finish/continue, meaning no other content on my channel (Outside of stuff that maybe I could hire other people to edit (Which would imply I had the money to do so, which, I don't)), meaning it'd be super unlikely my channel would grow in any way from it. I'd still be inside my niche of a niche, that double-layered bubble. But... Maybe people would come back if they saw these projects as finished projects? I don't know, and I have no way of knowing- But I expect that may unfortunately not be the case.

Three: Do both... Kinda. Perhaps I could begin by doing new stuff that appeals to a larger audience and completely ignoring those huge projects on my backlog until I've reached a point of equilibrium- And then return to them once I've maintained a stability on my channel. Albeit, that implies I get to that point in the first place, I may be trying to throw darts at this invisible dart board for the rest of my life, meaning those projects go entirely unfinished forever...

...At the end of the day, if I want to keep doing YouTube, I'll want to be earning enough off of it to make it viable. This means consistent revenue, every month, every year. I'm getting a very nice fraction of that off of Patreon right now, and I thank all my patrons wholeheartedly for it, but... I need at the very least quadruple the amount I'm currently earning to get back to even attempting YouTube full time. Single time pledges won't really help either, I either need four times the amount of patrons I have or at least ten times the amount of views on my future videos, and consistently.

This revamp needs to happen. With it I'll be revamping the structure of my Patreon page before the end of the month, including probably removing the $10 and $30 pledge options... Which I feel like is kind of a terrible move because it's the last foothold I really have, I'll be cutting my revenue in half with that move alone, but I don't feel comfortable being pledged those amounts when the content I'm putting out is minimal at best, and entirely against what you were asking for at worst. Although I believe there is an option to pledge a higher amount than the given pledge amount, no rewards come with that, and nobody is obligated to do that for me.

Will this post do anything about my situation? Deep down I kinda hope it will, but really... I don't expect it to, and I've accepted that. You gotta deal with what life gives you, and when life gives you lemons, you make lemonade. That term is thrown around so much it sounds like white noise so I'll turn it into a metaphor that actually means something: If you're given shit, make something out of it. Well, I've been given shit, so here I am figuring out what to sculpt it into.

It's midnight where I live now, so I'll be going to sleep. When I wake up I hope to have the answer to my question.

Good night.

- Viva

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nanogame · 6 years

Text

What the hell is Phase Paradox and why has nobody heard of it?

I recently came across a very interesting game for the PS2 called Phase Paradox and, to my surprise, the information online about this game is very limited. I was intrigued... How can a game released over 15 years ago for one of the biggest consoles ever, be so unknown? I decided to do a little digging to find more and that’s what I’ll tackle in this post, but before we begin talking about it, a proper introduction to the series is due... Yes, to the series. Phase Paradox is no less than the sequel to the PS1 title, Philosoma. Never heard of it either, right? Don’t worry, I’ll elaborate... and spoil a bit of the first game, so be aware.

Philosoma was the first game developed by Epics Inc, the same Japanese studio who brought us Ape Escape Racing and Ghost in the Shell: Stand Alone Complex for the PSP, and a bunch of other titles you might have heard about. It was one of the first games to ever be announced for the original Playstation and it was scheduled to be a release title, however it was only released in mid-1995 in Japan, and in 1996 in the subsequent regions due to complications during development. Despite the prolonged development time, it only received mixed reviews, praising the impressive FMVs and OK-ish gameplay but condemning its dull visuals. These didn’t stop it from receiving an award for Best Shooter of 1995 by Electronic Gaming Monthly magazine.

But what is it? Philosoma plays like any other 2D/3D space shooter (with a lot of resemblances to other shooters like Galaga and Gradius) but places its emphasis on the multiple perspective gameplay, which varies from isometric to top-down/vertical scrolling to full-fledged 3D. The story is pretty simplistic: a recently colonized alien planet named Planet 220, reports a devastating attack by an unknown force and requires assistance. The player assumes the roles of D3, a rookie pilot, as well as his commander Nicolard Michau and has to try to save the planet. In the end of the game (spoiler alert) , the said planet blows up and this is where Phase Paradox picks up.

But before we get into the story and gameplay, let's see how this game came to life. Phase Paradox, as opposed to it’s prequel, was not developed by Epics Inc, but by Sony Interactive Entertainment themselves, whom had published the first game. However, for the roles of lead designer and supervisor, Sony decided to hire Takahiro Matsushima, the creator of the original game. They setup a somewhat big team, which also included Tatsuya Ishiyama as a cinematic director, who would proceed to work on the cutscenes of the very acclaimed SoulCalibur IV. Don’t let me stop you from getting amazed but there are some more names you might recognize. The character of Renee is voiced by no less than Mary Elizabeth McGlynn (who’s also the voice director in the game), the singer of some of the non-instrumental songs by Akira Tamaoka in Silent Hill. The character of Umma is voiced by Patricia Ja Lee, whom you may know better by Jill Valentine’s mo-cap and voice actress for Resident Evil 5. Steve Kramer, who has worked as an actor and voice actor for countless productions that range from cinema to video games, voices Lance Fuller’s character too... This only shows how big the production for the game must have been and how much Sony was betting on it.

The first announcement for the game was made by Sony in January 2001 but other than the game’s genres, very few details about it were given. They also announced it would be released in two DVD-ROM discs on the 22nd of March of the same year in Japan, but no dates for the other regions were given. The first demo only appeared in Tokyo Game Show Spring 2001 and by then, the game had been postponed to May 24th, the day it was released in Japan (in only one DVD). The first impressions were decent: people were praising the sci-fi atmosphere but were reluctantly talking about the gameplay:

“Three playable characters from different time frames and different places solve mysteries from each character's perspective. Once they all meet at a certain point in the game, the mysteries begin to unfold. As opposed to the theme of humans vs. aliens or zombies in most of the recent action-adventure games in the genre, this game is about human interaction, trust, and deceit...”

Now, this is where things start to get interesting! If you’re confused, because you were expecting details for a shooter, don’t be! Despite being a direct sequel to Philosoma, its genre is completely different. The sequel is not a 2D/3D shooter like its predecessor, but an action-adventure game with a lot of sci-fi and survival horror influences. The player can control three characters across a field map with pre-rendered backgrounds, similarly to the original Resident Evil games, however the action factor is not present. What I mean is, the player doesn’t shoot or solve puzzles. The player simply moves the characters in between cutscenes and is prompted to do binary choices of yes and no by pressing the X or circle buttons. By making the “wrong” choice, the player usually dies and is prompted to try again. This being said, the game can be easily completed by trial and error and this might just justify why most of the reviews I found online, even if scarce, were all condemning this gameplay mechanic. I’m not saying it’s very good but it seems to me that they’re were going for what could’ve been the beginning of tell-tale games like we know them today. The game also has three different endings, one for each playable character, depending on which one you choose to follow during the final phase of the game (you eventually play them all, to finish the game), which I thought was pretty interesting.

In my opinion, there are two things that this game nailed completely. The UI design and the atmosphere. The cover of the game is beautiful, that’s not an argument, but wait until you boot up the game! The main menu is gorgeous and damn satisfying to use. It’s the perfect intro for the game, which in its whole, gave me a vibe of “Blade Runner meets the The Thing”. Maybe because of the futuristic look of the pre-rendered surrounding environments, along with an interesting sound landscape that heavily relies on background noises, using music only when really necessary. The voice acting (done entirely in English with Japanese subtitles) is pretty satisfactory and goes well with the animation and even though it feels a bit cheesy at times, which game doesn’t? The cutscenes are decent, however, I’m really saddened by the fact that they couldn’t get the facial expressions right while the characters are talking, but hey, they tried!

I got used to the game and to its flaws after the first hour, and got some enjoyment out of the whole experience and that’s why I’m writing this post. Most reviews of the game are bad, but I would still recommend it to anyone interested in survival horror and/or sci-fi, and any PS2 enthusiast.

It’s an interesting landmark in PS2′s history that went completely unnoticed. But why? Despite the English voice over (which kind of proves Sony was intending to release the game worldwide), the game never got released outside of Japan. That means that if you owned a NTSC-U or PAL console, you’d need to import the game and you’d also need a modchip or an emulator to play it, hence making it hard for a common gamer to find and play the game. That doesn’t explain, however, why the mentions to this game on Japanese websites are nearly non existent... The game does have a small page on the Japanese Wikipedia, but there is no page for it on the English Wikipedia, so I’d say the Japanese are winning on this one!

For those of you who are interested in trying the game, you don’t need to play the first one (I didn’t) to enjoy Phase Paradox and even though all text is in Japanese, that will certainly not be a problem since all voices are in English. My copy of the game cost me a little over 5€ on eBay with shipping included, so if you want to add it to your collection, price will certainly not hold you back either. I’d recommend not watching any videos on it, since they might ruin the experience for you, take your go at it with an open mind and above else, have fun!

#Phase Paradox #PS2 #Playstation #2 #Rare #Ntsc #Pal #Japanese #Survival horror #Playstation 2 #Sci-Fi #Science Fiction #Philosoma #PS1 #One #Playstation One

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growinstablog · 4 years

Text

Ooni’s Koda 16 pizza oven is the rare kitchen gadget that delivers on its promise

Ooni (nee Uuni), has been around for a few years now, but its latest oven, the Koda 16, launched in March. Just like everyone else, I’ve been cooped up at home for weeks with nothing but all of the projects I would get around to one day.

At the top of my list was learning how to make decent pizza at home (we don’t have many decent pizzaiolo’s in my town). I’d been hearing about the Ooni oven for a while — mostly via Neven Mrgan’s great Instagram feed — so I sprung for the Koda 13” and started firing some pies.

I was immediately enamored with the eye popping results. Chewy, crispy, well cooked Neapolitan-style pizza within 30 minutes of taking it out of the box. And I’m not exaggerating. After a couple of pizza launching disasters (this is not as easy as it looks, people), I was eating the product of my own hands and the Ooni’s 800+ degree baking surface. While not even an advanced amateur chef, I have always had somewhat of an aversion to single-use gadgets. Technique always wins, right?

The problem with that thinking is that it is really impossible to cook true Neapolitan pizza at home in the US because our ovens just don’t get hot enough. A ton of experimental dough situations have resulted in a few workable New York style pizza recipes for 500 degree ovens. But for thinner crusts there is zero substitute for that true 800-1000 degree cooking environment.

The Ooni delivers that in under 20 minutes attached to a bog standard propane tank. It’s brilliant.

Ooni co-founder Kristian Tapaninaho started messing around with building a decent pizza oven in 2010. He got into making home pies and realized that there was pretty much no way to do it other than building a large, expensive oven in his back yard. He began prototyping what became the company’s original oven in 2012, and he says that the original oven’s design stemmed from a super simple yet super obvious (in hindsight) design constraint: what could they ship affordably?

Due to shipping restrictions, it had to be under 10 kg and had to fit in a certain footprint. Every piece of design work on the first oven stemmed from those constraints. Why, for instance, does the Ooni oven have 3 legs? Because the 4th one would have put them over weight.

Within those constraints, the original oven took shape — delivering that super high-heat surface with a simple wood-fired unit that more than doubled its original funding goal on Kickstarter. Kristian and co-founder Darina Garland defined this high-heat, high results at-home outdoor pizza oven market at scale, along with other later entrants like Roccbox.

I had a bit of a chat with Kristian about how Ooni was doing lately, with the specter of coronavirus and the new business realities that have resulted.

“This COVID-19 situation began for us in mid January as our suppliers started informing us that they were delaying return to work from Chinese New Year,” Kristian said. “At the time, the worry was if we’d have enough supply for the summer which is, of course, peak season for us. As our supply chain was restarting, it was clear that we’d have similar lockdowns in our main markets as well. Overall, however, we started the year at a strong inventory position which helped buffer any interruptions.”

He says that Ooni was lucky given that the initial production run of the Ooni 16 was already in warehouses by the time things got really hairy in Edinburgh and the surrounding areas. And the team was fairly ready for the new challenge of stay-at-home work.

“Much of our team comms already happened over Slack so the team’s been really quite well setup for working from home,” he told me. “We have great relationships with our 3rd party logistics providers and while they’ve been incredibly busy, they’ve been able to maintain a good level of service, at least in the grand scheme of things.”

In addition, Ooni has just launched the Fyra, an updated version of the original Ooni 3. It’s a wood pellet-powered design that offers a similar “get up and go” quick pizza path. The wood brings an additional smoky flavor, of course. At 23 pounds, it’s a super portable wood version of the gas stoves I’ve been playing with.

Yeah, but how does it work?

Once Kristian saw that I was playing with my Ooni 13, he offered to send the newly launched 16″ model over to play with. I jumped at the chance to make a bigger pie.

My experiences with the Ooni ovens so far have been nothing short of revelatory. Though I’ve pondered indoor options like the Breville Smart Oven, I knew in my heart that I wanted that brilliant taste that comes from live fire and the high heat that would let me enjoy super thin crust pizzas. I’ve now fired over three dozen pizzas in the Ooni and am coming to know it a bit better. Its recovery time, rotation needs and cooking characteristics. I have never used a more enjoyable cooking utensil.

I’ve tried a few dough recipes, because I know I’ll get questions about it, but I’ve used two to good effect. Ooni’s own recommended dough (though I hydrate a bit more) and this Peter Reinhart recipe recommended to me by Richie Nakano.

The pizzas that result are bursting with umami. The oven enables that potent combination of cheese, sauce and randomly distributed carbonization that combines into the perfect bite. Your pie goes in somewhat pedestrian — whitish dough, red sauce, hunks of fresh mozzarella — and you see it come to life right in front of your eyes. Within 60-90 seconds, you’ve transmogrified the simple ingredients into a hot endocrine rush of savory, chewy flavor.

As I mentioned before, the setup is insanely simple. Flip out the legs, put it on an outdoor surface with some support and attach a propane tank. An instant of lighting knob work and you’re free to step away. Fifteen minutes later and you’ve got a cooking environment to die for. The flip down legs make the 13” model super great for taking camping or anywhere you want to go to create your own pizza party. Ooni even sells a carrying case.

The design of the oven’s upper shell means that all of the heat is redirected inwards, letting the baking surface reach 850 degrees easily in the center, up to 1000 degrees near the back. The Koda 16 has such an incredibly roomy cooking surface that it is easy to see to the sides and around your pizza a bit to tell how the crust is rising and how the leoparding is coming along. Spinning your pie mid-cook is such an important part of this kind of oven and the bigger mouth is smashing for this.

Heck I even cooked steak in it, to mouth watering results.

“Our core message has always been ‘great restaurant quality pizza at home’ and while the situation is what it is, more people spending more time at home looking for great home cooking options has been strong for our online sales,” Kristian said when I asked him about whether more people were discovering Ooni now. “Pizza making is a great way to have fun family time together. It’s about those shared experiences that bring people together.”

This mirrors my experiences so far. I’m not precisely ‘good’ at this yet, but I’m plugging away and the Ooni makes even my misses delicious. This weekend I was even confident enough to hold a socially distanced pizza pick-up party. Friends and family put in their orders and I fired a dozen pies of all kinds. Though I couldn’t hug them, I could safely hand them a freshly fired pizza and to most Italians like me, that’s probably better.

In my mind, the Ooni Koda pulls off a rare trifecta of kitchen gadgets: It retains the joy and energy of live flame, delivers completely on its core premise and still remains incredibly easy to use. Highly recommend.

https://growinsta.xyz/oonis-koda-16-pizza-oven-is-the-rare-kitchen-gadget-that-delivers-on-its-promise/

0 notes

un-enfant-immature · 4 years

Text

Ooni’s Koda 16 pizza oven is the rare kitchen gadget that delivers on its promise

At the top of my list was learning how to make decent pizza at home (we don’t have many decent pizzaiolo’s in my town). I’d been hearing about the Ooni oven for a while — mostly via Neven Mrgan’s great Instagram feed — so I spring for the Koda 13” and started firing some pies.

I was immediately enamored with the eye popping results. Chewy, crispy, well cooked Neopolitain-style pizza within 30 minutes of taking it out of the box. And I’m not exaggerating. After a couple of pizza launching disasters (this is not as easy as it looks, people), I was eating the product of my own hands and the Ooni’s 800+ degree baking surface. While not even an advanced amateur chef, I have always had somewhat of an aversion to single-use gadgets. Technique always wins, right?

The problem with that thinking is that it is really impossible to cook true Neopolitain pizza at home in the US because our ovens just don’t get hot enough. A ton of experimental dough situations have resulted in a few workable New York style pizza recipes for 500 degree ovens. But for thinner crusts there is zero substitute for that true 800-1000 degree cooking environment.

The Ooni delivers that in under 20 minutes attached to a bog standard propane tank. It’s brilliant.

Due to shipping restrictions, it had to be under 10kg and had to fit in a certain footprint. Everything piece of design work on the first oven stemmed from those constraints. Why, for instance, does the Ooni oven have 3 legs? Because the 4th one would have put them over weight.

I had a bit of a chat with Kristian about how Ooni was doing lately, with the specter of coronavirus and the new business realities that have resulted.

“This COVID-19 situation began for us in mid January as our suppliers started informing us that they were delaying return to work from Chinese New Year,” Kristian said. “At the time the worry was if we’d have enough supply for the summer which is of course peak season for us. As our supply chain was restarting, it was clear that we’d have similar lockdowns in our main markets as well. Overall, however, we started the year at a strong inventory position which helped buffer any interruptions.”

In addition, Ooni has just launched the Fyra, an updated version of the original Ooni 3. It’s a wood pellet powered design that offers a similar “get up and go” quick pizza path. The wood brings an additional smoky flavor, of course. At 23 pounds, it’s a super portable wood version of the gas stoves I’ve been playing with.

Yeah, but how does it work?

Once Kristian saw that I was playing with my Ooni 13 he offered to send the newly launched 16″ model over to play with. I jumped at the chance to make a bigger pie.

Heck I even cooked steak in it, to mouth watering results.

#TechCrunch

0 notes

deadcactuswalking · 4 years

Text

REVIEWING THE CHARTS 2020: 24/01

Mac Miller hasn’t had a #1 album since 2011, in the US or the UK, but his home country is most important here. The beloved Pittsburgh rapper made his debut with mixtapes, but his first studio album, Blue Slide Park, and his immature, fun-loving and careless attitude struck a chord with the general public, giving him a #1 debut album in America. Ever since, Mac Miller had been on a journey, with somewhat diminishing success across his various experiments with acid-trip jazz-rap on Watching Movies with the Sound Off and Faces, funky soul and love-tinged R&B in The Divine Feminine, grandiose and genre-defying pop rap in GO:OD AM, as well as the melancholy synth-funk of Swimming. These albums had been successful, obviously, but never took him back to the reaches that he had debuted at. Tragically, on 7th September, 2018, Mac died of an accidental drug overdose, the climax of an addiction to substance abuse that had been troubling him for at least a decade, and that had been heavily documented in his music. I’m not saying that I was a massive fan of Mac Miller, but most of his music did very heavily resonate with me, especially Faces and my personal favourite, GO:OD AM. So, understandably, once producer Jon Brion released Mac’s astonishing and heart-wrenching posthumous album, Circles, earlier this month, I was very disappointed that Eminem, another white rapper who very much occupied a space in Mac’s audience, a space that you cannot deny existed, released a surprise album the same day called Music to be Murdered By, in which he spouts offensive nonsense that goes against everything Mac would have stood for, with gutter trash production, painful lyrics and staccato flaws, and arguably the most immoral decision made by Eminem, features a posthumous feature from late rapper Juice WRLD, who passed away due to a drug overdose last month. Yes, there are other hip-hop and pop artists who released albums that week, like Halsey, whose release date had been planned for months now and is clearly not taking away from Mac’s audience, as well as 070 Shake, who might not even chart, and Dreamville, a record label with a mediocre deluxe edition of a compilation album which again will not take from Mac’s chance at success, and at book-ending his career with a #1 as an evolved human, with more maturity, acceptance and most importantly, peace. Eminem’s album release is blatantly disrespectful, and out of protest and general apathy for this douche that I’ve been feeling for a long time, I’m not listening to the man’s album, or any of his songs. However, three of them happened to debut in the UK Top 40 this week, so I’m replacing them all with songs outside of the top 40.

ALBUM BOMB: Music to be Murdered By – Eminem

On 17th January, Eminem released his eleventh studio album, Music to be Murdered By. It debuted at #1 on the UK Albums Chart, becoming his ninth to do so, and features contributions from Dr. Dre, Young M.A., Royce da 5’9, Ed Sheeran, Juice WRLD, Skylar Grey, Black Thought, Q-Tip, Mr. Porter, The Alchemist, Anderson .Paak, Don Toliver and Slaughterhouse, minus Joe Budden. I’m disappointed in every single one of you. There are three songs from the album in the top 20, let’s go.

#17 – “Darkness” – Eminem

Produced by Eminem, Luis Resto and Royce da 5’9

It’s Eminem’s 46th(!) UK Top 40 hit, and sorry to switch up the structure and cover new arrivals first, but I’m not going to talk about this song, which was released with a music video from the perspective of the 2017 Las Vegas shooter who killed nearly 60 people, because of course it was, to “make a point about gun control”. Instead, I’ll talk about some random song outside of the top 40, hmm... how about “SUGAR” by BROCKHAMPTON?

#68 – “SUGAR” – BROCKHAMPTON

Produced by Jabari Manwa, Romil Hemnani and Chuks Chiejine

This is the first time I’m covering self-proclaimed hip-hop boy band BROCKHAMPTON on here, with what is probably their mainstream breakout hit after releasing three fantastic albums in the SATURATION trilogy and the middling but successful iridescence. This is from the pretty decent album GINGER, and correlating with the album it originates from, the song is only pretty decent. It’s definitely one of their most boy band-sounding songs, mostly due to the sweet, soulful hook delivered by uncredited vocalist Ryan Beatty, that works perfectly with the modest guitar pick-up, soon becoming a mantra, especially with that sweet harmonica in the background. However, Dom McLennon’s cheap Auto-Tuned verse is obnoxious, and there is a element of monotony to the mundane instrumentation, especially when the chorus starts to lose its lustre. Matt Champion is uninteresting and soon upstaged by bearface’s beautiful falsetto crooning, even though it feels incredibly out of place. Kevin Abstract’s bridge is cute, and I appreciate the reference to a previous BROCKHAMPTON single, “BLEACH”. Although, much like the hook, it runs its course, as does the meaningless bearface meander as an outro, which is droning and frankly makes the song feel a lot longer than 3 minutes and 25 seconds. It’s an okay song all things considered, and I do love the lyrics about youthful relationships that form strong bonds in later life, kind of like BROCKHAMPTON, especially after all of the struggles they have had to face since their debut, but sonically, this doesn’t do much for me. Sorry.

#12 – “Those Kinda Nights” – Eminem featuring Ed Sheeran

Produced by Eminem, FRED and D.A. Doman

I don’t want to hear a sex song from Eminem, or one from Ed Sheeran, let alone BOTH. These guys have so many top 40 hits in the UK they’re probably drowning in Official Chart Company data by now, so I won’t bother counting and I won’t bother reviewing; let’s listen to another boy band, shall we?

#46 – “BLACK SWAN” – BTS

Produced by Pdogg

There is more than one similarity here with BROCKHAMPTON though, as this is an emo-rap song with a pretty synth backdrop by a group of God knows how many guys crooning and rapping about love in heavily Auto-Tuned and processed tones. It’s almost like this was the perfect week for these two bands to appear. For context, this is the lead single from K-pop group BTS’ seventh album, I’m assuming from the artwork, and I quite like most BTS songs, to be honest, even if they very much suffer from the same flaws as most K-pop, some of their discography really flows effortlessly in comparison. Now, I obviously don’t speak Korean, but this seems very Westernised in the first place, with a Latin-infused acoustic guitar behind stuttering trap percussion and booming 808s. The BTS boys harmonise pretty fantastically over it as well, even if the rapping can sound somewhat awkward and off-beat, and in contrast to most K-pop, the transitions between verse and chorus are actually coherent, mostly because it just trades its guitar for a higher-pitched squeal and... yeah, sorry, I can’t say I like this either. There are some elements of this that are pretty sounding, at least, and it’s not offensively bad or anything, but I feel like this is just a second-rate rendition of much better emo-rap from catchy songwriters like Lil Peep, or even ILOVEMAKONNEN. For what it’s worth, the verse with J-Hope and SUGA on it is pretty nice, but that’s all I have to say, really. Honestly, it’s kind of disappointing.

#1 – “Godzilla” – Eminem featuring Juice WRLD

Produced by Eminem and D.A. Doman

Yup, you read that right. #1. Eminem’s tenth, Juice WRLD’s first. May the late Jared Higgins rest in peace, and I do feel somewhat petty replacing his song with another man who I know is up there with him, but I don’t regret passing on distasteful schlock from a man well past his prime, featuring cash-grab grave-robbery that even Drake would take offense to. I think it’s time to finally talk in depth about Mac.

FEATURED SONG: “Blue World” – Mac Miller

Produced by Guy Lawrence and Jon Brion

“Blue World” is far from the most introspective set of lyrics on Mac Miller’s posthumous album, Circles, but it is definitely my favourite track from the album, which is a 9/10 by the way. The production is handled by Guy Lawrence, one half of future bass duo Disclosure, and you can definitely tell, as it is a jarring intermission during the more run-down guitar soul instrumentals found on Jon Brion-produced tracks. That’s not to say the instrumental is bad per se, though, far from it; it starts with a sample of “It’s a Blue World” by the Four Freshmen, specifically just isolated vocals that drown out after playing for 20-seconds until a sample chop that is arguably catchier than the actual chorus, shifting the coherent blues of the Four Freshmen to muddled, confusing synth-focused messes, with slick percussion and excellent 808 bass creeping in, especially in the second verse, but it doesn’t detract from the sweet instrumental that very much sounds “blue”. The finger-snaps aren’t fake in this one, folks, and the bridge with Mac Miller meandering over the choir loop, over the already overwhelmingly bubbly production, which is quite minimalist in many places otherwise, is just a beautiful, grand moment, probably one of the best I’ve heard in popular music. Lyrically, Mac Miller is at peace, retrospectively rapping about the trials and tribulations of life like they’re nothing, in a calm, almost bored tone. The contrast is pretty fittingly “trippy”, which does add a subtle dark undertone to the song, which of course is always there through seemingly foreboding lyrics about his death that he saw as inevitable, although he was attempting to “turn around and do 180”, referencing Donnie Darko and constant failed attempts at picking his life back up and kicking the habit, only to be shot down once again. Of course, the morbid subtext of this is the car crash that he was involved in prior to the overdose, that changed his way of thinking and made him appreciate the more finer, subtle things in life. While the first half of the chorus is sweet and funny, the second half, despite taking no musical tone shift, is a desperate plead for the devil to spare him, and for him not to trip into the sin of drug addiction once again, after making such an effort to improve his life. On the first verse, he talks to himself, saying that he only makes music for himself, because, well, it’s the only thing he can really do to allow himself to express creativity through his personal struggles with mental health, and music gives him an avenue. After all of his friends supposedly leave him, he keeps a facade that he doesn’t worry, when in reality, he is conflicting with himself and ruminating on it. Whilst the official lyric seems to be “That’s rich”, I would like to believe my initial mondegreen as it could also work as an interpretation: “We ain’t even worried, we just laughin’-ass rich”: Mac Miller feels that his wealth and status has blocked him from all regular social interaction, and he can only laugh in response, ignoring his mental state for the sake of keeping up appearances. After the first refrain, he falls, and loses his mind in the second verse, detailing the “devil” calling him (This could be the voices in his head or even a drug dealer), but he is so used to fashionable life as an egotist that he feels like God when he’s being tempted by the devil, and he keeps his head on his shoulders, even if it’s just for the fans to know, or at least have the impression, that he’s okay. The bridge is awfully poignant and is almost talking to himself on Earth: If Mac could foresee Mac having the time of his life in Heaven, maybe he could have done something to reconcile his relationships or repair his mental state before it was too late. But, hey, he’s at peace. He’s not afraid of death, so why should we? It’s actually a pretty inspiring, uplifting single all things considered, and definitely one of if not my all-time favourite Mac Miller song. What a beautiful track. Rest easy, Mac. You too, Juice.

end of part 1

Top 10

Apologies for shaking up the format, but I did want to get all that nonsense out of the way before the regular programming, so to speak. So we know already that “Godzilla” by Eminem featuring Juice WRLD is unfortunately at #1 and I do not need to elaborate.

At number-two, at the runner-up spot, is “The Box” by Roddy Ricch, up three spots, and making a play for #1 next week because “Godzilla” definitely will not last.

Down two spaces to number-three is last week’s #1 is “Own It” by Stormzy featuring Burna Boy and Ed Sheeran.

To my surprise and excitement, the excellent “Blinding Lights” by the Weeknd is up four spaces to number-four.

At number-five, down three positions, is “Before You Go” by Lewis Capaldi, but it might rebound due to the video.

At number-six, down three spots off of the debut, it’s “Life is Good” by Drake, then Future.

“Don’t Start Now” by Dua Lipa has unfortunately taken a tumble down three spots to number-seven.

At number-eight, it’s “ROXANNE” by Arizona Zervas, also falling down two spots.

We actually have a second new entry in the top 10 as well, which is “Ei8ht Mile” by DigDat and Aitch missing its chance at chart coincidence gold by debuting at number-nine. I’m honestly really surprised this debuted so high but I also don’t expect it to last, despite its consistently good streaming numbers. It’s from his mixtape of the same name, and it’s DigDat’s fourth UK Top 40 entry, first top 10 hit, and highest ever charting song, after “New Dior” peaked at #16 last week. It’s Aitch’s seventh UK Top 40 hit (And fifth top 10 hit). We’ll talk about it more in depth later.

Finally, Lewis Capaldi’s “Someone You Loved” is at #10. Go away.

Climbers

Our only climber here that’s notable enough is for Halsey, as the release of her album Manic has meant that “You should be sad” leapt up 11 positions to #26. I don’t think it’ll last, though.

Fallers

Well, this is a weird one. I set a number of spots fallen as an arbitrary limit to what songs I can talk about and consider “notable”, so most of the fallers here won’t get talked about, even if most of the chart as a whole has actually fallen at least a spot, including four-spot or three-spot drops for nearly the entire top 10 of last week. Our only big notable ones should be pretty obvious though: “Lose You to Love Me” by Selena Gomez loses the album momentum down nine spaces to #27, “South of the Border” by Ed Sheeran featuring Camila Cabello and Cardi B flops down six spots to #30, the diss track “Still Disappointed” by Stormzy is actually still here to my surprise, down 15 spaces to #36 for obvious reasons, and “Watermelon Sugar” by Harry Styles temporarily falls six spots to #39, but there’s a video soon so it’ll be rebounding well enough. There’s also a small collection of songs that are just 2019 leftovers making their way out; “bad guy” by Billie Eilish is down five to #28, “Vossi Bop” by Stormzy is down seven to #34, “HIGHEST IN THE ROOM” by Travis Scott is down seven to #37 and “Senorita” by Shawn Mendes and Camila Cabello is down five to #40.

Dropouts & Returning Entries

There aren’t any returning entries this week but we have plenty dropouts. Selena Gomez’s “Rare”, despite being one of my favourites from Selena, is actually the first to drop out off of the debut at #28 last week, along with “I Don’t Care” by Ed Sheeran featuring Justin Bieber out from #29, “Old Town Road” by Lil Nas X featuring Billy Ray Cyrus, etc. out from #36, “Outnumbered” by Dermot Kennedy out from #38, and “Turn Me On” by Riton, Oliver Heldens and Vula, all of which are just ending their second run as 2019 leftovers. By next week, we’ll be fully 2020... I hope. Anyway, here are some songs you should look out for below #40, that could easily reach the top 40 in the coming weeks. They’re not all good songs, but they’re not all bad either: “High Fashion” by Roddy Ricch featuring Mustard at #74, “Say So” by Doja Cat at #60, “Roses” by Saint Jhn at #55, “Power Over Me” by Dermot Kennedy at #53, “Suicidal” by YNW Melly at #50, and of course, “Good News” by Mac Miller at #45. Let’s talk about the non-Eminem new arrivals, which honestly don’t seem promising.

NEW ARRIVALS

#35 – “Me & You Together Song” – The 1975

Produced by George Daniel and Matthew Healy

Me and the 1975 don’t exactly get along. I hate the pretentiousness of some of the content, and Matthew Healy is one of the least likeable pop singers in recent memory, but I can’t deny some of the choruses and genuinely great songwriting that the band demonstrates throughout their discography, and “The Sound” is genuinely incredible. I appreciate the willingness to experiment as not enough mainstream pop does, but they never go too far into the deep end and stay in mostly boring pop-rock territory, which makes a lot of their songs feel either janky and awkward or just slow and dull. This is their third single from their upcoming album Notes on a Conditional Form after the last two failed, and apparently this is “music for cars”. Well, we’ll see about that. This is their ninth UK Top 40 hit, and God damn it, I like this one a lot. It’s a full-on 1990s British rock throwback, with elements of shoegaze, dream pop and of course Britpop fused together in one quick jangle-pop bop. It starts pretty abruptly with that really catchy, really pretty guitar riff, as well as some unexpected distortion that I’m just glad has made its way on the pop charts, to be honest, and then Matthew Healy comes in and actually sounds pretty great, with one of his sweetest vocal melodies in a long time. His cute, loveable vocal cadences make this love song feel so full of joy, delight and sunshine, and sure, it’s a bit too saccharine and perhaps overly sweet, but it’s also really freaking catchy, and you can’t deny how great the guitars sound in this. Healy’s vocals feel oddly lo-fi and definitely out of the focus on the mix here, making some of the lyrics basically incoherent, but a sincere declaration of puppy love has never focused on the poetic intricacies. Sometimes a repetitive, nasal mantra of “I’ve been in love with you for ages!” is all you need. Yeah, this is pretty great, and it reminds me of their earlier stuff, which was bubbly, bouncy and a lot more fun than what they tried to do afterwards, but this in undoubtedly a lot more refined. Looking at the lyrics actually, I love these too: Matty’s infatuated with a friend who doesn’t feel the same way, and he can’t properly get her to reciprocate that, but he seems okay with it. I love these mundane one-liners he drops, and honestly, they sound kind of like anti-humour. Here are my favourites:

I can’t remember when we met because she didn’t have a top on [The opening line. He doesn’t elaborate]

We went to Winter Wonderland and it was s**t but we were happy (Happy)

Oh, and there’s this whole tangent where he desperately tries to reassure the fact that he is NOT in fact gay, which is unnecessary but funny regardless. Yeah, I like this song a lot. Check it out.

#33 – “What a Man Gotta Do” – Jonas Brothers

Produced by David Stewart and Ryan Tedder

The Jonas Brothers are just a pop group now, alright? The novelty wore off pretty quickly last year so now Nick, Joe and Kevin have got to prove themselves as pop stars in 2020... and they’re doing it with a rock song apparently, our second in a row, and that’s a good sign. They performed this at the Grammy’s and I watched the performance on 4Music’s pitiful coverage; I wasn’t interested, really, but that may just be because it’s live so I don’t get to properly hear all of the intricacies of the Jonas Brothers. It’s their sixth UK Top 40 hit and yeah nevermind lmao

Okay, so admittedly the song is not terrible but it’s far from great. Nick Jonas’ falsetto is still hilarious, especially when half-mumbling over isolated guitar strumming, but I do appreciate the return to Disney-rock, especially the chorus, which is insanely catchy but a tad dry; in fact despite the elements of character in the song like Jonas Brothers’ natural lack of charisma, the generally awful lyrics and the overly quiet crowd chanting noises, I can’t find a single part of this song that is any different from a sub-par Disney villain song. Not one from Scar or any of the epic animated ones, no, the ones from their Disney Channel sitcom garbage. Also, I swear the Grammy’s version had, like, a climax? This just exists for three straight minutes. No more, no less. No Jonas, no Brothers.

#9 – “Ei8ht Mile” – DigDat featuring Aitch

Produced by Chris Rich Beats and WhYJay

This is a three minute drill song with 13 verses. Okay, well, those 13 verses are both very short, and there’s also not a single chorus; really, it’s just one really long verse where both DigDat and Aitch trade bars. The beat is kind of cool and menacing, as it’s mostly piano but has some brass inflections and they sound pretty sweet and Latin-influenced, almost? It sounds like a sample from a spy movie, kind of? I can’t really describe it, or this song, as it completely lacks description. Aitch is void of personality, and DigDat is more energetic, sure, but his content isn’t there like it was in “New Dior”. None of these flows are interesting, and neither are the lyrics, and neither are the rappers. This is exactly what I expected though, to be honest. How the hell did this debut so high?

Put my money in bricks, not cocaine ones

Wh—So you just put your money in bricks? Do you invest in real estate?

Talk like your bad and you shoot like Kobe / Till you get left scar-face like Tony (Geez)

Uh—

I’m richer than all them opps, ask Sony (Ask them!)

Huh? Why?

Still washin’ up white like Persil

Okay, that’s kind of funny.

Big bro’s plugs are bald got a moustache; Breaking Bad

Nevermind.

Got a spin ting, no Beyblade / Pray they don’t lock me up like TAY-K

HUH

Conclusion

Sadly, I can’t give anything to BROCKHAMPTON, BTS, or Mac Miller, so I’m going to give Worst of the Week to Eminem. Not the songs, not the album, just Eminem. Best of the Week is definitely going to “Me & You Together Song” by the 1975, and I think there’s not really anything worth caring about here to award any Honourable or Dishonourable Mentions. Follow me on Twitter @cactusinthebank, I’ll see you next week.

REVIEWING THE CHARTS 2020

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arplis · 4 years

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Install Microsoft Silverlight, Adobe Flash Player, or . Xbox One X · Xbox One S · VR & mixed reality · Windows 10 apps · Office apps . 19 лист. 2018 р. – Still, these minor hassles aside, Trend Micro makes it easy to install its core . By default, this watches your Documents and Pictures folders, as well as any . Folder Shield isn’t a new idea – even Windows 10 now does . 2019 findet der PICTAday erstmals in der Kreativmetropole Berlin statt. Die Bildbranche trifft sich am 28. März von 10:00-18:00 Uhr im Atrium des Mercure Hotels . current AP images. Discover here the outstanding production of AP . 26.03.2019. Thumbnail 80487646 · Thumbnail 80490346 · Thumbnail 80490349 . 15 лист. 2017 р. – These days, the minimalist look is increasingly popular. You don’t have to look very deeply into sites like Freshome to find photo after photo of . David Chipperfield: The architect of minimalism. Slide 1 of 8: The Museum of . SHARE · EMAIL. 1/8 SLIDES © picture-alliance/Arco Images/J. Hildebrandt . The distinction between an alliance and a grand “coalition”, introduced by the . the picture that changes the concept of “multilateralism” from a minimalist to a . . War, the picture is that there were two “camps”: one that argued for a maximalist, . US leadership, and another that argued for a minimalist, rational US leadership. . She talked about NATO’s strategic concept, US force structure in Europe, . be credible in the alliance in the future: We will maintain the necessary balance . . of the International Alliance of Theatrical Stage Employees and Motion Picture . “a massive performance piece,” with music by minimalist composer Philip Glass. . were,” Jack recalled, “but he liked the concept that you can put the dimes in, . alliance of systems theory and contemporary art which was already under way, focusing . directly to Michael Fried’s much debated 1967 critique of minimalist art and claimed: . 70 Burnham’s considerations underpinned the curatorial concept of the . Writing about Haacke’s interactive environment Photo-Electric Viewer . . minimalism 84; ruin, relationship 146; vertigo, suggestion 76 photography 123; . punctum, creation (appearance) 155–6; vanishing point, concept 23 pose, erotic . death/temporality, alliance 154 punctum, disordered geometry INDEX 173. #IkeaClothespinPictureHanger #HangerSpacers #PictureItFreewareVollversion #HomeDesign #HangerSteak

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agilenano · 5 years

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Agilenano - News: Minimalist Clothespin Picture Hanger

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Agilenano - News from Agilenano from shopsnetwork (4 sites) https://agilenano.com/blogs/news/minimalist-clothespin-picture-hanger-2

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glassprism · 7 years

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Hello, Glass! I hope you haven't answered it already, but I'm new to Elisabeth das Musical, and I really wanted to get to know it. Do you have any directions? Like a good cast to start with, or a good video to look up after... Any good tips also in what to run away from? :P My tastes are alike yours, so I trust it. Thank you very much!

Well, if you haven’t already, definitely check out the 2005 proshot video of the Vienna production. There’s a version of that which comes with (fan-made) English subtitles, which can really help you understand what’s going on if you don’t know German. The YouTube version of it got taken down, but I believe @cosetteskywalker has a copy of it.

Anyway, if you have watched it (which many fans have - for a lot it’s the gateway to the musical), then you can check out some of the following versions. The cool thing about Elisabeth is that there’s a ton of proshot versions floating around of many different productions, so it’s pretty easy to find a decent video with a good cast. Here are some recommendations:

August 29, 1992 Viennavideo - Dress rehearsal, so there are a couple of incidents that end up stopping the show, but otherwise a good look at how the show originally was envisioned. (Note: it was a lot darker.) Uwe Kroger and Pia Douwes are also wonderful here, some of my favorite interpretations.

1999 Scheveningenvideo - I haven’t watched the Dutch production as much as I should have, but this video is a pretty good look at it, and is proshot like the above. I’ve heard some pretty good things about Stanley Burleson’s Death and the production as a whole, and it can also lead into…

January 13, 2002 Essenvideo - I don’t know if this was professionally shot, but it was filmed with a tripod by someone in the audience, so video quality is great. Since this was Pia Douwes’s last as Elisabeth (in this production; she comes back several more times), the audience energy is ridiculously high. Also a good introduction to the Essen production, which was heavily inspired by the Dutch production in many ways but also went off in its own, occasionally kitschy, direction in others.

September 17, 2006 Stuttgartvideo - I know I’ve been drowning you in videos of Pia Douwes, but this is the last and it’s for a somewhat unnoticed production: the Stuttgart production, which was an interesting mix of the Essen and Vienna revival productions. This was an audience recording but was also the last performance, so audience energy is very high. (They start waving glowing sticks around towards the end.)

March/April 2009 Antwerpvideo - Yet another proshot for the cast, beautiful quality and great cast overall. It also gives you a look at the staging that was used again for the German tours and 2012 Vienna revival; I greatly dislike it, but I think it’s worth seeing it at least once.

August 25, 2013 Seoulvideo - The Korean production was a funky mix of almost every production that had come before it, and this is probably the most common video of it. It features Kim So Hyun as Elisabeth (a former Christine from ALW’s Phantom and really cute) and Kim Junsu, who gets an unusual amount of focus from the filmer due to the fact that he’s a kpop star. The latter is great if you’re a kpop fan (like my sister) but a tad annoying if you’re just trying to enjoy a bootleg of the musical (like me).

Any Takarazuka video - Just about all the Takarazuka videos are proshot. The 1996 one is interesting for “historical purposes” to see what the original Takarazuka versions envisioned (e.g. an Elisabeth who is very romanticized and “lacking a brain and spine”, according to one viewer). The 2005 one with Ayaki Nao and Sena Jun is probably one of the most common versions though, and has a Death and Elisabeth closer to the interpretation used in the European productions.

Anyway, so that’s a pretty general overview; I was focused on getting you clear, common videos to see the different stagings and productions worldwide, though I admit I left off a few due to lack of knowledge (such as the Toho and Hungarian productions). It’s such a great musical though, and I really hope you enjoy exploring it!

#GP gets asks #anonymous #Elisabeth das Musical

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phatjosh180 · 5 years

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RACE RECAP: Mt. Nebo Half

Okay, before I go any further I have to get this out of my system — NEBOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO!!!! Okay, that’s much better. This is one of my favorite races and has been over the past 5-6 years — it holds my half marathon PR of 2:09:25 which I hit in 2013. A time that seems eons ago if I’m being honest.

As much as I love this race — I was rather wish washy on whether or not I was going to do it. It was supposed to be one of my last long runs and tune ups before the Revel Big Cottonwood Marathon, but — yeah — that didn’t happen thanks to setbacks due to my back, ankle and a nice bout of bronchitis and walking pneumonia.

I’m not going to rehash a lot of those setbacks — because I’ve been working hard getting past them — and I’d much rather work forward then mettle in a mindset that won’t take me anywhere productive. It’s been a very inconsistent and difficult year that all I really want to do is get past it instead of keep poking it with a stick. But, of course that’s all easier said than done.

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A post shared by Josher 🏃🏻‍♂️🏋🏻‍♂️🥩 (@runfitketo) on Aug 25, 2019 at 10:35am PDT

I initially signed up for Nebo last year — almost immediately after last year’s race. Which isn’t very rare for me. But, back in June when I got knocked out for three weeks because of the bronchitis and walking pneumonia I purged a lot of my 2019 race schedule because the illness killed my marathon training. So I ended up transferring my Nebo bib to the Haunted Half in Salt Lake City instead.

And, then less than a week later I had a change of heart. So, I signed up for the race again. Because of course.

I did so knowing this would be my first half marathon in nearly four months. I did so knowing I wasn’t trained like I’d want to be. I did so knowing it was going to majorly suck. But, I also did it because I knew I needed to do it. If I was going to improve my running I knew it wasn’t going to be sitting on the sidelines waiting for it to happen. This felt like a good enough place to start.

I didn’t have a time goal mainly because I knew there would be a marathon behind me. So I just wanted to really just do my best, run and have fun. My friend Amanda, who’s getting ready to PR at the Revel Big Cottonwood Half Marathon, sacrificed her race to run with me — knowing it was going to be well below her pace. I was very grateful she was willing to do that for me because I won’t lie — I didn’t really want to do this race alone.

Then there’s the anxiety of knowing I was going to be over three hours on a race that holds my PR — at 2:09. As much as I try not to compare those times to now — how can you not? But, I’m not the same person or runner that I was six years ago and I need to come to terms with that somehow. Because it’s definitely easier said than done. Anyways, a lot of these frustrations and anxieties were swirling within me leading up to the race.

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A post shared by Josher (@josherwalla) on Aug 24, 2019 at 11:39am PDT

The lead up to the race during race week was a mixture of familiarity and anxiety. Usually my anxiety is tempered by familiarity. But, my race anxiety has been long gone for years it was hard to place my feelings of anxiety. Some of the anxiety was because I wasn’t where I wanted to be physically — I’m about 15-20lbs. above where I’d somewhat like to be (that’s all another story for another day thanks to med changes, etc.), my back is inconsistent and my ankle hates me on any given day.

Instead of driving down to Payson from Bountiful the morning of the race (about an hour drive) I journeyed down on Friday night and stayed in the Hutchings camper trailer. I was going to sleep on the grass, but I’m glad I didn’t because the sprinklers would have soaked me around 2am. Plus, I actually got decent sleep which helped ease a lot of the pre-race anxiety.

After the bus ride up the canyon we were off at 6:30am. I started running with both Amanda and Coach Blu. But, after about 3-4 miles Blu cruised down the canyon because he had to be somewhere by 10am. So that left me and Amanda the rest of the race to fartlek down the canyon. Which we very much did.

Well, it wasn’t so much a fartlek, because Amanda let me set the pace, but we did intervals of about three minutes running, 30 seconds walking. That changed about half way through the race to about three minutes running, one minute walking. As part of our game plan we’d also walk one mile of the race — which I chose mile 8-9 because it’s the one part of the race I hate the most. It’s hot, flat and sometimes smells like horse poop.

When Amanda and I were making a race plan my only goal I had — besides finishing the race — was to have fun. I’ll be honest, that’s kind of been my default game plan as of late. And, we had fun. We had a lot of fun chatting with new friends, the sweepers (who passed us — heyo!) and of course all of the aid stations. It’s always a party running with Amanda and she really helped keep me distracted throughout the race with her sense of humor, mom jokes and Hamilton soundtrack karaoke skills.

But, she also went all Biggest Loser on me and got into my head a bit. Especially during the stretches I’m sure she knew I was struggling. The one thing she said during the race that stuck with me the most was — let go of the brakes.

In downhill running the easiest way to run is to lean forward and just run. But, I was holding back. I was slowing myself down by leaning back and shuffling more than striding. As soon as she pointed this out to me it was easy for me see this too — and I knew better. I knew exactly what I was doing.

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So I really focused on letting go of the brakes for the rest of the race. I let the quads just do their thing. I might not have had the juice like I have had in the past — but, the motion felt familiar and more fluid. As I focused on my gait I started to really internalize what other breaks I needed to let go of, especially in my running.

I think I’ve been pumping the breaks a lot the past couple of years. There’s been a lot of hesitation here and there regarding my health — whether it’s been my thyroid, back and/or ankle. It’s been frustrating and I feel like I’ve been pumping the brakes for various reasons. But, what it really boils down to are doubts and fears.

I can’t tell you how much more apprehensive I’ve become to push my limits here or there because of my back. It really does a mental number of you, because you want to push yourself at a degree you know you can push yourself, but on the other hand, you don’t want to because you could lay yourself out for a week if you screw up your back again. It’s a crappy cycle of mental madness.

I can’t let those fears stop me. I know I can’t stop. If I stop the doubts, fears and health problems win. So why am I pumping the brakes? What am I afraid of? I know I’m not afraid of success. I know I’m not afraid of failure. I think what it really boils down to is afraid of losing a sport, lifestyle and community that has changed my life. That’s what I am afraid of losing.

But, I realized something while reflecting on this all during the race. I will definitely lose it all if I am too afraid to not take risk at all. If I risk nothing I gain nothing. And, I don’t want that. I don’t dream of winning races, I dream of growing old with this sport. That is why I must risk more than what my fears and doubts want me to risk.

Anyways — that’s a lot of deep and heavy thinking for a race report. But, that’s where my head and heart stayed for most of this race. It was a real gut check of my priorities, abilities and desires and I totally blame Amanda. She was the one who told me to let go of the breaks.

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A post shared by Josher (@josherwalla) on Aug 24, 2019 at 6:57pm PDT

Once we were out of the canyon the last mile or two were in the valley taking us toward the finish line at Payson Park. It got pretty ugly hot, especially since I was wearing a black running shirt. But, at the mile 12 aid station my friend Tiffany handed me an ice cold Diet Coke — it was truly the best Diet Coke I’ve ever had in my life. I may of guzzled it and had sea lion burps for a good half mile, but I still have no regrets. It hit the spot!

After making the final turn toward the finish line I had such a feeling of relief and gratitude. It was a tough race which I did in 3:22 hours — not my best time — but I didn’t care at all. I was done. I gave it everything. And, not only was I finished but after going through all that mental inventory for a good chunk of the race I felt recommitted to doing what I needed to do regardless of the hand dealt to me.

My legs were completely dead and that felt great. Not only was it a reminder of what I did, but a reminder of how much work that’s in front of me as well. And, that’s exciting me. I may never reach certain goals of mine, but I can sure as hell work hard toward them — and that’s what I need and want to do.

Past Mt. Nebo Half Times

2013 – 2:09:25 2014 – 2:18:45 2015 – 2:40:02 2017 – 3:02:55 2018 – 2:43:15 2019 – 3:22:44

My Next Five Races

Revel Big Cottonwood Half Marathon; September 14, 2019

The Haunted Half: SLC; October 19, 2019

The Haunted 5K: Provo; October 26, 2019

South Davis Turkey 10K; November 28, 2019

New Year’s Revolution Run; January 1, 2020

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A post shared by Trails & Pavement (@trailsandpavement) on Jan 21, 2019 at 7:46pm PST

RACE RECAP: Mt. Nebo Half was originally published on Life In The Slow Lane.

#2019 #goals #half marathon #running

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