pictures from the old city of jerusalem's "african quarter", which comprises of ribat al-mansuri and ribat al-basiri. mamluks built the compounds in the late 13th century to house muslim pilgrims and the poor. ottomans used them as prisons, and the british closed the prisons when they occupied jerusalem in 1917. the ribats then came under the ownership of the islamic waqf, and were leased to the local afro-palestinian community.

afro-palestinians have an array of origins. like some other diaspora communities in palestine, some came through pilgrimage - al-aqsa was on their hajj path, and while many would visit to pray there, some decided to settle in jerusalem. there are also some who came to palestine enslaved or conscripted, most recently to ottomans. some came during the time of the british mandate, many as conscripted laborers to the british. afro-palestinians who can trace their ancestry do so to nigeria, chad, senegal, or sudan.

jerusalemite afro-palestinians were employed to guard al-aqsa throughout the ottoman period. during the 1948 palestine war, some joined the arab liberation army and fought with fellow palestinians to defend al-aqsa and their presence in jerusalem. the position of guards has been taken by occupation soldiers since the 1967 war, after which a quarter of the afro-palestinian population became refugees in surrounding countries.

jerusalem's afro-palestinian community still live in the compounds today, which also house the local african community society. (the door in the last picture is theirs.) afro-palestinians as a whole face the same legal, social, and economic restrictions and maltreatment as other palestinians, compounded with the same anti-black racism from israeli government and police which ethiopian jews and eritrean asylum seekers face, which result in a form of "passport racism" unique to them.

My Wingman 💋| Joaquin Torres Marvel Headcanon

Link to my marvel Masterlist

Joaquin Torres crushing on an avenger would look like:

Just shortly before the Ultron drama, you were a young recruit to the avengers after the fall of S.H.I.E.L.D. Unbeknownst to the team—especially Natasha—you were a former Black Widow who escaped the red room during a mission and defected to the U.S. before Dreykov could track you. Because the Red Room was constantly moving, you were clueless to where it could have gone and for your protection Fury had your identity changed and record concealed from the rest of the organization. This of course had people wary and suspicious of you—considering you were exceptional in the field—but you kept a low profile and did whatever Fury asked of you. He promised to inform you if the Red Room every came on their radar and vowed to help you take it down when the time came.

Unfortunately that promise would not happen with the implementation of the Sokovia Accords. Fury was off the grid, and your teammates were at odds with one another. Though you verbally remained neutral and did not physically get involved when the fight in Germany occurred, behind the scenes you were supportive of Steve and became close with him and Sam. You finally went rogue at 17 when Natasha confronted you after she discovered your identity and the fact the Red Room was still active. “Fury knew didn’t he? This whole time—you both knew Dreykov was still out there!” “It’s more complicated than you think, Natasha. I was barely fourteen when I escaped and had no where else to go! Fury did what he had to protect me. We both have tried tracking the Red Room but have gotten no leads.” “Well I have one. So let’s go end this once and for all.”

Together you two took down Dreykov with the help of her adoptive family before ultimately meeting up with Steve to break the others out of the Raft. For two years you went on the run. Then in 2018 you all were called to battle against the Mad Titan, Thanos, where you lost half of the population when he succeeded in his mission. For five years you and Natasha remained at the compound, doing whatever you could to maintain the Avengers. And when the opportunity came to fix it all, you were left heartbroken at the loss of her and Tony.

Sam took you under his wing (pun intended) when you and the other former fugitives received pardons. Steve was gone, the Avengers were not so much an active organization anymore, and the Accords had been abolished. You pretty much became a government agent again—with your true identity now that Dreykov was long gone. Every agency wanted you; FBI, CIA, Homeland Security, OSI, the Secret Service, even the goddamn Marshals were calling you to be one of their operatives. “Have you decided whose badge you’ll wear yet?” “I’ve pretty much narrowed it down to either the CIA or OSI. Ross is with the CIA so that’s a plus, but with OSI I could work with you when you’re off with the Air Force. Honestly, Sam, I feel like just becoming a free lance so I can get a taste of everything.”

In the end, you did become a free lance agent under the code name ‘Red Widow,’ as not to be confused with Natasha since she was always known as THE Black Widow. You wore a similar suit she did, except yours was red and the hourglass on the belt was black. You enjoyed being a free lance agent where you got to be flexible with what you did. But boy was it fucking hell at times. One week you’re escorting the President, the next you’re investigating a potential threat to the country, and (like most times) you’re partnering with Sam when he finds himself in a pickle. It’s on one of those many adventures with Sam that you meet First Lieutenant Joaquin Torres.

After the threatening phone call from Karlie, Sam had called you and you immediately sent a team of agents to protect his sister & nephews before getting on a plane to Riga. It was not even a second after you landed that you received dozens of phone calls, emails, texts, and news notifications about what took place in the middle of a crowded area between John Walker and a member of the Flag Smashers. You pretty much hauled ass to the location when you finally got a hold of Sam—and you’d be lying if you said you didn’t feel satisfaction at being the one to cuff Walker and escort him to the SUV.

Finally you find your friends, running into Bucky on his way out where you two exchanged words on what he was about to do. “Need me to get in touch with Okoye for you?” “I’m already on it—don’t worry about me.” After saying goodbye you entered the doorway to see Sam and a young Air Force Officer chatting. “Hope I’m not interrupting.” “You’re right on time, Red.” Your voice had the officer, who had his back to you, spinning around to which he froze when y’all made eye contact. First thing you thought was, ‘Damn he’s a cutie.’

Joaquin was practically smitten upon first glance. There was a light blush to his cheeks when he unconsciously checked you as you strutted up to the pair in your eye catching Red Widow suit. When Sam introduced him, the man couldn’t even find his voice, “Uh-Uh hi. I-I’m Torres—Joa-Joaquin Torres.” Sam looked amused, as did you, “Nice to meet you, Joaquin. I’ve got many names, but you can call me Y/n or Red.” Your wink at the end pretty much sealed the deal, Joaquin thinking, ‘Oh yeah, I’m screwed.”

Anytime Sam called you after that Joaquin would silently looking forward to seeing you. He thought you were absolutely beautiful, funny, intelligent, and a complete badass. The first time he saw you in action the man was rendered speechless. Of course he knew who you were (after restoring the population, you and the remaining avengers were international heroes) so Joaquin was pretty much a fanboy (if you know you know 😉). Seeing you take down ten men twice your size in the flesh was something he literally bragged to his squadron about for days.

You were well aware of the little crush Joaquin had on you. And to be honest, you shared the feeling. The first time you saw him you thought he was adorable with his cute smile and blushing cheeks (not to mention he looked damn good in uniform). Anytime Sam called you up and Joaquin was there, you couldn’t pass on the opportunity to flirt with him. “Nice to see your pretty face again, Torres.” “I heard that Sam gave you his old wings…have you decided what to do with them? I could use a wingman now that Sam is off being Captain America and hardly needs me anymore.”

Something about you implying you’d want him as a wingman motivated Joaquin to finish fixing up the wings he had already started working on. It excited him to work with you from behind the scenes, but he was itching to get in the air/on the ground and be an asset alongside you. Sam could tell what his goal was, so the older man slowly took Joaquin under his wing like he did you to help prepare him for the superhero life.

When it finally came time for Joaquin to join in on the action, he became your eyes in the sky while you scouted the ground. The Air Force was pretty much your main employer (similar to Sam) but you still did work for other agencies. And since you and Joaquin worked so well together, it was no surprise you’d call him up for help. He was your wingman after all. Not too long after, you two were a team sought after by the many agencies you did free lance work for. “Damn that’s the third mission this month! Don’t you ever get tired of this sometimes?” “Everyday, but I gotta keep the bills paid, pretty boy.”

Your friendship was very flirtatious. People often thought you two were a thing and were surprised to find out they were wrong. You teased and bickered, gave little glances when the other wasn’t looking and complimented each other. His name in your phone was literally ‘pretty boy💋’ and yours was either ‘muñeca🧸’ (doll) or ‘hermosa🥰’ (beautiful). Each time y’all would call the other the pet names, you’d both blush. The crushes on each other definitely increased with each flirtatious remark.

“Damn girl, you know how to make an entrance.” “Wait don’t go yet, let me commit your face to memory in case I die out there.”

“Imma need you to focus, Torres. I know I’m exceptional to look at, but I don’t want that pretty face of yours getting hurt because you’re distracted.” “If you die out there, who’s gonna dance with me at next months officers ball?”

It would be a good time before Joaquin finally worked up the courage to ask you out. As much as he liked you, there was the fear it would ruin the friendship y’all had created. Joaquin admired you from afar and would brush aside his feelings when it came time to business, but at the end of the day there was no denying he wished for something more. At one point Sam even brought it up, wondering why he hadn’t made a move. “It’s complicated, Sam. She’s my wingman and I’d hate to lose her.” “Torres, I see the way she looks at you. Have you ever noticed she never flirts with anyone else when we go out. At banquets people hit on her, but her eyes are only on you. Trust me, she wants the same thing as you.”

Although Sam’s words made him confident, Joaquin was still anxious it wouldn’t work. So he continued to harbor his crush on you from behind the scenes. Finally you had enough and decided to take matters into your own hands after a mission. It had been nearly a year since y’all met and quite frankly your feelings for Joaquin were starting to become overwhelming. “Are we gonna dance around this forever, Torres? Or, am I gonna have to drag you to the bar to have a drink with me and kick this off once and for all?”

At his incredulous expression, you walked up with your hands coming to his collar to pulled him toward you. That finally had him snap out of his daze, face red by how flustered he was. But within his expression was joy and awe, “I-uh. Are you sure, y/n? I care about you so much a-and I know I’ve made my crush on you painfully obvious b-but I-I don’t wanna ruin what we have—.” “Joaquin, you’ll always be my wingman because I trust you more than anyone else on this planet. The fact you are blind to see I feel the same about is both shocking and adorable. I want you to be my wingman both on and off the field in a more personal manner. So what do you say?”

Let’s just say, the kiss you received was him a great answer.

astielle ch 28 spoiler ask dump~~

anonymous asked:

Tauril-form is puberty, because that's when his voice changes. Abysscale-form is college-age because that's when he goes to his first orgy.

anonymous asked:

You called Abysscale-form college-age (which does not preclude teenage sexscapades given the ages that go to college) and that tracks with how I think of Tauril-form as going through puberty (because of the voice-change). But if Tauril is the horny teenager that's kind of sad. Because as Minnow has pointed out many times That Dick Will Kill.

not each other, it won't!! although i imagine taurils sleeping with each other would have the bro-iest vibe. very bill and ted. taurils also have Options with people who aren't giant bull centaurs, it's just awkward is all. fortunately for everyone taurils are actually adults and are not full of hormones, they just have zero impulse control and when they like someone they want to impress them and spend time with them and it doesn't necessarily occur to them to get their dicks involved in the situation (karzarul's mind was elsewhere the first time he was a tauril)

anonymous asked:

When Violet said monsters make the best mercenaries and throw the best parties I didn't think about it, but the fact that all the impyrs came into being with swordsmanship skills equal to Lynette probably had something to do with the former. Even if ten isn't that many, THEY COME BACK. (Eventually. In, like, a month.) And the others probably learned from Lynette, even if they died. Lynette's unintentional teaching, back again.

they learned from the best murdering them repeatedly

anonymous asked:

When Ari is repopulating, and he skips Black Drakonis, he says "Makes sense." But he's surprised when Violet points out that Black Drakonis is missing, so it sounds like he at least had a theory/assumption at the time for why she was skipped, but it doesn't match with the new information.

he initially just assumed that black drakonis had managed to avoid being killed the whole time, which made sense because she's a big dragon and she can just fly away if someone is trying to murder her. but generally if a bigass monster is alive someone is going to see it, especially her, because she likes finding population centers to try to guard.

anonymous asked:

"It also occurred to him that trying to get Minnow to act like she lived in a society since they were young may have negatively impacted his sense of what constituted an acceptable thing to say to a person while his dick was out." Is just HILARIOUS.

anonymous asked:

Honestly I can relate to Leonas cause just last week I was like 'I keep falling asleep in class maybe I should develop a caffeine addiction' and one of my friends was like 'pls eat more food' so I started to actually have breakfast and an after work snack and I magically stopped falling asleep in class

anonymous asked:

Minnow's hips don't lie, but castle ruins are strangely deceptive.

everyone who wasn't following along when astielleblogging intersected with kink taxonomy hell is going to be so confused if/when minnow finally gets stuck somewhere

@9ofspades asked:

Ari is my favorite again and I want him to have actual eternity to be happy with his poly soulmate throuple together. And also his big monster family. Also I think he's wrong about what the core of the Heir and Hero are - both of them have, deep in the core of their souls, the fact that they are Monsterfuckers.

for the record i have a post in my drafts with all of your readalong asks and i still haven't decided what to do with them but i enjoyed them IMMENSELY

anonymous asked:

>looking for food >ask the cook if their food is earthy or wet >she doesn't understand >pull out illustrated diagram explaining what is earthy and what is wet >she laughs and says "it's good food sir" >buy some food >its wet

@ivylaughed asked:

I love the tumblr meme references in Astielle. The guards bringing their own knives; there being an infinite variety of brassica oleracea; the fucking chocolate guy. I'm half-waiting for a children's hospital/color theory reference. Thank you for the easter eggs.

i'm glad someone read 'chocolate birdhouse' and immediately thought THAT FUCKING CHOCOLATE GUY AGAIN ashjasd

anonymous asked:

I just wanted to say that as a plant nerd and forager I deeply appreciated Minnow's surprisingly accurate botany lesson.

unfortunately all the books that leonas gave minnow are still at her house and so she cannot cite sources for the existence of hemlock, queen anne's lace, and giant hogweed

anonymous asked:

“I think you overestimate people’s willingness to admit when things don’t make sense to them," lmao Minnow has a point

will the two men she is with learn from this and start admitting when they don't know things they think they should and are confused? absolutely not.

anonymous asked:

XD Ari hears "Kavid" and immediately attempts a strategic retreat.

anonymous asked:

“‘you should get dressed’ is a complete sentence.” Is making me laugh.

it's probably for the best because if he actually had known all three of them were out there it would have taken him like an hour to get ready and he would have had at least one breakdown about how none of his outfits were good enough and it was all nari's fault

anonymous asked:

Kavid: I will be happy to HAVE YOU ALL *lascivious eyebrow wiggle* at my earliest convenience.

anonymous asked:

"he gets smaller" "in this weather who doesn't?" KITTY PLZZZ

anonymous asked:

I can't decide whether I love or hate Kavid - I have a very Specific idea in mind for his voice, though I admittedly can't figure out where I'm pulling it from. He is an Excellent character though. Lovely chapter as always :D

anonymous asked:

Before, I was entertained by Kavid. Now I love him.

anonymous asked:

Kitty, Kraven and Kavid have similar speech patterns on purpose, right??? Right?????

i was honestly imagining some kind of nonsense faux-european what-country-is-this-even-from hollywood accent but imagining that he has sounded extremely russian this whole time is extremely funny

@rose-and-bones asked:

SHE HAS A TYPE aghfgstjs

minnow having a thing for obnoxiously pretty men who think they're great aka self-recognition through the other (horny)

@speakingintothevoid asked:

“You are,” Leonas said, “an egotistical, self-important fop.” “Ye-e-es,” Kavid said without shame. “She has a type, does Starlight.” I! LOVE!! IT!!! Makes me almost think of Violet and Karzarul - our point of view character being faced with a version of themselves who are more comfortable in their own skin and our boys not knowing why that annoys them

@keleviel asked:

I rescind my earlier mild disdain, Kavid is great. Is he actually The Greatest Of Bards, or is that just more showmanship?

he rocks about as hard as you can rock on a lyre, which is probably harder than you'd think (especially if you brought a lot of drummers) (which he does)

anonymous asked:

Jakshahshsh every time a new astielle chapter comes out i read it at least twice. Kavid i love you. Leonas i love you also you fucked up lil man. And karzarul the seat. And minnow the mischievous. and just. poor nari. existing in the same world as minnow and her all-powerful boyfriends and also kavid. nari needs a raise

she really does

anonymous asked:

Bruce in Office Meeting and Leonas grabbing the wine when Kavid starts talking about Imperials solidarity.

anonymous asked:

"You would like to compare notes?""Always." Brilliant. Leonas to a t. Loving this interlude with kavid. Snuggly tipsy leonas is a treat. kavids talk of how the weather makes all of us smaller had me cackling. Also this batshit imperial conspiracy is gr8

anonymous asked:

I am suddenly much less comfortable about Leonas performing medical experiments on Minnow, though no fault of his own. :(

@mooseman13579 asked:

Leonas finding out about the weird sun empire truther stuff: haha I'm in danger

the real unanswered question is how much of this is news and how much of it is stuff he already knew and assumed was normal

@thegayknee asked:

Holy shit this is it, isnt it. This is how they fix karzarul's reputation and expose Leland. With the power of Kavid

anonymous asked:

Karzarul's Questlog: "Work on our Image" updated, The Tale of Hollow Monsters delivered to bard.

anonymous asked:

just how many of her lovers is minnow going to recruit into her questing party

she should probably be swapping people out to keep their levels consistent but instead she just keeps karzarul and leonas as her companions for every single quest

@flying-butter asked:

"Details! I need details!" "The king sucks." This is every conversation with any of the trio. Minnow likely knows how to complete half of Ari's quests and Leonas the other half, but no one talks about anything without prompting.

minnow just assumes that everyone knows what she knows because she can't possibly be the brains of the operation and meanwhile karzarul and leonas are both busy having shame

anonymous asked:

i was so excited for the lore drop but the moment Leonas sat in Karzarul's lap my brain just shut off

@themaidenisdeath asked:

oh yes, as we all know, "all business" and "taciturn" are the first words that come to mind when we think of Minnow. It reminded me of when she met Karzarul and he told her she was particularly chatty for hero. Sorry Kavid, you're just neither a Sweet, Considerate Monster with a Dick of Steel And Tentacles To Match™ nor a Twink Prince With Silky Hair, Dom Tendencies And Weird Dietary Beliefs™

@halfdeadfriedrice asked:

"what Hero business?" / "I'm the Hero. All my business is Hero business." You tell em Minnow! And then it turns out to be Quest relevant after all; all business is Hero business Also kavid's last night's makeup and messy convertible couch covered in laundry with half-empty wine bottles on the floor is THEE most visually resonant, I feel like I am visiting a college friend

leonas got very lucky that there weren't any cigarette butts floating in that wine because in his mood he might have just drank it anyway

SUEDE – now with humour

Suede featured in the Danish free music magazine GAFFA shortly after A New Morning came out, October 2002 (no. 10). An interview with Brett and Mat, short comments on the album tracks, and a review. 

Photos by Casper Helmer and Morten Larsen. The magazine can be downloaded as .pdf here (look for pages 22-24 and 50).

Translation of the interview by Peter Albrechtsen under the cut. Own work.

OUT OF THE DARK

Brett Anderson and the rest of Suede have acknowledged that the substance that dreams are made of can neither be ingested nor inhaled. It has to come from the heart. And it does on their new album A New Morning, which was one of the topics of conversation when GAFFA met a transformed band in Copenhagen

FIRST HE TURNS LEFT, TAKES A FEW STEPS FORWARD and looks towards the mirror in front of him. Then he turns right, but keeps looking at himself. Everything is taking place in sliding movements, and there is evidently some satisfaction with what the mirror shows: The black leather jacket with a retro cut and a white back label sits tight around the slender, yet top-trimmed body.

If you didn't know better, you would think that Brett Anderson was practicing for a catwalk. The 35-year-old Suede frontman is hardly going to throw himself into that kind of thing for the time being, though he would be guaranteed to do well with his obvious expertise in hip twists, affectations and flirting from the edge of the stage. Right now, though, Brett is in a Copenhagen luxury hotel, where he's trying on a jacket just purchased by the band's British make-up artist, Nicci Welsh, who eagerly watches Brett's shameless poses. Brett is satisfied, but he has a twinkle in the eye at the same time, which reveals that something is hiding behind the charismatic singer's wide smile and chalk-white teeth.

–What do you say, Mat? Isn't it cool? Brett asks and looks over to his childhood friend, bassist Mat Osman, who understands well the look Brett's sending: Now, Mat must nod affirmatively. So he does. Brett looks over at Nicci with "thank you – yes, he would like to take the leather jacket home with him to London". But Nicci has also noticed Brett's hidden agenda and politely but firmly points out that "if you just thought to give it to a friend when you get back to London, then you can easily forget that."

Oops. Brett is exposed and quickly hands the jacket back to Nicci, but his now even cheekier grin shows that he certainly does not feel guilty, but simply perceives the whole scene as a bit of a show-off. As he himself puts it, a few minutes later: –Had it been three years ago, I would have kept the jacket for fun and given it to a friend 14 days later – simply to take advantage of my position as a pop star.

In other words, Brett Anderson has undergone certain changes over the three years since Suede's previous album, Head Music, and their brand new, fifth opus A New Morning. And the changes apply not just to his relationship to leather jackets, but simply to his whole lifestyle. In fact, the whole band's lifestyle.

Breakdown

Ever since the ten-year-old debut single, The Drowners, Suede have been heavy consumers of drugs all over the world, and they have never hidden that. Right from deliberately ambiguous song titles as Heroine and The Chemistry Between Us for opinions on the benefits of narcotics in provocative interviews, which the sensationally horny British press has lapped up themselves. "Coke is good for sex", "it's great to hear music on ecstasy" and "it's better to take drugs than to drink, because then you have a better next day" – all immortal quotes from Anderson.

But now it's over: Suede is clean – or something like that – and Brett clearly states that "I have become a happier person. My life on hyperspeed is a chapter over. I've even gotten into a good shape!"

–You start taking drugs because you want to feel good. It's that simple. And at some point, you do not feel good any more. It's that simple, too. That's what happened to us, Brett states in a dry and declaratory way.

Since Head Music, Suede had to say goodbye to keyboardist Neil Codling, who collapsed due to overexertion on Suede's tour in Australia in the autumn of 2000 (actually 1999). Half a year later, he quit completely because he suddenly had a relapse after having been recovering otherwise, and was about to break down completely. Neither Brett nor Mat clearly want to talk about it, but then admit that "it made them reflect on some things around both the band and themselves“. Brett, however, insists that “It was many different elements that led to what has happened with our lifestyle in recent years. Both the band and I myself have entered a new stage."

The changes around both Brett and Suede have also taken place over a longer period. First, Anderson started with giving the critics right who had complained loudly that he repeated himself on Head Music. Then he moved from the hectic London into his newly acquired country house in the peaceful natural area of Croydon (somewhat similar to when he moved into a monastery to write the texts of Suede's eight-year-old masterpiece Dog Man Star). He totally isolated himself, lived without a telephone and television, "buried" himself in literature and wrote the first lyrics for A New Morning.

–Oh, now it's starting to sound like I've gone and became boring, Brett chuckles, but hurries to add: -This is certainly not the case. In the old days, I deliberately avoided literature because I was terrified that literature would spoil my pure language. I would not be a sexless secretary who clapped on a typewriter. But now, I have found out that it doesn't necessarily have to end that way, and I read like an obsessed now. I read like a motherfucker. In one of the new songs, Obsessions, I refer to Bret Easton Ellis, but my favorite author is Albert Camus.

Actually, my paranoia about literature just says all about how far out I once have been. I was so afraid that my mindset would be infected by everything possible, but honestly, I must have had a hysterical tendency to pump everything up to pretentious heights. After all, both love and music are in fact very basic emotions, Brett says, who, however, admits he let out a roar when he went as far as to get his hair bleached last year ("it looked like crap, for God's sake," he sighs with one head-shaking laugh). However, it was an obvious sign that Brett felt the changes coming. And enjoyed it to the fullest drag.

Producer problems

In fact, Brett enjoyed being away from the big city so much that he persuaded the others to go to Iceland for a while and work further on the material that gradually became structured. In Iceland, the band briefly collaborated with Sigur Rós producer Ken Thomas, who, however, should turn out to be the first in a series of failed attempts to find the perfect producer.

–The magic was missing, Mat explains, but the creativity did not fail, and the band engaged in vastly different concepts around the upcoming album – "we considered making both a pure acoustic pop and an electronic folk record."

A New Morning became none of those. After leaving former Beck producer Tony Hoffer, Suede ended up slipping into the studio with Stephen Street, who is best known for his collaboration with The Smiths and Blur, and with Street behind the mixer, a renewed focus was there. The opening number Positivity took only three hours to write, and Brett describes it as "one of those magical moments in a band where everything melts together in the most beautiful way."

Those kinds of moments are, of course, the result of the fact both I and the rest of the band are dedicated to the music in a different way than before. Every single moment in music is important to me now. Every single moment in my life is important now. I have rediscovered both myself and the music, proclaims Brett, who hasn't changed in one aspect: He is still extremely talkative, well-worded and energetic – even when he explains it new album title:

–It's not so strange if A New Morning sounds as a religious quote – the last few years have truly felt as a bit of a revelation. We have chosen to see life from a new perspective. We have pretty much spent the 90s on an insanely exalted search for success, fame, money and all that sort of thing. Of course, music was the starting point, but it was all about consuming, savouring and worshipping life excessively. For me, this record is about having a completely different approach to life: Life is something small, fragile and completely unique. Something to watch out for. The new record is simply more intimate, human and much more honest.

This shouldn't be perceived as if Brett is now taking distance to his characteristic textual universe populated by the sad fates of the big city. On the contrary.

–I still have a great sympathy for people who are left in the lurch by the system and politicians, and I will continue to have that, he emphasizes, adding that "it's very much my self-understanding that has changed recently – not my worldview". Osman nods approvingly at Brett's side and adds with no hidden allusion to the title Dog Man Star, that "if you were born in a pigsty, you have so much to achieve, so much to flee from" – both Brett and Osman originally come from the unglamorous London suburb of Haywards Heath.

–Our songs have always been about ordinary people who achieve extraordinary things, and that's how we have been as a band as well, I think. You can easily be something special, even if you come from the pure nothing, and we have stuck to it, even though we have personally driven it too far into the extremes. We are still very much real people who have lived very real lives, and our songs are still about very real feelings, Brett points out.

–We will always fight for all the people who are trying to cope against all odds, and who try to maintain pride in adversity and frustration. Now we just have more surplus, passion and energy ourselves to fight the battle. Now we can really do it with an open heart.

Photo descriptions: "I HAVE RE-DISCOVERED BOTH MYSELF AND MUSIC" Brett Anderson "I HAVE BECOME A HAPPIER PERSON. I'VE EVEN GOTTEN INTO A GOOD SHAPE!" Brett Anderson

A New Morning

– according to Suede themselves

Positivity

Brett: –In many ways our programme statement: It really strikes a new, more cheerful tone. As I said, it was written in no time, and that's pretty incredible for us, because we're really perfectionists when it comes to songwriting.

Lost In TV

Brett: –Probably my favorite track on the album. The melody is based on backing vocals, and in that part, the song is more related to the Beach Boys and the Beatles than to old Suede. Why is there no one doing that kind of thing anymore?

Obsessions

Brett: –This is the last piece we wrote for the record. That's my favorite text. The fun of it is that the lyrics are in a way very personal, but at the same time guaranteed incredibly universal. I will undoubtedly receive many fan letters about that song.

Lonely Girls

Brett: –One of the first songs we wrote. A lovely lullaby-like groove. We even use bongo drums on it. A really nice number, which probably comes from the fact that I originally wrote the melody while I was in the countryside.

Beautiful Loser

Brett: –One of those songs where I really sing in a different way than usual: Harder, raw, dirty. In many ways, it's the album's ultimate live number: The energy is fearless, and the chorus is silly.

Streetlife

Mat: –It started as krautrock: The same groove that ran and ran and ran for eight minutes – it was totally Germany in 1971 – but it changed radically when the chorus appeared purely out of nowhere.

Ashtray Girl

Mat: –Ashtray Girl and Beautiful Loser are perceived the most as “old-school Suede”, but actually, they were both written by Alex Lee, who is our brand-new keyboardist. Funny, right? Another funny thing is that the lyrics are totally meaningless.

Untitled

Mat: –My favourite along with Streetlife – right complex and yet a simple song. Originally a very folk-like song, but our producer Stephen Street made it more electric. Suddenly we began to sound like a whole band.

...Morning

Mat: –It's about getting up in the morning, and we discussed a lot how we could underpin that with sound. Several weeks later, we ended up sticking a microphone out of Brett's kitchen window. So simple. So difficult.

One Hit To The Body

Brett: –It's our attempt to make an I Will Survive. It's about me having to pull through, no matter how smashed I am. Actually an old song we rediscovered in the studio. Reminds of Bruce Springsteen, oh.

When The Rain Falls

Brett: –Believe it or not: it was originally a spoken-word number in the style of Serge Gainsbourg. I sat down and breathed heavily into the microphone. Now it has become something else after all, for I had to admit that I sounded neither French nor sexy.

Suede: A New Morning

Reviewed by Jan Opstrup Poulsen

After the very electric Head Music, Suede landed soft and comfortable in the poetic corner of A New Morning. Brett Anderson still sings about beautiful losers and self-created troubles of youth, but melodically, A New Morning is a luminous and optimistic album. As on the masterpiece Coming Up, it’s the individual songs that are in the centre, like little stars in the night sky. But Suede doesn’t have the usual tempo of melodies at all. A New Morning is distinctly an album of ballads, and in Brett Anderson's most captivating moments, the album hits sublime moments. There are more typical Suede songs on the album, like the excellent Beautiful Loser, that we have heard from them before. A ballad like When The Rain Falls doesn’t change the state of affairs either, although one has to indulge in a grumpy admiration how Suede fabulously handle these ballads. On the other hand, great things happen in the opening song Positivity, which is a proudly towering pop song. This magnificent approach to pop songs fits Suede's finely tuned melodies like a glove and is well followed up on several songs on the album like Lost In TV and Astrogirl. Brett Anderson hasn’t become less affected, and guitarist Richard Oakes balances, as always, on the edge of disruptive, to end up in a harmonious melody line. But on the more ordinary songs, Brett Anderson sings with the desperation of an angry rock singer and to that extent, he reaches beyond the edge of the stage as a performer. A New Morning therefore has all the ingredients for a good Suede album that will divide the record people between rapture and contempt for these assumed excesses, respectively. But it's just too sour to be negative when the world can be so bright and inviting.

Survey #332

i’m even more tired than before to try and think up song lyrics, i’m pasting from Word and then fucking off to bed lmao.

What was the last video message you received on your phone? I think it was a clip of Doris (Sara's beardie) eating and just being her perfect self? Was your last birthday cake homemade or store bought? Store-bought. One thing you miss about middle school? Shit, nothing. Middle school was the worst. Do you have any shirts signed by famous people? No. Have you ever entered an art competition? Yes. Would you ever pierce yourself? No. I am very much about having a professional do your body mods/art. Plus, I have tremors in my hands. Do you live in a safe neighbourhood? Supposedly. We haven't lived here nearly long enough to know. What is the last thing you did that shocked someone? /shrug Do you often find yourself questioning your future? Only always. Have you ever been for a ride in the back of a truck? Yeah. Do you like your license photo? I hate my permit picture. Are you into superheroes? Who’s your favorite? Not very, but I like 'em enough. I always say my favorite is Deadpool, but I know he's technically an anti-hero, but whatever. If you don't include him, uhhhh... maybe Spiderman. Have you started watching any new TV shows recently? No. Have you ever been able pet a normally wild animal, like a tiger or dolphin? No. :( At least, not to my recollection. Have you ever eaten snow? Yeah. There's actually a winter treat 'round here that you make with snow and sugar called snow cream. Good stuff. What is the messiest area in your home? Right now, the spare room/my wanna-be "office." What’s your favorite computer game genre? Still horror, like video games. Do you have any exes your parents never liked? No. Have you received financial help from your parents in the past 5 years? I'm completely financially dependent on them still. Are you a fast or a slow eater? I eat like, stupid fast, but without being messy. People *cough*Mom*cough* will absolutely point it out, but I seriously can't help it. Making a conscious effort to eat slow feels way too weird. What was the last thing you purchased from a small local business? I don't know. Is there anyone in your family/household whom you frequently argue with? No. Have you ever used chewing tobacco? Ew, no. Tell me what's on your mind? I've been considering yet again reaching out to some tattoo parlors and asking if they're open to hiring someone to handle the front desk and take care of business besides actually performing piercing and tattooing, given my tremors. My group therapy has kinda been encouraging me to use the possibility for social exposure, and besides, I'm very comfortable in the environment and just general aura of tat parlors. I'm sure I'd have to answer the phone, handle money, and obviously talk to costumers, but I know and accept that. I've been at such a stagnant point with my social anxiety in particular that I have to start pushing back harder, and doing this I feel would be one of the most relaxed, social job positions I can hopefully handle. I don't dare to even try this though until I get vaccinated to protect my immunocompromised mom. Writing this all out has actually been pretty encouraging about this idea... Do you wish you never dated someone you dated? Yeah, Tyler. It was such a "I'm lonely and he was nice in high school, so we'll try it" situation. I got nothing from it. Are you scared of growing old alone? Pretty badly. What are you listening to right now? I'm listening to/semi-watching John Wolfe play the remaster of Resident Evil 2. What breed was the last dog you saw? He was a German shepherd. Would you ever go swimming during a thunderstorm? No. Any time a thunderstorm was brewing and I was in the pool, I'd always get out. What is the next concert you will attend? Mom and I plan to see Ozzy when/if he reschedules his tour after he had to cancel with his Parkinson's diagnosis. What was the name of the last pet of yours that died? Teddy. :/ What's the highest science class you have taken? I don't know, actually. What makes you squeal like a school girl? No shame, seeing Mark and Amy do something cute together actually does this, lmao. What’s your favorite symbol? (i.e. the pentagram, the cross, etc.) Do fictional ones count? Because in that case, the Halo of the Sun from the Silent Hill franchise. I'm getting it tattooed somewhere at some point, I'm thinking the left side of my neck. I'm either gonna fashion it in a way where it looks branded on or carved into me. Have you ever been on anti depressants? For all of my pre-teen, teen, and some of my adult life. Apparently, I've only had one truly educated psychiatrist out of no less than a dozen I'd seen, because he fixed me right up. He taught me that those who suffer from bipolarity should avoid anti-depressants; they ramp up your bipolar symptoms. Instead, mood stabilizers are favorable. And what do you know, after I was prescribed a stabilizer and a catalyst for that medication, my depression decreased dramatically and became handleable. Have you ever starved yourself? Kinda. What’s the stupidest name you’ve ever given a pet? I had a guinea pig named Harry Potter. For no particular reason lmao. I'm not even a Harry Potter fan. Do you have nice legs? God no. Do you like fedoras? Okay so I know I am in the strong minority, but I actually do, haha. What is your favorite food group? Carbs. @_@ Have you ever got told that you should be a model? No, but one of the most flattering indirect compliments I've ever gotten was being mistaken for one. Jason's phone wallpaper was one of my favorite pictures of myself with my first snake, and someone asked him if I was a model. ;v;' What song is in a language you don’t speak, but you love it anyway? "Donaukinder" by Rammstein is one of my faves. Who’s a villain you sympathize with and why? SOBS Darkiplier bc his origins are so damn tragic and unfair. What book do you think should be directed as a film? Was The Giver ever made into one? I don't remember that book well, but I do recall it being absolutely beautiful. Have you ever found a stranger’s note somewhere? If so, what did it say? No. Have you ever edited Wikipedia? No. Have you ever edited any other wiki? Yeah. I have thousands on the Silent Hill wiki, where I'm one of the admins. I'm also a content moderator at the Team Ico (Shadow of the Colossus devs) one. Every now and again I used to go on the meerkats wiki as well, where I mainly fixed the fucking nightmarish grammar. Very briefly, I edited at the Dragons of Atlantis wiki as well. Do you get scared when you know some virus or sickness is being passed? Not very, but of course I still acknowledge the risk and am more conscious of hand washing and stuff. What popular social media platforms AREN’T you on? Snapchat, I don't actually use my Twitter, I don't have a personal Instagram... There may be more, idk. Is TikTok a "social media platform?" Because I don't have that, either. What was the name of the first porcelien doll you got? Never had one, given I was afraid of dolls as a kid. What’s your favorite Paramore song? "Decode." Would you be happy with a life without romance? To be entirely honest, I'd feel like I was missing something. Was your childhood happy? Mostly. What fundamentally matters do you? Love, kindness, peace, all that gooey stuff. Is true world peace ever possible? As much as I hate to admit it, I don't think so. The human population is far too big to come to a unanimous agreement on anything. Do you hold yourself to higher standards than you hold others? Yeah. Would you ever own a pet black widow spider? No. I'm getting more into the idea of owning invertebrates (I jabber enough about wanting tarantulas, and there are others, like mantises, I'm interested in as pets), but black widows, I'm not into the idea of having. Too venomous for me to be comfortable risking. If you have a job, what is the longest shift that you've worked? N/A Do you know all of the words to "Bohemian Rhapsody?" FUCK YES I DO. ^ Do you sing it with all of the different voices? sho nuff Do you own more than one copy of a certain book? No. Do you like interpreting poetry or just reading it for fun? Both. I love symbolism, so I get joy out of digging for subtle meanings in poems. Do you have a favorite Dr. Suess book? Yeah, it was always Green Eggs and Ham. Do you watch The Walking Dead? If so, favorite character? Not the show, but I've watched let's plays of the games, haha. In which case Clementine is inarguably one of the best female characters in a video game universe. Who has/had the most mature romantic relationship you’ve seen with your own eyes? Uhhh. I mean I never saw them much, but probably my late grandmother and her last husband. He was fucking incredible to her, and Grammy adored him as well. They helped each other so much and just obviously had the purest love between them. When was the last time you got something for free (legally)? What was it & have you enjoyed it so far? Lmao do balls in Pokemon GO count? Their occasional free boxes are the reason I can play the game because PokeStops are essentially non-existent here, so yes. What is the one fruit you can’t stand to eat? How about vegetable? The first one that came to me were oranges. I enjoy orange juice, but I just caaaaannot with the white veiny shit that you can't totally get off when peeling it. Without that, I might actually enjoy them, but idk. As for vegetable, asparagus is absolutely abhorrent. When’s the last time you actually recited the pledge? If you aren’t American, do/did you have anything similar in your country that you do during a time at school? Probably not since high school. Last person you shared food with? Ummm I have no idea. It's really just Mom and me here and we eat our own stuff. What was the last song you heard for the first time and enjoyed? I believe it waaas... "Down In The Park" by Marilyn Manson, maybe. If your life was a TV show, what would be the theme song? My inner high school emo just screamed "All Signs Point to Lauderdale" by AD2R. Who are some of your favorite female fictional characters, and why? Gahdamn, there's a lot. I don't feel like going through a mental list in my head and then describing why. A character (in anything) you wish hadn’t been killed off? Vol'jin; I think the entire WoW fanbase will forever be pissed about it. It was THE most "lul we dunno what 2 do w/ him anymore, let's let a totally random, unnamed, unimportant demon kill him" like what the fuck, Blizz. Most of his "oomph" was in the book, and I just really wish they'd done so much more with him in the game. Has anything “cute” happened in the past week? Off the top of me noggin, no. When did you last say “I love you”? Did you mean it? Yesterday to Sara. OF course I did. Is there someone who pops into your mind at random times? Hi, PTSD, how are ya. Have you ever slept all day? Essentially. When I was on a larger dose of my anxiety med, I physically couldn't stay up for barely even five minutes, and when I'd lie back down, boom, I was OUT. I stayed on that dosage for I think just that one day, it was so bad. Can you have kids? Well, I have a functioning menstrual cycle, so I would assume so. Doesn't mean I will, though. What colors of mascara have you worn on your lashes? Only black. Do you like eating sour things? Hell yeah, I love sour stuff, candy in particular. Do you like pickles? fuuuuck yeah Did you ever have a really close friend move away? Yeah, in elementary school. I feel bad I can't remember her name at the moment... What's the most creative thing you've ever done? I mean, I guess the things I've written in RP. What's the most creative thing someone has done for you? For me? I don't really know. Do you like to watch ghost-hunting shows? Sure, they're some of my favorites. What’s something you’d like to be better at? Social interaction. Have you ever stayed up to talk to someone who was sad? Yeah. Do you think you would make a good parent? No. I know I wouldn't. The only time I ever wanted kids was with Jason, and honestly, I really hope I don't end up with a man because I never want to deal with that urge again and make a mistake. I'm just in no way emotionally fit to be a mother. How many best friends do you have? Just one. What do you cry over the most? My PTSD, honestly. I never sob about it anymore, just shed some tears. What language did/do you take in high school? Latin for one semester, then all four available for German. Which sports do you follow? None. Who was the last person you talked about marriage or having kids with? About marriage, Sara. Kids, the subject was lightly touched upon with Girt, though "with" was never a part of it, but obviously implied seeing as we were dating with long-term in mind. Have you ever been in a house fire? No, thankfully. Have you ever made out for one straight hour? them is rookie numbers Are you any good at remembering phone numbers? No. I literally don't even know my own, nor my mother's. I need to fix that. Who is your best friend of the opposite sex? Girt. Do you have a bookshelf? If so, just one or how many? No. If I gave you twenty bucks what would you do with it? Save it to go towards Venus' terrarium. Is there a movie from your childhood that you still watch today? Well of course! I'm unashamed to watch any "kids" movie I enjoy, like Disney ones. Most "kids" movies tend to be better than those intended for adults, it seems... Are you afraid of mice? Oh no, I adore mice and I think had a pair as pets before I got rats. What type of souvenir do you usually purchase when on vacation? I can't really answer this; I haven't gone on nearly enough vacations to develop a theme. I can say confidently though it'd probably be something small. If you could see any musical on Broadway right now, what would it be? I don't enjoy musicals. Have you ever watched Doctor Who? One or two with Sara, yes. I know we at least watched the weeping angels episode. If you read, which book or series did you enjoy most as a child? Warriors by S.E. Hinton. Sometimes I wanna get back into them, but I am YEARS behind and more into Wings of Fire anyway, so. I don't read nearly enough for both. How do you get rid of your hiccups? Literally no trick seems to work for me. I just suffer lmao.

Axiomatic

ax·i·om·at·ic (adj.)

Self-evident; unquestionable.

The best part of battle is the afterparty.

(Or: Remember that banquet Luffy promised? This is it.)

Tags: Established Relationship, Domestic Fluff, Partying

Set in Wano. Spoilers for all of Wano. Read Chapter 2 here.

***

“What do you think?”

Lipstick glides over thin lips, the wax malleable and smooth as it leaves a coat of rusty red in its wake. Killer makes sure it’s perfectly even before he glances elsewhere. In the mirror, Kidd’s face is all scowled impatience.

One last run-down – eyeliner, mascara, lipstick: done, done and done – then Killer grabs the mask waiting for him. “Alright, let me see.”

Their eyes meet and Killer sighs. Metal over skin-and-bone, Kidd’s arms are crossed; his shaved brows push together further. As if Killer doesn’t indulge his every whim by the regular.

“I’m looking. Show me again.”

Kidd grumbles, “Watch.” He opens his arms, reveals an unbuttoned shirt tucked into his favorite patterned pants, glinting gold over black under a double-belted cinch at the waist. So far, so very Kidd.

No, the point of discussion is the frankly massive coat slung across his neck: Nice soft-looking suede on the outside and glossy-grey fur on the inside, it hugs Kidd’s shoulders in all the right places to then cascade down his back in a display of near-ridiculous opulence.

Extravagant, over-the-top, flashy. It’s hard to tell which type of animal had to die for this. There must be a lot less of ‘em now, with this monstrosity in the world.

Kidd is swiveling it back and forth with critical glances to the mirror, the coat wooshing with the motions. Killer takes in the fluid glide of fur over Kidd’s exposed chest, the contrast of impeccable couture against jagged scars. Loses himself for a moment or two imagining how it would feel like to run his hands over both.

An appreciative hum. In Killer’s educated opinion, Kidd looks damn near sinful.

“Yeah?”, Kidd asks and Killer nods. “Yeah. Heh, told ya the detour’s worth it.”

Perhaps it was, although sifting through Onigashima’s treasury whilst bleeding all over heaps of shiny expensive everything might’ve been a case of skewed priorities. There’s no need to talk about what-could-have-beens, though – they’re here, they’re rich and they’re long overdue at Strawhat’s banquet.

Killer’s practically done, tight jeans under a shirt that’s done up to the third button and left to flare open otherwise. It’s not his old favorite (that one stopped fitting him a good year ago) but similar enough, patterned in geometric black-and-white shapes. Definitely one of his fancier ones, not that anyone will care one way or the other where they’re going.

It’s… been a while since it’s been anyone other than them and their crew. Pirates are pirates, allied or no; Killer eyes the scythes neatly stored next to the bed.

Kidd is touching up his lips one last time, the same shade as Killer’s. “Bring ‘em. That Roronoa guy keeps throwing you weird looks and I’m not allowed to kill him.”

Yet goes implied. Killer isn’t wearing his mask and so he doesn’t roll his eyes. “He’s got every reason to”, he reminds his captain, focusing on the heavy clasps of his weapons to keep the memories at bay. The red mark on his chest stings, stuck in the limbo between a healing wound and a fresh scar for a few days still.

A testament to his failure that Killer won’t hide. If Zoro hadn’t stopped him that day his hands would be stained with blood that cannot be washed off, not entirely.

Kidd’s eyes are on him, dark. “I don’t care.”

Resentful as always. Killer reaches for him, digs his fingers into the fluffy lining of that coat and oh, the fur is as soft as it looks. “I do, though.” A firm tug, one Kidd follows until Killer can kiss him, careful not to smudge anything.

“No killing of allies today, ‘kay? We just came back from a war. The crew’s tired. I’m tired.”

“Mh” is all Kidd has to say to that, a grumpy huff against Killer’s lips more than anything. Kidd does give him a proper kiss, however, and Killer knows he won this one.

All he can ask of Kidd is to try, anyways – with two equally hot-headed captains and a whole host of morons around to rile him up, there’s bound to be blood eventually. The trick is to make sure everyone’s drunk enough not to take it too personally.

A pinch to his ass tells Killer he was caught scheming. Kidd smirks, tells him, “We’re getting wasted tonight”, all triumphant like it’s the best idea he’s had all week, and Killer doesn’t miss the emphasis on we.

“Two Emperors down! Strawhat better bring the good stuff tonight or this alliance is over.”

Killer groans, “Kidd”, but he’s smiling, too. Before he can be called out on it, Killer shoves his mask into Kidd’s hands, metal clanking against metal. “Make yourself useful. We’re late.”

Kidd’s laugh is more of a cackle than anything else – “Yes, darling”, said in that sarcastic lilt Killer knows all too well – yet Kidd complies. His hands, organic or otherwise, handle the mask they’ve built with care and precision. Soon, Killer’s vision is narrowed down to dots, the audio filter of his helmet kicking in soon after.

Killer rolls his neck and hums, satisfied. “Ready?”

Kidd throws a final look at himself in the mirror, grinning into the collar of his new coat.

“Hell yeah. Let’s go.”

*

The banquet is a sprawling, messy affair that swallows the entirety of the ramshackle village the Strawhats picked as their home in Wano Country.

From the moment the Kidd Pirates get there they are surrounded. Wherever Killer's eyes roam there are knots of people drinking, eating, laughing and crying, sometimes simultaneously – there, at the heart of it all where the crowd is thickest, burns the largest bonfire Killer has seen in a while, perhaps ever. Smiling faces all around and for once, it doesn’t make Killer’s stomach drop because they’re genuine.

Survivors of SMILE just like him, caught in the rush of real emotions for the first time in who knows how long. Killer has a pretty good idea how that feels like.

Next to him, Kidd is so tense he’s stalking, gaze intense, oozing Haki to keep people away; Wire’s hand is clenched to bloodlessness around his trident while Heat exhales a bit of smoke with every breath and yeah, Killer gets it. Can’t help it himself, either, scythes kept close to his sides to make sure they’re there.

The thing is: They don’t do these kinds of things. Parties, yes, many and often but not like this. Killer can count on one hand the amounts of times the population of any island was actually happy to see them, much less willing to send them off with one big feast.

Actually, he wouldn’t need to count at all because it’s simply never happened. Even filtered by his mask it’s… a lot to take in at once.

The entire damn country is here, it seems, all breathing a collective sigh of relief so monumental the air itself carries their joy. For all that the Kidd Pirates were in this for revenge and glory, Killer can’t deny it’s rewarding to see a nation so ravaged by an Emperor’s greed do whatever they want for the first time in decades.

Finally, a few familiar faces start popping up. Some of the samurai greet them with nods of their heads, overly formal like the people from Wano tend to be; here and there they spot the distinctly branded yukata the members of Trafalgar’s crew are wearing and, rarer but all the more noticeable, those animal people Strawhat dragged along from somewhere.

Minks? Or something? Killer is inclined to say it doesn’t matter if they didn’t have the habit to jump on them out of fucking nowhere. Looking for bone-crushing hugs and wet-nosed kisses, of all things, and– Oh no, he did not sign up for this.

Much less for whatever that group of cat minks are gearing up to, staring at the holes in his mask with eyes nearly swallowed by black, round pupils. Killer is absolutely, solidly convinced he doesn’t even want to know what that’s all about.

“Captain.”

And yeah, his tone is a little more alarmed than he truly means it to be. It gets Kidd’s attention, though – himself having fought off a dog mink enamored with his metal arm not too long ago – and he barks a laugh even when he ramps up his presence to an almost stifling degree.

“C’mon, I feel Strawhat up ahead.”

To nobody’s surprise, they find him smack dab in the middle of everything. Strawhat and his crew are lounging around the bonfire, there’s no other way to describe it: All broad smiles and flushed faces amidst the chaos, completely in their element, and it’s hard to tell if it’s the closeness to the bonfire or the vaguely impressive amounts of empty bottles lying around already. They’re certainly boisterous enough for it to be the latter, even Jinbei.

And no, Killer hasn’t quite processed that turn of events yet. The strangeness of seeing someone of that caliber wheeze into his mug with laughter as his (new?) captain takes a disturbingly big bite out of an even bigger chunk of meat is… not helping things, in that regard.

What a bunch of weirdos. In the safety of his mask, Killer allows himself a small smile.

From here the flames seem to reach for the sky, tinged in warm pinks and oranges by the sinking sun and there, very faintly, Killer can make out the first stars. He can’t remember ever seeing them, not with the factories running over night as well.

“Spikey!!”

Ah. Killer’s head turns with Kidd’s and it’s a good thing, too, because there’s a stretched arm coming for his captain – Kidd bites out, “Nope, no, Strawhat”, red eyes going wide – and Killer manages to side-step it in the last possible second. One, twice it wraps around Kidd, fancy coat and all, and then the rubber recoils.

“Killer!”

Oh my, Killer thinks mildly as he watches him go. Behind him, half their crew is flabbergasted and the other half is in stitches. “Captain’s gonna be in such a mood”, Heat says to Wire, and it just sends them into another fit of chuckles.

For Killer, finding a drink becomes his top priority. So much for keeping things peaceful.

>>Chapter 2.

                   Why you should get into Black Clover.

I know some people are undecided on whether or not they should give Black Clover a try, so I came up with a list of reasons why they might like the series, and why I think it’s worth the time. If you have any to add, feel free to!

1. Asta is an amazing protagonist. He was born without magic in a world where everyone had it to the point that the only means of transportation are magic-based (spatial magic, brooms that you have to feed your mana to etc), and as an orphan in one of Clover’s outskirt villages to boot. Yet Asta worked hard every day anyway, and through his own efforts became the 2nd physically strongest character after Yami. Because of this, he got a Grimoire from which (so far) three swords can emerge, and which allowed him into the Magic Knights. Asta’s main sword cannot be held by anyone else both because of its massive weight (which Asta can easily endure because of his physical training), and because the sword sucks the person’s mana out of them (which doesn’t affect Asta since he has no mana).

Despite always seeming cheerful and headstrong though, Asta actually suffers from deep-seated insecurities and depression. Being the only person without magic in the world, he was subjected to ridicule, discrimination and comparisons ever since he was a young child; and in the beginning of the story he almost had his breaking point, had it not been for Yuno’s words helping him get back up, which is when he swore to never come close to giving up again, as well as made sure that his personal issues wouldn’t interfere with his self-image and relationships.

Asta also tries to understand his enemies, where they come from and what drove them to act that way, as well as tries to help them. He doesn’t like going straight into the fighting, and would much rather settle it verbally, since that wouldn’t result in any casualties. He values life, and doesn’t want to see others throw theirs away for something that could be easily resolved with words; so every time one of his enemies dies of their own volition, Asta is shaken by their actions. He also has respect for most of his enemies, and was even seen picking flowers and putting them at the enemy’s grave while being saddened by their death, even though he had no obligation to.

However, Asta does want to hold bad people accountable for their actions instead of symphatizing with their backstory right off the bat. He will understand their motivations, but if they’ve already done the evil deed, they’ll have to deal with the consequences and make sure they’ll never do anything like it again. Like I hinted above, by “consequences” I don’t mean death. Asta never stands for the death sentence, and instead tells his enemies that they’ll have to spend their lives making up to the people they’ve hurt, both by serving time in prison, and by apologizing and outright helping others. After they atone for their sins, Asta is also wholeheartedly fine with becoming friends with them and helping them be better.

Asta is a truly inspiring and refreshing character, and has come to be one of my favorite characters of all time, even though I don’t usually fall for the protagonists. He’s humane, kind and has a certain charm that drags you in; and he’s per overall a feel-good character who motivates you to be your best self.

2. Black Clover has the best fleshed out female characters in all of Shounen so far, and they’re not sexualized. It was made obvious in the latest popularity poll, where we had 5 women and 5 men in the top 10. The only issue I’ve seen from the fandom regarding Black Clover’s female characters is that “they all have a crush on someone”, but that’s wrong. Black Clover has some great female characters that don’t have anything to do with crushes and romance, and the most striking example is Mereoleona. Other than her, we also have Theresa, Puli, Dorothy, Fragil, Nebra, Grey, Mariella, Kahono, Charla, Elf Fana and the Witch Queen.

Noelle may have a crush on Asta, but it’s not her defining trait. She has her own personal issues that stem from her backstory, and she works through them as the story progresses. She gets plenty of character development, and a lot of screentime. The anime tends to exaggerate her crush on Asta for the giggles, but the manga handles it pretty well. Mimosa, Charlotte and Charmy are all strong women whose crushes only come in second place to their actual parts in the story. Their crushes aren’t there solely for the trope either, since they serve as one of the girls’ motivations to get stronger.

To top it off, the women fight on equal grounds with the men, and some of them are even stronger than the best male fighters in the series. Mereoleona for one, is done so well that even the men watching the show had to admit she’s probably stronger than Yami, who is one of the strongest people in the entire series, Asta’s mentor and one of the fandom’s favorites.

As for the sexualization, there have been three instances in over 200 chapters that I can think of, one of which was in the anime and I am fairly sure Tabata didn’t even want to add them in (I’ve read a post once that said Shounen Jump probably has an agenda of a minimum amount of fanservice they push onto all their authors, and it’d make sense if it's true).

3. Yuno is different from the typical Shounen rival in a refreshing way, the rivalries shown in Black Clover are generally healthy and the show makes a point of showing you’re always stronger when you’re supported by and working alongside your friends. Yuno doesn’t “turn evil” & isn’t on bad terms with Asta; instead, he’s supportive and genuinely wishes for Asta to thrive and become his best self. Their rivalry is based on mutual respect, friendship and trust, and they’ve known and lived with each other since their early childhood.

While Yuno does encompass the “gifted kid” trope, he never once thought he was better than Asta, and instead of gloating about his magic, he continued to work hard magic-wise and physically (which many wizards tend not to, especially the gifted ones). He holds similar values as Asta, and wishes to become the Wizard King to make the country more accepting, equal and overall a better place. Because of this, the end of Yuno and Asta’s rivalry could go either way, since both of them deserve the title of Wizard King, and there’s no way to tell which one of them will become the Wizard King for sure, even though Asta is considered the main protagonist (I sure hope Asta will, though).

Other important rivalries are Luck and Magna’s, two misfits who prank but nonetheless still respect each other and who would go to amazing heights to make sure the other is alright; Asta, Yuno and Leopold’s, which helped Leopold grow; and Nozel and Fuegoleon’s, who have a slightly more tense rivalry, but who have competed since their childhood and who care for each other despite some of their moments of animosity.

The Black Bulls are a prime example of the found family trope, and their relationships with each other played major parts in each of their character stories.

4. Black Clover deals with several issues we also face. One of the main themes of the show is classism, and the way the poor and the disabled struggle in the corrupt system made by the rich and abled. Despite being orphans from the country’s outskirts (meaning one of the poorest places with the least amount of magic in the entire kingdom) Asta and Yuno’s goal is to attain the title of Wizard King, who is the strongest and most beloved wizard in the entire kingdom. To do so, they have to gain the citizens’ support and approval, and tear down the walls that oppress the poor and uplift the rich; but because of several centuries of discrimination, most royalty and nobles believe they are superior to the peasants, and that’s painstakingly clear from the moment Asta and Yuno leave their village and head for the more noble-populated cities.

Family problems and abuse are present in a good chunk of the Black Bulls’ stories, but the blame is never put on the victims. Instead, each of them gets their own arc in which they deal with their trauma, and it’s all handled well. Their issues don’t magically stop in their respective arcs either, but rather that’s the starting point of the change.

There are also several instances thorough the show that deal with suicide (mostly from the enemy’s side), as well as Asta’s great distaste of it and attempts to stop his enemies from killing themselves for their cause. Asta’s speeches on this topic are always positive and motivational, and I like reading them since they make me feel better, too.

Another shared issue is the racism, which also delves further into genocide. I won’t say too much as to not spoil it for those of you who will read/watch Black Clover, but this theme is related to the humans and the elves.

5. On that note, there are several races in the Black Clover universe that we know of so far. They are the humans, who the series is mainly focused on; the elves, who play a very big part of the show’s first saga; the devils and the dwarves. It’s likely that we’ll also get introduced to more races as the story goes on, and so far all of them have been done nicely.

6. The art style of the manga is stunning and the anime is also getting good. Per overall, I’d say the manga has the better aesthetics, but the anime does come in clutch with some of the fights (a couple of them were also extended in the anime, which was great; and Black Clover is known for its use of different animation styles in fights), while the music also helps add a certain feeling to the scenes that didn’t hit so hard in the manga. The Black Clover anime’s openings and endings are by far one of the best in all of anime. Even if you don’t plan to watch the show, you should definitely watch those. Currently we have 8 ops & eds, and they’re all bops. They’re one of the many reasons why Black Clover has become famous, anime-wise. 

Also, since I’ve seen a lot of complaints about Asta’s voice in the earlier episodes, it does get much better. The VA was new so his voice acting wasn’t too good, but it’s really come a long way since and it now fits Asta’s character perfectly. You should give it at least ten episodes before you make an opinion on whether to continue or drop the anime version (although I’d say it gets really good after thirty).

7. The series lets you choose what kind of pace you want. If you’re into faster paces, then the manga’s the perfect fit for you. Some people complained that the story moves too fast in the manga, but I personally like it. If you’re into slower paces, you can try checking out the anime. Since Black Clover’s an ongoing anime rather than one split into seasons, Studio Pierrot had to try and stall for time so the anime wouldn’t close in on the manga too soon; meaning the original content got stretched over a couple episodes, but nothing too bad.

8. Black Clover doesn’t have many fillers. People complain that it does, but it doesn’t. As of right now (ep. 96), there have been 5 purely filler episodes, out of which some were recap episodes. Other episodes have had some filler mixed into them, but it’s not obvious and it does add well to the story. We also got Yuno’s first mission (ep. 13) and the Light Novels animated (ep. 55-56 & 85-86), and those are to be considered canon.

9. The mystery of Asta and Yuno’s backstory pre-canon. The series takes a different approach with the protagonists’ backstory, and instead of telling us everything outright, it only shows Asta and Yuno as babies, left at the door of a church in Hage village at around the same time, 15 years prior to the story. At the time, they only had their names written on their clothes, and Yuno also had a necklace. Right now, we still don’t know who their parents are, what were the circumstances of their birth, if they’re blood related or not, and how come they were both left in the exact same spot, nor why there out of all places. I’m assuming this will be important later on in the series, since one of the arcs has already teased a possibility that was denied by the end of said arc.

10. The story mainly takes place in the Clover Kingdom, but there are three others that will become a focus later on. Diamond Kingdom, a hostile country that deals with black magic, human experimentation and wars; Heart Kingdom, a neutral country rich of mana that prefers to remain unseen and whose citizens use an unique style of magic; and Spade Kingdom, the most massive of the four, and also supposedly a militant country of winter. So far in the story we have learned several bits about the Diamond Kingdom, while the information on Heart and Spade is still very new and brief. This does for a nice change of settings. 

Also, since I’ve brought up the ‘unique style of magic’, Black Clover has a great power system, based on the elements and their subtypes, and even the most bland-sounding magic you never even thought of, can do wonders.

11. Black Clover is a funny show and it has various types of humor. Not only does it have comedic relief, like with Sekke, Yami and Gordon, but in the anime we also get Petit Clover, which is a short and usually amusing chibi-styled moment at the end of each episode. This was derived from the manga’s omakes in the same style and I’m guessing it had some success, since earlier in the year we also got an entire Petit Clover-styled series, named Mgyutto! Black Clover.

I’m a fan of both the manga and the anime, so I’d recommend reading and watching the series, but it’s fine no matter which you choose, and I hope I convinced at least some of you to get into this great show!

Credits for some of the points: 1, 2 (spoilers), 3 (spoilers), 4, 5, 6, 7, 8, 9.

Sup, I’m Laura Cousineau and welcome to Just A Music Podcast, where I, Laura Cousineau, tell you about some music history, how it relates to the world around us, and hopefully, introduce you to some new tunes. This show is theoretically for everyone but I will swear and when it comes down to it and sometimes we may need to talk about some sensitive topics so ur weeuns might wanna sit this one out.

Folk music! What a fucking blanket of a genre title isn’t it? We got 1960s folk in america, we got different folk genres in terms of mixed genres like folk metal, we got folk music as sort of an interchangeable term for ethnic musics, it’s all fuckin folk from here on out folks! But what is folk music where does it come from, what are we talking about when we talk about folk music? Well that’s what we’re going to talk about this week to kick off our North American music genre analysis with North American folk musics! Truth be told I did wanna start out with an episode on North American Native musics but as I’m whiter than sour cream on rice and there isn’t as much scholarship on it as I would like to confidently do a whole episode on it without input from actual native peoples. That all being said, if anyone listening is native and would like to give me some input on their musics, I would be more than happy to cover it.

But for now folk. North American folk musics. You notice I mention musics, it’s because north American folk music can be defined as a lot of things. So what are we talking about when we talk about the genre of folk musics. Well that’s gonna change depending on who you ask from what I explained before, we have some kind of mish mosh, multiple definition, popular idea of what folk music is and that’s not surprising given how that definition has grown and changed over time. Some of you will be surprised to hear that when we talk about north American folk music’s we’re actually talking about A BUNCH of different musical genres, not just one. Sure we have what people would usually associate with North American folk, the very Appalachian sounding bluegrass, country and then of course western, but we also have native musics (which again, I promise I will talk about at some point), and Maritime Canadian folk musics, we have cajun and creole musics, we have a bunch of racist shit too unfortunately but like legit we have so much stuff to talk about this episode I might have to break it up into two episodes.

Like all other musics, it all started from somewhere… I know, that’s the take of the century isn’t it. I mean it would be so much cooler if all folk music started cause some little gnome hopped out of the ground and was like imma invent music, but like that gnome would also be incredibly racist so I dunno, gnome theory sucks. So where did North American folk music come from? Well that’s a matter of looking at the mostly euro populations that colonized North America and this will change depending on the regions that we’re looking at. So WE need a SHORT HISTORY of the beginning of exploration.  

So, there’s some debate as to who we should credit with the “discovery” of north america, cause on one hand we have the Viking settlements in eastern Canada in the year 1000,  there’s some speculation that there were even other visitors before then, and of course we have the populations of native people’s who have lived here for forever, but in terms of the European colonial pattern we’re looking for, for our needs we’re looking at Christopher Columbus. So as y’all know Christopher Columbus, Portuguese adventurer, getting permission from Queen Isabella of Castille in 1492 set sail across the Atlantic to try and find a passage to India to get some of them good ass spices everyone was raving about. Though he didn’t find India he managed to find the Caribbean also known as Central America. Now I know in the news for a little bit with the ever increasing prevalence of the Black Lives Matter movement y’all been hearing about people tearing down Christopher Columbus statues in the news and there is a very good reason for that.

So as I’ve already told you Chris didn’t discover North america but he also was, and this is gonna be a massive understatement, but the dude was a massive asshole, like take the biggest asshole you can imagine and times that by about 10. It’s estimated that his colonization of the Caribbean resulted in the deaths of over 8 million people, or or about the entire population of Switzerland. You can’t even use the product of his time excuse because even Queen Isabella, the person in charge of the Spanish Inquisition, which famously saw hte torture and death of tonnes of people under the guise of religious purity, was even like yo dude you need to slow down. I will talk about him more once we reach central American music genres but just for now yeah he existed, yeah he kinda started the wave of north American exploration, but he was also an absolute asshat and there should never have been a statue let alone a day to commemorate the shitheel of a man.

So we get the start of this wave of immigration into what will become northern South america, Central America, and southern north America by Portuguese populations who mainly speak, well, Portuguese, bringing music from the Iberian peninsula. But we’re more concerned with what’s happening up north and for that we’re gonna have to look at later waves of immigration that started with Roanoake starting in the 1520s.

So the start of British colonization started with Roanoake and Newfoundland (which, yes, for our non canadian listeners it’s pronounced newfinland not new found land like the name would suggest, which to be fair would also be cool, I’ll welcome the Fins in my land anytime, they do fantastic music). One of these settlements was infinitely more successful than the other with Newfoundland becoming what we know now to be the east most province of Canada and while Roanoake is still there it failed so hard that a population of 112 people disappeared without a trace. Like legit we still don’t know what precisely happened to them. Some assume they integrated into the local native populations, some assume they were all murdered, some assume cannibals, essentially it was a bad time for all involved.

What this means for newfoundland though and other English colonies is that musically we hear a very British folk song base to the music that’s being established here, with newfoundland being very much established as a fishing colony the musical style echoes that. Since we’re talking about the Kingdom of England more broadly this meant that there was an absolute tonne of Irish and Scottish influence to the music. This is why when you listen to the folk musics of Newfoundland (established in 1583), Virginia (established in 1607), and Parts of the Carolinas (established in 1712), you hear it sounds very similar to that of their colonial forefathers. This means that there was commonly a lot of fiddle, flute, English guitar, a string instrument with a long handle, rounded body and ten strings that was a version of a Renaissance cittern, simple stringed banjos; zithers, which were flat, shallow boxes with strings running the length of the body that were plucked by the fingers and and hammered dulcimers, various shaped (like trapezoidal and peanut shaped) sound boxes with strings across them that were hit with small hammers, Much like this!

So we have all these people coming into the area, and with that too you’re also going to get jigs and reels too. Jigs and reels are both types of dance music widely enjoyed across the British Isles but are most associated with Scottish and Irish dancing musics. The difference between the two is mostly the time signature as the instruments used to play both of them are roughly the same, that being said Scottish musics tend to have more pipes and irish does traditionally use a type of handdrum which are both excellent. Jigs are in compound duple time meaning that there are 12 8th notes in a bar of music and reels are played in simple time like 2/2 (two half notes per bar) or 4/4 (4 quarter notes in a bar). They sound like this.

Its important to note here too that when we talk about all of these peoples from the British Isles that we don’t unintentionally assume that they were all nice and cozy with one another. Many of the Scottish and Irish parties, often referred to simply as the scotch irish or scotts irish came to america as a form of Religious punishmen because they didn’t precisely fit in with the church of England, some of my ancestors were scotts-irish and came to what would eventually become America because they were Quakers.

It is from these traditions that the music then evolves into something different over time and actually we’re gonna take a quick detour into linguistics for a second because it will be particularly helpful in demonstrating my point and y’all will be able to hear something way cool. So for those who are not aware, linguistics is the study of, well, language. (big brain moment right?) But what does that mean? Whereas when you take English, Igbo, Japanese, Arabic, or any other established language in an academic setting (so like learning in school when you’re growing up) the emphasis is on spelling, grammar, how to write and speak your language in the way that it has been determined is the best way to speak it (which isn’t always ACTUALLY the best way to speak it but we’ll get into that in a second.) Linguistics is the study of pretty much every other component of the language. So linguists study the phonemes or the sounds that comprise the word and how they change based on the dialect that a person is speaking (a dialect being a regional difference of a language such as how someone from Scotland speaks English and how I as a Canadian speak English), they study how languages become standard languages and why (spoiler alert there’s a lot of elitism involved), they study meaning and why we put certain words in the order that we do (for Example in English we put adjectives (or the words that describe things) in very specific order being quantity, quality, size, age shape, color, proper adjective and purpose or qualifier so describing a thing could be a shitty old triangular purple metal pair of shoes, but if you were like the triangular purples old shitty pair of shoes you would lose your gourd.)

But why does linguistics matter? Well language actually acts a lot like music in the ways that it travels and changes over time which makes sense doesn’t it? When a people move around and interact with other cultures or are even just are separated from a larger group, over time their language will change! One change that is easy for us to see in our life-time is in word usage, for example, you use different phrases and slang that your parents and your grandparents didn’t use. The same goes for accents this means that your accent is going to be different than your parents and their parents. In some cases this will smooth it out or ramp it up, it will accentuate features, or drop features entirely. And actually this is where I’m going to give you over to a linguist to better explain this because where I do know about some linguistic shift they will definitely explain it better.

Why this is important is BECAUSE music functions similarly in terms of drift. Though musical drift doesn’t happen as FAST as language because language you use everyday with incredibly intensity and music you do not, it does still happen. Even more helpful in the tracing of language is how and where it moves over time. Because language is contingent on people speaking it and music is also contingent on those who play it, you can track how music and language changes and who it interacts with based on the stylistic attributes and or instruments that it acquires over time. If we wanna think about this in a real practical sense come with me into the theater of ur brainhole for a second. Imagine for a second there is a group of people who live in lets say India in like the 500s C.E for some reason or another they’re pushed out of India and into the west where they met like Turks and hung out with them for a couple hundred years. So they pick up some Turkish words, incorporate some of their musical elements and then move farther west. Then they meet the Greeks! The Greeks are pretty rad, they got some good shit going for them, so they stay for another couple hundred years! Again, they pick up some Greek words, some Greek musical elements. After that let’s say some of the people from this group were captured and held as indentured workers in a country forcing them to integrate into the culture of the majority but another portion of the population was fortunate enough to be able to get away and keep moving west into the Balkans where they also picked up a bunch of words and musical elements. You see where I’m going with this? Cultures are all contingent on how often or how little they come in contact with other cultures, this goes for music, this goes for language, hell this pretty much goes for all sorts of art. For the sake of our example I used the Roma who also just serve as a crazy good example for this because we didn’t really even know their history until one scholar was “like hey they got some Indian words in here” and launched a whole study into it which is rad as hell but we’re gonna save that for another episode. BUT YES CULTURE IS CONTINGENT ON THE INTERACTION OR LACK OF INTERACTION WITH OTHER CULTURES, THIS IS A THING AND WE’RE GONNA BE TALKING ABOUT IT A LOT.

SO we were with settlers from the British Isles and they came to north america and then their music changed!

In Canada and Louisianna we also have the addition of the French colonies which make our music a little different. In Canada those colonies would be Acadia in what is now the province of Nova Scotia (established in 1604), Montreal (established in 1642), Quebec (established in 1608), and Trois Riviers (established in 1634)  along the Saint Lawrence River with the voyageurs or courier de bois who were fur traders dealing primarily in beaver. In the southern US it’s the colony of Louisianna in the states which is much larger than what is currently the state of Louisianna. All of these colonies together formed one mega colony commonly referred to as New France. Differences between the musics performed by French colonists vs. English colonists was, well first of all the language, obviously French colonists sang more often in French, due to them being… French. But there were also differences in content too. In Canada especially many settlements were originally set up with the intention of converting native populations to Christianity which is a form of cultural genocide by the way. Thus, Jesuit populations often brough a lot of religious music into the area. Sometimes it would be mixed with musical and cultural traditions of the native populations but often it would just be very Christian. An example from the area I grew up in would be the Huron carol which blends native cultural heritage from the area with Christianity. It sounds something like this.

As French populations began intermarrying into native populations this became a more common sonic combination to hear. In Canada we also have a larger amount of music based on or around or deriving from sea shanties due to the fishing populations that settles in East originally as fishing colonies. As I plan to do a whole episode on sea shanties one day I don’t want to go too much into them but quickly speaking sea shanties tend to be broken down into categories based on the task they were performed around. So there were three principal types of shanties: short-haul shanties, which were simple songs sung for short tasks where only a little work was needed, halyard shanties, for jobs such as hoisting sail, in which a certain rhythm was required to signal when it was time to exert effort and when it was time to rest (often referred to as a pull and relax rhythm), and windlass shanties, which synchronized footsteps. I find them incredibly infectious, which is probably intentional because they’re meant to kinda keep spirits up as well as set a pace for work, but I’ll try and sell ya more on that when the time comes. In the meantime you can content yourself with singing drunken sailor to yourself, probably one of the most well known shanties.

French Canadian music also has some very fun additions to it that come from the body itself, like ur own dang body. The first one is a singing technique but also song style. It’s technically a form of non-lexical vocable which is a fancy way of saying “sounds that comes from ur mouth in music that aren’t necessarily words.” In fact sometimes it’s also just referred to as French Canadian mouth music. This specific one I’m talking about kinda, lord how do you describe this, it’s like a scatting but much slower, less bombastic, and more rhythmic. I’m gonna fuck up the pronunciation because, again, even though I have a French Canadian background and had to take it from grade 4 to grade 9 in school I remember it about as well as one might remember an event they’ve never been to, that is to say not at all. The form is called a turlutte (ter-lute) which uses a lot of D, T, and M sounds to kinda fit the sound that ur looking for in a song. It sounds something like this!

French Canadian music also has the real fun addition of podorythmie or foot rhythms which are complex rhythms that people keep with their feet. For those who don’t know what a rhythm is, it is defined as a strong, regular, repeated pattern sound so lets say that you start clapping, and each clap is spaced exactly by one second, now on the first and third claps you clap a little harder, that would be a rhythm. Rhythms can be incredibly simple like that one or they can be really complex and the ones that you will hear in French Canadian music are of the more complex variety. Usually if the person performing them is also playing an instrument they’ll often sit in a chair with a little wood box or hard surface underneath which they will use to tap their feet on. Sometimes they will wear special hard bottomed shoes made with leather or wood to do this in order to accentuate the sound. Less commonly people can also stand while performing a podorythmie turning it into a kind of dance. Here’s my favorite example of what that sounds like.

Some of this style was eventually transported to Louisianna when the Acadians were eventually pushed out of Canada by the English in 1755, many of them ended up actually settling in Louisiana forming the ethnically Cajun population, Cajun deriving from the word Acadian. Not to say that life wasn’t hard for damn near everybody who wasn’t nobility in the 1700s, but the dramatic shift for Acadians made it particularly hard for a long time. People had trouble adjusting to their new way of life at first, coming from a mostly trading based economy to agrarian based was hard on the population, not to mention the massive change in climate that came with moving all the way from what would now be modern nova scotia all the way down to Louisiana. To give a real succinct idea of where exactly they were moving imma quote Loyola university in New Orleans that have done a really good succinct history on the Cajuns of Louisianna ”Few Acadians stayed in the port of arrival, New Orleans. Some settled in the regions south and northwest of New Orleans and along the Teche, Lafourche and Vermilion Bayous. Far more went further west to the marshes and prairies of south central Louisiana. They became hunters and trappers and farmers. It is a popular misconception that most Cajuns live on the bayous and in the marshes, poling their pirogues and hunting alligators. Far more became farmers in the grand triangular prairie that stretches from Lafayette north to Ville Platte and west to Lake Charles.” Like shit man, my giant canadian ass if forced to live in Louisiana would probably catch fire as soon as I got there let alone back then with no air conditioning and what have you. Their music also then changed to reflect their new way of life, not that the music was about catching fire in a corn field (although that would fucking slap), music was written and sung about hard times and hard livin’.

From the same Loyola University document: The music these people brought was simple. It was made by singing, humming, and rhythmic clapping and stamping. Instruments were brought to the colony, with a violinist's death recorded in 1782. Early instrumental music was played primarily on violins, singularily or in pairs. One violin played lead and the second a backing rhythm. A simple rhythm instrument was created out of bent metal bars from hay or rice rakes: the triangle or 'tit fer, meaning little iron. Musicians wrote original songs telling of their life in the new world. The song J'ai passe devant ta porte tells of the suddenness of death from accident and disease. The singer tells of passing by his beloved's door and hearing no answer to his call. Going inside he sees the candles burning around his love's corpse.

In the south they would have been influenced by other settlers in the area, more scotts and irish of course but also eventually African descended peoples. Some were brought as slaves during the French and Spanish colonial period or brought in by settlers after the Louisiana Purchase. Under Spanish rule, slaves were allowed to buy their freedom (which I cannot emphasize entirely how fucking difficult that would have been), leading to an early population of free Blacks in southern Louisiana. People of African descent also came from the Caribbean, including the colonized French-speaking islands. During the revolution in Haiti between 1789 and 1791, French-speaking Haitians who fled the violence often chose the Louisiana coast as a destination due to having a familiar linguistic population and ease of access. These populations would become to be known as creole. The term Creole comes originally from the Spanish criollo, for a child born of Spanish parents in the New World. The French borrowed it as Creole. Creole could refer to anyone of European parentage born in Louisiana. Over two centuries it began to be used to mean a person of mixed foreign and local parentage. One use today is to refer to someone entirely or partly of African descent.

Now, it’s incredibly important that we don’t discount the influence of slaves and former slaves in the creation and dissemination of creole musics because they are absolutely integral to the process. Creole songs originated in the French and Spanish slave plantations in Louisianna and thus contain tonnes of African musical elements from the instruments they used to the syncopated rhythms. For example, original instruments you would have heard could have been percussion instruments made out of gourds, known as shak-shak which would be shaken to create a rhythm, the mouth harp, a type of metal instrument that one holds in place in the mouth and plucks with their finger opening and closing their mouth hole to create different pitches and textures of sound, the bamboula, tambou, or tombou lay lay which are types of drums; and as I mentioned before, a type of banjo known as a banza might have been played if someone could fashion one. Because that in essence is what we’re talking about, when we talk about Creole music we’re talking about music slaves could make with the limited resources that were available to them, in order to make the music they wanted to hear. This is why overtime we also see the addition of the washboard as an instrument because it was something that would have been available to them. A washboard for those who don’t know is most literally a board, usually made out of ridged wood or metal that one would put into a source of water, either a basin or a river, and methodically rub the dirt and stains out of your dirty clothes as well as you could with soap if you could access it, believe me it’s about as fun as it sounds.

So what was this music they were playing? What did it sounds like? Well as I already mentioned there was a lot of African influence to the music. One of the most prominent features of this influence is the syncopated rhythm. A syncopated rhythm is a rhythm that is built so that the strong beats eventually become the weak beats. So if we continue our example from before, where we clap harder on the first beat and third beat, a syncopated rhythm would move to become the opposite of it on the 2nd and 4th beats or the off beats, like this. Don’t be worried if that’s something you can’t do yourself, I still find it hard to switch between.

As no type of culture exists independently of time or location though, the type of music they played was also influenced by the culture of their oppressors. While there was music that existed independently that slaves brought from their Native African groups such as the Bamboula, Calinda, Congo, Carabine and Juba, over time, a lot of their music also began to incorporate French and Spanish influence. A type of French dance called a quadrille for example was worked into the repertoire, a Spanish dance called the contradanza or the habanera actually became some of the first written music to incorporate the aforementioned African rhythms. Even the language used in these musics grew and changed. For the slaves, and even free black folk coming from the Caribbean, they would bring with them what is now known as patois, a language that is a combination of English, French, Spanish, and African languages. So when we think of what creole music is, it really then is a patchwork of different cultures mainly driven and compounded by the efforts of African slaves.

Now I will say before I play this example here that it is difficult when looking for early musics belonging to oppressed peoples because 1. It wasn’t written down for the most part, at least not in the way it would have been originally performed, 2. Pieces that were written down, recorded, or coopted were often done by white people looking to profit off of African music (which we’ll see way too fucking much of as we continue our north American music excursion), which seems like a rather disingenuous way to present it to you, and 3. Because music recording as far as actually recording audio didn’t exist until 1860. So if we’re looking for songs from the periods that they were written or invented we still have to find people who are alive that remember them. Even as I was researching this I was trying to look for recordings that would make it easier to hear the differences between the dance genres I mentioned earlier. Unfortunately there isn’t much in the way of albums or popular bands dedicated to these types of genres, so instead I’m going to play a clip of a bamboula rhythm being played by some students at the Asheh Cultural Arts Center's Kuumba Institute in New Orleans, and then a clip of another group performing a Calinda.

From where we’re currently standing in the year 2020 there is still Creole and Cajun distinct musics but they also created a fusion genre which has become it’s own thing, this genre is called Zydeco. Zydeco developed out of both the Cajun and Creole though (hard core purists will insist that it is a mostly creole development) which then further changed when German Immigrants started moving into the area. The accordion, which was invented in Vienna about 1828, was brought to Louisiana by the German immigrants many of whom lived adjacent to or among the Cajuns. Though it arrived in Louisiana as early as 1884, it was not immediately incorporated into Cajun music. This is because where fiddles were tuned differently than the accordions coming into the country. What I mean by that is that some instruments have pitches they’re better at playing naturally. So for example, you’re standard run of the mill trumpet, like if u look up a trumpet on google, well they’re most suited to play in the key of B flat because the sound that you get when you blow into one without putting any of your fingers on the buttons is B flat. For the accordions that were coming with the Germans, they were tuned to the keys of A and F, so it wasn’t till much later in 1925 that accordions tuned to C and D started appearing and thus started to be better incorporated into the music around it. The guitar was also added pretty late coming in in around 1920ish. The word Zydeco itself is actually derived from the title of a French song Les haricots sont pas sale or The snap beans are not salty! You can hear in the French if you put a little punchiness into it, the transition between the les and haricot sounds like a Z (yes I’m a Canadian that says Zee, I blame it on my American mother, plus it just sounds better, zed sounds like a bee flew into a hard surface). So because of the Z sound it became abbreviated to zarico and through time morphed into Zydeco! We got BEAN music.

And how does this bean music sound, well I personally think it sounds pretty fucking rad, kinda like this:

https://www.youtube.com/watch?v=-kPztofSd5Y

fun fact about that one, I’ve known this song for roughly 5 years I knew it I definitely just thought these dudes were scattin, like WHOA BA BA WHOA BA BA WHA BA PA BYE BYE DOO DOO, I did not realize until roughly 2 years until after I heard it that it had lyrics…

Now you may have noticed I haven’t touched on Appalachian folk music yet and I’ve done it very strategically for 2 reasons. One is just simply because if I had put it any earlier yall would have been like HUEHUEHUE I HAVE HEARD ALL I NEED and then absconded into the night like a raccoon after finding half a cheeseburger in the trash. The second was because Appalachian folk music and next week’s episode are gonna be pretty instrumental in the episode after that, so to keep it popping freesh in ur brain bits I figured I’d stick it at the end of the episode.

So appalaichan music turns out is actually a really tricky genre of music, if we wanna go by the United States Library of Congress introduction to Appalaichan music: The term "Appalachian music" is in truth an artificial category, created and defined by a small group of scholars in the early twentieth century, but bearing only a limited relationship to the actual musical activity of people living in the Appalachian mountains. Since the region is not only geographically, but also ethnically and musically diverse (and has been since the early days of European settlement there), music of the Appalachian mountains is as difficult to define as is American music in general. I should also probably say before we get too far that like the Appalachian mountains (which first of all that I pronounce incorrectly because it’s pronounces with a CHian not Shan) but the appalachian mountains are the mountain range that run through a lot of the eastern United States, so like Appalachian Mountains extend 1,500 miles (or 2414 km for everyone else) from Maine to Georgia. They pass through 18 states and encompass the Green Mountains of New Hampshire and Vermont, the Berkshires of Connecticut, New York's Catskills, the Blue Ridge Mountains of Virginia, and the Smoky Mountains of Tennessee. The region known as the Southern Highlands, or Upland South, covers most of West Virginia and parts of Kentucky, Tennessee, Georgia, Alabama, Maryland, the Carolinas, and Virginia. In colonial times, this area was known as the "Back Country."

It was in these areas that Cherokee and Algonquin people already existed but then colonists would come from England, Scotland, Ireland, and Wales and eventually from other parts of Europe came the Germans, French Huguenots, Polish, and Czechians. So we’ve already looked at the influence from the British Isles before (the jigs and reels and English folk music) but these would evolve into Square dances with a little help from French influences as well. A square dance for those who don’t know is a dance usually with 8 sets of partners who perform steps that are either established and vary based on song or thencaller which then the dancers perform. But just as we saw with instruments and musics being carried by free or escaped slaves to different parts of the southern united states and being integrated into the musical cannon of the area, the same thing happened in this area by the other people settling here as well. For example, the hammered dulcimer I told y’all about earlier (which if you haven’t seen one I would recommend lookin one up they can come in really fun shapes, ) but yeah those same hammered dulcimers were not an invention of the British isles carried over by those settlers but it is almost a direct descendant of a German instrument (the Germans btw came in a couple different waves the first big one being in 1670) so this instrument they brought was called the Scheitholt. Even African American instruments entered the scene in around the 1840s just in time for minstrel shows to start travelling around the country which I will be doing an episode on by the way because you can’t talk about American music without talking about the fucking disaster that is minstrel shows. It was these same free black peoples that also really popularized the call and response type of vocals which is pretty much just what it sounds like. The main singer will call out a line of lyrics sometimes as a holler, sometimes more musically, and other singers will answer it by doing it right back at them. This can be found in all sorts of music but just for the kicks of it here’s an example of it in gospel music.

But we’re gonna back track a little bit back to the Germans because we really haven’t talked about them enough and have left out one of their biggest influences on developing Appalachian folk music which is yodelling. If you’re from the states you’ll probably know yodelling from that kid that got famous a couple years ago and was in a Walmart commercial or something but for those of you who don’t know or people who do know that kid and are just curious about the mechanics of yodelling: The main components of a human singing voice are the head voice and the chest voice which I CAN and will demonstrate but to explain first, the head voice and chest voice are the two registers humans typically have. There’s also falsetto which is slightly different as it is kinda a pushing of the voice to a place it isn’t really supposed to be but I digress. So the head voice is where we get all our higher notes where the chest voice is where we get all out low notes. This is mainly due to the resonators we are using in creating these sounds as well as how tense or thick or thin and how long or short your vocal chords are. Resonators are simply just the air passages and open spaces in your body that sound resonates through. So for head voice you’re pushing the sound up and into the head using like ur nasal passages and all ur skull space for the sound to vibrate through which are all really small so you get a higher often sharper sound and chest voice mainly resonates in the chest (or ur LUNGS) which is a lot more space and so more low and rumbly. You can tell the difference between the two by putting a hand on ur chest while you’re singing, start with your lowest note you can comfortably reach and just start ascending, eventually you will feel your chest vibrate less and less and should be able to feel the switch into head voice. I’ll just give you a quick demonstration as to how different they are. Please bear in mind I am a natural soprano so my low range isn’t incredibly low but here it goes so the head voice “as I don’t do remembering, can’t give this song a ghost of past, I wander, I ponder, why there is weight in time” and again the same line but in chest voice “as I don’t do remembering, can’t give this song a ghost of past, I wander, I ponder, why there is weight in time.”

So if you tried it yourself you’ll notice that there’s a little, what vocalists call, break between where ur chest register is and where ur head voice is, it happens for everyone don’t worry. What yodelling does then is fluctuates between the head and the chest voice really fast and most importantly smoothly like this:

ahh shit man, the sounds of my ancestors, you can almost smell the leiderhosen, taste the octoberfest, YOU CAN ALMOST SEE THE SCHUPLATTING. But yes so Germans brought this with them from their homelands along with their accordions and it established itself the Appalachian folk tradition. Now it’ll probably interest you to know that yodelling isn’t a genre without purpose, as I’d like to do a whole episode on it though at some point I don’t wanna spoil too much but it is good for communicating across mountain ranges because of how it echoes and the types of inflection you can put into it. This makes it easier to understand why it survived the shift from the mountains in Germany all the way to the mountains of America. The Germans also brought something else with them, but it wasn’t just Germans, the Polish, and Czechian influences also brought it with them too! And what is it that they brought? The waltz of course! The waltz is a type of dance that focusses on a ¾ time signature, and has one heavy beat on the front and two lighter beats after. For any of you who’ve ever seen the musical Oliver, this is precisely the type of song Oom Pah Pah is.

So these collections of music and the things they developed into can be called Appalachian folk musics. It’s hard to pin down precisely what Appalachian music then sounds like at times because of all the different influences depending on place that you were living in, if you had to pick out a few things though you would head that firstly you get a lot of stringed instruments like guitars, fiddles and banjos. Secondly  the themes were often similar and reflected day to day life living in the region such as mining or logging, there’s the fun little genre of murder ballads which I wanna do a whole episode on some day, and after the civil war we also get the addition of a lot of war songs. Thirdly this music would vary depending on purpose but would definitely include dances, campfire songs. So Imma play you a few samples then, first we just have a good old mountain song

if these sound familiar to other genres of music like bluegrass and country that’s because Appalachian folk music was the predecessor for both genres but those I’m gonna save for their own episode sometime in the future. It might be a part of the north American genre business it might be just another nebulous episode I do in the future at some point. But for now at least you know the history of some of the biggest Genres of American folk music. BUT WHAT ABOUT FOLK MUSIC TODAY, LAURA, WHAT ABOUT MUMFORD AND SONS, HOZIER, FUIMADANE, AND KORPIKLAAN? And I know, they’re ALL fantastic acts and I’ll get to people like them eventually, but for now at least you know where it all started.

So with that, hat’s all for just a music podcast this week, I hope you’ve heard something new, and I hope you’ve heard something that you like. If you haven’t there’s always next week where we’ll be getting heavy with slave and gospel music. In the meantime, though if one of y’all would like to suggest a topic I would love nothing more than to answer your musical question or talk about topics that interest you guys in music. Feel free to drop me a line at [email protected]

Bye!

1.   Over the Hills and Far Away - 17th Century English Traditional - https://www.youtube.com/watch?v=0MR7VihPm2E

2.   Woodsong Wanderlust Solo Hammered Dulcimer by Joshua Messick https://www.youtube.com/watch?v=ayAvzVdOJJY&list=RDfD0rNyjDAa0&index=13

3.   Out on the Ocean https://www.youtube.com/watch?v=ynKDggMtMww

4.   Rakish Paddy & Braes of Busby (Reels) Uilleann pipes Chris McMullan https://www.youtube.com/watch?v=v0umOtiKyUc

5.   A Quick Lesson on Southern Linguistics https://www.youtube.com/watch?v=mNqY6ftqGq0

6.   Huron Carol https://www.youtube.com/watch?v=DgPeEvUl06Y

7.   La Bolduc - Reel Turluté https://www.youtube.com/watch?v=ASW3Cejl5oc

8.   Le Lys Vert https://www.youtube.com/watch?v=ASW3Cejl5oc

9.   J'ai passe devant ta porte https://www.youtube.com/watch?v=DtchvhughFw

10.New Orleans Kuumba camp https://www.youtube.com/watch?v=ItRuHjjGMhg

11. Calinda (Stickfight) https://www.youtube.com/watch?v=LaM0PI3T1s8

12. Bye, Bye Boozoo https://www.youtube.com/watch?v=-kPztofSd5Y

13. Call and Response in Gospel Music https://www.youtube.com/watch?v=OMgNTwZW5gY

14. Underthing Solstice https://www.youtube.com/watch?v=anMKMu9Tpoc

15. Yodelling Franzl Lang https://www.youtube.com/watch?v=vQhqikWnQCU

16. Final Fantasy Crystal Chronicles – Ost – Maggie is Everything https://www.youtube.com/watch?v=_Fn1Pw-LxU8&

17. Ola Belle Reed High on the Mountain https://www.youtube.com/watch?v=RsRRY5k5Psg

18. Traditional Tennessee Square Dance Caller Gerald Young of Pulaski https://www.youtube.com/watch?v=L7-DWvegcL8

THE NEXT CHAPTER: TOBIAS FORGE AND THE FUTURE OF GHOST

Their Kerrang! Award-winning fourth album Prequelle took Ghost from cult concern to global superstars. But the arena-filling congregation of fans is growing restless for clues as to what’s next for Cardinal Copia, Papa Nihil and the ministry. Let Tobias Forge, then, take you behind the mask and into the making of – and future plans for – a band like no other…

The WaMu Theater, Thursday 19 September. Last night this venue – attached to the side of CenturyLink Field, the home of the Seattle Seahawks NFL team – played host to the ‘Groover from Vancouver’ himself, Bryan Adams. Tomorrow it’s the turn of the Pacific Northwest city’s beloved sons, grunge legends Alice In Chains, for their last show in support of their sixth album, Rainier Fog. Tonight, though, Seattle gets the latest ritual on Ghost’s extensive Ultimate Tour Named Death.

Despite this morbid moniker, the scene inside the building is one of lively activity, with techs rushing around to finish the show’s elaborate staging. The house lights illuminate the stained glass window backdrop, while the seating, flat on the floor and sweeping upwards towards the back, furthers the illusion we’re in a vast church. Just then, Tobias Forge, the man whose job it is to address tonight’s 5,000-strong congregation appears. Kerrang! doesn’t notice him at first given the ninja-like silence of his approach, but there’s an intensity to his presence in these make-or-break moments of preparation.

“I’m interested in tour production, so I get to know a lot of these things,” he offers matter-of-factly. “I’m sure I only get to know about 40 per cent of it, but I notice if things aren’t in place.”

As a nine-year-old child, Tobias used to watch the documentary 25x5: The Continuing Adventures Of The Rolling Stones on repeat. The film charts the rock legends’ genesis in 1962 and their steep, heady ascent to becoming the biggest band in the world, circa their 1989 album Steel Wheels. Tobias considers their subsequent Bridges To Babylon Tour (1997-1998), which made more than $274 million and became the second-highest grosser of all time, to be the greatest ever piece of rock staging, and he was evidently taking notes even then. As a result of the level of professionalism he aspires to, you get the distinct impression he’s not a man who suffers fools gladly in this setting – an idea he doesn’t go to great pains to dispel.

“I want to know who’s in the shit today,” he explains. “Who has been put in the situation where his or her job is compromised, because I don’t want to start yelling if it’s a case of, ‘Oh my truck didn’t arrive in time today,’ because then I’ll know what the problem is. If you want to be a good boss, it’s very important you keep things on your radar.

“I’ve definitely got into trouble over the years by being too nice to people and giving them too much slack,” he continues, surveying the operation. “When you do that it’s like with dogs: if you don’t tell them what the rules are, they start making up their own. That sounds horrible, but there are 40 people on this tour, so there has to be a line and a curriculum. I’m adamant about getting my vision through, especially now we’re in this transitional phase between theatres and arenas.”

This increase in scale reflects the continued upswing in Ghost’s popularity, which has seen them go from misunderstood cult band to metal superstar status in the space of less than a decade. Despite this success, Tobias clearly isn’t taking anything for granted. Ghost haven’t played Seattle for three years, but this time around they’re doing two shows in Washington State, the other being the one they played at the Toyota Center in Kennewick two days ago, which has a capacity of 6,000 – almost eight per cent of the city’s 80,000 population.

Tobias may or may not be referring to that show when he discusses his unbridled joy at recently playing in an unnamed city that doesn’t get a lot of large-scale entertainment coming through town, save for appearances from KISS, singer-songwriter Pat Benatar and a touring production of the musical Wicked in recent years.

“None of us had ever heard of this place, and I’m pretty good at geography,” he explains. “But I loved being the singular moment somewhere, instead of the seventh show they’d had there on that particular week.”

And while Tobias describes the resulting night as “phenomenal”, earlier in the day there was an “unforeseen curveball” when the company who were meant to be selling merch at the show pulled out at the last minute, citing Ghost’s satanic image for their decision. This was, of course, a throwback to earlier shows, such as one in the Texan city of Odessa in 2018, when a minister attempted to dissuade people from attending because of the band’s threat to the morals of good God-fearing people. Unsurprisingly, this outburst resulted in an increase in ticket sales.

Despite this more recent – and, these days, more unusual – blip, Tobias’ desire to cover as much ground as possible on tour this time around is inspired by his heroes in Iron Maiden and Metallica, who have long provided him with the blueprints for achieving and navigating monumental success. In this case, the lesson he’s putting into practice is that every location Ghost visit, without exception, should be treated the same.

“The most important thing to me on this tour is that we bring the same production to everyone,” he says. “They all get the full-fucking-monty, whether they’re in Sioux Falls [South Dakota] or New York.”

The walls backstage at the WaMu Theater are lined with Seahawks jerseys, personalised with the names of acts that have performed here, including The 1975, Bastille and Nas, and the rockier contingent featuring twenty one pilots, Halestorm and Dropkick Murphys. Various rooms lead off from these labyrinthine corridors, providing sizeable production offices for the band’s tour management and crew, all of who wear dapper black shirts, trousers and braces affixed with silver broaches of Ghost’s upside down cross insignia. They affectionately address Cardinal Copia as ‘Cardi C’ when he appears later for a fan meet-and-greet. Here, too, are the dressing rooms for the headliners and the opening act for this tour, San Antonio rockers Nothing More.

On all of the doors is a distinct A4 page, the day sheet for this show, which not only details what’s happening, where and when, but also includes a different tongue-in-cheek quote for the occasion. Today, for example, in recognition of the touring party travelling overnight to Vancouver for tomorrow’s show at the city’s Pacific Coliseum, we get this gem courtesy of Britney Spears: ‘The cool thing about being famous is travelling. I have always wanted to travel across seas, like to Canada and stuff.’

Tobias, of course, has actually travelled over oceans to be here. Nowadays he lives in Stockholm, the capital of his native Sweden, with his wife and their 11-year-old twins, but he was born in Linköping, the country’s seventh largest city, where the steeple of its 13th century cathedral dominated the skyline. That’s not what the young Tobias was fixating on, though. Instead, aged five, when he already knew he wanted to transform into another person, he’d stand outside his childhood home and gaze down the street. The sun always seemed to be hovering between the buildings at the end, like a fixed but intangible hand beckoning him to get on a plane and go somewhere else and be someone else.

“The days and options seemed limitless,” he recalls today. “For some reason I always thought of the world as being there for the taking, even though I didn’t have any access to that world.”

In spite of this, he felt a deep affinity with his heroes, like the Rolling Stones and Queen, who also came from places you didn’t automatically associate with being breeding grounds for rock gods.

“I felt similar to them, even if they grew up in Dartford [Rolling Stones] or an island off the coast of Africa [Zanzibar, the birthplace of Freddie Mercury]. I, too, felt out of touch with my surroundings, and knew I had a higher calling.”

Twenty-three years later, in 2009, Tobias realised he hadn’t made much headway in heeding this call. He’d been in bands from a young age, from death metallers Repugnant to alt-rockers Magna Carta Cartel. The latter featured Martin Persner and Simon Söderberg, who’d later appear as Nameless Ghouls in the first incarnation of Ghost. Söderberg, along with some other ex-ghouls, is now embroiled in an on-going lawsuit with Tobias over what they suggest are the rightful shares of profits they’re owed from their time in the band. Tobias doesn’t volunteer any information on this topic today, which is perhaps understandable given the considerable column inches already dedicated to it.

Regardless, none of those early bands provided Tobias with the success he needed to, say, quit the day job. He had then been working in a call centre, aiding people having trouble with their mobile phones. Despite spending his childhood endlessly sketching elaborate stage designs and lighting rigs, he still has little interest in technology, particularly mobile phones. Back in 2009 his personal life was happy and satisfying, having welcomed children with his then-girlfriend – now wife – though this potent reminder of the finite time we have drew his attention to the area of his life he recognised as falling short.

“I had an epiphany,” he explains, raising his hands as if sizing up an imaginary canvas. “I found myself very far from the path, so decided in the limited time I have to invest everything in the one thing out of all my [professional] options I believed most in, which was Ghost. I understood wholeheartedly what it was, the music and the image, and felt I could do it without my vanity coming in, because I didn’t like how I looked in pictures or the sound of my own voice. But this would be fiction, so that was fucking cool. So I took all of my eggs and put them in one basket and was back on track. For the first time in my fucking life I was really focused.”

For evidence of the dividends this paid, you need only look at the fact that just a year later, with the release of their 2010 debut album Opus Eponymous, Ghost exploded on to the scene, taking the first step to becoming metal’s hottest new hope.

Further proof of this focus comes today from interviewing Tobias somewhere there’s a screen showing news channel CNN. We’re in the band’s pre-show warm-up space, which is decked out with guitars, keyboards and an electric drum kit he removes the stool from to sit in the centre of the room. He admits if he were in a hotel room now, he could easily watch CNN for 24 hours straight. He doesn’t so much as turn his head to look at it now, though, giving his full attention to the interview at hand.

Even at 38, an age he says his kids consider “as old as shit”, he remains remarkably boyish looking. His dark and piercing eyes, however, belong to an older soul – and it may be Kerrang!’s imagination – but they appear to moisten at several points during this hour-long chat, particularly when connecting the dots between his past ambition and what he’s achieved today.

“I’m trying to recreate a lot of things that aren’t necessarily real,” he says mysteriously. “In my head they’re real, and I’ve been given this fantastic carte blanche where I don’t have to sit in a fucking call centre anymore and am applauded for getting to be someone else. It’s perfect for someone like me who has a fundamental problem with functioning normally in society. If it wasn’t for the fact I was doing this, I would be completely useless.”

When Ghost signed with their American record label, their mythology wasn’t the deep well of fascination it is today. In fact, there was nothing to it at all. They had a unique aesthetic and a sound that didn’t necessarily go with that look, something that would wrong-foot new listeners in the early days, but Tobias didn’t have an answer to why Ghost were the way they were.

“They said the music was great but asked, ‘What’s the story? What’s the biography?’” recalls Tobias. “I said there was no biography because there was no story to tell. I wanted people to throw themselves into the vision and make up their own. But in the end I had to come up with one, which is second nature to me now. Even [Norwegian black metallers] Mayhem had a story. In the early ‘90s, before the internet, there was something that compelled us to want to find out more and listen to their music.”

This mythology Tobias has developed over the years was furthered with the release of Ghost’s fourth album, last year’s GRAMMY-nominated Prequelle, which introduced Tobias’ latest incarnation, Cardinal Copia, a character fans have come to love if the number of $40 plush toys sold at the merch desk tonight is any indication. More recently, a web series on YouTube has added to the intrigue, with the latest episode harking back to 1969, when a young Cardinal Nihil was fronting Ghost at the launch of their EP, Seven Inches Of Satanic Panic. That just so happens to be the band’s latest release in 2019, which will also be available as part of Prequelle Exalted, a limited collector’s edition of the album. Meanwhile, The Ultimate Tour Named Death has introduced the EP’s two new songs, Mary On A Cross and Kiss The Go-Goat, to its set list.

While Ghost’s music has always tipped its papal tiara to the ‘60s, particularly its psychedelic leanings, the latter song in particular sees them take this interest a step further. How much can we glean from them, then, with regards to where Ghost goes next? Not too much, as it turns out, according to Tobias, who suggests, as with the YouTube series, it’s a way to deepen the story of Ghost spanning from the ’40s to the present day, without necessarily providing clues to the sound of album number five.

“It’s just there for shits and giggles,” he laughs, before revealing that Kiss The Go-Goat, a song that’s been knocking around for some time, actually had the working title ‘The Throwback Single’. “I grew up listening to ‘60s music like the Rolling Stones and The Doors, as well as metal. People shouldn’t read too much into this direction, though. The next album is going to be something completely different from that.”

Can Tobias perhaps give two words to describe where, musically or thematically, album number five is heading?

“I’d choose the words ‘fifth’ and ‘album’,” he replies with a wry smile, before justifying what seems like a diversionary tactic. “I look at many fifth albums as a guide as to the urgency for what that record will need to be, with [Iron Maiden’s] Powerslave being a great example. By the fifth album you’re at a point in your career where you have this momentum built up, and you have the expectancy of people depending on you, so you have to put something special in those many spotlights. You need to step up and make a record that’s worth it and justifies all of these things.”

Who, then, can we expect to see fronting these rituals in future?

“I just know that person will have the name Papa Emeritus IV. It will be the fourth Papa Emeritus. But who that is, we don’t know yet.”

We’re not sure we believe him, so push for more. Might we see Cardinal Copia graduating to Papa status? The latest episode of the web series seems to indicate the ‘Sister Imperator’ character and Papa Nihil conceived a child. Wouldn’t that make him part of the papal bloodline?

“I think that what you will get over the next year are a lot of answers to a lot of questions,” offers Tobias, keeping things vague.

Like the question of whether Sister is pregnant? (In the latest ‘chapter’ of the web series, Sister attacks a woman at a Ghost show for smoking next to her).

“We don’t know that yet. It would blow my mind if she was now,” he says, clearly referring to the elderly Sister in the present day. This suggests she could well be with child back in 1969, though.

Has Tobias sketched what this new Papa will look like?

“Have you ever seen The Big Lebowski?” he asks by way of an answer, referencing the scene in the Coen brothers’ classic where Jeff Bridges’ character, The Dude, spots someone drawing on a notepad. When the man leaves the room with the piece of paper, The Dude rushes to scribble on to the page below to reveal the outline of what’s been drawn, only to discover it’s a doodle of a cock and balls. “It’s something along those lines.”

Sensing Tobias is in full evasion mode by this point, we change tack. Perhaps understanding his ambitions, and whether there’s a summit to them, can shed some light on the future – especially as he seems more focused on what Ghost’s next album will do rather than what it will sound like.

“I wouldn’t necessarily compare [my ambitions] to what the Rolling Stones have done, because that was a completely different time under completely different circumstances. For the last 40 years they have sold tickets because of nostalgic reasons, and maybe 40 years in the future there would be a nostalgia element for Ghost, but I can’t count on that.”

“I regard Metallica as colleagues and friends now, but they’re still Metallica,” he says of the thrash legends Ghost supported on their European stadium tour this summer. “I am an ambassador and they are presidents. But when I look to Metallica for influence, I’m looking at what they did in 1988. We’re on our fourth album, as they were on the Damaged Justice Tour, so the next stop is the Black Album.”

Spotting Kerrang!’s obvious joy at this admission, Tobias is quick to clarify exactly what he means by this.

“You have to make a responsible record,” he adds emphatically. “That doesn’t mean to expect riffs. It’s two different things – what the record sounds like and knowing to put yourself in the right spot at the right time. When I had nothing, and lived in a small apartment that cost very little because the ceiling leaked, the dream was to be able to live off making music. When I had kids that became even more important. Now it’s about something else. I’m responsible for showing my wife and my kids that all these years of waiting for me have been worth it. And that goes beyond money, because at the end of the day that’s just seasoning. One day my kids will be grown-up and I have to be able to show them that all this time playing rock shows had a real purpose.”

Of course, it doesn’t hurt that Tobias loves touring.

“I’m like a sailor,” he says. “I just love being on the ocean. I’ve not always been on tour, but I’ve always been a transient person. And the road to achieving all this is endless, just like the road I looked down when I was five seemed to me at the time.”

Kerrang

Why White People Don’t Know Their Place

To minimize offense to innocent bystanders, I’m going to be very euphemistic and clean up the terminology here.

I mean really clean it up.

In the bad old days in the antebellum south, plantation owners divided their workers into two groups:  Field Hands and Household Servants.

(Boy howdy, how I’ve cleaned this up…)

Now, I’m going to sidestep the specific racism to focus on the real underlying problem:  Classism.

American racism is like the caste system in India, samurai and peasants in ancient Japan, nobles and serfs in medieval Europe:  You are born into a specific class through no effort or fault of your own and are expected to stay there your entire life.

It’s possible to drop down in class under such systems, but not to rise above one’s current status.

(There are exceptions in history; the Roman and Ottoman Empires allowed upward mobility as a reward for exceptional service, and that served as a safety valve for their societies.)

The Field Hands in the Ol’ South understood this; they didn’t like it, but they understood it.

They knew they would never be allowed to rise above their race-imposed class status, but they also knew they could improve their condition within their class.

For Field Hands, it would be as a work gang boss, or as a skilled worker would could earn slightly favored treatment as a result of their specialty.

And if they dreamed big, they could become Household Servants.

As onerous as we would find the working conditions of Household Servants today, it sure as hell beat chopping cotton.

From the accounts the plantation owners left behind and other documentation, we know they spoke of Household Servants as beloved members of their own extended families.

Uncle Ben and Aunt Jemima deliberately play off that trope.

The conceit being that Household Servants were part of the ruling elite, that while there might be some minor physical differences between them and the plantation owners, they were actual kin, and as such, something special, something better than the poor Field Hands.

While the Field Hands sure knew where they stood in the scheme of things, among the Household Servants there was occasionally some confusion.

Many -- perhaps most -- were smart enough to recognize how precarious their positions were and carefully walked that tightrope, knowing they could slip and fall in the blink of an eye.

More than a few recognized their true position re the plantation owners yet still gloated over their less fortunate brothers and sisters and cousins in the fields.  The expression “cotton-pickin’ hands” came from that divide, the sassy Household Servant looking down with disdain on the lowly Field Worker’s coarse and calloused hands.

But a few Household Servants -- arguably the saddest and most pathetic of that lot -- actually believed they were part of the plantation owners’ extended families.

That was delusional thinking, of course.  

Bullshit of the most odiferous kind.

The plantation owners would sell a Household Servant down river in the blink of an eye if it suited them, and while there might be a few perks and privileges associated with being a Household Servant, heaven help any who dared act as if they were entitled to anything.

Especially if that entitlement was actually being an official part of the plantation owners’ families.

(Elsewhere, in the Latin American portion of the Western Hemisphere, grandees ruled over peons in a similar arrangement, the key difference being that like the Roman and Ottoman Empires, there was some provision for peons to rise in class; not much, but some.)

Now, like a satellite view of the Earth, let’s pull back one order of magnitude and look at the situation more clearly.

Every ruling class needs a middle class to act as a buffer between it and the lower class.

Sometimes that buffer is a privileged member of the lower class -- a factory foreman on first name basis with the CEO -- but typically it’s a management class set in place to take the onerous task of actually running an enterprise off the hands of the owners.

In the Ol’ South, that was every white person who didn’t own their own plantation. 

The plantation owners knew full well what they were doing.

Those who actually lived on the plantations they owned kept their Household Servants close to cater to their whims, but they hired white overseers to handle the dirty business of actually running the plantation.

A dirty business of blood and sweat and tears.

Those not hired directly by the plantation owners found indirect employment with them.

They ran the trade in enslaved labor, they served in patrols and militias that enforced white rule, they wrote for the laws that benefited the plantation owners and voted for the politicians who passed them.

And those not directly or indirectly employed fought the plantation owners’ battles at great cost to themselves, they provided millions of eyes and ears looking out for any sign of uprising, they gleefully joined the lynch mobs that terrorized those Field Hands “uppity” enough to demand the same basic human dignity as the lowest, meanest (in every sense of the word) white person.

What the white people in the Ol’ South never realized was they were no better off than the Household Servants.

Oh, they had their delusions of equality, they loved to think of themselves in the words of John Steinbeck as “temporarily embarrassed millionaires”, they all believed that someday -- someday!!! --  they would be rubbing elbows with all the high class plantation owners, sipping mint juleps, watching their thoroughbreds race at the Kentucky derby, etc., etc., and of course, etc.

And if their specific aspirations didn’t reach that high, they took solace in the idea that no matter how lowly their position, the plantation owners and other elites saw them as equals.

There’s a verse from the musical Oklahoma! That epitomizes this perfectly:

“I ain’t sayin’ I’m better than anybody else But I’ll be danged if I ain’t just as good!”

This is where America’s myth of the classless society began, because if one denies class exists, one can pretend to be the equal of those at the very top especially if the upper class rewards you by agreeing you are better than all others not like you.

A purportedly classless society can only discriminate and reward a select group while oppressing all others by claiming such discrimination is based on something other than class, such as race / gender / orientation.

We claimed to be classless -- yet our foundational laws excluded women and native peoples and African-Americans and men who didn’t own property.

By definition, that’s a class based society.

But we do possess the mechanisms to create a more perfect union, and however hesitantly, however tentatively, we’ve been taking steps in that direction.

The main obstacle to that has been white America, which by and large is pretty much in the same camp as the delusional Household Servants who thought they actually were a part of the plantation owners’ families.

By and large, whites in America have eagerly bought into this idea, sacrificing enormous advantages they have, enormous rewards they could reap in exchange for a mocking fictitious promise:  ”Hey, you may be poor, but at least you aren’t black!”

This is where American racism set back the country for white and minorities for centuries.  

To recognize that they were genuinely to better off that African-Americans, native peoples, or Latin / Hispanic Americans you require white Americans to surrender the one thing they thought they possessed that could never be taken from them:  Inherent superiority.

That was a phantasm, of course.  A lie perpetrated on the gullible for the benefit of the 1% at the very top.

The African-American and Latin / Hispanic American communities suffered a lot, but at least they never had the belief of inherent superiority promoted on their behalf by the wealthy upper class.

Indeed, while they cover a diverse range of the political and social spectrum, by and large those communities never succumbed to the illusion they lived in a classless society.

Oh, no; far from it.

As a result, come 2048 -- when whites in America will drop to 49% of the population, the largest minority in a nation of minorities but a minority nonetheless -- they will find themselves bulldozed by the far more vigorous and politically astute African-American, Latin / Hispanic, and other minority communities.

It’s a day too long in coming, and it can’t get here fast enough to suit me.

When it arrives. The former white majority will at long last be forced to recognize they ain’t “family” but Household Servants, and Household Servants ain’t no better than Field Hands.

I’ll close with another euphemism, a Firesign Theatre paraphrase of Buddy Holly’s infamous but wholly accurate and trenchant observation:

“I think we’re all bozos on this bus.”

 © Buzz Dixon

The Mad Gasser of Mattoon

While it must be admitted that no country on earth can top India when it comes to mass hysteria—I mean, the Indians really, really know how to panic over silly nonsense—the United States comes in a very close second. Despite sneering American press coverage of, say, the Monkey Man hysteria in north central India in the late Nineties, it seems we aren’t nearly so rational and sophisticated a population as we’d like to believe. Whether confined to small rural communities or spread nationwide, delightfully stupid instances of mass hysteria are sprinkled liberally throughout our history. Orson Welles’ 1938 War of the Worlds broadcast was small potatoes compared to some of the seriously dumb crap stalwart Americans have panicked about. From the Winsted Wild Man, to the Great Airship of 1897, to both Red Scares, to the child-raping Satanic cult hysteria of the Eighties, to the post-9/11 fear of, well, pretty much everything, to the Ninja Burglar who terrorized the residents of Staten Island for nearly a decade, Americans are just as primed and ready to start flapping their arms and trampling one another, as Rod Serling pointed out in “The Monsters Are Due on Maple Street” (1960), whenever the lights blink. Today, as fed by media both legitimate and less so, America as a whole seems to be one ugly, sloppy, rolling ball of mass hysterias. We are a gullible, susceptible people.

Although a few sillyassed contemporary revisionists are attempting to rewrite history, claiming the incidents that took place in Mattoon, Illinois in the Fall of 1944 really were the work of a shadowy and diabolical madman, their efforts are about as worthwhile as those of the hundreds of researchers who’ve claimed they’ve discovered the true identity of the (equally fictional) Jack the Ripper. As things stand, The Mad Gasser of Mattoon remains a perfect textbook example of American mass hysteria at its finest.

Mattoon was a small, quiet community in central Illinois, home to a few factories but far from the bustle of Chicago, Springfield or Champagne-Urbana. In 1944 it was even quieter than usual, considering most of the able-bodied men in town had been shipped off to the war.

Although the invasion of Normandy two months earlier seemed to bode well, as with the rest of the country there was still a palpable paranoia in the air that infiltrated most of the women, children and elderly residents who had been left stateside. They worried not only about the young locals in Europe and the South Pacific, but also about what those sinister Germans and Japs might have up their dirty sleeves. And those were only the big things to worry about. There was plenty else, too, all the day-to-day small town fears, especially those harbored by lonely middle-aged women.

On the night of August 31st, Urban Raef and his wife were awakened by a strange smell in their bedroom. The smell sickened both of them. Convinced there was a gas leak, Mrs. Raef attempted to get out of bed to check the stove’s pilot light, but found she couldn’t move her legs.

That same night, a young mother in the same neighborhood woke up when she heard her daughter coughing in another room. As with Mrs. Raef, when she tried to get out of bed to check on the girl, she found her legs seemed to be paralyzed. In both cases the symptoms passed relatively quickly, and the incidents never made it into the papers. Not until later, anyway.

Around 11PM the following night, Bert Kearney, a local cab driver, still had an hour and a half left on his shift. Back home, his wife was awakened by what she described as a sweet odor permeating the room. As the smell grew stronger. Her legs began to feel weak, so she called her sister, who was living with them at the time. When the sister entered the room, she not only smelled the sweet odor, but pointed out it was coming through the open window. As there happened to be a lot of cash in the house that night—stacks of it, in fact, which the sisters had been counting at the kitchen table earlier in the evening—the pair jumped to the conclusion this strange odor must be the work of a prowler who planned to rob them. They called the cops, who could not find any evidence of anything. No odor, no gas, no footprints or fingerprints, no sign of attempted entry. But when Bert returned home after his shift, he claims to have spotted a tall, thin man wearing dark close and a tight cap crouching near the house. Although he gave chase, he soon lost the man in the darkness. The creeping paralysis soon passed, though for the next few days his wife did complain about a burning sensation in her mouth and throat, obvious side effects of the strange gas the tall thin stranger had pumped into the bedroom.

The Kearney’s story made the papers, and that was the end of it. With the details of their harrowing evening now made public, they provided the other residents of Mattoon with the only blueprint they needed.

In the three days following the publication of the Kearney’s story, six other people called the cops to report eerily similar gas attacks with all the same trademarks: a weird smell, partial paralysis of the legs, and a burning sensation in the mouth and throat. One elderly woman claimed the tall, dark-clad Mad Gasser, as he was quickly coming to be known, crawled in through her bedroom window and, um, “attempted to gas her.” A middle aged couple, Carl and Beulah Cordes, returned home on the night of September 5th and discovered a white handkerchief on the back porch. When Beulah picked up the handkerchief and took a big whiff, she said, she began vomiting violently, and from that the pair concluded it must have been left by the Mad Gasser to knock out their dog so he could break into the house. An older woman living with her adult daughter claimed they were in the kitchen when a tall man dressed all in black began rattling the knob of the back door. Finding it locked, he used a syringe to inject the mysterious gas through the keyhole. Both women passed out, waking up several hours later with that telltale burning in their mouth and throats.

Even those who could not claim to be victims of the Mad Gasser themselves spotted him all over Mattoon, sometimes carrying the kind of canister and hose farmers use to spray pesticides. In every instance, the eyewitness descriptions matched perfectly the description Kearney had given the newspapers.

For all their investigating, cops could find no evidence of anything. There was no lasting physical damage to the victims. They could detect no evidence of any strange gas. Although robbery was the presumed motive, no property had been stolen. Even that handkerchief the Cordes’ had found, upon careful analysis, revealed no chemical residue.

The FBI was called in, but likewise found no evidence of anything untoward.

Frustrated by this, as is usually the case, the townsfolk formed roving bands of well-armed angry mobs to patrol the streets at night, determined to capture this Mad Gasser themselves. As official requests that the vigilante groups disband went unheeded, the chief of police was forced to issue a warning begging citizens not to loiter too long on the street for fear they might be mistaken for the Mad Gasser and shot. The town council also issued a plea begging citizens to be real, real careful with those guns.

Roughly two weeks after the Kearney’s story hit the papers, as the number of reported gas attacks in Mattoon approached thirty, the cops stopped caring. Nearly every report could either be explained away quite simply as a reaction to fumes from the local factories, or simply dismissed as false alarms. Considering no evidence was found of anything (save for that evidence created by the supposed victims themselves), this Mad Gasser nonsense was simply a waste of the department’s time, resources, and patience. They had plenty of real local crimes and misdemeanors to deal with as it was.

Not long afterward, and pretty well fed up themselves, town officials came out and told the citizenry to just calm the hell down and stop being stupid. There was no Mad Gasser, and never had been.

After two weeks of public madness and shrill, fear-mongering newspaper headlines, that’s pretty much all it took to bring things to an end. Although it doesn’t seem to work anymore, there was a time, amazingly enough, when all it took was to have someone say, “Oh, just calm the fuck down and go home. You’re all being a bunch of stupid little pansies.”

Seventy-five years after the events in Mattoon, as noted above, a number of revisionists have claimed they’ve identified the mysterious gas that was used, or better still the demented chemist who was behind the attacks, while others note that an eerily similar string of gas attacks took place in Virginia in 1933. It strikes me these people are desperate to sidestep the simple, undeniable reality that people—Americans in particular—are for the most part a stupid, frantic lot eager to not only believe whatever crazy nonsense they’re fed, but run with it as hard as they can.

by Jim Knipfel

Economic downturn, racism and war.

So, normally I’d be in some sort of non-sober state while writing this, and be full of my typical rash wit. But not today. Today I want to talk about what I (and many others) are seeing down the tube.  First, let’s go over the quick run of what’s going on. 1, we’re having concentration camps of both migrants as well as asylum seekers. This is inherently inhumane and a violation of various multiparty agreements that were made post world war 2 to not cock things up like Germany did with the Jews, or more locally relevant, what we did to fuck over the Japanese in the same period.  2, We’re in a trade war with China, who is itself trying to do a hostile takeover of Hong Kong (and don’t kid yourself for a moment, that’s exactly what the fuck that is), which happens to be the 3rd most important economic center in the world by most accounts.  3, Russia is fucking around with our politicians and buying them off to make for easier voter suppression and just bloody hacking the electronic voting machines, which oh by the way, an adequately caffeinated high-school nerd could probably do.  4, And finally, despite not technically being “in a war”, we’re not at peace, either. Hell, we haven’t been for as long as I can remember. Like many people on this website, one of my first memories was 9/11 and the subsequent wars in Afghanistan and Iraq. I vividly remember the latter, as we sat in our living room watching the bombs drop and my mother in hushed tones said “Well.. This is it.” and my stepfather, an Army Ranger at the time, looked tired and said matter of factly “we’ll not be rid of this until you’re a grown man, and even then..”. And he was right.  Now, all of these things seem somewhat not related. Well, I guess I should say the 1st doesn’t exactly line up with the 2nd and 3rd, which have some geopolitical relevance to each other. But let’s take a history trip together, shall we? First, be sure to bring the hairspray, because we’re going into the Reagan-era and just before for a bit.  Imagine if you will the supposed dying throes of the Cold War. Bioweapons program supposedly being shut down, the Soviet Union splitting away, and the Americas? Well they’ve gone through hell, and by no small measure it was due to proxy wars, puppet governments and a complete disregard for “other” people for the sake of borders and protection. Panama, Nicaragua, Guatemala and other countries are having civil wars funded by both sides of that iron curtain, causing institutionalized violence, setting the development of these countries back fucking decades, and setting them up to fail.  [Note that when I say “setting the development back”, I do not mean they are in any way lesser to us due to this. In fact, in my wheelhouse of Public Health, they arguably do a better job of handling shit than we could dream of in the US. They’re damn fine people, and in some ways thriving, but to say we didn’t fuck with them would be a disservice. ] Part of this “setting up to fail” strategy was the use of drugs as a means of easy funding, which the U.S. government did wholly support to the point of screwing African Americans (and to a much lesser extent, poor people in general) in particular over by introducing things like Cocaine and Crack to poor neighborhoods (though it should be noted such drugs had been in the realm of public notice for the better part of a century before, just not as accessible).  Funny thing about using drugs to fuel wars. Wars can end. But the demand for drugs by a population that doesn’t have the ability to be treated due to some “moral outrage” against helping addicts? Well, that still remains a very profitable venue. So even after we stopped giving a fuck about any of these countries and their governments gave up the sale of illegal drugs, at least in the open, criminal elements showed up to do what they did best: manufacture and transport drugs to where the best demand was, the United States typically. And to protect this profitable enterprise, these groups would claim territory, claim children as recruits, commit other crimes to support the chain, etc. And these activities still go on today, wherein some cartels and gangs have gotten rich enough to effectively buy off governments and have their own fiefdoms, where those with any ability risk their lives to run. And yet, so many do. Also, it’s important to note that while countries like Mexico are arguably more stable than say, Honduras or El Salvador, they’re still pretty fucked from the radiation of these activities. So these families try to make it to the closest, arguably “most stable” country they can, ironically the one that set the stones for the foundation of where they found themselves. And they are treated as trash, as less than human, as animals. Because we refuse to see our own guilt. We refuse to see what we have done, not centuries ago, but less than 50 years ago. And who is egged on the most to hate these people? Well, if you look at it, it’s the least “most powerful” group that can easily be manipulated: Lower class white groups by a vast majority. Groups who themselves see hardships, certainly, but more than anything know two words: Fear and Authority. They are afraid of the “other”, the “jawb steelin’ immigunts”, the “criminals and rapists” as the person who inhabits the White House calls them. And they respect and adore those who can wield an iron first. Someone they can imagine being, whether it’s a business tycoon of a dictator they see as a near-messiah, who says it’s not their fault they are struggling, and then makes an easy, low effort “solution” for them to point to as to what could cure all those ills which are, at their root, legitimate.  [Note: This by no means excuses any White Supremacist or other racist ideologies. That shit needs to be fixed, and there is no excuse for that.] Let’s take a pause for a moment on that, as it’s significant. Is this the first time this has happened? Heavens no, in fact, many examples exist in history. But one stands out to me above all.  Go back with me again, if you’d be so kind. You feel the warmth of the sun on your face, you can hear the distant waves, and the not so distant hustle and bustle of a city. You smell a mix of salt water infused air with just a hint of smelted metal or gunpowder.  Perhaps you hear some music from The Andrew Sisters crackling out of a radio near an open window. You’re in San Francisco, not too long after the World’s Fair, where the hopes of Utopia were promptly shut off to be dismantled and loaded for the war effort of World War 2. In fact, as you look around, you see the strangest thing. There are clearly Japanese inspired markets and homes all around, but inhabiting them? No Japanese, surely, but the Shoe Shines and markets filled with a vibrant African American community. Some would one day call this the West Coast Harlem. And by their account, it was a wonderful community, of which I have no doubt. However.  Those who lived and worked and loved in these buildings just months prior were put into camps. In Utah, in Nevada, California, Washington. In fact, it pains me a bit to know one such place is but a very hearty stones throw from where I sit writing this. They were put there and made to stay due to risk of espionage, national security, or “for their own safety”. They were told to join the war effort as translators or soldiers, or remain there. The doctors of that community and the nurses too would end up working without pay, saving their own communities with limited supplies and truly working goddamned miracles in these camps to keep people alive, as politicians would brag “For every cent we spend on the Japanese, we spend a whole dollar on our boys out on the front!” That kind of shit sound familiar?  And that African American community? Well, while it was a positive thing for that demographic, certainly, and they had a valid right to be a community, that was by no means organic. The military spread out to places like Arkansas, Texas, Georgia, wherever there were large populations of blacks, whom the whites saw still as highly undesirables, and the military saw as cheap labour.  Well, the military found their people. And those people found cheap, effectively abandoned communities, and were able to live somewhat better than where they came from, all while building warships. However, just like with the previous example, this war wouldn’t last forever. But not just like that previous example, the demand for warships is rather... Specific, in both timing and transferable skills, shall we say? So, this cheap labour was made of a demographic that could be relatively easily discarded without them having enough of a voice to cause waves. And soon enough, the Japanese would return from their internment camps, and let’s just say things were... Tense, between these two groups. Two groups who were, by most accounts, politically undesirable, and if they were fucked, well who would care, right? If it caused generational issues, and exacerbated an economy that would make a good deal of trouble, as long as it’s not the demographic that matters... No worries. It’s not like they even really have good proof of who was really at fault, nor who profited from later real-estate scoop ups and other such economic trends. After all, they moved for the jobs, and the Japanese? Well that was a national security issue.... Don’t you love your country?  While this isn’t analogous to what we are seeing today, I hope you can notice the similar theme. Except this time, the demographic in question has to feel “empowered” in some way, and having who they want voted in anyways due to international meddling is more an afterthought to the “yay, we won!” mentality. And the expendables will have a bit more of a veiled attempt to undercut their work via a trade war with a nation who is admittedly, a scumbag (which we have collectively supported with corporate dollars for decades). This trade war will cause a lot of businesses, farms, and the like to close, making it easier for corporate groups to buy out the competition and profit all the more for it (despite some initial risk due to economic trends). All the while, a different, remarkably innocent group is being blamed and tortured for their “crimes”.   It would not surprise me if in the next 2 years, we will see a recession that will make 2008 look pretty alright. And make no mistake, it will not be due to the president at that time. The gears of the machine have been turned now and in the last year and a half. Likewise, we may well see a war. With who? I do not know. But I most certainly know who will profit from it. And who will die from it, and who will be dehumanized further to be the scapegoat.  We’re in incredibly dangerous times, and we need to be aware of why, if we have any hope of surviving. 

Wither | Kim Woojin

genre ⌁ dystopian, sci-fi, adventure, dystopian!au, angst, fluff, inspired by The Hunger Games!

summary ⌁ What’s left of the two Koreas is now the pit of entertainment for the rest of the world, built upon corpses, natural disasters, and lost wars - the scattered districts now fight to survive each day. When your name is plucked from the hundreds of thousands in the country, you are left no choice but to comply to your fate - either kill and win, or die trying.

word count ⌁ 3k

warning ⌁ incredibly violent w/ lots of gore, crude humor, suggestive at times, etc.

01

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 When you wake up, the other side of the bed is cold. The only visible evidence of a body having been laying there the previous night is a strewn section of the tattered sheet and a single pillow with a bit of a dent in it. An afterglow of the morning light seeps through the cracks of the wooden walls, spreading across your warm cheeks, one of which was still pressed against the pillow under your head. You prop yourself up onto an elbow, tired gaze searching for Seungmin.

 You sit up begrudgingly from the stale comfort of the mattress, ignoring the small wince of pain that jolts up your spine and the distinct pop of your wrists as you push yourself up. Finally your gaze manages to focus on the span of the tiny room, the younger boy in question stood in front of a broken mirror by the foot of the bed. Clad in only a pair of shredded sweatpants, his bare back is open for the world to see. Dark scars run down his melanin skin, leaving no space for healing.

 Sitting at his exposed feet is a giant beast of a dog - he insists that it’s a mixed bastard, though by the appearance of the damn things drooling canines and scratchy pelt, you still think he picked up the runt of a coyote. As if it can sense your gaze burning daggers into the boy’s back, the dog lifts its muzzle and curls its lip, showing off the cracked teeth and his lolled tongue. His green gaze meets yours, as if challenging you to approach.

 Deciding not to risk pissing off the runt, you instead slide off the ancient mattress, a slight squeak from the springs making you flinch just a little. “Seungmin, you should be getting ready.”

 “So should you, Y/N.” He retorts quickly, thankfully tearing his harsh stare from his shattered reflection of the dusty mirror to look you up and down. “I would say sorry for letting you sleep in, but... then I would be lying.”

 “And we do not tell lies in this home, Minnie. Good on you.” You tease him lightheartedly as you go to the closet door, which has been permanently stuck to be open ever since the sliding door had jammed after an earthquake a few years back. You listen to his quiet scoff at your teasing words while you shuffle through the closet, searching for an appropriate outfit for the day’s big event. Your fingertips brush against what feels like a cardboard box near the back of the closet, which you subtly bring out.

 The top is riddled with dust and grime, though you were used to the germs and murk covering just about anything in the house. Of course you couldn't help but gag a little in pure disgust at the sight of whatever god forsaken substance had rubbed onto your fingers from the lid. Still, you slide the lid off the box, only to hesitate when you see the clothing inside.

 The hesitation to bring out whatever might be in the box is obvious to your brother, to which he sends you a solemn look before his cold gaze travels down to the box. It’s clear that he recognizes it by the flash of emotion in his eyes, but he doesn’t discourage you from exploring what’s inside. “It’s Amber’s dress, the one that Henry gave her before the annual ball,” the brunette explains quietly, “he gave it to me after the funeral. Said s’mthing about Amber wanting to give it to you when it got to be too small.”

 Amber... god you missed her.

 “I - what if Henry sees me in her dress?” You question him almost inaudibly, though you decide to go ahead and grip the material of the wool dress and slowly bring it out of its lone container. “I don’t want to bring up those memories, Minnie. You know damn well that he’s been trying to forget everything for years now.”

 “Then don’t wear it. You’re the one making a big deal out of it, Y/N.” The younger retorts in a dry tone. He opts to let the room fall into strange but comfortable silence as you stare idly at the dress now dangling from your fingertips, and he follows your actions in the way of haphazardly throwing a shirt over his top half, effectively covering the scars dotting a majority of his body.

“... the dress suits you, Y/N. You’ll look beautiful - maybe a person of the opposite gender might actually give you the time of day.”

 “Uh huh, like who? Kino?”

 “Definitely not Kino - I mean you’d catch his attention, but I’d beat the shit outta him before he got the chance to talk to you.” Seungmin says immediately, ruffling the top of your head of hair as he walks out of the bedroom, the stinky dog following at his heels. “Hurry up and get dressed, though. Baekhyun and Chanyeol said they’d be waiting by the records hall for us.”

 And then he’s gone, having let the curtain separating the bedroom from the rest of the house fall back into the entryway behind him. You look back to the wool dress sitting in the palms of your hands - the dress that belonged to your older sister all those years ago. She had always wanted you to wear her clothes, mostly the knitted dresses her love Henry had made, but when you were younger you had vehemently refused; you were a child who favored the common tattered jackets and clothes of your district rather than the better looking cloth Amber’s wealthy beau had made himself.

 She had never gotten the chance to see you wearing her clothes. She never got to see how you would look in the fashion that she adored simply because they came from the man she loved. In fact, she was like you, preferring the thin cloth and ripped pants most seen hanging off the bodies of other Chester residents; but when it came to Henry, she wouldn’t hesitate to try on the dresses he designed.

 With a soft sigh you start to strip yourself of the nightgown with holes in it and a ripped trim, letting it fall to the floor and coil around your bare feet. Taking the dress and sliding it over your naked body, you wonder if perhaps your sister is watching - maybe she could finally see her little sister wearing the dress she adored so much - albeit for a day of sorrow and nightmares.

 Chester was known for its gloomy atmosphere and just as chilly temperatures. The older district was in the heart of South Korea, stretching from what was once known as Seoul all the way to Busan. Arguably the better option of all the accumulated districts, the cold days and nights were heaven compared to some of the nuclear fallout to the west or south. In the other districts, it was rare to find food or even proper shelter - being accepted to reside in Chester was a diamond in the rough for many families, including yours.

 After the nuclear fallout between North and South Korea almost a century ago, both countries turned to dust - those who somehow survived the war unified both halves of the whole as best as they could, seeking assistance or asylum from other countries and world powers.

 But the help never came - at least, not after the disease had started to spread.

 It started when the United States flew out military personnel and some doctors to help rebuild or save lives. No one had been aware of it back then, but the lingering radiation that didn’t automatically kill the survivors had seeped into their cells, staining their genetic makeup somehow. Yet when those who came from the outside came in contact with those they were sent to help, their skin would blister with bubbles that popped within seconds, spraying contaminated blood and pus onto their skin. In the first twenty-four hours of recovery efforts, anyone from the outside either died or escaped back to their home countries before they became infected. What was left of the two Koreas became outcastes to the world, with no help coming in that century or the next.

 And now your generation, along with every generation after that, was known as the Alien Bloods - not very creative in your opinion, or too witty; but in any case it was true. You and your brother, along with anyone else in North and South Korea, had tainted blood.

 So how were any cities still alive? How did the districts come about? If no help ever came, how was it that you were even alive?

 Entertainment. That was what the two countries became to the entirety of the healthy population. Apparently the economy of literally every other country had started to collapse due to the annihilation of the war, and the world powers thought it best to create something from the ashes - something that would bring in commercial success from every corner of the globe. And thus, The Radiation Games was born - stolen right from the title of an ancient novel dubbed The Hunger Games, though they switched it to be a tad bit more fitting with the nuclear situation at hand.

 There were districts instead of cities or towns, and you happened to be... “lucky” enough to live in Chester district; only those who had less of the genetic mutation than the rest of the population were permitted to reside in the giant sector of the country, and your family was part of that closed circle. Chester was the hub, so to speak, of what was left of South Korea while North Korea became the black-market central, namely the district of Nixvar. Two halves of a whole indeed.

 Walking out of the stone and wood block you called home, the first thing you spotted was a crowd of US soldiers, white and yellow radiation suits clinging to every inch of their bodies. They donned familiar helmets similar to that of an astronaut’s, the yellow skull signa a trademark of their line of work; being dubbed as Cybs by pretty much everyone.

 “’bout time you got done changing.” Seungmin snorted in amusement, kicking himself back up from the gray wall beside the doorway once you step outside. He follows your dead gaze that pierces the suits of the Cybs, almost laughing to himself when one of the bigger ones notices your glare and quickly whips their attention back to their formation. “Come on, Baekhyun and Chanyeol will never let us live it down if we’re late.”

 You nod in silence, watching as the boy sends his dog away and makes sure that it doesn’t follow the two of you into the hub - if a Cyb caught sight of an animal like that in Chester, the damn runt would be shot down without hesitation.

 Seungmin leads the way, as he always has when it was Reaping day, one of his callused hands tugging gently on your own. Any sort of crowd blocking the paths into the central hub during their walk to the event split away upon seeing your brother, their gazes either admiring, fearful, or filled with burning rage.

 You notice as clear as day how his grip tightens on your hand, the way he straightens his posture in front of the beady glares directed at him. Any time the two of you would leave the house it was similar to this exact situation - the other residents of Chester would watch as their past victor strolled through the district perfectly alive and well, though they wished he was six feet under.

 The pair of you get to the records hall faster than expected, and of course, there are two much taller people waiting for you.

 “I was wondering if you idiots would be late - hell Baekhyun took nearly an hour getting ready-”

 “I did not, dipshit! I simply took careful time to make sure I looked good for the cameras; I mean, one of them might catch my youthful innocence and make me a star in the other countries!”

 You laugh quietly to yourself under your breath, breaking apart from an amused Seungmin to give quick hugs to the slightly older men who you both called your friends. “I’m sure that all the cameras will be focused on you, Baek.”

 The blonde makes a noise of agreement, wildly waving his hands in the air. “Aha! See Yeollie, Y/N agrees!”

 “She’s humoring you, dumbass,” the tallest of your group deadpans, quirking an eyebrow in your direction, “we’ll talk more after this whole thing is over. I snuck in some deer meat from Nixvar, we can cook that and see if Jaebum finally got that old TV working.”

 Everyone hums at that, picturing the cooked deer meat and an old movie at Chanyeol’s place above the White Clover Bar. Seungmin and Baekhyun walk ahead, the blonde pestering the younger boy by poking at his sides and messing with his hair.

 “How was it today?” Chanyeol asks you under his breath as he walks beside you, having to glance down since you didn’t exactly come near his towering height. “I mean, with the crowds. Did everyone just...?”

 “Yeah, but when don’t they?” You grumble in response, watching your little brother with diligent eyes just in case someone tried anything. Ever since Seungmin had won last year’s games it was as if the world had turned against him, all because of the way he’d done it. “Who knows, maybe they’ll be too busy watching people slaughter each other this year to care for a hot minute.”

 The pink haired boy sighs at your sharp words, comfortingly resting one of his palms on your shoulder, leading you to the other two boys who’d found a clear spot in the crowd - likely since most of them had parted to make a good few feet between themselves and Seungmin. You go to stand beside your brother, Chanyeol going beside you while Baekhyun remains on the other side of the youngest.

 Then you hear it - the unmistakable sound of platform boots clacking against the stone stage in front of the courthouse. Any and all conversation falls silent to the stadium as the main host finally makes his appearance, his bouncy blonde hair cut a different style than last year’s games. A couple of shiny rings curl around his thin fingers, and the young boy is donning a black skirt that swung down to his knees alongside a frilly sort of red shirt with sleeves that encased his hands like paws.

 He saunters over to the microphone in the middle of the stage, tapping on it once to give it a quick test. “Ah, it’s working - good, good... in that case; welcome, welcome! As many of you know, I am Han Jisung, your favorite Radiation Games host and occasional interviewer! Today is Reaping day, where one male and one female contestant will be chosen to represent Chester in this year’s games. Now, for the ground rules: anyone is open to be chosen for the games, young or old, victor or not, it’s a fair game out here folks-”

 Twelve districts, twenty-four competitors - it was as if the world powers had truly taken the concept from The Hunger Games and made it their own, in a way. How... admirable.

 “Now, let’s start with the ladies!” Jisung hums brightly, leaning over to pick a single slip of paper from the giant glass bowl. He shuffles around for a moment, his tongue poking out from between his lips until he finally picks a name. Slowly, he unfolds the paper, and for a split second you can see the look of surprise and guilt flashing across his face. “O-oh! It looks as if the Reaping is becoming a fam-family tradition!”

 “Y/N Y/L/N, please come forward!”

 No. This couldn’t be happening.

 You were supposed to leave with Seungmin, Baekhyun, and Chanyeol. You were supposed to go have fun with your brother and best friends, eating deer meat and watching shitty movies all night while those who hadn’t fallen victim to the reaping partied in the bar below Chanyeol’s block.

 You weren’t supposed to be picked.

 “M-miss Y/N, please hurry along now-”

 “NO!” Seungmin screams from beside you, blocking the incoming Cybs from being able to reach you. His voice cracks as he shouts curses at everyone, going as far as to nearly lunge at a Cyb that tries to pull him away from your frozen body. “You fucking bastards already took Amber away from me, you’re not going to take my only other sister! I’ll fucking slaughter all of you dirty rats-”

 Baekhyun somehow manages to pull the furious boy away, though his eyes are wide in shock, too. Chanyeol gently pushes you forward to the waiting Cybs, but not before giving you a tight squeeze of reassurance. He’s saying goodbye.

 You let the men and women wearing radiation suits escort you to the front stage. You watch yourself on the screen above the stage as your feet subconsciously carry you to stand beside the waiting host.

 “-moving right along, let’s pick from the gentleman!”

 Who would take care of Seungmin? Sure he insisted that he would be just fine by himself most times, but he was still a kid in your eyes; though you supposed Baekhyun and Chanyeol would make sure to keep an eye on him in your place.

 “Byun Baekhyun, please come forward!”

 Another cry of outrage comes from Seungmin, and you're positive that you’ve let out a small noise of disbelief. For some reason, you torture yourself by watching as one of the men you called your best friend determinedly walks onto the stage, watching as his chest begins to rise and fall in waves of panic. Baekhyun shouldn’t be up here - you shouldn't be up here, waiting until you were forced to fight for your lives in an arena.

 “... no volunteers? Well then - give a warm round of applause to your contestants from Chester; Y/N Y/L/N and Byun Baekhyun! May the odds be ever in your favor!”

 From the looks of things, it was as if the odds were never in your favor.

Kabul Dreams – Rock ‘n’ Rolling from Kabul

By Roya Aziz Published on March 12, 2010, on Afghan Magazine | Lemar - Aftaab

[caption: Kabul Dreams performing at the American University of Afghanistan in Kabul in 2010. Photo by H. David Shaw]

KABUL  |  Perhaps nothing best describes youth angst like a song entitled I Wanna Run Away, one of several original numbers performed by Kabul Dreams in a live concert held last week at the American University of Afghanistan. With no other lyrics except the title refrain, lead singer and guitarist Sulyman Qardash alternately sang and screamed into the microphone a sentence that probably resonates even more so with Afghanistan's youth.

Some people will tell you that Afghans don't live in a context where they can act like "teenagers" and rebel against their families and society ("Do they even want to?" some have wondered), but of course, they certainly feel the same emotions. Who better to express it than a rock band? Standing there and watching the crowd of enthusiastic AUA students, it struck me that the song was also apropos of so much more. When Qardash sings about running away, you're reminded that scores of young Afghans do run away to Europe or elsewhere every day in search of education or decent jobs.

A crowd of about 200 people cheered on Afghanistan's newest rock band, which was established a year ago. Qardash's mic was low, and there was too much feedback from the amplifiers at times, but that didn't ruin their performance or diminish their individual talents. Drummer Mujtaba Habibi showed off his skills in a couple sets with solo routines and bassist Siddique Ahmed, who is sometimes called Sid, definitely held his own too. As for Qardash, the frontman appeared to be having fun while impressing with his guitar riffs and vocals.

All three band members were born in Afghanistan but lived in neighboring countries for several years. Habibi was in Iran, while Ahmed lived in Pakistan. Qardash grew up in Uzbekistan and was a relative latecomer returning to Afghanistan in 2008. All three came from musical backgrounds, with Habibi, for example, playing in a band that was into pop rock and pop Latin music. "When I came to Kabul, I was looking for people who were into music, and I was introduced to Mujtaba through a friend," Ahmed said in an interview with AfghanMagazine.

"We got together and started working in a small studio where we practiced on our own and recorded and produced songs for some new artists.

Sulyman was introduced to us through another friend by chance, and when we got to know each other, we thought, why not start a band, so the triangle was completed and Kabul Dreams was [born]."

While the band's logo is similar to the Dead Kennedys', their sound is indie rock, inspired by British bands. Like "I Wanna Run Away," the band's other songs, with topics like love and failed romance, have bittersweet overtones.

"This next song is called Julie," Ahmed said. "I think everyone has had Julie in their lives." The crowd roared their agreement.

It being Afghanistan, the girls sat demurely on the sidelines while a large group of young men stood center stage waving their hands, jumping and dancing.

"I'm part of the first mosh pit in Afghanistan," one concert-goer was heard saying.

The university's faculty acted as cheerleaders and chaperones, some dancing to the music and reminding you of how you used to giggle uncomfortably when your teachers tried to look cool at your high school dances, which is what the whole event felt like even though the crowd was a bit older. The band performed several covers, including an endearing rendition of "Wonderwall" by Oasis and "Knockin'On Heaven's Door" by Bob Dylan with Ahmed encouraging everyone to sing along to the latter. No one really did, of course, because Bollywood, not rock'n'roll, is on most people's playlists still.

A few people around me, namely other Afghan-Americans, wondered how soon these guys would receive death threats from the Taliban. Whatever else, everything in Afghanistan is intensely political. It's never easy to forget where you are, like a nice gym paid for by U.S. taxpayers at an institution that's intended to educate an elite set. Beyond the post-9/11 black and white world view (the Taliban vs. rock'n'roll), I wondered if people regarded a band's artistic dreams and ability to express itself as solemnly as let's say poverty.

It's too soon to claim that Kabul Dreams echoes the voice of a generation, but one thing that was clear that night is the energy of Afghanistan's young people (68% the population is under the age of 25).

Maybe another Dylan classic would have said it better: Times they are a-changin'.

Interview with Kabul Dream's bassist Sid Ahmad

We asked Kabul Dreams a few questions. The responses came from band bassist Sid Ahmed.

Roya Aziz: So Sid, is there a Nancy? Sid: There's always Nancys, Julies, Jessicas, and so on! However, this is Afghanistan, so; basically, you know what I'm saying!

Roya Aziz: We are Old School. What do you think of Stars, the Ahmad Zahir rock band? Do you consider them an influence? Sid: Stars were probably one of the best bands we ever had in Afghanistan. Although they were influenced by the classic rock bands of the time, the music they played was not rock, it was a kind of fusion played with drums and guitars at which they were pretty good. Our influences are mostly British Indie rock bands, mostly new ones.

Roya Aziz: Your peers download Bollywood ringtones at an alarming rate. Do you think English rock will find a place amid these types of traditional preferences? Sid: Even Bollywood is now influenced by rock! It's just a matter of time, very soon the most popular ring tone will be "Knockin' on Heaven's Door"!

Roya Aziz: Who's your favorite rock'n'roll personality, and why? Sid: We all have our favorites. Mine is Paul McCartney because he's one of the best songwriters of all time.

Roya Aziz: Do you guys play Guitar Hero? Sid: We play guitars, so there's hardly time for any guitar hero!

Roya Aziz: What about your female fans? They seemed a bit restrained at your AUA show. Do you think the type of songs you write resonates with them? Sid: They like our songs, that is what all matters to us. Girls are restrained not only at AUA show but all over Afghanistan for many reasons. Our songs are mostly about love, relationships, friendship, peace, etc.. so I think they do resonate with them.

Roya Aziz: Do you foresee any competition from an Afghan all-girl rock band in the near future? Sid: We definitely foresee a competition from an Afghan rock band, but an all-girl rock band would definitely be hard to compete with!

Roya Aziz: What was your reaction to the overwhelming support from the audience at the South Asia Bands Festival in India? Sid: It was an exciting experience! The fact that they appreciated our music and were thrilled by it was a sign that what we started was something that we could be proud of. And what matters most to us is that we tried so hard to get there, on our own, without any support, facing difficulties on some basic things like lack of electricity, a place to practice … And now all our efforts were yielding the fruit!

Roya Aziz: What I love about Afghanistan is …. Sid: The fact that in spite of the problems and issues it has, you can't be away from it for too long!

Roya Aziz: What I don't like about Afghanistan is … Sid: The suicide attacks!

Roya Aziz: Where do you see your band in 10 years from now? Sid: At the Grammy award show, or probably a celebration after we have won [an award]!

Roya Aziz: Where do you see the country in 10 years from now? Sid: The country will probably have figured out a better security system by then. Wearing a life vest and traveling with armored vehicles might be part of the visa requirements!

Roya Aziz: I used to play a short-scale bass. Think we can jam sometime? Just kidding. I haven't played in 12 years. Rock on, Kabul Dreams. Sid: We can play guitar hero together sometimes and don't worry, I suck at it!

Roya Aziz: Any last words to our readers? Sid: Stay tuned for our first album coming up soon! And one more thing: RoCk oN!!!

Notes

Currently, the three original band members reside outside of Afghanistan. Mojtaba Habibi Shandiz lives in France. Sulyman Qardash and Sid Ahmad reside in the San Francisco Bay Area along with Raby Adib (joined in 2013).

On June 21, 2019, Kabul Dreams released a new EP With Love from Kabul:

[caption: Cover of their 2019 EP "With Love from Kabul" Photo by Fatimah Hossaini ]

Kabul Dreams 2016 live rendition of the late Baaz Gul Badakhshi's بازگل بدخشی folk song Ay Shokh  ای شوخ (O' Naughty One):

Kabul Dreams Links

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About Roya Aziz

Roya Aziz was born in Kabul, Afghanistan. She lived in Kabul and worked in media and communications. She has a master’s degrees in journalism from UC Berkeley. 

Where does the "mentally/willpower broken by torture" trope even come from if it's a myth? I don't think every content creator who uses it WANTS to indirectly support torture but it's a very widespread trope...

Good question.

 I am 100% sure that mostpeople who use this trope don’t wantto support torture in any way and are horrified by the idea that they might be.The problem is that we learn from fiction. We see well written fictionalportrayals using tropes like these and we see how widespread the idea is and weassume.

 That’s natural. We all do it. Five years ago (when I’d donesignificantly less reading on what torture does vs how it is done) I wasmerrily assuming it was true as well.

 I honestly don’t know where thetrope comes from. I’m pretty sure that finding out definitively would be atleast a PhDs worth of work.

 I do have an educated guessthough.

 One of the patterns that emerged from Rejali’s analysis of mediasurrounding the Franco-Algerian war was just how much French torturers warpedthe narrative.

 The ticking bomb scenario beloved of torture apologists literally comes from a novel written by aFrench torturer.

 It’s a…interesting read. The main character is an ultra-macho,ultra-violent stereotype whose willingness to brutalise Arabs somehow magicallyresults in enemies giving him information, men respecting him and women fallingin love with him.

 I am reaching slightly here but I believe this is how the author sawhimself- it’s what he wished he was.

 And what struck me about it whileI read Rejali’s summary was how similar it was to narratives coming out of theNew World during the Trans-Atlantic slave trade.

 The details change but a central theme was this insistence that theviolence was ‘necessary’. That without a level of violence which was quiteliterally decimating the population society itself would collapse.

 I don’t think the idea that brutality made people ‘passive’ came fromthe slave trade. I think it’s probably significantly older than that.

 But it is amazing just howmuch slave owners clung to that idea when the New World was full of uprisings, violent attacks,non-violent resistance and outright wars (for which see West African Warfare in Bahia and Cuba by M Barcia- not the only sourcebut an excellent book, I also recommend the classic Black Jacobins by C L R James). 

 So I think torturers have anestablished history of arguing for torture, and chief among their arguments isthat torture is ‘necessary’. The exact reason varies with the times but making victims ‘passive’has been one of the ‘reasons’ for a long long time.

 Stepping back from specific periods in history I think you could alsoargue that someone could come to this conclusion by fundamentallymisunderstanding how mental illness works.

 Iknow I always link to the symptoms but seriously let’s look at that list.

 They want to die. Well obviously they’re ‘broken’.

 They jump at every little thing. ‘Broken’.

 They don’t talk or interact like other people. ‘Broken’.

 Every single thing on that list of symptoms has been used to devaluehuman beings before, regardless of what may or may not have caused the symptom.The behaviours these words represent are things society has judged forcenturies.

 And those same behaviours are why calling this ‘broken’ is nonsense.None of these illnesses, these patterns of behaviours, make people ‘compliant’.None of them encourage obedience and many of them (completely outside of thecontext of torture) work in ways that make obedience more difficult.

 It’s not a definite answer. I never had the chance to take Media Studiesand I don’t have much official schooling when it comes to history (which is probably lucky, I shudder to think how history is taught in most of my countries)- And I thinkthat makes me the wrong person to try and chase down a definitive answer.

 But my instinct, based on what I do know, is that it comes from a potentstew of stereotypes about mental health problems and allowing torturers, abusers and their supporters to tell uswhat violence is ‘really’ like.

Disclaimer

The final bar? How gentrification threatens America’s music cities

Austin, Nashville and New Orleans have thrived on the success of vibrant music scenes. But as rents rise and noise complaints become more common, do they risk ruining what made them famous in the first place?

At a Sixth Street bar in the heart of Austin, Texas a pop up version of Sebs jazz club from the Hollywood hit film La La Land is being set up its blue letters yet to be switched on. Nearby, a replica of Breaking Bads Los Pollos Hermanos fast food restaurant has appeared, causing a minor Twitter frenzy.

These are just two of the attractions materialising in the city in time for the music and media festival South by Southwest (SXSW), and throughout the 10 days of the event it is hard to find someone who isnt wearing an official SXSW wristband worth $1,000.

What started 30 years ago as a celebration of Austins local music scene, though, is now in danger of harming the very thing that made it unique. SXSW brings in hundreds of artists from around the world, 200,000 visitors and $325.3m (250m) to the citys economy. Its success has helped Austin establish music as a fundamental part of its development, but at the same time, as many as 20% of musicians in this self-appointed live music capital of the world survive below the federal poverty line.

According to a recent study by the Urban Land Institute, the city is in the effective 11th hour of the endangerment of the live music scene, brought on by Austins rapid growth it is now the fastest growing city in the US in terms of population, jobs and economy.

A downtown wall mural in the shadow of new high-rise construction in Austin. Photograph: George Rose/Getty Images

Its a difficult reality for the city to confront. Austin is one of the three major US music cities, alongside New Orleans and Nashville, that have capitalised on this local culture at the risk of ruining the scenes that made them famous in the first place. In Austin, the local live music scene is now paying the price for its success. Brian Block, of the citys economic development office, says despite an apparent city-wide financial boom, local musicians income is at best stagnating, and possibly declining.

Hayes Carll, a 41-year-old Grammy-nominated artist who recently won Austins Musician of the Year, says that for most Texans, Austin is the mecca of music cities. It was where it all came together: the songs, the record stores, the community, the identity. It was the first place I went where I could say Im a singer-songwriter and they didnt ask me what my real job was.

Music lives throughout Austins 200 or so venues, the annual music awards and festivals, and the many brilliant artists including Townes Van Zandt and Janis Joplin who have called it home. It was where Willie Nelson allegedly reunited the hippies and rednecks when he first went on stage at the Armadillo World Headquarters in August 1972. Today, Austins love of local creativity is immortalised in folk singer Daniel Johnstons Hi, how are you? mural, depicting his iconic alien frog near the citys university.

SXSW brings $325m to the Austin economy each year. Photograph: Larry W Smith/EPA

But despite this rich history, long-standing venues in Austins downtown Red River District are being forced to adjust to an influx of new neighbours mostly expensive condos or hotels. Rising rents have forced venues like Holy Mountain and Red 7 to close, while noise complaints are an ongoing problem hotels offer earplugs for a better nights sleep.

Therere some less than wonderful aspects to the growth process, and I know a lot of friends who have had to leave Austin, says Carll, a Texan who has lived here for 12 years. Austin is going to have to fight to keep some of the things that made it special like the affordability and how you could be yourself and do whatever you wanted. When you become the hot cool city that everybodys moving to, some of that freedom can get pushed out.

The city government is keen to stress that theyre working to preserve the live music scene. In 2013 the Red River District was given its cultural title to highlight its local significance. Block says they are now implementing a Red River extended hours pilot programme in the hope that an extra hour of live music on the weekend will bring increased revenues to help cope with rising costs, and more paid work for the musicians.

Willie Nelson performs in his annual 4th of July Picnic at the Austin360 Amphitheater. Photograph: Gary Miller/Getty Images

The city is also revising its land development codes for the first time in 30 years in an effort to raise the profile of entertainment districts. There are other support systems that come from outside government too, such as Haam which provides access to affordable healthcare for low-income musicians. Music is very important to the culture, to the local economy and I think it will remain so. Hopefully we can get ahead of the issues we know are coming, Block says.

But some feel its too late. Im worried Austin will change negatively, says Carll. Its great that Austins identity revolves around music, and that the city government is trying to do things to correct it. But none of that will matter if musicians cant afford to live there, or the venues are shut down because of noise complaints, or you cant get to the venue because youre stuck in traffic on the highway.

New Orleans: music from cradle to grave

Louis Armstrong and his All Stars in a still from director Arthur Lubins musical New Orleans. Photograph: Frank Driggs Collection/Getty Images

Across the state border in Louisiana, New Orleans is facing similar problems as it develops and gentrifies. There are fears that without local government actively supporting musicians, the scenes survival could be at risk.

How do you keep a [music scene] real and authentic and yet encourage people to get involved? Its a paradox, says Jan Ramsey, editor of local magazine OffBeat. Theres an authenticity to the music and the people who make it, and the integration of black and white culture here we never want to lose that.

John Swenson, journalist and author of New Atlantis, Musicians Battle for the Survival of New Orleans says the music accompanies you from the cradle to the grave; its born out of the neighbourhoods and permeates all levels of society. Jazz was born here, tracing back to the mixture of African drums and European horns played by slaves in the late 19th century; and part of its musical heritage is a long list of prodigious artists, from Louis Armstrong to James Booker.

The Spotted Cat. Photograph: Alamy

This culture attracts some 10 million tourists to the city each year. But what is unique about it and gives the scene greater strength is how it has become an invaluable lifeline for the citys regeneration after the devastation wrought by Hurricane Katrina in 2005.

In the Spotted Cat, one of the long-standing venues on Frenchmen Street, manager Cheryl Abana talks quietly as a jazz singer performs to a crowded room. For a couple of years [after Katrina] it was pretty sad here and the music scene really helped out with trying to get everyones spirits up. It really helped build the city up again, she says.

One of the most successful programmes to support the creative community following Katrina was Musicians Village, devised by Harry Connick Jr and Branford Marsalis alongside Habitat for Humanity. Situated in the Upper Ninth ward one of the places hardest hit by the hurricane it is a community of homes built by volunteers to support displaced musicians. Its a symbol to musicians that my community will be there when I get back; were going to keep that tradition alive, says Jim Pate, executive director of the New Orleans Area Habitat for Humanity.

A decade on, and artists of all genres and ages live in the village, including some of the godfathers of New Orleans heritage like Little Freddie King. The musicians came back to New Orleans because music lived here, says Swenson.

People listen to music at a home in Musicians Village. Photograph: Mario Tama/Getty Images

Nashville: the original music city

In Nashville, Tennessee, just a few blocks away from the famous honky tonk highway of Broadway, mayor Megan Barry sits in her office overlooking the state capitol. She is surrounded by motifs of Nashvilles music history: theres a framed photograph of DeFord Bailey sitting on the steps of the Ryman auditorium, the first African American to perform at the Grand Ole Opry; and in the foyer hangs a painting by Chris Coleman of Kings of Leon. He gave it to Barry as a gift.

Music is everywhere. Although it has a heritage as influential as New Orleans, here it spreads further: from inside the mayors office and the governments music council, to pretty much everyone you meet in the city who either plays it, writes it or listens to it (every taxi driver I meet is a musician; my Airbnb host is a songwriter).

As soon as I mention the phrase music cities, Barry interrupts jovially: Well, I think theres only one! Music has been part of Nashvilles foundations since the 1800s when it established itself as a centre for music publishing. Its heritage goes back to the Fisk Jubilee Singers who were based here the African American a cappella band who were the first musical group to tour the world, raising money for freed slaves. Upon hearing them, Queen Victoria allegedly coined Nashvilles title as a music city, which is now plastered across Tennessee billboards.

Bars and honky-tonks line Broadway in Nashville. Photograph: Brian Jannsen/Alamy

In 1925, WSM radio station was founded, which went on to broadcast the Grand Ole Opry now the longest running radio show in the US that gave rise to some of the greatest names in country music. Music Row, the 200-acre area near downtown at its peak housed 270 music publishers, 120 record production agencies, 80 record manufacturing companies, 80 booking agencies and more. Elvis Heartbreak Hotel was recorded here at RCA in 1956; Bob Dylans Blonde on Blonde was recorded nearby at Columbia Recording studios 10 years later.

Now, the $10bn industry music industry provides 56,000 jobs, supporting more than $3.2bn of labour income annually. We cant undersell its importance to our overall economic viability and continued growth and prosperity, says Barry.

Nashville is projected to grow by 186,000 residents and 326,000 jobs in the next 25 years, and like Austin, has to confront uncomfortable growing pains in the form of gentrification. But music is firmly intertwined with the citys municipal plans for how it will develop in the future.

DeFord Bailey was the first African American to perform at the Grand Ole Opry. Photograph: GAB Archive/Redferns

The city provides affordable housing for musicians, and music programmes for school children, as we know our graduation rates go up when kids are involved in music, says Barry. They go on and they have a career in music and then it feeds the job creation. Its about feeding that pipeline.

I think that although music evolves and changes, the ability for Nashville to grow and change with it has been part of our success.

At Dinos bar in east Nashville, 26-year-old musician Cale Tyson is sipping on a beer. He is one of thousands of artists who moved here because of its history. I feel like Nashvilles a town where musicians are treated really well. I dont think anythings closed off here, says the Texan singer-songwriter. In Nashville the competition and being around so many good artists forces you to work a lot harder.

People continue to migrate to Nashville because of this (about 100 a day), and this influx has inevitably changed the music scene for better or worse. The country music capital of the world which ignited the careers of Hank Williams, Johnny Cash, Loretta Lynn and Kitty Wells to name just a few is now home to a burgeoning hip hop scene in the citys so-called DIY clubs. Jack White moved in and set up a branch of Third Man records in 2009, while bands like Paramore, Kings of Leon and the Black Keys have all migrated here.

Nashville has even spawned a genre called bro country, where burly men sing about chewing tobacco and celebrate being a redneck (with lyrics that repeat red red red red redneck), their odd rap verses a world away from the original country music that formed the soul of this city.

But the commercialisation of Nashville has led to accusations that country music is dead. A few years ago US country singer Collin Raye made a heartfelt plea for the city to get back to its roots and remember the musicians who built and sustained the Nashville industry and truly made country music an American art form, he said. It needs to be that way once again. God Bless Hank Williams. God Bless George Jones.

And people are still trying to keep this alive. I dont think traditional country went away, says Brendan Malone who runs a traditional honky tonk an event celebrating country music in the east of the city. The fire was still kindling. It just needed to have some gasoline poured on it.

At Malones Honky Tonk Tuesdays, a man in a check shirt is barbecuing some ribs in the car park of the US army veterans club. Inside, ageing regulars sit at the bar nursing whiskeys to the sound of Hank Williams on the juke box.

In the main room, men and women of all ages wearing Stetsons and western shirts take turns two-stepping with each other as the band covers songs of Ernest Tubb and Red Foley. They perform against a backdrop of the US flag laid out in fairy lights.

Theres a sincere sense of pride in Nashvilles history here, despite how far the city and its culture has changed. With support from the mayors office to the local community, it seems Nashville took a bet on music and it paid off.

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from All Of Beer http://allofbeer.com/the-final-bar-how-gentrification-threatens-americas-music-cities/