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#posts incomprehensible outside the uk
hellkitepriest · 5 months
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alex robertshaw please start doing the shipping forecast on the radio
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grantgoddard · 10 months
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The unmagical mystery tour : 1973 : Piggott’s Manor, Letchmore Heath
There was a loud knock on the front door. Who could be visiting unannounced after dark? Certainly not Mr Dickinson from ‘The Pru’ who always called during daylight hours to collect monthly premiums in cash for our insurance policy. The opened door revealed two men in uniform whose van parked outside had a strange aerial on its roof. What had my father done? Was he about to be forcibly dragged away from our suburban Orgonon? No. The men said they were from the Post Office’s Radio Interference Service and were investigating a recent spate of complaints from residents in surrounding streets of strange patterns interrupting their television viewing. Could they come in and inspect our equipment?
My parents’ enthusiasm for modern gadgets had equipped our living room with one of Camberley’s first state-of-the-art Bush colour televisions to receive the ‘BBC2’ service launched earlier in 1964. It had required the installation of a different aerial on the roof and an amplifier to successfully receive the UHF signal from a far transmitter. Although our own television reception had been fine, the men from the ministry believed that the amplifier must be faulty, transmitting interference instead of receiving signals, a problem they had sleuthed to our house. We were required to switch off the amplifier and temporarily refrain from watching BBC2. Hullabaloo and Custard had sold us a technicolour dream though I was now to be deprived of my daily look through the square or round window with Big Ted and Jemima.
The technical problem was eventually fixed and our BBC2 viewing resumed, even after the annual Licence Fee was doubled to £10 in 1968 for the 20,428 UK households that owned a colour TV, a dismal figure that betrayed the initial failure of the technology’s launch. We missed the first black-and-white BBC1 transmission of ‘Magical Mystery Tour’ on Boxing Day 1967 because we always spent the holiday at my grandparents’ house next door, stoically without a television. Instead, we gathered in our living room expectantly on 5 January to watch BBC2 repeat the programme in colour. This film premiere had been trailed as an artistic triumph for the world’s biggest pop group.
My parents owned all The Beatles’ albums to date and had watched their films at the Camberley Odeon. Earlier that decade, my father had bought a second-hand Uher reel-to-reel tape machine and had recorded the group’s performances broadcast live on the BBC Light Programme with a microphone held to the speaker, while his family was ordered to remain silent. The resultant tapes were played repeatedly in our house at high volume, years before homemade audiocassette compilations became possible and decades before Spotify would offer the same outcome at the press of a mouse button.
Once the 52-minute film of embarrassingly indulgent pop icons acting sillily in and around a bizarre coach trip had ended, we looked around to gauge each other’s reactions. It had been an incomprehensible and barely entertaining viewing experience, we agreed. The next day at school I wrote a short account of our evening in my ‘day book’ and drew an accompanying colour picture. No classmates had watched the film. My female teacher likely presumed my parents to be hippies. Our home’s complete collection of Beatles albums came to an abrupt halt. My mother transferred her musical affections to non-stop Herb Alpert.
After this artistic disappointment, The Beatles faded from my childhood. I learned that John Lennon had moved into a mansion (‘Tittenhurst Park’) in nearby Ascot when one of my father’s clients was appalled to discover the identity of his new neighbour. I recall our family being dragged along by my father to walk around Bruce Forsyth’s house on Wentworth Drive as a possible home, the estate agent spouting that a Beatle lived nearby (Tittenhurst Park is 1.6 miles away). I was excited by our potential neighbour but appalled to contemplate a home adjacent to a golf course in the middle of nowhere. Luckily it never happened.
Years passed during which our family circumstances changed irreversibly. One morning in 1973, my father turned up unexpectedly at our home and insisted I accompany him on a trip. I adamantly refused but my mother insisted I go, hoping I might learn something about my father’s current ‘circumstances’. Only months earlier, he had quit our home for good and since had done his best to humiliate and impoverish his former family. He had even gone to court to demand regular access to his two-year-old daughter whom he had never wanted in the first place. One Friday a month, he would turn up and drive off with my baby sister, leaving my mother fretting inconsolably the whole weekend as to whether we might ever see her again. What ‘childcare’ my father provided at weekends we never learned, as he had been notably absent in his other children’s upbringing and his new lover was a mere teenager.
There was no conversation during our car journey. Not LITTLE conversation, NO conversation. My father talked though I said absolutely nothing. He still drove his left-hand-drive American Motors Javelin AMX sports car as fast and recklessly as he ever had, breaking speed limits, overtaking on blind corners and generally terrifying me. Only the air conditioning kept me cool. I hated being there. Since leaving our home, my father had ignored me, ignored my birthday, ignored Christmas and sustained his total disinterest in my life. I had no respect for him because he had never done anything to earn respect from me. He seemed not to have the faintest idea of what a father should say or do for his children. Tellingly, after he had left, I never missed my father at all. Rather than tears, I felt relief. Why would I miss someone who had only ever used my talents to further his own greedy ambitions?
After an hour and a half of stoney silence, we had travelled past Elstree and arrived before a huge mock-Tudor mansion in extensive grounds. He parked facing the front of the house and its luxurious lawns, telling me he had to go inside for a meeting and would leave me in the car for a while. I was just pleased not to have to suffer any more of my father’s dangerous driving and not to have to be in the company of someone who had always felt like a stranger to me. I switched on the car radio and listened to music.
I saw lots of people all dressed in similar orange medieval-style robes coming and going from the mansion and walking along its driveway in singles and in groups. I had never seen anything like it. Not in Britain anyway. I had seen photos of Buddhist monks in picture albums of faraway lands. But it felt eerie to be seated in a car in deepest rural Hertfordshire, surrounded on its driveway by people who looked as if they had materialised en masse from another dimension and a different time. What was I doing here and, more to the point, what was my father doing here?
Only later did I learn that Beatles member George Harrison had recently purchased this property with its seventeen acres of land, then known as Piggott’s Manor, and donated it to the Hare Krishna religious movement that had outgrown its Hindu temple in central London. The property was renamed Bhaktivedanta Manor and immediately attracted a huge volume of visiting devotees, the religion’s membership having been boosted by Harrison’s very public advocacy since The Beatles years. In the present day, 60,000 visitors annually are reported to attend its religious festivals.
For me, the irony of our visit that day was that my father’s life could not have been further from the altruistic philosophies of the Hare Krishna movement. I knew he had no interest in religion and had probably never even visited a church. If he was here, it must have been for his professional advice as a quantity surveyor. Perhaps modifications were necessary to this mansion as it had functioned as a nurses’ training college since 1957, owned by St Bartholomew’s Hospital in London. How could he have hustled this appointment? We knew from my father’s court papers that he claimed now to be living in the gated, 420-property St George’s Hill estate in Weybridge, home to many pop and entertainment celebrities, including John Lennon (before his move to Ascot) and Ringo Starr.
Did I meet George Harrison? No. Was I invited inside the mansion to hold the end of my father’s tape measure, a task required of me since I could walk? I honestly cannot remember. What happened next? I know he drove me home … again in silence. I was so consumed by the pointlessness of our father/son ‘road trip’ that almost everything else that had occurred was immediately eclipsed in my mind. Why had he insisted I accompany him? Was he trying to impress me? Was he trying belatedly to demonstrate his credential as a father? Or had he imagined I could help him secure a new client? I have no answers. It became our final day spent (un)together.
Half a century later, I was watching the 1969 Beatles footage in the fascinating 2021 ‘Get Back’ documentary when I noticed a Hare Krishna member who had accompanied George Harrison sat cross-legged on the floor of the group’s recording session. Memories of one of the strangest and most unrewarding days spent with my father came flooding back.
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It’s been a very long time since I posted anything here, so I thought it was time to remedy that by starting with sharing some of my feelings in the early days of our UK lockdown period, which I’d posted up elsewhere.
A tiny bit of perfect in an imperfect world.
My lunch hour photography fixes tend to involve taking a wander in nature and photographing what takes my interest. Today was my first day working from home and my photography fix this time was the back garden. I took my cup of coffee outside to take in some of the sun’s rays, but the tiny, cheery little daisies caught my interest, so I couldn’t resist getting the camera out.
During that short photography session it suddenly occurred to me that I was feeling calm, a feeling I’ve not felt for a while. Just a simple little innocent daisy reminded me that there’s still some happiness to be found not far from your door in a world that’s in lockdown chaos.
To say that recent weeks have been tough would be an understatement, but the last week in particular has been an experience with many mixed emotions – incomprehension, fear, pity, incredulity, sadness, confusion, disappointment, disgust and anger; such anger I don’t think I’ve ever felt before. We find ourselves, all across the world with one common enemy – COVID-19. Something so tiny and so powerful that it seems to be bringing nations to its knees and requires nations to work together to beat it. It struck me this afternoon that there is some good to come from this, however. When you set aside the selfish behavior of people panic buying and those flouting government guidelines, it is making people take stock of what is most important in life. It’s forcing us to examine what we need to function, what can be put on hold and what are the necessities to sustain us and keep us safe and well? We actually don’t need much – a roof over our heads and food in our bellies, but most importantly it’s those who matter to us. When we take away the superfluous stuff in life, it’s our loved ones that we’d miss and crave for the most. Home is where the heart is and my most important heart is there too, safe and well, thankfully!
So, here’s a couple of those little daisies that put me in my reflective mood, forced me to smile at their cheery demeanor and brought some calm back into my life.
Please everyone stay safe and well and support those working for us to keep us that way by staying home and doing what we’re advised to do for these few short weeks. The sooner we can do that the sooner we can have our freedoms back again.
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magistralucis · 5 years
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Ed Banger House Party @ Electric Brixton, 25 Jan 2019 [Review]
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😍 Fucking fantastic you funky little Frenchmen... 😍
This was a very wild night. I can’t quite believe I survived it, even as I finish off writing thousands of words about it. It’s probably the most detailed review of a concert or show I have done to this date. I finally saw Sebastian in the flesh, was treated to over eight hours of sweet sweet music, and feel that I have begun my Ed Banger-related pursuits for this year in the perfect way.
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And the loot. The sweet, sweet loot.
Read on for more. Mobile users, be warned this is a very long post.
The Journey
If you’ve read my other gig reviews you know the drill: I don’t live in London, have to commute there from wherever I’m living at the moment, London is difficult to navigate. But I had no trouble with my journeys this time, there were no Underground closures, and this venue was exactly the same one as the TBB show two years ago. Nothing to report there, only that I give props to our driver. There was an accident on the motorway, about 25 mins into a 2hr 20min journey. He took us on a thirty-mile detour to avoid the scene of the crash and still got us to London in time. If you’ve ever been on a National Express coach, you know what a big deal that is.
That wasn’t the only accident we stumbled upon in our journey, somewhere in Croydon (part of Outer London for non-UK readers) there was an altercation between two drivers and something like thirty police officers were present. It is rare to see that many police officers on scene for a single collision, so I wonder whether something more sinister was going on. All of them were wearing fluorescent vests and they reflected the light of the traffic most gloriously for a ten-meter stretch of the pavement. It was very attention-catching. I like to think they shared the same general sentiment of (o_o  ) when they looked over and saw an entire busful of people goggling at them, but that’s neither here nor there. It was around 8:30PM when I got to London, and I spent some time lingering in the train station before making my way to Brixton.
I like queuing up early. I had no idea what I was going to find there.
9:20~PM: If you follow Thibaut on insta you might have seen this.
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This instastory. It’s not obvious, but these three were far from the only ones in this picture. I know this because I FUCKING WALKED IN ON THIS PHOTOSHOOT. THESE THREE WERE NOT THE ONLY PEOPLE THERE. THIS WAS A VIP GROUP SHOT SESSION WITH 25+ PEOPLE OUTSIDE ELECTRIC BRIXTON AND I NEARLY BARGED IN AMONGST THEM LIKE A MOTHERFUCKING IDIOT
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I’m sorry! I didn’t mean to! ;A  ;
I’ve met my favourite bands spontaneously. Gone for signings. Received compliments from Rammstein. I’ve shaken hands with Xavier. But I’ve never just happened upon an entire group of my favourite people engaged in a situation not meant for ordinary fans. I was honestly more terrified than elated. I knew they were VIPs because they (all DJs included) had blue wristbands on which allowed continued re-entry into the club, instead of the usual red club stamp on the back of the hand. Later in the show I recognized two of those people as stage photographers. Pedro was closest to me, Irfane passed by (he had very vivid eyes, even under poor lighting), and around the right-hand side Thibaut was putting his arm around Sebastian. I may have seen Vladimir Cauchemar unmasked. Shit was surreal.
This could potentially have been a good place to greet Sebastian zdravo. Unfortunately there’s a time and place for such things, and a VIP photo session I wasn’t involved in was not one of them. (Electric Brixton isn’t known for facilitating after-show fan meets either, due to the club’s structure and how everyone has to be herded out at the end.) Even if it were just the Ed Banger folks milling around, I'm not sure if I’d have been able to approach them in this case. ‘Cause ultimately, I am just an Animal Experiencing Fear, and I was caught so off guard; I stepped back and pretended I had nothing to do with the area. At least that way I could gather my thoughts and continue to observe.
I can tell you this entire moment took five minutes from 9:23pm to 9:28pm, but only because I checked my phone later. I didn’t want to take it out in the moment because I got paranoid they’d think I was a creep. As the phones and cameras were put away and normal conversation resumed I looked up and saw Sebastian five steps in front of me.
You know that recent Seb + Vinco picture. Hang on I’ll find it. You know the look Seb has in that pic?
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That. That is his actual gaze. That is what Seb actually looks like when he has nothing to pose for and nobody to speak to. Unless something mind-boggling was happening in the empty space several feet away from where I was standing, that’s his normal nothing-to-see-here expression. At one point we met eyes. I think he blinked like once. You can’t tell his eyes are blue even from a short distance. He looked down, exhaled vape smoke, and bit his lip. Then someone (Myd?) ushered him into the open doors. And that’s how I accidentally stumbled upon the Forbidden Ed Banger Content, and while I was excited at what I saw, I think I’d prefer a do-over in the future. When they’re not all engaged in other business, when I have a pen and an adequate surface, and when I am not a fool with poor timing.
Also Sebastian was not as tall as I thought he was, but also far from short; Irfane was taller than I thought, but visibly shorter than Thibaut; Thibaut was taller than I thought, but no match for Pedro, whose height continues to boggle my mind. I have seen all of those people before, save for Sebastian. Pedro I have seen multiple times, with multiple people, in multiple contexts. Yet I still have no grasp of how tall anybody is in this label.
I don’t know what that implies about my visualization skills. At this point, I’m too scared to find out.
9:33PM: I’m going with this timestamp because that’s when I noted down that security cleared out completely with the VIPs, closing the front doors behind them. A girl comes up near me and stares at the venue, the ‘Ed Banger Records’ written in lights, then at the queue barriers (not open) for some time before turning to me. There were maybe five people altogether waiting.
Girl: Excuse me, is this the queue for people with tickets?
Me: I don’t know. We might be queuing to find out where the queue is.
Girl: [To a freshly emerged security guard, holding a sandwich.] Excuse me, do you know if there’ll be tickets at the door?
Security guard: [Incomprehensible - he’s speaking at close distance and a bus is freshly pulling up behind me, so I can’t hear them. He goes inside and shuts the door as soon as he says his piece.]
Girl: He doesn’t know. What am I going to tell my friends.
Me: Oh my God did you not get tickets.
Girl: My friends did! I was meant to get in early and get the drinks and stuff oh my God I DIDN’T KNOW THEY WERE GOING TO BE SOLD OUT 😰
Me: DIDN’T THEY SAY THERE WOULD BE A LIMITED RELEASE THOUGH 😰
By this time we’re both mired in anxiety.txt and others were coming forwards with the same experience. A group of three girls who got there shortly after me were all waiting for door tickets, and a guy came along who had a ticket for himself but was trying to get his friend (Asian girl, very pretty) in. (I will see this friend repeatedly throughout the show, but not the dude.) Eventually we looked up what the Electric Brixton website had to say, and gathered that a very limited number of tickets were available and they were all here at the right time to purchase it. As far as I know, everyone there got in without trouble.
First release tickets were £15.00. Later I was told it was £25.00 at the door.
Yeesh.
9:50PM: They finally open up the queue barriers. I’m fourth. Several of us in the line take a poll on who we’re here to see:
Pedro: ///
Breakbot: //
Sebastian: ////
Riton: /
Vladimir:
Myd: /
‘Everyone’: //
‘I’m here because of my friends’: /
The girl in the above section answered with the last one. Ed Banger rookie. Writing this now, I’m sure she had the time of her life.
I say Sebastian. Two guys in front of me nod sagely. One of them wears a Woman Worldwide T-shirt and a Justice logo jacket. We mutually express wonder that Seb’s, like. Doing anything again. At this point, however, the queue is split into two: ticketed and buying at the door, on the opposite end of the entrance. The girl and I say farewells as she departs for the latter. Unfortunately, I do not get to see her again. It’s a shame. She was lovely.
9:55PM: Security emerges with QR code readers and club stamps and starts to call us in go go go go go go go go
9:58~PM: The bouncer initiating pat down pauses over my portable battery for a very long time, seemingly considering whether that’s legal. Fuck my life. Eventually, though, he lets me in and I s p r i n t for the bar.
It has begun.
A note before I start: like the XOYO gig review last year, this review has been composed via rough notes, photos, and videos I took through the show. It was a longer night than last year, and everyone played for a lengthy period of time; this review is thus split into six sections, one for each DJ, including timestamped observations and photos/gifs of the night.
The gifs are taken from my own videos. Unfortunately, Electric Brixton’s setup made photography difficult for three reasons: 1) an abundance of flashing lights, 2) the elevation difference between the dancefloor and the DJ booth, unlike in XOYO where there was no audience-DJ divide, and 3) smoke machines, as well as actual vapers in the form of Sebastian Akchoté. Those three things make a mess onscreen, so images are potato quality compared to where I was (front center). This was a constant problem during the night, so instead of complaining about it with every DJ, I’ll just refer to this as the I Cannot See For Shit (ICSFS) syndrome and call it a day.
Busy P (10PM to 11:50~PM)
10PM: Mother fucking sons of bitches raised the price of water!
As mentioned in the TBB review, a 500ml bottle of water at Electric Brixton was £3.00 in 2017. (Even in 2019, at a supermarket it can be as little as 55p/500ml.) Harsh, but it is what you’d expect from London. But when I came back they’d raised it to a whopping £3.60. You could buy yourself a meal with that kind of money, albeit a small one, even for London. Disgusting.
But what can you do with something as necessary as water. I did expect it. I’m sore about it, is all.
10:05PM: Restroom visited, water bought and tucked into bag, jacket tied around waist. I was wearing armwarmers. I take my place by the barriers, front row center, with a guy on my left and an empty space on my right. Left-hand arrangement will not change during the night, while on the right it will be chaos.
10:10PM: Very superstitious / nothin' more to say / very superstitious / the devil's on his way / thirteen month old baby / broke the lookin' glass / seven years of bad luck / good things in your past
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This is my first video of the night. Might upload it later.
10:21PM: USE IMAGINATION 💫 AS A DESTINATION 💘 USE IMAGINATION 💫 AS A DESTINATIoOoON 💘 USE IMAGINATION AND COME CLooOoOSER 👄✨ 👄 FOREVER BEEEEE 😘 😘💋
‘Pleasure’ summons the two dudes I was talking to in the queue to my right, especially the Justice fan guy. They stuck with me through Pedro’s set.
10:30~PM: Pedro looks a lot happier than he did at XOYO last year. He’s interacting a lot with fans, smiling, bopping about the way we have all come to expect from him.
10:40PM: I see the first glimpse of another DJ hanging around at the back. It’s Myd, drinking in a corner.
10:50PM: Is that what I think it is. I think it’s what I think it is
10:51PM: POP THE GLOCK THE GLOCK YOU POP IF YOU OUTTA LINE IT’S YOU I’LL BANG POP POP THE GLOCK THE GLOCK YOU POP IF YOU OUTTA LINE IT’S YOU I’LL BANG POP
Fantastic to hear some Uffie in the mix. I missed her so damn much. I think I might upload that clip as well because I want to share the experience with y’alls.
10:54PM: Thibaut jitterbugs into the scene. The lighting’s too bad for a photo so I post about it on the hellsite instead.
11:19PM: The display in front of the DJ booth has remained constant until this point, displaying the Ed Banger logo with only the occasional change in lighting. But now the display suddenly starts changing. Check it out.
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It got really trippy with Breakbot.
11:29PM: ‘Genie’ comes on. I can see Thibaut and Irfane at the back now, ready to take over. I take my first drink since I entered the club.
11:52PM: HE PUT ON ‘BURNIN’. HE ACTUALLY DID THAT.
Pedro picks up the mic at this point and greets us for the first time during the night. I have what he said on video but it’s hard for me to transcribe it over all the audience noise, it might have to be an upload later on; I have videos of most DJ-DJ segues of this night, so hopefully that should be an interesting exercise. According to the timestamp on this video, 11:52-53PM is when Thibaut put on the headphones and took over from Pedro, but he continues to linger
11:55PM:
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just so he can cOMPLETELY LOSE HIS SHIT APPARENTLY.
Breakbot (Thibaut and Irfane) (11:50~PM to 1:30AM)
12:00AM: At midnight Thibaut and Irfane take over fully with ‘Break of Dawn’. There’s something wild about listening to people sing a song with no lyrics (da DA DA DA darararaRA).
12:05AM: Irfane was on serious mode all night. I’ve also realized that the light situation is not going to get better; if it was Pedro alone I could have forgotten about it, but Breakbot’s set was where the ICSFS got really, really bad. There are so many photos where I tried to capture beautiful moments between Thibaut and Irfane, as they were quite touchy with one another (not as much as they were at XOYO tho), and yet it all turned to shit. I’m so sad.
12:10~AM: The two dudes to the right of me leave. The music is most funky fresh and the smoke machines are on max, so much I cannot actually see either of the DJs on scene. A girl wearing light blue takes over to my right.
I think Electric Brixton has reached full capacity. It’s not a big venue, fitting only about 2000 people or so, but I can feel it in the air. I look behind me and all around me are unfamiliar faces, packed tightly in a crowd. It’s hot. I take off my armwarmers and cram them into my bag. 
12:16AM: Irfane baby I love you but that was not a smooth segue.
(I don’t actually know what song he was on but the music like. Stopped 100% for a second. It didn’t sound intentional.)
12:25AM: I have a note on my phone that says ‘12:25 Pedro making heart’. I have no memory of this. Fangirl magistralucis what are your secrets.
12:30AM: you 😍💖 are all I think about 😍✨😍✨😍 keep me sulking and down 😘👇🏼 but you fill me with 🔥 so much 🔥 emotion 😳💖😳 and I’ll show my 🙏🏼🕊💐 devotion 💐🕊🙏🏼 to you ❤️🧡💛💚💙💜
12:31AM: I cannot see for shit. Here have a light show I guess.
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12:36AM: Dance, dance with me / Life's a fantasy / Stand next to me / Like ecstasy
12:48AM: Irfane puts on ‘Funkytown’. Thibaut dances beautifully. I’ll drink to that.
12:51AM:
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What the hell is this?
1:07AM: Extra, extra, read all about it! The Mysterious Ninth Planet, located at last! Turns out it was in the hands of funky Frenchmen all along, who were hoarding not just the ninth planet, but ALL THE PLANETS
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1:08AM: You may have seen what was happening during the above in Irfane’s instastory, actually. He put on ‘Le Freak’. I wonder whether I should upload this clip from where I was.
1:10AM:
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?????
1:20AM: Pedro comes back into view. I try to film him but it doesn’t work out, and for once it had nothing to do with ICSFS. The girl to the right of me, who was rocking out for all of Breakbot’s set, is beginning to slump over on the railing. "Are you okay?” I call, but I don’t think she heard. From how rapidly it came on, how she could barely stand during the first five minutes of VC’s set, and how frantically her and her friends left afterwards (she could barely walk), it is quite possible she was going into diabetic shock. She did not return.
This is a known issue. You generally cannot bring food into London clubs, even if you’re diabetic. Electric Brixton had a complaint two years ago that a diabetic person was not permitted to bring in their food to prevent this exact thing happening. I hope whatever she had wasn’t that serious, but. I do wonder.
This leads to a note about security, I suppose. There were none up front by the barriers. There was no one to call for help to, except for maybe the stage photographers, and that’s not what they’re trained to do. People who were falling sick or too inebriated to stand would have benefited from having security help them beyond the barrier straight away, instead of having to wade their way back through a tight crowd.
This continued to be a problem.
1:20~AM: Vladimir Cauchemar is visible. He doesn’t have the skull mask on, but with something smooth concealing his face, kind of like the Taikobots of Danger’s Taiko-era set. When he takes over he has put the mask on.
Vladimir Cauchemar (1:30AM to 2:30AM)
1:30AM: I gotta say, VC was the easiest and the best to photograph in this show, and I both respect and resent that fact.
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VC’s lighting stayed a consistent red and black through his set, similar to how it was at XOYO, and the clearest images I have of the night are of him. I’m still not over his collab with 6**9*** so my impression of him isn’t out of the woods yet, which is why my notes for him are brief.
I tell you what, though. He got the crowd going. VC was the first DJ to get the dude standing to the left of me dancing, and this is the dude who stayed the entire eight hours of the night by my side while on my right people faded in, faded out, barged into places. (Dude was holding out for Sebastian, but stuck around for all of Myd as well.) His set had serious limitations - the most gregarious sin of which I’ve noted down below - but he had a great stage personality. I have very mixed feelings.
Still didn’t prevent me from standing out certain songs to go on Russian duolingo, but that was my pride.
1:35AM: ‘Aulos’ comes on. I will upload that video because I might as well, I’ve little else videoed for VC. Someone taps my shoulder. It’s the friend of the dude whom I encountered outside, the Asian girl. “Can I put this here?” She calls, and places her coat down beyond the barrier; there are steps on the other side where you can place your drinks, bags, coats etc if you’re front row. She withdraws behind me afterwards, and when I next look back, she’s gone.
1:40AM: I’m honestly surprised how many people are digging VC’s set. He was not first choice for anyone I asked.
1:51AM: Vladimir, Aulos is great but not twice in the same set.
2:00AM: Third drink of the night. My legs are getting numb. The first 3-4 hours of a set are always the hardest. I don’t remember what VC was playing. At several points he played Michael Jackson but I have no record of when. I stood still to rest my legs and distracted myself with other pursuits.
2:18AM:
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Hi I’m in this photo and I don’t like it.
2:26AM: VLADIMIR. AULOS IS GREAT, BUT NOT THRICE IN THE SAME SET.
This. This is the major problem with his set. I know it’s his biggest hit, but VC exploits ‘Aulos’ way too much, and from what I hear he essentially does this for every set he plays. Would it injure him to play a different song every now and then. Seriously. There are so many excellent songs in the world, and some of them might even be ones he’ll drop in the future. Why stick to ‘Aulos’ alone. I don’t get it.
2:26~AM: As I was noting down the third instance of ‘Aulos’, the girl who put her coat down returned. “Can I have my coat back?” She calls over the sound, and I peer over. I can’t see the coat. The red spotlight passes over the floor; the coat’s rolled off the steps and is now lying on the ground.
“I can’t reach it.” I shout. “It’s fallen off.”
“Oh no.” She shouts. 
“Can you wait until the segue?”
She shakes her head. “I’ll go over the barrier, but thanks.”
I offer to help her over, but she doesn’t think she'll make it. She ducks out past the crowd and goes around the side instead (no security to stop her), runs over to grab her coat, and then leaves straight away. She’ll be back for Sebastian’s set, but now it’s Riton time.
Riton (2:30AM to 3:30AM)
I didn’t enjoy Riton’s set very much. This had 0% to do with his music and everything to do with the chaos on my right-hand side, which made it worse. If it was the artist that was bad you chalk it up to a mismatch in interests, but knowing other concertgoers unilaterally deprived you of a good experience is a unique level of terrible. There are no timestamps for this section because I was too busy keeping an eye on my surroundings to take notes; he was also afflicted with the ICSFS, which didn’t help, but it’s a darn shame how much I missed out.
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Oh and that too. That was his light show. Riton was a special guest and his name/logo was the dominant display for the entirety of his set. But I’m not here to talk about that. I’m here to talk about the chip on my shoulder.
Here’s the thing. I attend most of the gigs I go to by myself. I prefer it that way because I get anxious when things go wrong. I have a very specific set of items I bring with me to concerts, and practice very meticulous timekeeping. One of the rules I observe during gigs is that I do not move from my position: I prefer front centre or front centre-right generally, but wherever it is, I stay put.
I am not a tall woman. If I lose my place, it is unlikely I’d get it back. I’m full of anxiety about being at my place, but I’m more anxious to avoid losing it, so I defend it with all my might. I have never lost my place in almost ten years and this show was no exception. But my goodness did the guys to my right push my buttons this time. The guy who was to the right of me for Riton was with a group, all of whom were banging on the barriers and creating a ruckus. Just my luck he was the only one who seemed actually inebriated. He kept putting his head down on the railing, slumped over for minutes at a time, before suddenly raving and flailing around whenever Riton dropped a beat. He had no consideration for whoever he was accidentally knocking about (i.e. me) during this. And as I said, there was no security up front, so I was on my own.
At first I had some sympathy, because I still wasn’t over the girl who left earlier. I’ve never seen people who were inebriated/high during shows last very long where they were, either. But the fifteenth time dude nearly poked my eye out, it was just too much. I do not like people prodding their way into my personal space. I do not like it, Sam-I-Am.
The last time I had to be vicious with a concertgoer was at TBB, where a ginger-haired girl kept on trying to tear people from their place up front, and eventually was ejected by security after she got into a catfight with another girl next to me. Apparently this time it was my turn to give into Righteously Indignant Bitch Hours and the next time he started flailing his arm into my neck, I grabbed him and slammed his hand onto the railing and shouted “WHAT THE FUCK IS WRONG WITH YOU.”
I wish I could say this made him stop. However, life is dumb. Dude was too out of it to comprehend his own actions, let alone my complaints. His friends pulled him out of the front row for about five minutes but then he came staggering back, muttering something about his lens cap (?) and if I’d seen it. It wasn’t long before he began to barge into the surrounding people again. Only elbows were the solution; I can barely move my right arm even now, it feels so bruised. I’m not proud of what I did, but I’m not sure what I could have done differently, and I would do the same even now.
But, you know. It could have been worse. If you’ve been front row, you know there’s a difference between those who’re trying to grab a good time and those who act out of malice. The former usually try to sneak a hand in next to yours on the railing, or crash into you from the back, or wedge their way in - but they almost always follow it up with an apology, and they tend to carve out their own little space, not actively steal yours. Yes I’m talking about that ginger-haired girl at the TBB show again. I’ve attended full on firebreathing industrial metal shows at much bigger, suffocating venues, and yet those audiences still managed to avoid being vicious and petty. She was the worst. Holy shit. It’s been two years and I’m still mad. Fucking bitch I hope you step in a puddle. What was I writing about again? Oh yeah the dude. He wasn’t acting out of malice, but out of irresponsibility. And to be honest, his friends weren’t that better, save for a girl who was about five feet eight tall and complimented that I was still standing later in the set: “I had to sit down after Thibaut and you’re still jumping like nothing happened!”
That made me think about my own stamina. I never thought I had much. I’m twenty-five years old. I’m in my prime, but I had more energy when I was eighteen, and I am old enough to keep that in mind. I’m not getting younger. After a show I’m bruised and my muscles ache and I pass out asleep for hours at a time. I’m usually awake for 30hrs~ during those times. I don’t eat or drink much before shows to prevent bathroom breaks. I ate on 3:30pm on the 25th and didn’t touch a single morsel of food again until 7am on the 26th, and even then it was a sandwich. After dancing for eight hours.
It’s been that way for years. But maybe most people? Don’t? Do that? And maybe I am? Actually quite strong? For regularly surviving what I do to myself?
I don’t know. Let’s move onto what I think 70% of you are here to read about.
Sebastian (3:30AM to 4:30AM)
3:30AM: Predictably, Sebastian gets the loudest cheers of the night when he comes on. Riton announces him and passes him the headphones. He still does the hand thing, by the way.
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This thing.
3:30~AM: Not an observation of the moment, but of the entire set. Seb played some big name EDM songs and what I believe are versions of his YLS tracks. He was the only set I wanted to record in full, but I wasn’t tall enough and my equipment wasn’t good enough to do so. ICSFS is in play. I sort of hoped he'd stuck with his vicious red lighting from Primary Tour, and he did, but not to a degree where I could get good shots of him.
Is anyone excited for him to drop an album this year or what. Pedro said he would.
3:38AM: Seb also has the dubious honour of being the only DJ who contributed extra to the ICSFS problem. He vapes through the entire set. I have lots of feelings and I don’t know what to do with myself honestly.
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3:39AM: Neither do the dudes to my right. They are the friends of the inebriated dude who has since staggered off into the crowd. They are completely losing their shit, screaming and taking their shirts off and kicking at the barriers. They contributed to some of the bruises on my right arm. But they still didn’t take my place so whatever.
3:40~AM: Seb is not a smiler. Photographer comes by and he gives him a single glance before turning back. I don’t know why I’m surprised.
3:43AM: The Asian girl with the coat from earlier comes back. She asks me to deposit a different layer of coat this time over the barrier, and stands behind me. I feel very protected.
3:50~AM: Balm to aid my pain: photographers start coming down from the stage to pass out Ed Banger pins and stickers. The first lot are thrown into the audience, but the second photographer takes the time to give all of us one. This is the first time I’ve scored thrown Ed Banger merch during a set. I usually can’t reach them because I am smol.
I am also bonding with the dude to my left during this time. We collaborate to catch the pins we want and share them out between the two of us. He gets the Ed Banger melody logo pin, and gives me the Ed Banger 15 Ans pin. “Are you sure?” I ask. He smiles and nods. I thank him and hand him a Breakbot sticker, one that’s of his name. 
4:06AM: What the fuck the lights are changing
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4:06AM: Is that
4:06AM: IT IS
4:07AM: IT’S JUSTICE. IT’S HEAVY METAL. SEB’S PLAYING HEAVY METAL AND HE’S DOING THE HAND THING AND THE LIGHT SHOW’S TRIPPY AS FUCK ALL OF A SUDDEN AND EVERYONE IS SCREAMING AND THE DUDE LEFT OF ME IS DECLARING HIS LOVE FOR SEB IN FRENCH AND I AM SCREAMING OH MY FUCKING GOD
4:09AM: HE SEGUES TO ROLLIN’ AND SCRATCHIN’. HE LITERALLY DID THAT. SEBASTIAN AKCHOTE IS PLAYING ROLLIN’ AND SCRATCHIN’ AND WE’RE ALL GOING BATSHIT INSANE. I’M SORRY FOR THE BAD CAMERA WORK. THIS IS HOW I DIE.
4:15~AM: Myd is finally going back and forth. He will close the night after Sebastian has finished his set. Looking back on the videos of the night, I can’t believe he only played for an hour; it felt a bit longer than that, Sebastian never let up for a single second as long as he was onstage. Not a single minute wasted. And now you’re going to have to excuse me babes because he’s puttING ON STRESS AND WE’RE ALL GOING TO DIE AGAIN RIGHT HERE RIGHT NOW
4:24AM: AAAAAAAAAAAA
(Seb’s still playing Stress. Looping the chainsaw noises. Steady camera work lmao what steady camera work)
4:30AM: Sebastian hands over the reins to Myd at this point. I do not have a video of this segue because he does not announce the takeover; with one of his inscrutable hand gestures and a proud look, Sebastian takes up a whole bottle of wine and silently walks offstage. Again, I don’t know why I am remotely surprised. That is probably the most Seb thing I have seen Seb do all night, and it was a night extremely full of Seb things.
At this point I stop jotting down notes on my phone. But I’m at about 58% battery and going strong, so I’m still taking photos and videos whenever I can. Myd’s section is reconstructed from these records.
Myd (Round 2) (4:30~AM to 6:00AM)
4:30~AM: Not a specific observation. As mentioned in the Breakbot review of May 2018, I have unfinished business with Myd. Or at least: had. Myd played the closer in XOYO last year, and back then I was weak and I could not stay through his entire set. I swore to myself the next time he returned, and I was able to see him, I would last as long as he was onstage.
And I did. That’s one promise to myself kept, and what I hope was a little justice done for a DJ of Myd’s caliber.
4:35AM: Coat girl taps my shoulder again. “I’m going home. Could you...?” She gestures to the barrier, and I reach down and pull up her coat. It didn’t roll onto the ground this time.
“There you are.” I say. She takes it and gives me a hug. “Have a good night.”
“Have a good night!” Then she’s gone, alongside the exodus of people who are leaving the club. More people stuck around for Myd here than in XOYO. Guy to my left nudges me to look; stickers are coming around again, specifically the ‘Hello My Name Is _______ [Myd]’ one. We each take one.
4:44AM: I’m out of water. Actually I was out of water immediately before Seb finished, because for some reason I thought downing the last of my only means of hydration with over 1h 30mins to go was a sensible thing to do. I regret this decision bitterly, but I’ll probably survive.
4:58AM:
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@_@
5:03AM: It is very difficult for me to ID Myd’s tracks. I suspect a lot of them are original or are from his recent release that I haven’t yet listened to. Appropriate to a closer, he takes a very trance-inspired line to his entire set, with lots of repetition and few loud drops; this was the same in XOYO. I wonder what a Myd headliner set must be like.
5:10~AM: The guy to the left of me is struggling. So am I. But further to his left, there is a guy slumped on the rails. His girlfriend is beside him. They’ve been there all night, but they’ve clearly reached their limit. My right hand side keeps refilling and emptying as people step away or leave.
I talk about that other guy because he summons Thibaut to him.
5:28AM: I took several vids of this but this timestamp belongs to the longest. Thibaut comes back with his own phone to film the audience. He winks and shyly gestures all of us to gather our strengths and be more pumped up, and I recall we obliged him because he asked so nicely. He lingered for some time, gazing at us as fondly as we were gazing at him. He then looked at the guy slumped over on the railing and hopped down from the stage, gently patting his shoulder to talk to him.
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I didn’t hear any of their conversation, save for Thibaut asking the dude ‘where he was from’. By the way he clasped his hand to his chest several times, though, I’m inclined to think he was really concerned about the guy. They eventually shook hands and Thibaut made as if to hop back onstage. (The photo was taken as he was leaving.)
Except he couldn’t jump that high. He gave us another shy look and braced his foot against the barriers, perching neatly on the stage before clambering up. He stuck around for about five more minutes to check up on the audience.
I love Thibaut so much. He’s so gentle.
5:34~AM: Holy fuck my bag is full of crap. I haven’t organized it in some time. Discarded cups, beer cans etc have accumulated by my feet, and as I kick them away I’m trying to check my loot is in place and I still have my items. I can’t feel my passport and my blood runs cold for a moment. I turn the camera flash on to look.
“Are you looking for something?” The guy to my left asks worriedly.
I feel my passport in my front pocket. False alarm. “Just organizing my bag.”
(I didn’t see any lost foreign ID or driver licenses on the floor this time.)
5:43AM:
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Russian duolingo says fuck millennial lives
5:50~AM: The smoke machine is turned off. I still can’t see for shit, though, because the lights flash rapidly between deep blue and violet and Myd’s hidden behind it.
My last video of the night is timestamped 5:55AM. Myd has a most benevolent smile on his face. He knows the night is drawing to a close.
6:00AM: I did it.
We made it.
I have made it through a Myd set fully and have survived the night.
Myd finished exactly at 6am and exited to a crowd of applause. There are calls for an encore, but given that it's... like, literally morning, it’s not realistic to expect him to stay any longer. Security comes by as soon as he exits, and we all leave Electric Brixton behind at last. The sun has not yet risen. I fall in step with the guy next to me.
Guy: Where are you heading to?
Me: Coach. I came up from Brighton.
Guy: From Brighton?! Was that last night or what?
Me: Yep, two hours before the show. I haven’t eaten or slept all night.
Guy: Wow. [Pause.] Though I think that’s the longest I’ve danced in my entire life, too.
Me: You’re not kidding. I really didn’t think I was going to last beyond Sebastian.
I think he was a Londoner. We say farewells in front of the Electric Brixton bus stop, and I leave for the Underground. My legs are numb and I can barely walk, but somehow I stumble past the barriers and sink into the seats of the train. Back at Victoria Train Station I drop in at Sainsburys for a sandwich and two cans of grape soda, and then realizing I need a resealable container to take on the bus, buy a bottle of Pepsi. The grape soda was just because I really love grape soda and I cannot find a place in Brighton that sells any. It was around 8AM when I finally got on the coach back home.
I had not slept for some twenty hours. I continued to not sleep on the bus. I tried very hard to, but I couldn’t, because I was still buzzing from the adrenaline. It wasn’t until I got home, just after 11AM, that I began to feel sleepy for real. Sig. other made me a cup of tea, and I took the interval to admire some cat slippersocks that had arrived for me in the meantime.
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LOOK AT IT.
Overall I’d say this was a fantastic night. I have taken care of unfinished business and seen Sebastian in the flesh. I have, however, come away with another unfinished business to replace the deal with Myd - I should seek out Riton again, the next time he comes here, and deliver a full review of what that was like. To think of the Ed Banger crew making their way across Europe in 2019, with new material and a new Sebastian in tow...
😍😍😍
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bondsmagii · 5 years
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It might be because I’m American but I keep reading your posts in an American voice, but then I remember you’re from the UK and go feral. I also had a dream where you were there and I was Literally Kondraki the character where when you spoke I just knew what you were saying and it didn’t have like, an accent or any sound at all tbh. That was one hell of a dream.
we were telepathically connected... the Essence of Kondraki wait no man that’s a cursed thought
but ANYWAY if it makes you feel better my accent is like nothing anyone has heard before lmao. no one can work it out. it’s such a garbled mess of several locations with totally different accents, and on top of that I use slang from about three different countries, and yeah. it’s incomprehensible, as it should be. even people from outside the UK have known enough about common British accents to know I don’t fall into any of them!!
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deepglens · 5 years
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@bonnmot asked me to fill out these emoji headcanons for several of my characters so buckle up
alyona—
sleep: a light sleeper, and she often has trouble sleeping. she typically falls asleep on her back with her arms at her sides or on her stomach.
love: she’s straightforward, but sweeter than you’d expect. her love language is primarily time spent together, followed by gift giving, but she gets embarrassed easily when displaying her feelings (especially romantic ones, she’s basically this post) in front of other people so don’t expect her to pull any sort of grand gesture.
stress: her life has quite a lot, to the point where if there isn’t some kind of stressor she’s concerned about it, it feels like something’s wrong.
sickness: it’s very dangerous if she’s sick; she cannot have vaccines in the way that most people do and she grew up in a time and place before they were common. she tries to stay inside and drink lots of fluids.
gita—
religious: it’s often hard for her to reconcile her ideas of science and the natural world with religion, but she’s still not entirely unconvinced about divine influence. she’s really on the fence about it but doesn’t hold it against anyone if they disagree with her, as long as they’re all being polite.
home: she rents one apartment in a duplex and it’s full of stuff, small but comfortable. she’s one of those people who knows exactly where everything is even though it might seem incomprehensible to an outsider, and she’ll notice if something isn’t in its right place.
family: she has some family in washington state (about three or four hours away) and even more in the uk and india where her two sets of grandparents are from, but unfortunately she doesn’t get to see her family members who live abroad very much as she doesn’t have the salary for it. but she keeps in touch with them through letters and email, and visits her family in-country regularly for birthdays, weddings, holidays, etc.
work: loves her job; she’s very excited / grateful to be doing something that allows her to have a sense of purpose and explain what she’s interested in. her students may not like how passionate she is or the tangents she goes on, although with the latter at least she isn’t assigning them homework
betl—
sadness: cries easily, especially when others are crying or if it’s someone she cares about. she doesn’t mind being open about her emotions but it often unnerves other people.
anger: will almost never raise her voice in an angry tone, so if she does, it’s very serious. she tends to be angrier at herself than at other people and projects inwards.
ridiculous: she does not YET know what a dog is. this MAY change, contact me for details, please, god, let her meet a dog.
happiness: smiles a lot, gestures with her hands, tends to touch whoever she’s talking to if they’re okay with it (usually on their arms or shoulders)
lizzie—
food: she eats pretty much anything she can get her hands on, but she loves scrambled eggs and bacon.
drink: she struggles with alcohol abuse throughout her life and when she’s trying to be sober she doesn’t like to drink anything with a bitter taste as it’s an easy gateway / reminder / trigger for her
mental health: not great bob! it’s really very shitty! she was physically and emotionally abused as a child and during periods of her adult life as well; moreover she refuses to seek help because she distrusts authority and doesn’t like feeling manipulated.
physical health: a little above average, she works out sometimes and often has a job that requires physical labor. she won’t be doing a marathon any time soon but isn’t out of shape either.
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deanmullenfilms · 3 years
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4 Days Cut Off - My Experience Of Storm Alex (Saint Martin Vesubie)
On Friday, October 2nd, Storm Alex was approaching the southeast of France. My girlfriend at the time and I were aware of the storm in the days prior as it had made landfall in the UK and Ireland before moving down to France. That morning, we were expecting a lot of thunder and plenty of rain, but we’d experienced many stormy days and thunderous afternoons before as our quaint village nestled in the Alps was prone to such weather.
The image below was taken around 7.30am on the Friday morning. I posted it on Facebook, and my caption was “ The calm before the storm.” 
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Day 1 - Power Outage
My sleeping routine had become somewhat nocturnal by this time of year, the combined result of living through the Covid-19 pandemic and the fact that my girlfriend at the time enjoyed living by those hours. So naturally, I developed these habits, and as a result, I was taking this image shortly before trying to go to sleep.
During the night I had been watching a YouTube video that had a duration of about one hour, featuring a talk by a man who survived 9/11. The thought at some point crossed my mind, what if this storm became a disaster but it was nothing more than a fleeting thought, a similar type of thought to those I had experienced before in other scenarios and no such disasters had unfolded.
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(Liquel sitting by a laptop on Friday morning)
By the following afternoon, the heavy rain was filling the valleys, and unknown to us, a once in a century storm/flood was unfolding. At this time, we were sleeping on and off. The electricity went and the water was working intermittently. Destruction like we could not imagine was taking place during these very hours and we had no notion that this was the case. The rain did sound heavy, and the thunder was exceptionally loud at times but it did not sound much worse than storms we’d already experienced that year. We had no idea.
With no electricity, it was hard to feel inspired to do much during the evening. So we spent most of nightfall trying to get more sleep. One of the house cats Sherbie came to cuddle and keep company, though his previous intense fear of thunderstorms seemed to have faded. There were a total of 8 cats in the house. At this stage, all 10 of us were safe, and calm but outside, people had already died.
Later that night, my girlfriend at the time and I went to the linen room and looked out one of the side windows of the house. Our home, like the rest of the ‘Place de La Fraire’ (a square that sits at a high point in the village albeit one that is at the edge of a cliff-like drop of roughly 20 metres) is just next to the river bed which sits below the village. The village is propped up in the mountainous area. We could not see much but the river was loud.
Suddenly, a man with a headlamp began descending the small road right outside our home. He was heading down to the bridge that crossed over the river, connecting the village to a road that leads to Nice. We watched out of curiosity. He began facing his headlamp out once he got to the bridge. Its brilliant bright light shun toward the river, a river that we could never see directly from our home. Yet tonight, we could see something flowing in the darkness, lit up by his headlamp. My partner asked, “Is that the river?!”. It didn’t seem possible given that we were about 20 metres above the river or more, and yet somehow, what is usually practically a tiny trickle appeared to be a monstrous river flowing rapidly down the mountain. Somehow it didn’t yet hit us that some serious destruction had taken place outside.
After, I went to the living room. I sat on the sofa and used a small flashlight to illuminate a book I was engaging in, which was Dune by Frank Herbert. I had recently bought it online alongside Artemis, a novel by Andy Weir, who was also the author of the Martian. Technically we are on to day two by now but dawn had yet to come. Conscious of trying to avoid draining the flashlight’s battery (as I didn’t know how long the power would be off), I decided to turn it off. I ended up relaxing on the sofa and accidentally nodded off. 
Day 2 - Seeing the Destruction 
Abruptly Alexandra came into the room. It was daylight and roughly a little after 7am. She was panicked and upset. I can’t remember exactly what she said but it was along the lines of “You have to come see this, I can’t explain it...” I got up and with intense emotion, she added “I hope everyone’s okay.” That’s when it first hit me that something dire has occurred.
We watched out the window we had peered through the night before and what we saw was shocking and difficult to comprehend. We knew that much of what was in view was not before. Clearly, a lot of trees had been destroyed.
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There was no way to contact the outside world. The water wasn’t running either. We headed outside with our masks on and found several people gathered in the square. People seemed dazed. We noticed a couple with backpacks on. It was a tourist village (although not many tourists at this time of year). In the square, there was a small viewpoint looking down onto the river. And with that view, you could see a roaring river. As the water struck the rocks, it sounded like a very heavy wave crashing onto the shoreline. The power of this water was clear already, and it was frightening.
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We headed down the side road that the man with the headlamp (in hindsight, possibly a rescue worker) had descended the night before. As we did, more came into view. And what we saw was an incomprehensible mass of destruction. It was just pure devastation. There was simply no way to grasp what we were seeing.
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In this area alone, where the Vesubie and Boreon rivers meet, there was once a football pitch, tennis courts, and helipad as well as many, many trees and large walls too. Indeed, they had all been there the previous morning when I took the first image of this blog. We looked around for a few minutes in horror, and my partner also engaged in French with one of the locals, trying to understand what was going on. The village was stunned. It then occurred to me, and as my words conveyed “I think people have died.”
As we impossibly tried to digest what we were looking at, I suggested to my partner that we head up to the top of the village (that being the main square) since it would be the only place I figured we could access information. She too, was concerned and suggested that the area we were standing on might collapse. The bridge itself was evidently damaged as was the house next to it:
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We headed toward the central part of the village where the shops, bank, and Mairie (town hall) are located. We found over a hundred people gathered at this spot. Though we had our masks on, it was hard to remain conscious of Covid as we went through the motions of picking up information while in a dazed state and perhaps a state of shock too.
There were several Pompier’s (firemen) in the village. However, they themselves had little information at the time (although incredible rescue efforts would soon commence and elsewhere a Pompier had already tragically died the day before during the storm).
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As we arrived at the main square of Saint Martin Vesubie, we obtained limited information. One woman said that we were the worst hit the village although we had no way to confirm this at the time. Before this point, my partner and I had wondered whether there was destruction heading on for dozens of miles. I recall asking, “I wonder what it must be like in Nice?!” under the assumption that the destructive flood may have only accumulated the further the water headed down the mountains. This, however, would turn out not to be the case, and indeed, we were among the worst hit villages.
Listening in on conversations, my girlfriend heard a Pompier tell people to clear their cars from Place de La Frairie as it was under threat of collapse! That’s right, the place in which we lived, they feared, was at least potentially in danger of collapsing. My girlfriend at the time works in the holiday homes management sector and so thankfully she had the keys to a place nearby. We rushed back to the house, put the cats in their boxes, grabbed some essentials, and made our way to her client/friend’s house before my girlfriend at the time moved her car up to the main square of the village.
We stayed in this house for a while, but with growing apprehension and after talking with more professionals, we both agreed that we should sleep in the car in the central part of the village for the night (which is also roughly the highest point of the village). So we began a long and tiresome effort of carrying the cat boxes uphill to our car. Once the cats were in the car and with my partner staying there to take care of them, I headed back on two more trips to collect  everything else we’d put in her client/friend’s house.
We settled in, in the car. We didn’t have much to eat or drink with us, so we rationed things carefully as we had no idea how long we’d be staying there for. Anxiety rose at the thought of getting on a helicopter to leave the village (as one bridge was down and the other was yet to be assessed for safety), mainly because of the cats and our concern that their little hearts would not be able to manage the loud and dramatic sounds of a helicopter. 
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(The tent the car was parked beneath. The car is just behind me, out of view)
Toward the evening time, my girlfriend managed to get a lend of a man’s phone which had a small bit of connection. She called her friend who became emotional as soon as she heard her voice, realising that she knew for sure that we were alive. Clearly, to the outside world, no one could know for sure what was happening. The message got out to our friends and family from there that we were alive and safe. 
On a positive note, some people in the village cooked up some gnocchi that night in metal pots atop a gas canister stove. The day was something of a blur overall, though. To be honest, it’s hard to give any good indication as to how long we actually slept, but the day seemed to fly in all the same.
The cats had settled in well. There were six boxes with three rows of two stacked boxes, four with one cat and two with two. We let them out, one or two at a time to get some freedom while we made sure to feed and water them throughout the day as well as comforting them during this stressful experience. The two Grey Persians kept warm together when they were outside their box. They usually preferred their space, but given the temperature, they seemingly just wanted to keep as warm as they could. An occasional growl toward the other when they moved was unsurprising, however.
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(The ‘greybies’ cosying up together next to their litter tray).
The night was cold and eerie. Every time we heard a distant sound, our hearts jumped. Each of us asked “What was that?” several times during the night. There was an anxiety that anything could happen. Was the house safe? Were we safe, even at this high point? I couldn’t get the fear out of my head that the entire village could collapse. Looking back, that was an overblown fear but it was hard not to feel that type of anxiety given just how much destruction had happened overnight and considering that we had, had no idea just how bad it was until we witnessed the aftermath that morning.
Day 3 - An Absurd Twist
On Sunday, helicopters took people from the village to Nice Airport, rescuing them from what had effectively become our island village. I recall my partner talking to a woman in French who was passing by our car and finding out for us that they were going to let cars leave from the following day (via the bridge next to the house). We now hoped that we wouldn’t be stuck between a choice of staying behind in a cut off village and taking a helicopter, which could prove dangerous for the cats.
Day three was something of a blur too. We slept for a while, I think, although I can’t say for sure. We got some grub that evening as well. That night, however, had an unexpected turn. We had to take times going to the bathroom during the night, and on one occasion, we had a mix up that ended with us accidentally locked out of the car. In the end, the Pompier’s came to our aid and managed to pull the window slightly out of place so that with a metal hangar, they could hook the car keys and pull them up. 
One of the Pompier’s made the sounds of the Mission Impossible theme song. We all had tried to make light-hearted moments where we could. With special protective gloves, one of the Pompier’s got the keys and pressed down on the button to open the car. We thanked them repeatedly as we regained access to the vehicle and the cats! We agreed to ensure that there was always one person in the car at any time from then on.
Day 4 - Leaving
On Monday morning, we were officially told we would be given permission to leave. Several hours passed, and then around early to mid-afternoon, we got on the road. We found ourselves parked behind a line of cars leading from the main square down to the bridge. There was a queue, although we weren’t sure at the time whether they were letting several cars over a time, one at a time, or just waiting for some other reason.
A woman came by checking that our name was on the list to drive out. At one point, we saw a police office strolling around with a gun. Some time passed, perhaps almost an hour, and then we headed over the bridge once the traffic got moving, and we began the long journey to Nice (since the usual route was inaccessible).
On the way, we had to stop while a rescue helicopter took off from the road:
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As I began to finally get some signal again, I called my family for the first time in days and contacted several of my partner’s friend’s. While everyone already knew we were safe, it was good to be able to communicate normally again. A little under halfway through the journey, we stopped off at a parking spot in the mountains to give the cat’s some attention since the road trip was stressful for them.
It was a lovely, warm October afternoon, and if you didn’t see the destruction, you’d think it was another typical day in the pristine and beautiful Alps. In reality, there was a deep feeling of darkness afflicting the valleys, and it will take a long time for the region to rebuild itself after the destruction of this extraordinary and arguably biblical flood/storm. After about a 90 minute journey, we reached the place where we were to stay in, in Nice.
I will never forget what happened that weekend in the Alps. Storm Alex took 16 lives in total across Europe. It was most destructive along the French/Italian border region. RIP to all who perished in this devastating storm.
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(Image Source: FloodList... The other images are originals)
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thisdaynews · 4 years
Text
BREAKING:FG, WHO Target 20% of Nigeria's Population for COVID-19 Vaccination.
New Post has been published on https://thebiafrastar.com/breakingfg-who-target-20-of-nigerias-population-for-covid-19-vaccination/
BREAKING:FG, WHO Target 20% of Nigeria's Population for COVID-19 Vaccination.
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Onyebuchi Ezigbo and Olawale Ajimotokan in Abuja
The national government and the World Health Organization (WHO) have said that COVID-19 antibodies will initially be given to 20 percent of the nation’s most weak populace when prepared.
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The WHO Country Representative in Nigeria, Dr Walter Kazadi Mulombo, said yesterday at a media instructions by the Presidential Task Force on COVID-19 in Abuja, that the world body had gone into a concurrence with more than 186 nations on the financing and appropriation of COVID-19 immunizations.
VP Yemi Osinbajo additionally communicated the assurance of Nigeria to get the immunization, saying it’s a need of the organization of President Muhammadu Buhari.
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At the previous press preparation, the government additionally cautioned Nigerians against making insignificant goes to COVID-19 high-troubled nations, for example, the United States, the United Kingdom and Brazil to alleviate the danger of compounding the spread of the infection in the nation.
Mulombo, in any case, said an expected $38 billion had been reserved to help the improvement of COVID-19 antibodies around the world, adding that 66% of the sum has been activated while the excess is being sourced.
He clarified that under the standard concurred with the alliance attempting to advance improvement of COVID-19 antibodies, each bought in nation will get the immunization to inoculate 20% of its most weak populace at the underlying stage.
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As per him, WHO accepts that it is simply by noticing such a reasonable appropriation of antibodies that the COVID-19 pandemic can be captured.
“All the nations that bought in get that if there is any single nation forgot about, it very well may be that nation that will be the beginning of another rush of disease.
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“The office required for the antibody improvement is assessed at about $38 billion and 66% of the sum is now assembled while the excess is additionally being sourced,” he expressed.
While alleviating fears of conceivable scramble for the COVID-19 antibodies and absence of admittance to helpless economies, Mulombo said all the 186 nations had bought in to the standard restricting the turn of events and appropriation of the COVID-19 immunization to guarantee reasonable dispersion to all nations.
While giving a report on antibody advancement, Mulombo said as of now, there are more than 200 immunization applicants, out of which 47 have gone through clinical preliminaries.
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He said 10 of the antibodies have arrived at cutting edge stages in human preliminaries, including the one being created by Pfizer.
The Minster of State for Health, Senator Olunmibe Mamora, who introduced a report on the COVID-19 pandemic at the preparation, verified Mulombo’s position, saying that Nigeria will guarantee that 20% of the weak populace are inoculated as soon the main bunch of the antibody is prepared.
On his part, the Director General of the Center for Disease Control (NCDC), Dr. Chikwe Ihekweazu, said Nigeria is working with the WHO-drove alliance to guarantee that the nation gets the antibody when they are prepared.
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He said the government was putting forth attempts to build the dosages of immunizations allotment to Nigeria.
Ihekweazu added that the NCDC is initiating sensitisation to advance adequacy of the antibody by the populace in order to keep away from obstruction.
He likewise talked about the difficulties of coordinations that is related with conveying COVID-19 immunizations.
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As indicated by him, a portion of the immunizations would require a cooler with cooling limit of – 70 degrees and – 80 degrees.
“We don’t have the foggiest idea about the kind of immunization we will in the long run be going with, however the main antibody accessible right now and for which the outcome has been reported will require less 70 degrees and short 80 degrees coolers,” he said.
He, nonetheless, expressed that there are coolers of the necessary ability to store the immunizations at the National Reference Laboratory in Abuja.
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Ihekweazu further talked on the ongoing episodes of Yellow fever and Lassa fever, saying that the nation may observer an upsurge in instances of Lassa fever disease because of the dry season climate.
He accused the resurgence of Yellow fever illness on the non-adherence to wellbeing warnings by residents.
As per him, tests taken from Enugu and Delta states have tried positive for Yellow fever.
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FG Cautions against Trips to US, UK, Others
The central government has encouraged Nigerians to try not to make unnecessary goes to COVID-19 high troubled nations to moderate the danger of once again introducing the infection to the nation.
The Chairman, Presidential Task Force on COVID-19, Mr Boss Mustapha, asked Nigerians wanting to make a trip to focus on the rising number of COVID-19 cases, particularly in those nations.
The PTF recorded the nations aas the US, Brazil, India, Mexico and the United Kingdom.
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Mustapha, at the public interview in Abuja, said the United States, India and Brazil represented 48 percent of the world’s weight, which has crossed the 52 million imprint.
He said the US has been recording more than 100,000 cases day by day lately while the pace of fatalities is expanding in the UK and other European nations.
“The PTF is as yet observing circumstances around the globe and will keep on raising the banner so Nigerians give satisfactory consideration to the circumstance. It will especially help in wanting to or not to, set out on trips. The real guidance of the PTF still remaining parts that trivial excursions ought to be completely dodged,” he added.
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He encouraged Nigerians to assume liability to guard the country by holding fast to all COVID-19 preventive measures.
Mustapha portrayed the testing rate in the nation as debilitating as it is lower than Mauritius’, which has the most elevated tests per million (218,535). Nigeria remains at 3,605 for each million.
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In the interim, the national government has declared it is putting forth attempt towards returning Malam Aminu Kano Airport, Kano and Port Harcourt International Airport, Omagwa for worldwide flights.
The Director General, Nigeria Civil Aviation Authority (NCAA), Captain Musa Nuhu, said during the PTF press instructions that when the two air terminals resume for worldwide flights, both the Murtala Muhammed Airport, Lagos and the Nnamdi Azikiwe Airport, Abuja would be liberated from traveler pressure while travelers will think that its much helpful getting to their objections.
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He said the Coalition Against COVID-19 (CACOVID) is likewise endeavoring to determine the issue of ICT and port wellbeing administrations by getting sufficient number of staff to run the two air terminals 24 hours every day.
He added that once those two things are dealt with, both Kano and Port Harcourt air terminals will continue activity.
Likewise, the PTF National Coordinator on COVID-19, Dr. Sanni Aliyu, said in excess of 12,500 corps individuals have been tried at the National Youth Service Corps (NYSC) direction camps, utilizing quick indicative test and the PCR.
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He additionally charged planned corps individuals coming from outside the nation to do the compulsory seclusion for seven days before they report to camp.
We’re Committed to Getting COVID-19 Vaccines, Says Osinbajo
VP Yemi Osinbajo likewise communicated the assurance of Nigeria to get the immunization, saying it’s a need of the organization of President Muhammadu Buhari.
Osinbajo talked yesterday at the initial meeting of the virtual release of the Paris Peace Forum, which included introductions by certain heads of state and government close by worldwide associations, on an aggregate reaction to the COVID-19 pandemic.
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He stated: “The needs of Nigeria in the post-COVID-19 time incorporate improved medical services and the economy. To begin with, we have to monitor the infection. While our gatekeepers are still solidly set up, getting the COVID-19 antibody involves most extreme concern
“On this, we are empowered by the endeavors of WHO and other worldwide organizations attempting to guarantee that immunization conveyance will be evenhanded over all nations, paying little mind to the need of requests and capacity to pay.”
Talking on the significance of organizing intercessions and interests in the medical services framework, the Osinbajo stated: “We are urging private venture to upscale our wellbeing area, with accentuation on improved offices and moderate widespread medical services.”
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He expressed gratitude toward world pioneers for their brief reaction and participation in controlling the spread of COVID-19, focusing on that “the sheer size of disturbances to our lives and jobs brought about by COVID-19 positively got us all off guard.”
The VP rehashed the call for obligation help for agricultural nations.
“The pandemic underscores the requirement for sufficient budgetary supports to adapt to the ‘dark swan’ occasions. For some non-industrial nations, the obligation trouble makes this everything except incomprehensible.
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“We call for obligation help for these nations, and the expansion of the Debt Service Suspension Initiative (DSSI) in any event until the finish of 2021 just as business obligation alleviation where required,” he added.
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independentaussie · 4 years
Text
Australian Media Silent for 407 Days on Julian Assange
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The Australian media seems transfixed by events unfolding in the United States. Seemingly addicted to propaganda mainstream outlets like CNN and the Washington Post, they bay for Donald Trump's blood. Surely, they surmise, the people will not elect him again. This narrow focus sells copy. It won't change a vote in the United States where the election will be determined largely by independent voters. Most of whom never watch CNN or read the Post (or New York Times for that matter). I suspect that come November many of these Australian political pundits will be pulling their collective hair out as they come to terms with another four years of Trump, MAGA and political incorrectness. There wont be a thing that they can do about it. Trump and his followers give little credence to any of the media outlets I've mentioned. Even less to a bunch of smug righteous superior Australian "journalists" watching from afar. The Australian media pack are a dedicated mob of narrative managers. They frame the news to suit their imagined audience. Trump's rise is as incomprehensible to them as the ALP's loss of the last election. There is fretting about "dangerous shifts to the right," "Russian interference," "racism," and "misogyny." Most of it is white noise - the result of a deep seated anxiety that nobody is listening to them anymore. Make no mistake. The Australian media has a deep seated, near pathological hatred of Donald Trump. They will do almost anything to cast his actions in a negative light. To be fair, The Donald gives them a fair amount of ammuniton - which they use to fire at will at him. There is one thing that the Australian media refuse to do. Ironically, it is perhaps the only thing that could have an impact upon the Trump administration. It is Trump's achilles heel. It is the treatment of an Australian citizen. His name is Julian Assange. At the time of writing 407 days have elapsed since Assange was arrested for a bail violation. He is enduring a show extradition trial in the UK. It is a show trial - the result is a foregone conclusion. The show trial of Julian Assange Most inmates awaiting trial in Britain's notorious Belmarsh Prison have been bailed for fears of contracting Covid 19. Assange has not. Covid 19 is, apparently, not a risk for political prisoners like him. The Australian media appears unfazed despite him suffering a serious lung condition. Assange's problems don't end there. The presiding judge in the extradition case has insisted that Assange be kept in a glass cage while evidence is heard. Even the US prosecution team had no objection to him sitting in the court where he could have access to his counsel. The judge would not allow this basic right. The media has been largely silent on this matter. One could imagine the outrage if one of their own was in a similar situation. Similarly, supporters of Assange including John Pilger have alerted the world to the fact that Assange is being denied reasonable access to his lawyers while in prison. That's not a problem either apparently. As far as the Australian media is concerned Assange can rot in Belmarsh. I suspect they would prefer to see him dead. Why is that? Was it Jealousy? In 2011 Julian Assange won the prestigious Walkley Award for outstanding contibution to journalism. The win created quite a bit of controversy among "real journalists." After all, he wasn't a real journalist in their eyes. He was an outsider and a maverick. He hadn't spent years at university learning how to think like a journalist. The bastard just published stuff that happened to be true. It was most upsetting. Knives started to sharpen then. When Julia Gillard sold Assange down the river claiming that he had committed serious crimes, very few sprung to his defence. When rape allegations surfaced in Sweden, they fell upon him like rabid dogs. Only a few independent voices bothered to check the facts of the matter. The die had been cast. Assange's reputation took a serious battering. Many would be supporters went cold. He was fair game. Was it hatred? In the eyes of the media, Assange's bigger crime may have been the part he played in the notorious Cinton emails. It was one thing for him to publish collateral murder, quite another to show Hilary Clinton to be the corrupt individual that she is. Clinton was their girl. The embodiement of latte sipping leftist, virtue signalling self validation. She would break the glass ceiling of all glass ceilings. Its symbolism was beautiful. The problem was that she was politically tone deaf, corrupt and disliked by large sections of the populace. When WikiLeaks published the emails that came into their posession all hell broke loose. The ascension of Queen Hilary was cruelly thwarted. They blamed Assange. If there was nothing in the emails, there would have been no problem. There was obviously something there. I've read them. There is. Hilary lost and mainstream media lost thir mind. They haven't got it back. They hate everybody who contributed to the loss. Jill Steyn, Susan Sarandon, Bernie Sanders (didn't do enough apparently) and a cast of thousands who didn't know what was good for them. Most of all though they hate Julian Assange for having the balls to do what they would never do. Publish dirt on the Clintons. When it comes to choosing Assange or Trump, the Australian Media choose Trump. If Australian journalists really wanted to throw a spanner in the Trump administration's works they could. It would be a simple process. Mount a campaign that outlines the true history and injustices of Julian Assange's caseCreate a narrative (they're pretty good at that) around the injustice and the apparent weakness of successive Australian governments in protecting an Australian citizenActively put pressure on the Australian government to represent Assange's interests and rights to both the UK and US governments.In doing so they would force all three governements to defend an indefensible position. Much of Trump's base love Assange. He has gone unpunished for the arrest because noone puts heat on him for it. It's never going to happen without pressure from below. The Australian media haven't got the guts or the moral fibre to act. They need a fire lit underneath them. Make it happen. Read the full article
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coronamaths · 4 years
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COULD WE HAVE DONE BETTER? - 9th May
The headline in the iNews today: “Coronavirus lockdown: The world reacts to Britain’s ‘incomprehensible’ response, botched testing and care home crisis” and wrote “While there is sympathy for Britain’s health workers, there is disbelief that Prime Minister Boris Johnson squandered vital weeks.  As Britain this week recorded the highest death rate in Europe – and the second in the world behind the US – an incredulous foreign press described the situation using colourful invective: it is ‘a shambles’, ‘a nightmare’ reflecting ‘negligence’, ‘complacency’ and ‘stupidity’.”
Contrast this with Johnson’s comeback speech on 27th April in which he said “I know there will be many people looking now at our current success and beginning to wonder whether now is the time to go easy on those social distancing measures.”
What did he mean by current success?
Did he mean the 25,000 official deaths (today over 31,000)?  Or did he mean the 100+ healthcare workers who had died by that time?  Or did he mean the financial hardship that millions of people have had to face?  Or did he mean the swathe the virus was cutting through care homes?  Or did he mean the tanking of the economy - the worst in 300 years
So could we have done better?  The answer is yes, yes, yes.  At every press conference we hear the mantra “we have taken the right decisions at the right time” but that’s not supported by any stretch of the imagination by the evidence.
WHAT THE MODEL SHOWS
We can use the model of the spread of coronavirus to show what would have happened if the same lockdown we entered on 23rd March had been deployed earlier.  The model is accurately tracking the number of deaths so we can use it with confidence to explore “what if” scenarios.  So I’ve chosen three dates - 15th February, 5th March and 12th March as alternative dates when a decision on lockdown could have been made.  The results are shown in Charts 9 and 16.
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CHART 9 shows the current projection (red line) for the cumulative number of deaths by the end of the year - around 62,000.  Compare that to the lines for the other dates which show that:
1. If we’d acted very quickly and decisively (15th Feb yellow line) deaths would have been kept to double figures;
2. Even 3 weeks later at 5th March (orange line) deaths, at round 10,000, would be a sixth;
3. But the delay from 5th March to 12th March was critical, increasing deaths by another 30,000.
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CHART 10 shows the same data but on daily basis.  Key features are:
1. The timing of the peak doesn’t change that much - within a matter of 10 days
2. Apart from the first date (15th Feb) the decline of the disease has a very long tail so the delay in deploying lockdown mean that in all scenarios the decision on how to relax the lockdown is difficult.
3. The peaks are important because they indicate the extreme pressure that would be put on the health and social care services.  A decision on 5th March would have kept that peak to a very manageable 115 deaths.  A week later the peak increases 6-fold but that number is about what we are seeing now about a month after the actual peak we’ve been through.
HINDSIGHT AND EVIDENCE
The argument usually put forward about this sort of analysis is that hindsight is a wonderful thing but doesn’t prove anything.  The difference with this though is:
1. The model doesn’t care about time.  It reflects the way a disease would spread at any time and is accurately tracking that spread now;
2. There is plenty of recorded evidence about what was going on leading up to the various dates on which the right decisions could have been made.
Let’s look at this evidence:
Upto February 15th:
1. From mid-January onwards the outbreak in China was in the news every day and we saw how serious it as by the fact that they had to build, from the ground up, two 1000-bed hospitals in Wuhan in 10 days.  These were completed by 5th February.
2. Despite this, on January 23rd Matt Hancock declared in Parliament that the risk was low and the NHS was “well-prepared and well-equipped” to deal with the disease.  He went further in saying that “the whole of the UK is always well-prepared to deal with these types of outbreaks”.  He also said that the UK was one of the first countries to have developed a world-leading test for the virus. The shadow minister warned that a global pandemic could be avoided if all governments took the right measures in a timely fashion.
3. By 30th January the disease had spread to 18 countries outside China showing how infectious the disease was.  WHO declared a global emergency - a “PHEIC” or Public Health Emergency of International Concern.  They gave clear advice to all countries to “test, test, test”.
4. On 31st January the first case was reported in the UK.
5. On 3rd February Johnson made a speech in Greenwich again underplaying the importance of Coronavirus and portraying the UK as a superman ready to lead the economic world through it.
6. So the scene was set by early February for the government’s tone and approach - ignoring the evidence; ignoring outside advice; underestimating the seriousness of the situation; and over-estimating our capability (some might even say lying).
7. Those first two weeks in February could have been used to prepare for lockdown but, of course, that didn’t fit with Johnson’s view.
Upto March 5th
1. The concession to the public to show it was being taken seriously was to “wash your hands”.
2. Through January and February Johnson missed 5 COBRA meetings
3. On February 28th WHO raised its risk assessment to “very high”, its highest level of alert.
4. Meanwhile Italy had replaced China on our TV screens.  The first deaths there occurred on 22 February and by the beginning of March, the virus had spread to all regions.  Social media was full of Italian doctors warning how serious this was.
5. Unperturbed by all of this Johnson delayed his “emergency” COBRA meeting until after his long-weekend break and then on March 3rd Johnson once again repeated that the NHS and the country were very well prepared.
6. On 5th March the first death was reported.  Alarm bells should have been sounding because of the evidence from China and Italy and the exponential way in which the disease spreads.
Upto March 12th
This was the crucial week and by the end of it:
1. The opportunity for lockdown had been lost through further delay and a further 30,000 people would die.
2. Italy went into lockdown on 9th March.
3. On March 11th WHO declared a global pandemic.
4. Johnson did a remarkable about-turn, still not accepting that everything they had done so far was wrong but saying that the “science had changed”.  What he meant was that Imperial College had presented a report showing that there would be potentially half a million deaths and the NHS would be overwhelmed if Johnson didn’t enforce a lockdown.
5. So a week after he’d confidently told the country there was still nothing to worry about he now said that “loved ones would die”.
6. Now they definitely knew the seriousness of the problem but still the lockdown was not imposed.
Upto March 23rd
Not only was the lockdown not imposed but large gatherings were still permitted - the Cheltenham festival being the most notable.  These 11 days of delay will have cost another 20,000 lives.
Credentials
Don’t forget you can check my post on “Background and Credentials” if you have any doubts about the authenticity of what I am posting.  You can get to that and other posts as I add them via the Index to posts.  Click here:  Index to Blog Posts
(Retrospective note 22nd May:  This is an update from the original idea, based on version 1 of the model, first posted 21st March and updated on April 14th.  See:  https://coronamaths.tumblr.com/post/618846658425470976/the-start-3-21st-march and  https://coronamaths.tumblr.com/post/618903342427537408/the-impact-on-deaths-of-delaying-lockdown)
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xspectro · 7 years
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Star Trek-style communicator hopes to break down cultural barriers
In Star Trek, the technology to instantly translate any language was first developed in the late 22nd century, but today researchers are already working on ways to take universal communication even further.
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Mobile phone applications make it possible to translate into many different languages, but imagine giving a thumbs-up to someone from the Middle East or West Africa at the end of a chat – in most western cultures it is a sign of pleasure, but to them the signal is an outrageous insult.
"It is often much easier to understand someone if you can see them because what is being said in a conversation extends far beyond the spoken word," said Professor Leo Wanner, a computational linguistics researcher at the Pompeu Fabra University in Barcelona, Spain.
"It is about the tone of the voice, the facial expressions and the gestures. But there are social idiosyncrasies that vary between cultures."
Prof. Wanner is leading the EU KRISTINA project which aims to interpret language alongside cultural barriers in order to develop a personal translation assistant. They are working on software that can watch, listen and respond to migrants in ways that are socially appropriate to them or translate their needs for locals.
"Helping people overcome barriers when they arrive in an unfamiliar country is not just about translating the language – it is rather about communication that requires social, cultural and background knowledge. This is what our socially intelligent conversation agent is trying to do," said Prof. Wanner.
The agent takes the form of a digital platform that can respond to questions from users in their native language. Prof. Wanner said the goal is to develop a system that runs on devices like tablets and laptops.
The overall aim is to make these interactions as normal and natural as possible so users can ask questions, and chat, as if they were talking to another human being, which, for example, would help migrants integrate better when they arrive in a new country.
"Migrants who arrive in European countries may not be familiar with the health system at all," he said. "Our agent would be able to assess their problem based on their age, location, gender, and other things – so it can tell them in natural language where they need to go."
A prototype of the system, which can understand English, German, Spanish and Polish, is being evaluated in a healthcare context in Spain and Germany, while Turkish and Arabic will be added later.
In another setting, KRISTINA is being used to help Polish care workers who are looking after elderly patients in Germany.
"The caregivers do not know the (German) language that well or the preferences of the elderly person they are looking after, so the agent can be an intermediary," said Prof. Wanner.
Vulnerable populations
Around 4.1 % of the elderly population in Europe were born outside the EU. Interacting with people from such diverse backgrounds can be difficult and requires a deeper understanding of their background and cultures than most translation software can provide.
KRISTINA's digital assistant aims to further help these people by recording sample conversations and building up a bank of basic knowledge. The system then builds on these conversations using machine learning, a type of automated data analysis, to help it recognise facial expressions, gestures and changes in the tone of voice.
Prof. Wanner said: "If we have an elderly person greet the virtual agent in a bit of a depressed voice in the morning, it will recognise that and ask what is wrong.
"It will ask if they slept poorly or look for anything it can do to cheer them up. For example, it might remind them their family are coming to visit later that afternoon."
The idea of communicating with people in ways that are familiar to them is something Professor Mirella Lapata, from the University of Edinburgh, UK, also believes is essential. She has been developing technology that doesn't simply translate information for people – it makes it simpler.
Just think of the often incomprehensible terminology on tax forms and complex phrasing used on other official documents such as customs declarations. Then imagine tackling those in a second language.
Prof. Lapata, who is leading an EU European Research Council project called TransModal, is using machine learning to unravel key information from text, images, video and even computer code so it can be used by anyone.
"What we are proposing is not just something like Google Translate but much more like Google Simplify," she explained. "The idea is you press a button or scan a document with your phone and get a simpler version."
For someone with only a basic understanding of a second language, this could help them access information that has previously been mystifying to them, according to Prof. Lapata.
She said: "If you have an immigrant who comes to the UK, for example, they will struggle to do day-to-day stuff like going to the bank or to the post office because they cannot read the language. The idea is to simplify the information they see so they can understand it."
Prof. Lapata hopes the algorithms involved could eventually be used through an application on a mobile phone or a button on a web-browser.
It is still early days, but Prof. Lapata believes the uses could also extend far beyond helping those who struggle with foreign languages.
"People who have poor literacy skills could definitely benefit," she said. "Teachers could also use it to produce materials that are aimed at a range of abilities."
SOURCE :  Horizon: The EU Research & Innovation Magazine
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cryptnus-blog · 6 years
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Chancellor's blockchain idea is a desperate scrape of the Brexit barrel
New Post has been published on https://cryptnus.com/2018/10/chancellors-blockchain-idea-is-a-desperate-scrape-of-the-brexit-barrel/
Chancellor's blockchain idea is a desperate scrape of the Brexit barrel
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Knowing only a little about the intricacies of Brexit, but rather more about overhyped financial technology, we’d have to guess the former isn’t going too well. The reason is a statement from Phillip Hammond, chancellor of the exchequer, reported by Reuters on Monday:
“There is technology becoming available (…) I don’t claim to be an expert on it but the most obvious technology is blockchain,” Hammond said when asked about how the government could achieve smooth trade after Brexit.
The problem is the Irish border. The post-conflict settlement in Northern Ireland rests in part on a fluid and frictionless relationship with its southern neighbour, which in turn has rested on both sides belonging to the European Union. Brexit threatens to undo that settlement.
If the UK is to fully leave the EU, or rely on World Trade Organization rules in a no-deal scenario, a (wildly unpopular) hard border must spring up if Northern Ireland goes with it. Or there must be some sort of special status for Northern Ireland, which fragments the UK. Or the post-Brexit relationship of the UK to the EU must be close to what it is pre-Brexit. (Martin Sandbu is the must-read guide to it all).
It is safe to say technology used at the border is a red herring, as even the best database can’t poke its nose inside a lorry. Here, for instance, is one of the IT experts quoted in the Irish Times calling the idea of technological solutions to the border question “complete nonsense”:
“It’s one of these things that if people say it often enough it starts to sound like something that could work,” said Sadhbh McCarthy, who set up and led the Centre for Irish and European Security (CIES).
“If border issues were that easy to sort out do you think the US, with all its resources, would be considering building a big wall with Mexico?” added Ms McCarthy, who has also served as managing director at the at the European Biometrics Forum, and in a number of IT roles with the likes of IBM and Diageo.
Wired also looked at tech solutions for dealing with 6,000 heavy goods vehicles per day crossing the border, and decided that they were “untested or imaginary”. Blockchain as a border solution is both.
So what inspired Hammond to jump on the blockwagon? It might have been a “white paper” literally called “Blockchain for Brexit”, released last week by Reply Ltd, a consultancy which promised a “solution that could save global businesses billions of pounds through seamless border checks and virtually infallible tracking systems for their goods”.
Or maybe he’s been spending time with fellow Tory block-nonsense enthusiasts Grant Shapps, Michelle Mone, Damien Moore, and Eddie Hughes.
David Cameron (pictured here by Alphaville at a bitcoin-wallet envelope-opening office-opening party back in February 2017) might also be a role model:
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The thing is, a shared record-keeping system for online payments isn’t the same thing as an “infallible tracking system” for goods. A blockchain, in its purest form, is an energy-intensive, slow, unwieldy bit of technology which keeps a record of cryptocurrency transactions. But that “currency” is nothing more than a string of digits. It doesn’t exist outside of the internet. In order to track goods digitally, you need to somehow “tokenise” them and trust those tokens represent the physical goods. Blockchain can’t do that.
It’s also very unclear what “blockchain technology” actually refers to. Outside of the world of cryptocurrency, its essential characteristics have become so watered down to make the term meaningless. The only common definition for it is a “distributed ledger technology”, which just replaces one incomprehensible bit of jargon with another.
The chancellor might have come across it because so many companies are throwing money at it, but perhaps someone could let him know the effort has been going long enough to produce experts willing to say the Emperor has no clothes. Here, for instance, is Angus De Crespigny, who spent the last four years consulting on blockchain and crypto assets at EY, but has now quit:
While there is most certainly a disconnect between business processes and the technology, rather than limiting the development of business cases, I believe it has in fact led to the opposite problem: unjustified beliefs and hype of what the technology can do.
That’s from a piece published by Coindesk last week, in which he explained why he’d “lost the faith”. De Crespigny also argued that the benefits of blockchain often cited, such as encrypted data, automated reconciliation and almost-instant data transfer and tracking, can all be achieved with existing database systems.
Perhaps all a bit techy and complex for a chancellor who’s not an expert on these things. But this paragraph might resonate:
A somewhat different view I have heard is that blockchain technology is the future, and therefore while we cannot quantify the benefits, it is worthwhile moving to the new paradigm to stay ahead of the curve.
When the world is crumbling around you, it is worthwhile staying ahead of the curve.
So, even if this elusive blockchain technology could provide a “virtually infallible” tracking system for goods (it can’t), it doesn’t begin to solve the conundrum of how to separate one country that is a member of a trading union from another that isn’t, when both sides want a fluid border. More than two years after the referendum, with the analytical heft of the civil service behind him, the chancellor is grasping at straws in the wind.
Related links: Theresa May must make a choice over autonomy or access to markets — FT Brexit threatens an end to Northern Ireland’s era of ‘civility’ — FT Sell all crypto and abandon all blockchain — FT Alphaville Blockchain insiders tell us why we don’t need blockchain — FT Alphaville
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cantquitu · 7 years
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It is really interesting to me that it seems like Columbia is really letting Harry drive the announcement and schedule for this whole rollout, of course I am sure they were hugely influential in all the planning and timing of it bts but the fact that they were not the ones who came out with a big announcement, it was Harry blanking all his social media and then that advert on UK TV, it was Harry who posted the link to his website and background/icons on his twitter/IG and drove people to his 1/3
website in droves and that was even before the SNL thing was announced, which was also done by SNL/Jimmy Fallon, and not by Columbia, he wasn’t added to the Columbia website and the news about SNL added until a few hours later that day. Columbia still hasn’t tweeted anything about SNL or a single. Then we have HDD (aka Jeff’s mouthpiece lol) spilling more details about timing, the music, etc, a website that is a bizarre mind tickling incomprehensible back drop with no context and no actual 2/and nothing but a place to sign up for ….who knows what, lol? I am really interested in what the plan is here, it really seems like they are letting Harry take the lead and treating him a lot like he is already a big star who can drive social media/media. I think solo Harry is going to be a real shock to the system for a lot of 1d fans, especially ones that seem to not really follow other artists. I don’t think Harry is playing safe or playing by 1d rules for promo or anything. 3/3
____
Hmm, I’m not quite sure I know what you mean because ….Columbia is behind all this. Like, it may have been posted on Harry’s social media but that is part of a carefully orchestrated marketing plan that is completely entwined with Columbia. It’s obviously going to be far more effective to release news via Harry’s own website/SM pages than Columbia’s website because his fans follow Harry, not Columbia. They’re treating him like a big star who can drive social media & nedia because he IS a big star who can drive social media & media - he has been for 6 years! :)
We’ll see if Harry does play outside the rules but so far this year the solo launch build-up has been very typical of a big label. (don’t mean to be a party pooper, sorry - I don’t mean this to sound negative because it’s anything but!! :))
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deadcactuswalking · 6 years
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REVIEWING THE CHARTS: 11th November 2018
Okay, I am so sorry this is so late, but honestly I don’t think the Sunday routine works all that well with me personally, so I just moved to my alternate date for maybe the next two weeks. I’m thinking of going for Saturday or Friday with alternate dates on Thursday for next year? We’ll see.
Top 10
And, of course... “thank u, next” by Ariana Grande debuts at number-one. I believe this is the fourth #1 debut this year, two of which were Drake, of course, and the other was “Funky Friday” by Dave and Fredo. We’ll talk more about it later, but for now, this is Grande’s sixteenth top 40 hit in the UK, her ninth top 10 and her third #1. Congratulations, Ari.
“Shallow” by Lady Gaga and Bradley Cooper, last week’s #1, is of course down a spot to number-two.
As is “Woman Like Me” by Little Mix featuring Nicki Minaj at number-three, kept in the top five by its X Factor performance.
Oh, and so is “Promises” by Calvin Harris and Sam Smith, now at number-four.
“Let You Love Me” by Rita Ora, on the other hand, is one space above its placement last week, at number-five.
Out of the top five now, we have “Funky Friday” by Dave and Fredo in freefall now, down two spots to number-six.
Up a whopping 11 spaces this week is “Thursday” by Jess Glynne, as I expected, due to an Ed Sheeran acoustic remix and now a video that may just push this one up to the top spot. As of now, it’s her eleventh top 10 and matches the peak of previous single, “All I Am”.
The ever-so-fascinating song “ZEZE” by Kodak Black, Travis Scott and Offset of the Migos is down a spot to number-eight... full-length review of that coming soon, by the way.
“Without Me” by Halsey is up 13 spots to number-nine due to the Colin Tilley-directed video, and becomes what I believe to be only her third top 10 (two of which are number-ones, funnily enough).
Finally, Post Malone and Swae Lee’s “Sunflower” returns to the top 10 after a one-spot increase, rounding off the top 10 (which is actually pretty good this week) with a fantastic song.
Climbers
Outside of the top 10, there’s pretty much nothing here I should bother with. Yeah, those are the only notable jumps this week, other than “Ruin My Life” by Zara Larsson bouncing up six spots to #22, I guess, but it’s not like that song’s any interesting.
Fallers
Now this is a very different story. There were so many fallers this week, although not many of them really have any value. I mean, sure, there were basically hundreds of one, two or three-space fallers, but who cares about them? Let’s focus on the fortunate five-space fall for “Arms Around You” by XXXTENTACION, Lil Pump, Swae Lee, Maluma and with honourable credit to Rio Santana, now sent back to #19. Same fall goes for “Better” by Khalid too (although that song is much better, for the record), now at #24, right next to the big story here – “Happier” by Marshmello and Bastille plummeting 18 spaces to #23, because I’m pretty sure it’s time for its streaming cuts, which affected Dynoro and Gigi D’Agostino’s “In My Mind” to a much heavier extent, because, Jesus Christ. It’s down freaking 32 positions to #40. This could have easily dropped off straight from number-eight and that’s pretty crazy. Now, rapid-fire: “Eastside” by benny blanco, Halsey and Khalid is down five to #26 while “MIA” by Bad Bunny and Drake and “Shotgun” by George Ezra are down four to #29 and #30, “Ay Caramba” by Stay Flee Get Lizzy with Fredo and Young T & Bugsey is down six to #38, and, to my dismay, “when the party’s over” by Billie Eilish also falls down five spaces to #39.
Dropouts
Right before the new arrivals, might as well mention the dropouts here. “Girls Like You” by Maroon 5 featuring Cardi B is out from #31 (the beast has yet to be slain in the US, it seems), “Baby Shark” by Pinkfong has dropped out again from #35, “Body” by Loud Luxury and brando has exited from #37 after having a pretty good run, “Venom” by Eminem has been bit down to the bottom of the charts as it drops out from #38, “Kiss and Make Up” by Dua Lipa featuring BLACKPINK has fallen out from #39, and finally “I Want You to Freak” by Rak-Su is out from #40.
NEW ARRIVALS
#37 – “A Million Dreams” (Reimagined) – P!nk
Apparently there’s been a “Reimagined” edition of the soundtrack for the musical The Greatest Showman (that has just had his songs finally leave the top 40 after months of “This is Me” dominating), adding covers of the musical’s songs by Kelly Clarkson and Panic! at the Disco. This is the second time I’ve had to cover this song on this show, since the original version also charted, and my opinions haven’t really changed. This is P!nk’s thirty-second UK Top 40 hit, and easily one of her least memorable. Everything feels quite plastic in the production here other than that pretty nice guitar melody but it’s nothing new and nothing all that interesting, with the strings adding some extra melodrama to a pretty-sounding but otherwise kind of useless, typical piano ballad. P!nk has some real power to her voice like she always has, and that pounding percussion is pretty effective in giving it that extra “oomph” but I’m not feeling it here. This shouldn’t be a surprise to any of you if you’ve seen other episodes; I just don’t like ballads as much as I really wish I could, I guess. Oh, and this is way too long. After less than two minutes, I get bored – and this is more than double that.
#35 – “I Found You” – benny blanco and Calvin Harris
benny blanco seems to be striving for a solo lead artist career, and his first venture after the massive success of “Eastside” is to pander to the UK crowd he’s been doing so well with, by collaborating with one of our favourite Scottish DJs, Calvin Harris, and disregarding that oddly eerie cover art, this is benny blanco’s second UK Top 40 hit as a credited artist and Calvin Harris’ thirty-third, and it’s pretty awesome. It starts with that guitar or organ riff repeating with Calvin Harris actually performing vocals (yeah, he can’t sing but it works here) in a deeper register, creating an odd atmosphere before it’s immediately retconned for some brighter synths and disco-inflected deep house grooves, because that’s the road Calvin’s been going down lately, but it still keeps me on-edge with those haunting background vocals in the hook, and that pitched-down vocal fragment that repeats is such a taunting melody. Man, and that riff returning in the bridge with only the backing vocals is pretty creepy as well. Yeah, absolutely nothing works the way it should here, and that is just perfect – nothing goes as plan and it still bangs. Nice one, guys. I recommend this... for all the wrong reasons.
#33 – “Baby” – Clean Bandit featuring Marina and Luis Fonsi
What a strange combination. Reggaeton singer and accidental meme-pioneer Luis Fonsi performing on a duet with synthpop critic’s favourite Marina Diamandis, this being her first single without “the Diamonds” (who didn’t exactly exist in the first place, it’s always been a solo venture) over a beat from orchestral-EDM fusion outfit Clean Bandit? I mean, I’m up for it, but this wasn’t expected to say the least... although looking into it Marina’s collaborated with the group before so maybe it’s not too out of left field. Anyways, this is Clean Bandit’s eleventh, Marina’s sixth and Luis Fonsi’s second (after “Despacito”) UK Top 40 hit, and it’s okay. This instrumental feels pretty cluttered with a 808 bassline on coke desperately following the slick guitar strumming, but they can definitely keep up with Marina’s beautiful voice on the track, as well as Luis’ pretty good (albeit shorter) performance, with the hats in the drop being a nice addition, but then there’s another drop for some reason, and it’s completely different, adding horns and just becoming more Latin-inflected because the rest of the song isn’t at all, really, just relying on the guitars and Fonsi to handle that crossover appeal. When Marina and Fonsi start singing completely different melodies on top of each other while the drop is still playing, I feel like way too much is going on, and it’s not mixed in an interesting or well enough way for me to forgive. This isn’t for me, but I can see other people liking it, it’s just a bit too messy for me.
#27 – “Empty Space” – James Arthur
I don’t like this guy at all. His voice is unrecognisably familiar at best and aggravatingly incomprehensible at worse. I have never heard a single song I can stand from the guy, especially after his “comeback”, in fact I’d argue he’s just gotten so much worse with songs like “Naked”, “Sun Comes Up” and especially “Say You Won’t Let Go” – oh, God, that one’s unlistenable. Anyways, this is the X Factor series nine winner’s ninth UK Top 40 hit, and it’s probably not his worst one, but it might as well be because it is still pretty terrible. James Arthur sounds bored like always over the pseudo-aggressive indie-ish production that starts the song off until we have a bit of trap percussion he rides well, right until it abruptly switches to him belting with bottle caps up his nose for unlistenable pre-choruses, especially since nothing drowns him out. It’s just him, his guitar and those only – and even when the strings and percussion comes in, it just gets worse because the drums aren’t fitting – this isn’t a motivational track. That chorus with Arthur nasally repeating “space” with tiny little chipmunk vocals placed in there at somehow exactly the worst moments. Oh, and that final drop with all the four vocal tracks going on at once, none of them even half-decent, is audio torture, especially with all the synth noise that absorbs the trash and just regurgitates it with all the spit still lingering all over it. What an excruciating three and a half minutes.
#16 – “Polaroid” – Jonas Blue featuring Liam Payne and Lennon Stella
Jonas Blue’s been here before – he’s a mainstream EDM producer who’s made songs I love like “Mama” and songs I hate with a burning passion like “Rise” with Jack & Jack, Liam Payne we haven’t really talked about but he’s one of the One Direction boys that you all know and love. Lennon Stella is a bit of a different story. She’s a 19-year-old actress who shaped her career out of the TV show Nashville – I’ve never seen it and can’t comment, but it involved a lot of singing and country music from what I can gather, so it’s understandable that it should be in her best interests to start a pop music career, and she did so with a couple singles here and there, but this is her first ever UK Top 40 hit (congratulations), Jonas Blue’s seventh and Liam Payne’s sixth as a solo artist. It’s here because of an X Factor performance, and it also sucks mostly because it’s nothing to write home about, ironically for a song named after memorable photographs. It starts with those fake finger-snaps, as background laughter and chatter fills up the mix, before an abrupt semi-drop that just kind of clouds the song with synth noise as Liam Payne uses what seems to be his lower register (proving that he just pretty much can’t sing, can he?). Oh, and the actual drop is not catchy at all, like it’s so forgettable. Lennon Stella doesn’t perform very well at all either, but yeah, the chorus isn’t a new or memorable melody, and while I like that it’s an EDM song that focuses less on the drop as its source of climax, it makes the song miss the point – and doing so, it also misses the mark.
#1 – “thank u, next” – Ariana Grande
And finally, it’s the big one – Ariana Grande’s new single where she rattles off her ex-boyfriends and thanks them for what they’ve helped her learn and how they’ve assisted in her growth as a person – in one, very non-descriptive verse, but it’s there nonetheless – and comes to terms with herself as a human, realising she does not need what she perceived as a necessity – to always have a partner. Basically it’s a self-confidence anthem that only Ariana can really relate to specifically. If you twist it around a bit it would apply to you but without any of the names changing, that’s just how it is... and it’s all over a smooth R&B beat. Ari sounds great like always, I don’t even need to comment on that, but when that warbly bass slides in after just a few seconds of just the keys and vocals, that’s just beautiful. The beat throughout is wrapped in silk and just dripping swagger, fitting Ari’s low-key verse delivery and even limiting herself in the chorus where she’s supposed to burst like usual – but nah, she doesn’t all that much. It’s there, but relegated to ad-libs and nothing else, which is good because that catchy-as-all-hell hook could not be delivered better. If I have any issues, it’s that the ending is a rushed, abrupt fade-out which adds so many additional musical elements that could have easily been developed afterwards, and that the lyrics may be a tad too passive so the whole thing comes off as disregarding even keeping to herself and instead still being boy-hungry, especially in the chorus, where the whole “thank you, next” phrase just doesn’t really make sense to me in the context of the song, especially since she implies she’ll be moving onto the next relationship. She does elaborate in the second verse, but it still irks me like all my little nitpicks do. Otherwise, great song.
Conclusion
It’s a middling weak overall, with obvious stand-outs at each end of the spectrum. James Arthur gets Worst of the Week for “Empty Space” as Dishonourable Mention goes to Jonas Blue, Liam Payne and Lennon Stella for “Polaroid”. Best of the Week is obviously going to going to Ariana Grande for “thank u, next”, but she had close competition with the Honourable Mention this week, benny blanco and Calvin Harris, for the wonderfully incompetent “I Found You”. See ya in a few days!
at1 \lsdpr
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parryw · 6 years
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Questioning Temporality Within Procedural Based Computer Music.
This paper is an exploration into temporal topics that arise through the creation, archiving and experiencing of procedural-based computer music composition. The project will be using Jem Finer’s Longplayer as a case study in which to extract and analyse these concepts from a computer musicians perspective. Longplayer is ‘a one thousand year long composition’ and sonified piece of sound artwork conceptualised by Jem Finer and commissioned by Artangel. The piece began playing at midnight 31/12/1999, and was set to “play without repetition until the last moment of 2999”. Longplayer uses “simple and precise rules”[9] to determine the output of the composition and is composed for 234 Tibetan singing bowls . Longplayer is currently installed in the lighthouse at Trinity Buoy Wharf in London and is broadcast to ‘listening posts’ in Yorkshire Sculpture Park (UK), Kings Place (UK) and The Long by Now Foundation Museum (USA).[8]
Creation
To understand where and how Longplayer was created in relation to time, it is necessary to have an understanding of where it was situated socially within its contemporary during the time of its creation. Prior to the creation of Longplayer (between October 1995 and December 1999) there had been a broad mix of rule and procedural-based artworks, ranging from early tools of ‘pre-digital’ art such as The Canon, through to Schoenburgs twelve-tone Serialism and later experimental works of John Cage and arguably that of the Fluxus Movement through their restrained improvisation approach to creating its ‘Happenings’[7]. The entry of the personal computer created a domain for increased efficiency in calculating, sonifying and visualising procedural-based works, and and made space for the creation of art-programming softwares such as superCollider, Processing and MaxMSP. The creation of these softwares lead to a new turn of artworks such as Longplayer and other works ranging from fixed multi-media artworks such as Brian Eno’s Bloom, to the new movement of live-algorithmic composition events such as Alograve. The term algorithmic composition umbrellas three main systematic approaches to composition, a ‘Stochastic’ , a deterministic rule-based, and the artificially ‘intelligent’ system.[11]
It is common for the non-algorithmic composer to create a composition, from start to finish, and sometimes follow a standard of musical form (such as ABA). The non-algorithmic composer, during the time of creation has the ability to stack their musical phrases like building blocks, writing notes with an almost ‘stream of consciousness’ approach and ‘penciling out’ blemishes. Alternatively the rule-based algorithmic computer musician relies on forming a set of rules into an executable procedure used to perform a piece of music, the composer now has to adopt a form of ‘algorithmic thinking’ in order to create this music. It’s this ‘algorithmic thinking’ that provokes a questioning of time and the composers intentions for their composition, as the algorithm itself in static form, is unrepresentative of the piece that it will perform. It is the need for time or the composers ‘future visioning’ for the piece to reveal it’s intended effect unlike the non-algorithmic composers visually mapped musical score. The concept of the rule-based composition reinforces musics dependency on time, not only as a physical requirement for the sonification of a piece, or for a macro perceptive of a composition, but for the building of a composition with a complete relevance and connection to a start point, unlike a composition built on a collage of musical phrases or a humanly non-complete deterministic algorithmic process such as a stochastic[6], or AI approach[5].
When uncertainty is applied to algorithmic composition it allows for a development of emergence over time, approaches to this theme have been explored by the use of bio-inspired computing techniques such as genetic algorithms[10], Cellular Automata and AI. The vast complexity of potential variables and the range of results when using these algorithms questions the balance of artistic creation and intervention vs computer agency. Using these ‘indeterministic’ algorithms the algorithmic composer can only ‘future vision’ the hard-coded aspects of the algorithm, and not fully for this emergence that these algorithms are designed for. Using this logic, the artists decision for an implementation of an emergent algorithm could be seen as a clear offering of creative agency for a resulting composition and challenges concepts surrounding the idea of authorship and creative ownership of an emergent composition. This concept appears clear to the Longplayer Trust, through their understanding of the value of the Longplayer algorithm, as on asking Sarah Davies (producer and administrator for Longplayer) if the piece was produced explicitly for singing bowls, she replied describing the piece soley as “... a particular instance of an algorithm”. [1]
Experiencing
Non-deterministic algorithmic approaches to composing like the stochastic and AI methods add an element of ‘randomness’ into their system. Due to this randomness, on experience of these compositions, uncertainty is almost a key attribute to the overall aesthetic of the compositions and is often executed timbrally using traditionally one type of harmonious instrument like Longplayers singing bowls, or Iannis Xenakis’ ‘Pléiades’ vibraphones and xylophones. This allows for a focus on this uncertainty for an emerging aesthetic without listening fatigue. Comparing this to a deterministic form of algorithmic art such as the fractal where a clear structure is perceived, the composition has room to allow for complexities (like a fractals broad use of color) to be added to the overall composition with clear structure. It’s these constraints and complexities that are of an integral part of an artists creative process[1], and allow for artistic specificity and a compositions identity.
“The notion of structure implies something recoverable, in the sense that it is possible to look at an end result and determine the structures that generate it.”[2] Longplayer challenges this idea, as although itself is deterministic, it will not provide evident structure upon human listening, as the algorithm takes far longer to unfold than human life, and therefore will not reveal it’s full structure until it has completed its 1000 year cycle. Longplayers algorithm implements a series of six ‘cycled’ compositions, each taking a different amount of time to complete, the shortest cycle is 3.7 days, with this in mind, part structure could be considered to uncover over the space of two of these 3.7 day cycles revealing repetition, but the nature of the Longplayer algorithm makes this repetition incomprehensible through the implementation of the further five cycles, these being an a form of modification to the perceived composition.
On experience of Longplayer, the listener is subjected to a microscopic section of the composition in relevance to its whole, leaving for only a part reflection of the piece. This could be comparably seen as a play on Fereneyhoughs suggestion of music and its ontological positioning, whereby “...the listening subject at moments “stands apart” and consciousness is engaged in an act of scanning and measuring outside of  the immediate flow”[4]. In temporal relevance to Longplayer, an immediate flow could be seen to be the listeners receipt of the composition in part, and the scanning as a reflection of the piece. Upon scaling the length of Longplayer to an average composition time of 10 minutes, 1 second of ‘Longplayer time’ becomes 0.000000002 seconds of the 10 minute composition.1Veit Erlman describes the conclusion of early physician Hermann von Helmholtz search for audio perception that “... body and mind do not simply operate within a given spatial and temporal matrix, they are that matrix.”[3] This concept could, in a distorted poetic way, help emphasise the vastness of ‘Longplayer time’ in relativity to our own, in that a 10 minute bodily perception of the composition is only a grain of its complete. Xenakis explores this topic of micro sound perception, through his creation of granular synthesis. Comparing these concepts in this way, helps to uncover the almost egotistic element of mystery when trying to comprehend music time space in perception and beyond human life.
1Rough workings:
(600 Seconds = 10 Minutes)  / (1000 Years = 315576000000 seconds) = 0.000000002
Archiving
Through its use of rule-based composition creating a piece of music that was intended to last one thousand years, Longplayer questions the notion of the human, social, computing and materiality finite. To question the idea of this finite, one must look into levels of decay amongst these paradigms to set a threshold of its obsolete. Whilst trying to determine a threshold of decay amongst humanistic qualities, like the existence of the concept of this piece could harbor a lengthy and potentially arbitrary conclusion, there is still room to explore the potential decay of Longplayers current materials and its strategies for sustainability during its one thousand year cycle. The Longplayer Trust has been established as an approach to collaborative responsibility to prevent this decay and to provide a support for the sustainability of its first 1000 year duration. On observation of Longplayers current installation, there are two essential elements to synthesise this (and many other) artworks (the original artistic concept behind the piece and the physical materials needed for the installation of the piece).
Regarding Longplayer as “… a particular instance of an algorithm”[1]. Longplayers algorithm is currently implemented through superCollider code, with this in mind and the succinct nature of the computer code, there is no doubt that if there was any damage to Longplayers superCollider code, or executable file it would be rendered unplayable and potentially obsolete. In order to reduce this risk the original superCollider code is published on the Longplayer website, spreading responsibility communally for the code further than the trust. On the website there are also thoughts on materialising the code into “… alternative methods of performance, including mechanical, non-electrical and human-operated versions”.[8]
The idea of Longplayer adapting to its time in order to secure its survival is an interesting concept due to the vast temporal space given for the piece, as it opens up for many future implementations and mutations of the piece, living past its original designer and potentially past human existence. With this in mind Longplayer could be regarded as a new form of neo-futuristic dialogical art, whereby the exchange of Longplayer between present and future generations is of as much importance as it’s initial implication at the turn of the new millennial. To assist in the security of the concept for the piece The Longplayer Trust website has extensive information of the ‘conceptual background’ of Longplayer including notes contributed by Jem Finer and Micheal Morris (Co-director of Artangel). The website also includes letters from thinkers and writers discussing concepts surrounding Longplayer and its existence. The Longplayer Trust also hold frequent events such as ‘The Artangel Longplayer Conversations’, where key thinkers and famous practitioners gather to discuss socio-temporal topics, these conversations are archived and publicised on youtube, and created as “...a good chance to connect interested people to the artwork and talk about its themes. And ...are also a way to find donors who will pay towards its ongoing upkeep.”[2]
Digital
Musics sole dependency on time has helped spark a wide range of philosophical thinking around sound and time perception. Musics implementation of the algorithm has played a large part in revealing aspects of these topics, and digital implementations have made these methods more accessible and in turn helped develop new forms of music composition and publishing such as ‘generative art apps’ and live ‘algorave’. When music is performed by digital means, a new aspect of sound time perception is added, as for a sound to be recorded or reproduced digitally it has to be sampled in computer time. As this typically is at a rate faster than the understood human perception of 20kHz it allows for a insight into grains of unperceived sound. Experimenting with these concepts in my own work ‘grains’ has helped to further expose concepts surrounding sound perception and authorship in music. grains is a deterministic algortihmic composition that has the potential to last roughly a week ‘without repetition’ using 13 seconds of 24 bit audio.Grains uses Xennakis’ technique of granular synthesis as the main form of sonification for the piece and uses a combination of three values to to determine the shape of the grain, the frequency in which it is cycled and the timing and length of the audible grain. Grains uses a 13 second sample from the Andrew Oldham Orchestra’s cover of The Rolling Stones’ “Last Time’’ a piece that famously caused a large dispute over copy-write infringement in the Verve’s use of sampling in their ‘Bitter Sweet Symphony’. The use of this sample again provokes a questioning of authorship of ‘grains’ in that it is using all audible parts of the sample, but is arranged to avert  perception of the original sample. The sample itself is also the means to compositional structure, using sample value data to determine pitch, timing and timbre. The intention of Grains was to challenge concepts of music sampling and audio perception and de-localise compositional authorship. Creating a 1 week long composition using 13 seconds of audio, like Longplayer, will never be experienced as its whole, nor will it’s its input sample be audibly recognisable through granular synthesis. Grains implementation of such a simple algorithm, with a perspectively small input source, could be seen to be a form of deterministic composition with a complete algorithmic agency, as it’s input is taken beyond it’s intended perspective.
Bibliography and References
[0]Candy, L Constraints and Creativity in the Digital Arts. [Journal] LEONARDO, Vol. 40, No. 4, pp. 366-367, 2007
[1]Davies, S, The Longplayer Trust [personal emailed interview] (7/3/2018).
[2]E.A Edmunds, Art as Practice Augmented by Digital Agents. Digital Creativity [Journal] (2000).Vol. 11, No. 4, pp. 193–204
[3]Erlmann, V. (2014). Reason and resonance. New York, NY: Zone Books.
[4]Exarchos. D. Temporality in Xenakis and Ferneyhough, JMM: The Journal of Music and Meaning,[Journal] (2014) vol. 13.
[5]Experiments in Music Intelligance2018. main. [ONLINE] Available at: http://artsites.ucsc.edu/faculty/cope/experiments.htm. (Accessed 13 March 2018).
[6]Holtzman ,S. R, (1995.) Digital Mantras. MIT Press.
[7]LaBelle, B., 2012. Background Noise: Perspectives in Sound Art. 2nd ed. London: Continuum International Publishing Group
[8]Longplayer. [ONLINE] Available at: https://longplayer.org/. [Accessed 06 March 2018].
[9]Longplayer Live programme (Artangel, London, 2009)
[10]Nelson, G.L Sonomorphs: An Application of Genetic Algorithms to the Growth and Development of Musical Organisms TIMARA Department Conservatory of Music Oberlin.
[11]The History of Algorithmic Composition. 2018. The History of Algorithmic Composition. [ONLINE] Available at: https://ccrma.stanford.edu/~blackrse/algorithm.html#AI. [Accessed 08 March 2018].
0 notes