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    1. Buy burned land

      Tis fire season again here in North America and Europe. From my house in coastal California I grieve every year as more of my favorite forests burn, from British Columbia to California. There is...

      Tis fire season again here in North America and Europe. From my house in coastal California I grieve every year as more of my favorite forests burn, from British Columbia to California.

      There is no end in sight for this transition. So what can we do to at least mitigate the worst of its effects? I think the time to play defense over pure "wilderness" is long gone. The forests that haven't burned are still beautiful, but they're riddled with disease and so overgrown the ecosystems are permanently distorted.

      Every year there is less pristine forest and more burned land. I'm a fourth generation Californian and the Portuguese side of the family still owns a ranch in the foothills from 1893. But I own nothing and the prospect of being able to afford land in California has forever been beyond my reach. Burned land needs to be rehabilitated in a thoughtful manner. I'm hoping once my daughter finishes college and our life starts a new chapter, that I can find a few acres where I can make the best environmental impact, such as a headwaters, then invite experts onto the land to teach me how to best heal it.

      Every year I have this idea, and every year more areas become available (in the worst sense). I don't need to live on this land. I don't expect it to be much more than grasses and saplings for 20 years. I'd get out to it one or two weekends a month, rent some equipment and hire some folks as I could. I also understand that my original thought that this would be immune from future fire seasons is wrong. But at least the land can be designed to be as fire resistant as possible, with a clear understory and single large trees. And that is another part of the allure. This acreage would come with its own challenges for sure, but in some sense it is a blank slate. The permaculture people could show us how to remediate and reconstruct the land from the bones up.

      I know this project would be an aggravating money sink, and even perhaps an unrealistic and irresponsible fantasy by someone untrained in forestry management. But there is so much burned land now. Every year another giant 4% stripe of California goes up in smoke. Yet this idea just doesn't catch on. It entails a lot of patience and work. I know it's not what most people want to hear. They want their idyllic cabin in Tahoe or nothing. But that time is quickly coming to an end and learning how to revive the forests that have been devastated is our only real choice.

      Whenever I've tried to get serious about this, though, I learn that there is no market in burned land because there is hardly any profit to be made. No real estate agent that I can find is specializing in this because their clients are having to sell ruined land and burned buildings for pennies on the dollar. I've been advised that the best way is to find a specific spot, do my research, and approach the owner directly. But, again, there is so much burned land now I hardly know where to start. The Santa Cruz Mountains? The Sierra adjacent to Yosemite? Crater Lake in Oregon?

      Any thoughts or ideas or resources would be appreciated.

      25 votes
    2. Lisica - A Scientist Soap Opera ... Looking for beta readers for the first draft of my four volume series!

      As an author who normally writes a lot of thrillers with dark subjects, I found at the outset of last year that I just couldn't add any more darkness to the world. Lisica is a story I've been...

      As an author who normally writes a lot of thrillers with dark subjects, I found at the outset of last year that I just couldn't add any more darkness to the world. Lisica is a story I've been incubating for over 20 years, about a fictional island 1600 km off the coast of Oregon in the middle of the Pacific. I've just finished the series and it needs a new set of eyes to take it to the next level.

      It is pure escapism, a love story about eleven researchers who are sent to Lisica for eight weeks to categorize the island's life before a new global satellite agreement comes into force and the USAF has to reveal the island to the wider world. The novels are equal parts scientific discovery, (with special emphases on data science, field biology, geology, meteorology, marine science, archaeology, and linguistics) and equal parts torrid romance between all these beautiful people. In many ways it is a utopian story, about people in paradise doing valuable work who can also love without hurting others. There is no toxic masculinity or bullying on this island, no sophomoric communication problems, no jealousy nor regret. It is my belief that natural challenges such as storms and cliffs and the mystery of the unknown is enough. This isn't Lost. There is magical realism here but it is more realism than magic.

      I'm hoping to find a few qualified beta readers who have a background in these sciences, to help me make sure I present them correctly. But it's a lot to ask, for sure. Each of the four volumes is 15 chapters of exactly 26 pages each. 1560 pages in all. 425,000 words. If anyone knows a retired biology teacher with plenty of time on their hands, that's basically who I need at this stage.

      My next step is to turn each chapter into audio episodes. As well as an author, I'm an Audible narrator and professional character actor. It is why each chapter is exactly 26 pages long. They make for sixty 42 minute audio episodes. I will eventually release the series week by week for free on my literary podcast over the next year.

      Hopefully, this scratches someone's itch. Thanks for reading!

      11 votes
    3. Recommend summer anime

      Behold, we have received a new season of anime. So, I thought it'd be nice to have a place where people can recommend what they're checking out. For me, I think this is actually a pretty strong...

      Behold, we have received a new season of anime. So, I thought it'd be nice to have a place where people can recommend what they're checking out.

      For me, I think this is actually a pretty strong season, with lots of promising shows. As for what I've seen so far:

      Hormiya: the Missing Pieces - this is basically a lot of the content that the original series cut out in its speedrun through the series. While I would have preferred that they'd just adapted it at a normal pace originally, I'm happy that they're revisiting this series to give it its due.

      My Tiny Senpai - Fun to see this webcomic turned manga (that also has a sequel manga) get adapted. If you like fluff romcom slice of life, this is your jam.

      The Girl I Like Forgot Her Glasses - This is an interesting one seeing adapted. I enjoy the manga well enough, but I do feel like it'd be more suited as a short than as a full length anime (5 or 10 minute episodes would very much fit the content better, drawing it out did make some moments a bit cringe). That said, they did some incredibly ambitious stuff with cgi in the first episode that made it incredibly interesting just from a visual perspective. If you're a manga reader, do brace yourself for the art style and character design shifts, as I found them more than a bit jarring. Another fluff romcom for you fans out there.

      Reborn as a Vending Machine, I Now Wander the Dungeon - Oddly enough, I just started reading this light novel series a month ago with no knowledge it was getting an adaptation. I know any sane person's reaction would be that isekai has truly reached the bottom of the barrel, but this will surprise you with its quality, I guarantee it. The source material is a comedy isekai with truly interesting characters, and I think the first episode was a mostly well executed adaptation (LN adaptations tend to lose the main character's internal dialogue which I find important, but here it's included because it's very necessary).

      Now, here's some recommendations of stuff I haven't seen yet, but am familiar with source material I'd rec:

      The Most Heretical Last Boss Queen - Yes, I know I know, Villainess Otome isekai is the new overpowered mc isekai, a dime a dozen. But trust me, this is a good one. A stellar cast of characters, and yes, while it follows the tropes of the subgenre, I think the stories it tells are incredibly interesting. I started with reading the manga (cancelled due to artist poor health), and then jumped to the original LN, and I have to say this is a series that has just consistent quality across the board.

      My Happy Marriage - While I've read a bit of the manga and own the LN's, I haven't read the LN's yet. However, if you like dramatic romances though, this one's for you. It's not quite a "I will fix her", type series, there's elements of that due to her past. But really both of our main characters need a lot of growing to do, and they'll do that together. Expect a slow and dramatic pace.

      The Masterful Cat is Depressed Again Today - Like silly slice of life? This one's for you kids. The manga is a fantastic slice of life following an OL and her rescued cat who really rescued her. The cat's also like 6 feet tall and cooks.

      Tenpuru - This is a manga series from the artist, not author, of Grand Blue Dreaming. However, it also has a very similar vibe in general if you enjoy that series, but even sillier if that's possible. I guy trying not to be a playboy like his family is, and flees to a Buddhist temple full of women. Expect absurdity, and yes, definitely a harem, whether he wants it or not.

      Saint Cecilia & Pastor Lawrence - A slow paced slice of life with romance undertones. A lazy saint and the pastor that takes care of them, their budding romance, and the friends they make along the way.

      Hyakushou Kizoku - this is an odd one to recommend, because I've only actually read a chapter or two of the manga. However, this is from an author you'd all know Hiromu Arakawa, known for such minor series as Full Metal Alchemist and Silver Spoon. This is an autobiographical series of her time growing up in Hokkaido on a farm (experiences that very much inspired and informed Silver Spoon).

      Anyways, these are just some of my own thoughts on this season, I'd love to see yours.

      24 votes
    4. 76th Tony Awards, 2023

      I'm following the New York Times' liveblog and list of winners; I'll try to update this post. Best Play: “Leopoldstadt” “Leopoldstadt,” a wrenching drama that explores the destructive toll of...

      I'm following the New York Times' liveblog and list of winners; I'll try to update this post.


      • Best Play: “Leopoldstadt”

      “Leopoldstadt,” a wrenching drama that explores the destructive toll of antisemitism by following a family of Viennese Jews through the first half of the 20th century, won the Tony Award for best play on Sunday night.

      The play is by Tom Stoppard, an 85-year-old British playwright who is widely regarded as among the greatest living dramatists, and who had already won the best play Tony Award more times than any other writer. This is his 19th production on Broadway since his debut in 1967, and his fifth Tony for best play, following “Rosencrantz and Guildenstern Are Dead,” “Travesties,” “The Real Thing” and “The Coast of Utopia.”

      “Leopoldstadt” is an unusually personal work for Stoppard, prompted by his late-in-life reckoning with his Jewish roots, and the realization that many of his relatives were killed in the Holocaust. Stoppard was not yet 2 years old when his own family fled what was then Czechoslovakia, where he was born, to escape the Nazi invasion; he was raised in Britain and has said he only fully came to understand his family’s Jewish heritage when he was much older.

      “Leopoldstadt,” directed by Patrick Marber, was first staged in London, where it opened in 2020, shortly before the coronavirus pandemic forced the shutdown of theaters, and then resumed performances in the West End after theaters reopened in 2021. That production won the Olivier Award for best new play in 2020.

      The Broadway production began previews Sept. 14 and opened Oct. 2 at the Longacre Theater. The run is scheduled to end on July 2.

      The play, named for a historically Jewish section of Vienna, begins in 1899 in the living room of an affluent and assimilated Austrian Jewish family and continues until 1955, after much of the family has perished; some members of the family had mistakenly thought that their integration into Viennese society would somehow protect them.

      The show is quite large for a Broadway play, with a cast of 38, including several children. It was capitalized for up to $8.75 million, according to a filing with the Securities and Exchange Commission.

      The lead producer is Sonia Friedman, a prolific British producer who has notched an impressive set of wins on Broadway: She was also a lead producer of the best play Tony winners in 2020 (“The Inheritance,” which was granted the award at a pandemic-delayed ceremony in 2021), 2019 (“The Ferryman”) and 2018 (“Harry Potter and the Cursed Child”).

      • Best Musical: “Kimberly Akimbo”

      “Kimberly Akimbo,” a small-scale, big-hearted show about a teenage girl coping with a life-shortening genetic condition and a comically dysfunctional family, won the coveted Tony Award for best musical Sunday night.

      The musical is the smallest, and lowest-grossing, of the five nominees in the category, but it was also by far the best reviewed, with virtually unanimous acclaim from critics. (Nodding to the show’s anagram-loving subplot, New York Times critic Jesse Green presciently suggested one of his own last fall: “sublime cast = best musical.”)

      The show, set in 1999 in Bergen County, N.J., stars the 63-year-old Victoria Clark as Kimberly, a 15-going-on-16-year-old girl who has a rare condition that makes her age prematurely. Kimberly’s home life is a mess — dad’s a drunk, mom’s a hypochondriac, and aunt is a gleeful grifter — and her school life is complicated by her medical condition. But she befriends an anagram-obsessed classmate and learns to find joy where she can.

      “Kimberly Akimbo,” which opened at the Booth Theater in November, was written by the playwright David Lindsay-Abaire and the composer Jeanine Tesori, based on a play Lindsay-Abaire had written in 2003. The musical, directed by Jessica Stone, began its life with an Off Broadway production at the nonprofit Atlantic Theater Company in the fall of 2021.

      The musical, with just nine characters, was capitalized for up to $7 million, according to a filing with the Securities and Exchange Commission; that’s a low budget for a musical on Broadway these days, when a growing number of shows are costing more than $20 million to stage. The lead producer is David Stone, who, as a lead producer of “Wicked,” is one of Broadway’s most successful figures; this is the first time he has won a Tony Award for best musical.

      • Best Revival of a Play: "Topdog/Underdog"

      A new production of “Topdog/Underdog,” Suzan-Lori Parks’s tour de force about two Black brothers weighted down by history and circumstance, won the Tony Award for best play revival Sunday night.

      The play, first staged at the Public Theater in 2001, was already a widely hailed masterpiece: In 2002 it won the Pulitzer Prize for Drama, making Parks the first African American woman awarded that prize, and in 2018 a panel of New York Times critics declared it the best American play of the previous quarter century.

      The new production, which ran from September 2022 through January 2023 at the John Golden Theater, was directed by Kenny Leon. It starred Corey Hawkins and Yahya Abdul-Mateen II as the two brothers, ominously named Lincoln and Booth.

      In the play, Lincoln works in whiteface as a Lincoln impersonator at an arcade, while Booth makes ends meet by shoplifting. They share a one-room apartment, a fondness for three-card monte, and a set of familial and societal burdens from which they cannot escape. “‘Topdog/Underdog’ is both a vivid, present-tense family portrait and an endlessly reverberating allegory,” the New York Times critic Ben Brantley wrote in 2018.

      • Best Revival of a Musical: "Parade"

      “Parade,” a musical based on the early 20th century lynching of a Jewish businessman in Georgia, won the Tony Award for best musical revival Sunday night.

      The prize cements a remarkable rebirth for the show, which was not successful when it first opened on Broadway in 1998, but which is shaping up to be a hit this time, thanks to strong word-of-mouth and the popularity of its leading man, Ben Platt. It was one of several shows this season about antisemitism, as the number of reported incidents has been rising.

      The success of “Parade” is also a significant milestone for the musical’s composer, Jason Robert Brown, who is widely admired within the theater community but whose Broadway productions have struggled commercially. Brown wrote the music and lyrics for “Parade,” and the book is by Alfred Uhry; both men won Tony Awards for their work on the show in 1999.

      ... Audible groans here as Jason Robert Brown, the composer behind “Parade,” gets cut off at the microphone. He started to say something about Mary Phagan, the girl whose murder in Georgia set the Leo Frank trial in motion.

      • Best Leading Actor in a Play: Sean Hayes, “Good Night, Oscar”, as Oscar Levant

      Sean Hayes, who portrays the witty but troubled pianist Oscar Levant in “Good Night, Oscar,” won the Tony for best lead actor in play.

      Best known for his long-running role as Jack McFarland in the television series “Will & Grace,” Hayes received critical praise for his drastic transformation in this stage production, adopting the hunched posture, irritable scowl and anxious twitching of Levant, who channeled his neuroticism into crowd-pleasing radio and television banter.

      Hayes, 52, has also brought one of his lesser known talents to the stage for this performance: classical piano, which he started studying at age 5.

      Telling the story of one night in 1958 when Levant finagled his way out of psychiatric hospital to be interviewed on Jack Paar’s “Tonight Show,” the play focuses on the pianist’s idiosyncrasies, compulsions and struggles with opioid addiction as surrounding characters try desperately to manage him.

      This is Hayes’s first Tony Award. He was previously nominated for his Broadway debut in the 2010 revival of “Promises, Promises,” a musical adaptation of the Billy Wilder film “The Apartment.”

      • Best Leading Actress in a Play: Jodie Comer, "Prima Facie", as Tessa Ensler

      The leading actress in a play category this year was a face-off of extremes: Jodie Comer, who delivers a physically and emotionally exhausting performance in Suzie Miller’s one-woman legal thriller “Prima Facie,” versus Jessica Chastain, who scarcely stirs from her chair during the entirety of “A Doll’s House.”

      In the end, it was Comer who triumphed, for her tour-de-force solo turn as a lawyer who defends men accused of sexual assault. Jesse Green, the chief theater critic for The New York Times, described it as “a performance of tremendous skill and improbable stamina.”

      It was a remarkable win for the 30-year-old English actress, who is best known for playing the assassin Villanelle on the television show “Killing Eve.” She not only took home her first Tony Award on her first try; she won it for her first performance on a professional stage — ever.

      “It kind of felt unattainable,” she told The Times in April of the prospect of doing theater.

      • Best Leading Actor in a Musical: J. Harrison Ghee, "Some Like It Hot", as Jerry/Daphne

      J. Harrison Ghee, whose portrayal of a gender-questioning musician fleeing the mob in “Some Like It Hot” has charmed critics and audiences, won a Tony Award for best leading actor in a musical Sunday night, becoming the first out nonbinary actor to win that award.

      Ghee’s victory came shortly after Alex Newell, who is also nonbinary, won a Tony Award for best featured actor in a musical, becoming the first out nonbinary performer to win a Tony.

      The Tony Awards, like the Oscars, have only gendered categories for performers, and Ghee and Newell agreed to be considered eligible for awards as actors. (Another nonbinary performer this season, Justin David Sullivan of “& Juliet,” opted not to be considered for awards rather than compete in a gendered category.)

      Asked in a recent interview with The New York Times about having been nominated in a gendered category, Ghee said: “Wherever I am, I will show up as who I am. Someone’s compartmentalization of me doesn’t limit me in any way.

      “I hope for the industry we can remove the gender of it,” they added, “because we are creators and we should free ourselves beyond so many labels and let the work speak for itself.”

      At least two performers who later came out as nonbinary have previously won Tony Awards as best featured actress in a musical: Sara Ramirez, who won in 2005 for “Spamalot,” and Karen Olivo (also known as K O), who won in 2009 for a revival of “West Side Story.” Also: Last year, the Tony Award for best score went to Toby Marlow and Lucy Moss for “Six,” and Marlow is nonbinary.

      Ghee’s depiction of a main character in “Some Like It Hot” reflects the way views on gender have evolved since 1959, when the Billy Wilder film it was based on was released. In the movie Jack Lemmon plays a musician named Jerry who dresses as a woman named Daphne to flee the mob; in the musical Ghee plays the same character, but Jerry’s path to becoming Daphne becomes one of self-discovery, not disguise.

      The performance earned critical praise. Jesse Green, The Times’s chief theater critic, wrote that Ghee “carefully traces Jerry’s transformation into Daphne, and then the merging of the two identities into a third that takes us into territory that’s far more complex than jokey drag.”

      Ghee, 33, worked as a drag performer before finding success in musical theater, with key roles on Broadway in “Kinky Boots” and “Mrs. Doubtfire” before “Some Like It Hot.”

      • Best Leading Actress in a Musical: Victoria Clark, “Kimberly Akimbo”, as Kimberly Levaco

      Victoria Clark won the Tony for best leading actress in a musical on Sunday night for her role in “Kimberly Akimbo,” in which she plays a teenager with a rare disease that causes her to age rapidly.

      As unusual as Clark’s role has been as a sexagenarian playing a gawky teenager with a fatal diagnosis, critics pointed to the pedestrian subtlety with which she imbued her performance.

      “So remote is she from the bellowing divadom of those tourist-bait extravaganzas that I’m tempted to call what she does not singing at all, but acting on pitch,” wrote Jesse Green in his review of the musical for The Times.

      This is Clark’s second award in the category: In 2005, she won for “The Light in the Piazza,” a musical in which she played an American tourist traveling with her daughter — a performance that Ben Brantley of The Times praised as a rare reflection of a “real human being” in an American mainstream musical.

      A veteran stage actress, Clark, 63, has performed on Broadway since the 1980s, earning Tony nominations for featured roles in “Sister Act,” “Rodgers and Hammerstein’s Cinderella” and “Gigi.”

      • Best Featured Actor in a Play: Brandon Uranowitz, “Leopoldstadt”, as Ludwig Jakobovicz and Nathan Fischbein

      Brandon Uranowitz, a four-time Tony nominee, won his first Tony Award on Sunday for performing a pair of featured roles in the critically acclaimed play “Leopoldstadt.”

      The play, by Tom Stoppard, follows an Austrian Jewish family — the Merzes — from 1899 to 1955. In the early days, the bourgeois family is comfortable and complacent, shown enjoying time together at holiday gatherings and family functions. But eventually the Nazis arrive, and their lives are upended and destroyed.

      “My impostor syndrome is on fire,” he said in accepting the award.

      “Thank you, Tom Stoppard, for writing a play about Jewish identity and antisemitism and the false promise of assimilation with the nuances and the complexities and the contradictions that they deserve,” he added. “My ancestors, many of whom did not make it out of Poland, also thank you.”

      • Best Featured Actor in a Musical: Alex Newell, "Shucked", as Lulu

      Alex Newell, a “Glee” alumnus who is bringing down the house nightly with a barn-burning number in “Shucked,” won the Tony Award for best featured actor in a musical Sunday night, becoming the first out nonbinary actor to win a Tony for performance.

      Newell, who identifies both as nonbinary and gender fluid, plays a fiercely self-reliant whiskey distiller in “Shucked,” which is a country-scored, pun-rich musical comedy about a small farming community whose corn crop begins mysteriously dying.

      “The standing ovation isn’t jarring as much as the consistency of it,” Newell told The New York Times last month. “I’m beside myself a lot of the time because I’m like, ‘Y’all are really still standing up.’”

      Newell agreed to be considered in the gendered actor category, explaining, “I look at the word ‘actor’ as one, my vocation, and two, genderless. We don’t say plumbess for plumber. We don’t say janitoress for janitor. We say plumber, we say janitor. That’s how I look at the word, and that’s how I chose my category.”

      • Best Featured Actress in a Play: Miriam Silverman, “The Sign in Sidney Brustein’s Window”, as Mavis Parodus Bryson

      Miriam Silverman, the only acting nominee from “The Sign in Sidney Brustein’s Window,” has been with this production since its Chicago debut. “I’m always more drawn to complicated, tricky, flawed characters,” she told the Times. “And not trying to make them likable, per se, but just trying to be inside of them in all of their humanity.”

      Alice Ghostley won a Tony for the same role when the play debuted in 1964.

      • Best Featured Actress in a Musical: Bonnie Milligan, “Kimberly Akimbo”, as Aunt Debra

      On Sunday night, Milligan, 39, took home her first Tony Award for best featured actress in a musical, for her scene-stealing performance as Debra, Kimberly’s scheming aunt.

      It was the first Tony nomination for Milligan, known for her vocal range and vocal belting, who made her Broadway debut in 2018 in “Head Over Heels,” a musical that combined a Renaissance pastoral romance with the music of the Go-Go’s.

      • Best Direction of a Play, Patrick Marber, “Leopoldstadt”

      Patrick Marber won his first Tony on Sunday for his direction of the harrowing, critically acclaimed Tom Stoppard play, “Leopoldstadt.”

      Marber, who was previously nominated for directing a 2018 revival of Stoppard’s “Travesties” has also written plays and worked as a stand-up comedian.

      “I’m thrilled to win this,” he said, calling Stoppard one of his heroes.

      • Best Direction of a Musical: Michael Arden, “Parade”

      “‘Parade’ tells the story of a life that was cut short at the hands of the belief that one group of people is more or less valuable than another and that they might be more deserving of justice,” he said in accepting his award. “This is a belief that is the core of antisemitism, of white supremacy, of homophobia, of transphobia and intolerance of any kind. We must come together. We must battle this. It is so, so important, or else we are doomed to repeat the horrors of our history.”

      Arden went on to recall how he had been called a homophobic slur — “the F-word,” he said — many times as a child. And he drew raucous cheers as he reclaimed the slur, making clear that he was now one with a Tony. “Keep raising your voices,” he said.

      One of the production’s most talked-about features is Platt’s wordless presence onstage during the entire 15-minute intermission. Arden recently told Michael Paulson that he “wanted to challenge the audience, when they’re getting their cocktail or texting their friends or talking about what they’re having for dinner, to look back and see Ben onstage, and to get a sense that while the world was turning, this man was sitting in a prison cell.”

      • Best Book of a Musical: David Lindsay-Abaire, "Kimberly Akimbo"

      A tough category this year, with fine work addressing daunting needs. David West Read somehow made a jukebox musical (“& Juliet”) witty. Robert Horn (“Shucked”) came up with more corn puns than anyone thought possible. Matthew López and Amber Ruffin revamped a classic farce (“Some Like It Hot”) as a contemporary exploration of race and gender. But David Lindsay-Abaire may have had the hardest job of all: turning his own play “Kimberly Akimbo” gently, cleverly, ruthlessly into a great musical.

      • Best Original Score: Jeanine Tesori (music) and David Lindsay-Abaire (lyrics), “Kimberly Akimbo”
      • Best Choreography: Casey Nicholaw, “Some Like It Hot”

      Casey Nicholaw won the Tony for best choreography for “Some Like It Hot,” a boisterous Prohibition-era musical with tapping, swing dancing and intricate staging.

      Nicholaw, who also directed the production, has been nominated in the category six times before, but this is his first win. In 2011, he shared the Tony for best direction of a musical with Trey Parker for “The Book of Mormon.”

      • Best Orchestrations: Charlie Rosen and Bryan Carter, “Some Like It Hot”

      Broadway World: In their visit to the press room, recently annointed Tony winners, Some Like It Hot orchestrators, Charlie Rosen and Bryan Carter discussed the timely and important subject of the need for Broadway-sized orchestras for Broadway shows.

      Bryan said, "Having an 18-piece orchestra is a luxury. We're hoping that the show inspires new companies to use large orchestras because orchestras really are the heartbeat of musical theatre."

      In discussing the challenges of bringing their larger-than-life orchestrations to life, Charlie shared, "The challenge of this show, in particular, was that I hold Marc Shaiman and Scott Wittman in such high regard. They're such legends, I really thought twice, three times, four times, about every single note that I wrote on the page. I really wanted to do their score justice because they're so incredible and so prolific," Charlie added.

      • Best Scenic Design of a Play: Tim Hatley and Andrzej Goulding, “Life of Pi”

      NYTG: The Broadway transfer gave the cast and creative team the opportunity to make changes. "We were able to make some positive adjustments to the story based on the feedback from the West End," said director Max Webster, noting the first act was tightened.

      The move also gave the designers the opportunity to expand the design elements of the show. “It is always good to get the opportunity to work on a show for a second (or third, or fourth...) time,” said scenic and costume designer Tim Hatley. “In my experience designing for theatre and film over the past 30 years, I have never walked away from a production thinking I have managed to get it all right.”

      Most importantly, the design teams needed to adjust the scope and scale of the scenic design to fit the Gerald Schoenfeld Theatre in New York, which is wider and shallower than Wyndham’s. “This has, of course, had a knock-on effect, and video and lighting have had to adapt their designs to work with the new dimensions,” Hatley said.

      For his part, video designer Andrzej Goulding (co-nominated with Hatley in the scenic design category) upgraded the show’s simulations. He also worked with lighting designer Tim Lutkin to recolor some scenes for the Broadway run and blend his projections, which naturally light the set, with Lutkin's lighting of the actors. The designers also had to adjust certain visual elements to accommodate different sight lines.

      “The heart of the design is the ability to transition seamlessly from the hospital into Pi’s story, which is, for the most part, at sea,” said Hatley. The split-second transitions, which happen in full view of the audience, are integral to the narrative. “This was my challenge as the designer of the show, and I am pleased to have pulled it off.”

      • Best Scenic Design of a Musical: Beowulf Boritt, “New York, New York”
      • Best Costume Design of a Play: Brigitte Reiffenstuel, “Leopoldstadt”
      • Best Costume Design of a Musical: Gregg Barnes, “Some Like It Hot”
      • Best Sound Design of a Play: Carolyn Downing, “Life of Pi”
      • Best Sound Design of a Musical: Nevin Steinberg, “Sweeney Todd: The Demon Barber of Fleet Street”
      • Best Lighting Design of a Play: Tim Lutkin, “Life of Pi”
      • Best Lighting Design of a Musical: Natasha Katz, “Sweeney Todd: The Demon Barber of Fleet Street”
      • Special Tony Award for Lifetime Achievement: Joel Grey and John Kander

      The actor and director Joel Grey, 91, will be honored for Lifetime Achievement at the Tony Awards this evening for his “everlasting impact” to the theater, said Heather Hitchens, president and chief executive of the American Theater Wing.

      • Isabelle Stevenson Award: Jerry Mitchell

      Parade: When Jerry Mitchell moved to New York City in 1980 to dance in his first Broadway show, Brigadoon, he'd inadvertently walked into one of the worst tragedies of American history. By 1985, he'd lost his first friend to AIDS. By 1990, he'd lost four more. As a gay dancer and choreographer performing in New York, he lived in the epicenter of the AIDS epidemic and felt helpless as his friends and colleagues died.

      That helplessness turned into action in the early '90s, after Mitchell was cast in The Will Rogers Follies, in which he was "dancing every night...practically naked" in a tribute to the Ziegfeld Follies. "I was really in great shape," he told me over coffee on a warm May afternoon in a park only a few blocks from Broadway. "I looked hot, and people were noticing...and so a friend of mine said, you should go dance at the Splash Bar on 17th St., which was this famous gay bar, and raise money for our fundraiser." The fundraiser in question was for Broadway Cares/Equity Fights AIDS, an organization founded in the theater community to fight back against the disease that ravaged their friends and loved ones.

      "A light bulb went off over my head. I called seven friends who were in Broadway shows who also, I knew, had great bodies, and I put together a strip show, a burlesque show on the bar. We made $8,000." And that was the birth of Broadway Bares.

      While Broadway Bares my have started as an eight-man strip show in a gay bar, its Chelsea nightclub days are long behind it. In total, the dancing/body-celebrating fundraiser has earned more than $22.5 million for Broadway Cares/Equity Fights AIDS, with the burlesque dancers raking in nearly $1.9 million last year alone. The charity provides lifesaving medications, health care, nutritious meals, counseling and emergency financial assistance to those in need due to HIV/AIDS and other illnesses.

      • Regional Theater Tony Award: Pasadena Playhouse

      LA Times: Pasadena Playhouse will receive the 2023 Regional Theatre Tony Award, becoming only the second Los Angeles institution to earn the honor and continuing its triumphant streak after years of turbulence.

      The prize, which includes a $25,000 grant sponsored by City National Bank, will be presented at the 76th Tony Awards on June 11 in New York.

      The Mark Taper Forum, in 1977, was the first L.A. theater to receive the Regional Theatre Tony. Other Southern California recipients include the Old Globe in 1984, South Coast Repertory in 1988 and La Jolla Playhouse in 1993.

      The award marks an astonishing turnaround for Pasadena Playhouse, which was on the verge of shutting down in 2010, when it laid off most of its staff, canceled the remainder of its season and filed for Chapter 11 bankruptcy protection. Rescued by the generosity of donors, the theater was back on shaky ground when producing artistic director Danny Feldman was appointed to succeed long-term artistic director Sheldon Epps in 2016.

      • Tony Award for Excellence in Theater Education: Jason Zembuch Young

      Jason Zembuch Young is the artistic director of the public South Plantation High School in Plantation, Fla. He stages full-length musicals and a full-length plays in both voice and American Sign Language.

      Now, his efforts are being rewarded with a special Tony Award, granted each year in partnership with Carnegie Mellon University to a U.S. educator who has “demonstrated monumental impact on the lives of students and who embodies the highest standards of the profession.”

      • Tony Honors for Excellence in the Theater: Lisa Dawn Cave, Victoria Bailey and Robert Fried

      Broadway will have an unusually busy summer

      There usually tends to be a lull in new Broadway shows between the Tony Awards eligibility deadline in late April and the start of the school year. But this season is shaping up to be different, with seven openings between Memorial Day and Labor Day.

      The first, a horror play called “Grey House” starring Laurie Metcalf, has already opened. Jesse Green had mixed feelings about it, describing it in his review as “so expertly assembled from spare parts by the playwright Levi Holloway and the director Joe Mantello that you may not notice, between the jump scares and the shivery pauses, how little it has on its mind.”

      Up next is “Once Upon a One More Time,” about the feminist awakening of fairy tale princesses set to the music of Britney Spears. That show will be followed by two other big musicals: “Here Lies Love,” about Imelda Marcos, a former first lady of the Philippines, with a score by David Byrne and Fatboy Slim; and “Back to the Future,” adapted from the hit film.

      Broadway’s summer openings will also feature a comedian, Alex Edelman, performing his acclaimed solo show, “Just for Us,” as well as two comedic plays, “The Cottage,” which is a contemporary version of an old-school farce, and “The Shark Is Broken,” which is about the backstage chaos that challenged the making of “Jaws.”

      16 votes
    5. K.O.

      K.O. After a One-Night-Stand a young man is accused of raping a woman in a bathroom. The man vehemently denies it. But instead of looking for the truth, the court spins it's own version of the...

      K.O.

      After a One-Night-Stand a young man is accused of raping a woman in a bathroom. The man vehemently denies it.
      But instead of looking for the truth, the court spins it's own version of the truth.

      Written by Alexander Rupflin, published on 12th of March, 2022 online. Originally published in
      ZEIT VERBRECHEN № 13/2022, 15th of February, 2022.

      Translated by @Grzmot

      For the protection of the individuals involved, names have been changed.


      What really happened in the bathroom between Fabian and Miriam?

      It was a normal night at the disco. Miriam wouldn't have caught his eye in the Funpark, if she hadn't pointed her small digital camera at him and shot two photos. He was sitting with his friends, had another woman in his arm, of which he didn't even know the name. She was lean, her hair was blonde and tied in a ponytail with thin lips, but she quickly got out of his arm again and vanished in the dancing crowd. It was supposed to be one of those nights with the hope for an unforgettable evening - And that hope came true. He spotted the girl with the digital camera in the Alpine Fun room of the giant disco. He approached her, introducing himself: Fabian, and you? Miriam.

      Miriam is tall, almost 1,80m. But he's still taller than her by almost a head. They yell the usual things at each other, trying to drown out the music. Where are you from? Do you want to drink something?

      He smells like vodka-red-bull and wears a necklace with black wooden pearls to show himself off as the cool surfer, but he really is a boy from the village. He think he sees her smiling at him. Contrasting the girl from before, Miriam has more of a round face, that makes her look childlike even though she is nineteen. At the same time she looks incredibly confident; acting like she doesn't take him seriously and is just fooling around. She tells Fabian that she's taking pictures for some website.

      Today, he doesn't really remember, what she tells him about herself. He just recently had his twentieth birthday, from a small village nearby, plays football in the state league. He's also in an apprenticeship in a grocery store. That's why he is even here, in this large disco in the middle of an industry disctrict not far from Koblenz. The grocery stores in the region organised a football championship, and he and his colleagues of course are playing. They are sleeping in the guest room of a local school for grocers. Tomorrow, finale, today, party. A colleague's birthday. It's the 20th January 2007, everyone is singing Ein Stern from DJ Ötzi and Nik P.

      This night happened so long ago, the Funpark doesn't exist anymore, today there is a Realmarkt there, but Fabian still thinks about those couple of hours that changed his life. Pure hatred rises in him. And every time he talks about it, the same thing happens: He talks faster, louder, until he almost screams, then his lower lip begins to tremble, his voice cracks and fails, until the tears roll. He has cried a lot because of this night, sometimes not even making the effort to wipe away the tears. When he comes back down, he then says things like: "These idiots, what have they done with my life! A convict, for nothing. They continue their life. I can't. I'd need a new one."

      Back then, in the wooden room where Schlager play, Fabian orders two drinks. It's by far not his first drink tonight. He loves partying. Why not? He's young and the women like him. Miriam wants to pay for her drink, Fabian insists to cover it.

      Later, Miriam will tell the police that in that moment, "the guy" (Fabian) would make a weird pinching move with his fingers above the glass. She had laughed and asked: "What are you doing?" He didn't reply.

      They drink, they talk. Then she puts her hand under his shirt to feel his warm stomach. She's bold. he thinks; a party girl. That's how he remembers the moment. She looks incredibly confident, funny, attractive, that makes him a little insecure. He doesn't want to be embarrassed. They kiss, she takes him to her girlfriends, he introduces himself. Time moves along. The two keep their heads close, kiss, talk, kiss. It's two in the morning. Three in the morning. Tanja, Miriam's best friend with whom she lives wants to convince her to go home. Miriam replies: "You're not my mom!" They argue for a bit, ultimately Tanja relents and leaves the Funpark with the others.

      What really happened in the bathroom?

      Miriam stays with Fabian. They sit in the same wooden room, move tables to two of Fabian's last colleagues, the rest is already sleeping in the guest house. He puts his arm around her shoulder, moves strands of hair out of her face. She's wearing black skirt and tights. Her face looks pale, her eyelids flutter. To him, she seems drunk, but he's the same. One of his colleagues takes a photo of them with Miriam's camera.

      Later, Miriam will tell the police that in that moment she felt dizzy, that she had flashbacks to the death of her father, childhood memories came back, that she hit the table with her head multiple times.

      The four leave the disco into the cold January night into one of the waiting taxis. Without any conversation between the two, Miriam apparently decided to come with him tonight. She didn't look afraid.

      The drive takes fifteen minutes, the other two leave for their room. Fabian tells Miriam (according to him), he wants to buy cigarettes at a vending machine around the corner. Is he looking for an excuse for her to leave? But she waits at the door for him. When he comes back, he realizes that he doesn't have a key, calls his roommate Tobias, who is already sleeping upstairs. Tobias isn't surprised, that Fabian shows up with company, Tobias is his best friend, and when they party, sooner or later there is a woman around Fabian's neck. He is tall, athletic and has a rustic kind of charm. Miriam introduces herself quickly and then they sneak back up into room 112. It's in a sorry state, the plastic sockets yellowed, the curtain a torn piece of red cloth, the mattresses narrow (photos from the investigation prove this).
      Miriam undresses, Fabian goes to the bathroom, Tobias falls back into his bed. When Fabian comes back to bed, Miriam is already there, only wearing underwear. They find each other under the blanket, kiss, explore each other blind.

      Later Miriam will say that she was nauseous and felt beside herself. She was not able to think straight, nor could she have
      said anything to the guy.

      Tobias, who wants to sleep, tries to ignore the foreplay, between him and the two there is just about arm-length distance. He's lying on his back, staring at (that is how he tells it today) the ceiling. At some point he loses his patience and says: "At least go to the bathroom!" They do that.

      And then? What really happened in the bathroom?

      Tobias at least says to this day that he didn't hear any sound from the bathroom. That the two came back after just a few minutes and went back to bed. Except for the lack of decency, nothing had seemed strange to him. At no point did it feel like there could have been a crime happening.

      At 22:05 the doctor calls the police

      About two hours later all three of them wake up again, Fabian collects Miriam's clothes, she puts them on, says goodbye, stumbling into the grew morning and taking the next bus to her boyfriend Klaus.

      They are in a relationship for eight months. When Miriam shows up at his place without any message, Klaus feels weird. Miriam is currently an apprentice, learning to become a paramedic, and is usually very confident. He is very much in her grasp, so much so that he feels like a boy next to her sometimes, and when they argue, her argument always beats his. But today she seems introverted, goes into the bathroom, brushes her teeth for a long time and falls into bed, sleeping till noon. When she wakes up, she asks: "Where am I?" Then she takes the bus home. Klaus, he explains today, can't decipher her behaviour. He didn't ask her back then where she had been. Today, he's unsure if she just had a bad conscience or if she really was under shock. He later discovers blood on his bed. Till the evening, he hears nothing
      from her.

      On her way home, Miriam writes a couple of messages to Tanja: "You wouldn't believe, how bad I'm feeling. I haven't even known this feeling up to now. I didn't want to at all, but he just didn't stop." And: "He gave me a lot to drink and put something in it, but I was too drunk, so I drank it anyway..."

      At that point Fabian and the other boys are already back in the sports hall, playing football. Fabian gets a bunch of dumb statements thrown his way about Miriam, but that's it. His team loses. In the afternoon, he drives home to his parents, where he lives, gets on the couch, sleeps it off. His parents ask, how he has been. He doesn't tell them of the party or Miriam.

      Miriam does. She tells Tanja about a gruesome night, complains about pain in her lower body. Tanja convinces her to get to the hospital, the doctor spots redness on the vulva, a almost four millimetre long tear at the entrance of the vagina, a small tear at the anus, a scratch on her neck and haematoma and bruises on her left arm and shoulder blade, lumbar vertebrae and the outer side of her left thigh. No signs of sperm. At 22:05, the doctor informs the police.

      "I remember", Miriam goes on record, "It was when I was lying on the ground in the bathroom, feeling his sperm in my mouth and he then pissed in my mouth. Then he told me to turn around. I remember saying "I don't want this." then it blacks out again." She insists, that her memories of the night are in tears and pieces, even though she only drank three beers mixed with cola [ABV 2,4%] and one vodka-red-bull. This statement conflicts with her message just hours earlier.

      She says, "the guy" had to give her a date drug, when he handed her the beer-cola. Then he took her with him into the guest house and violently raped her. But she also says: "I absolutely cannot tell, if I, at the time this was happening, wanted it or made the appearance that I wanted it." And she adds: "Actually I don't even know if I can accuse the young stranger of anything." She insists on this while making her statement to the police, that she does not want to file a complaint.

      It had to have been a misunderstanding

      The police disagree. They hold the statement of the confused looking woman as impressive enough to name Miriam as the "Aggrieved Party" from the first moment on. Not "supposed" or "alleged". The young woman, that is clearly ashamed of what has happened, is designated as the victim of a violent crime. The tight rope between distrust and empathy, that investigators should walk in such cases, is soon left behind. Even Miriams own doubts are ignored. From her statement: "I'd like to state again, that I do not want, that he is wrongly accused of anything. For me, this is all very irritating. I can, like I already said, only accuse, that I was given something, that brought me into this situation."

      Only hours later: Fabian is sitting in the large office of his employer at the computer, taking care of financials. His boss approaches him, telling him that he got a weird call from the police. They go into an empty room. Fabian is shocked, what he hears. K.O. drops? What's that? Rape? I never did anything to a woman! Until today, he swears that he did not expect such an accusation in his wildest nightmares. Disturbed, he returns to his computer. It must be a misunderstanding. Or he has been confused for the wrong person. It's all going to get cleared up. Why would she accuse him of rape? There's no motive. The company links him up with an attorney, but he's no criminal lawyer, but civil, specialized in work law. Fabian ignores the call of the police, pushes it away. Does his job, plays football, goes to
      parties like nothing happened.

      It the start of April 2007, suddenly the police show up at his house with a search warrant. The mother opens, Fabian isn't home. She doesn't understand what is happening. The officers look in his room for drugs fitting of Miriam's descriptions: Benzodiazepin, Gammahydroxybutyric acid and other hypnotics. They don't find anything. In the evening, Fabian finally forces himself to explain the situation to his parents. He swears multiple times that he did not do anything to Miriam. They believe him.

      Even after the search warrant Fabian tells himself that the problem is going to disappear, solve itself. He takes no initiative, doesn't find lawyer. Doesn't understand, that the race for the sovereignty of interpretation for the evening has already begun. Even today, Fabian convincingly explains that he's innocent. But if you ask him, what he believes happened that night at the toilet, he stutters, his voice becoming insecure, as if he's looking for long lost pictures in his mind: "It happened so fast in the bathroom...She played with me, yes... But I don't believe... No, I didn't even have proper sex with her. I always was afraid that women could get pregnant, and that's why... I don't remember properly. I didn't rape her!" The wounds in her genital area couldn't be from him. But why does he stutter so badly? And why does he say in his statement back then, that he had sex with her for sure?

      Fabian gets to know Jessica. Years later, he'll still call her his dream woman, his soulmate. She's seven years older, he meets her at another party. To most people, she seemed invisible, but to Fabian she was beautiful. Through a friend he gets her number, a few weeks pass, the two are a couple. At some point he's brave enough to tell her of that night. She believes him. Loves him. Surely it will all resolve itself. The two move in together.

      Early 2009, two years after that night, Fabian's attorney informs him, that there is a scheduled date for his case to be heard in court. Fabian, that wanted to forget the whole thing, is surprised that a court will even hear the case. The attorney calms him down, worst comes to worst, he'll get a fine. But why a fine, asks Fabian, I'm innocent.

      5th March 2009, 9:50 in hall 102 of the state court Koblenz: Only his father is here. Fabian doesn't want Jessica to see him like that and his mother can't bear it. She is back home, at the table, praying. Fabian makes his statement. Miriam hears everything, sitting at the prosecutor's table as joint plaintiff. It's the first time they see each other again. They don't direct a single word towards each other.

      In dubio pro reo

      What happens then in court, of that tells the written sentence. During the proceedings deeds turn into words that can be fitted into a story. These stories are based on evidence, facts and testimonies. But even looking at it from a willing pointof view, there is no clear picture here, but a blurred one full of assumptions. In such cases, a defendant cannot be convicted. In dubio pro reo - When in doubt, rule for the accused.

      But when joint plaintiff Miriam takes the stand as a witness and describes what happened that night, it looks like judge Helga Diedenhofen has no doubts. Fabian immediately gets the impression, that the judge thinks she knows what happened that night. Finally it dawns on him, that he might have to go to prison after all.

      The next date of the proceedings, his past roommate Tobias takes the stand. He explains that both of them were drunk, but not so much that they had no idea what was going on, that Miriam immediately undressed herself, that Fabian brushed his teeth first. That they both disappeared into the bathroom for only a couple of minutes and that he didn't hear anything. The court does not believe a single word of the statement, ruling it as a helping out a friend.

      But how can it be, that on the bed that Miriam shared with Fabian is clean, without any blood stains, but on Klaus' bed there are? The court doesn't seem to be interested. Also strange, how Miriam could approach the bathroom on her own (as written in the sentence), but exactly then and there fell into a "coma-like deep sleep", approximately three hours after she had consumed the allegedly spiked drink. The usual time where typical substances used are full effective, is just about three hours. Considering this problem, the court avoids concrete statements about time in it's written verdict.

      No one looked at the CCTV footage of the disco. The driver of the taxi that the four took home, was never asked anything.

      On the last day of the proceedings, expert testimony is heard from Bianca Navarro-Crummenaur. She is a coroner in the victim's ambulance in Mainz and is supposed to determine if Miriam was under the influence of a daterape drug that evening. Neither in her blood nor urine could they find traces in 2007, though such a substance usually disappears after twelve hours. The exper has nothing but Miriam's testimony to determine, if her description of her state fits K.O. drops. And the expert states that her description is "very classic". She never spoke with Miriam and according to protocol, did not ask her a single question during the proceedings.

      Under lawyers Navarro-Crummenauer is known for taking the testimonies of the alleged victims a bit too much into her reports for courts. A few years later a family files a complaint against her in civil court, because in her report she found indicators of child abuse, where there were none, and the court took the kids away from the parents, until the misunderstanding was cleared up. Fabian's attorney already files motion to dismiss her report due to bias in 2009, but the court denies it. And so a conflicting story is built brick by brick in hall 102, full of ideas, assumptions and prejudices about an alleged occuring of a crime.

      The verdict: Six years prison

      After four days in court the verdict: Six years for Fabian. Rape under use of a dangerous tool and dangerous assault, the "tool" being the K.O. drops, of which Fabian allegedly didn't know anything of, but according to the court, he was carrying on him through the entire weekend. Even though the visit to the disco was a spontanous decision made that evening.

      Even though the verdict is not in effect yet, Fabian is already in cuffs, going to jail, the court believes he might flee. He looks around the room, looking for help. For the first time in his life, Fabian sees his father cry.

      Eleven days he sits in a jail in Koblenz. Then his attorney manages to get him. The appeal remains, like most appeals, without effect. The only thing that could prevent Fabian from prison would be a quick resumption of the proceedings due to new evidence that could prove his innocence. Finally he realizes that severity of his situation and asks one of the most known criminal attorney and experts for the resumption of proceedings for help. It's too late.

      It's the 29. April 2010. Fabian's grandmother's birthday. With Jessica he goes to local retailer, searching for gifts. When they get into the car, a police patrol stops them from getting out of the driveway. Bystanders stare, a second time Fabian gets cuffs around his hands. In panic, Jessica calls Fabian's mother, then goes into a screaming fit.

      Again, jail in Koblenz. The prison sentence is served. Months and years pass. In the meantime, a request for resumption is denied. The parents and Jessica visit every week. They cry and make plans to get him out. His father writes letters begging for his release, even to the pope. Fabian gets increasingly worried what his girlfriend does out there. Where she goes, who she meets? He asks her many questions, writes accusatory letters. He is now regarded as psychologically unstable, psychotropic drugs from which he becomes so fat that he is disgusted to see his own reflection.

      In december 2012 Fabian's worries turn real, he becomes a letter from a stranger, telling him to keep his dirty lips of Jessica. Fabian collapses, the guards have to get him to the medical ward, they worry he will commit suicide. A bit later, he receives a letter from Jessica, she dumps him.

      After four years, Fabian is released on good behaviour. He does not feel anything, the medication has made him numb. He says: "I was in prison for nothing and nothing again." How is he supposed to be relieved?

      He learns to breathe again

      He moves back to his parents and tries to keep going where he stopped four years ago. But no one is listening to DJ Ötzi's Ein Stern, in the village discos they no play Mein Herz from Beatrice Egli. At a local festivity Fabian meets a woman and jumps into a new relationship, not having dealt with the Jessica yet. The people in the village greet him, but half-heartedly. No one talks to him more than necessary. He feels how they talk behind his back. Realizes, that the court didn't just sentence him but also his parents and his younger sister.

      The new girlfriend leaves him as well and Fabian has a final and complete mental breakdown. He drowns without dying, doesn't leave his room anymore. Carries day and night the jacket of his father, a packed travel pack ready to go. "Dad?", he asks. "They won't bring me into prison again, right?" Sometimes he sleeps in the bed of his parents, at the foot of it. Other days he believes, his family wants to poison him. Psychologists meet him. Diagnose anxiety disorder and a severe depression.

      Another year passes. One day Tobias comes to visit. The two talk for a long time. Tobias quickly understands that Fabian didn't age a single day. Tobias now thinks about building a house, founding a family, Fabian is still the boy from back then, living in the past on loop. Tobias convinces Fabian to visit the local football court, like they did back then before everything happened. The smell of the wet grass, the memories of the cheering, the hugging-each-other, the feeling safe, all those emotions rise in Fabian again, in that very moment.

      He learns to breathe again. In the weeks after he starts getting out of the house, starts working as a tiler, even goes independent soon after. Until today he fights for a resumption of the court case. It's also hatred that drives him: "Hate against the people here, that can't open their mouth in front of me anymore. All my supposed friends. I shot goals for them, every game, thirty five goals in a season. When I got arrested, we were three or four games from getting into the next championship. And when they made it, they drove through the streets, cheering and celebrating, even though I was in prison." He sobs. "I'll never be able to close this chapter of my life, but I hope that one day I can prove my innocence and that I didn't fight for no reason."

      In the spring of 2021, Fabian's father dies from a heart attack. He would've loved to show him the acquittal black-on-white. Fabian is now thirty-five.

      Miriam, it appears, is now married and mother. She herself does not want to retell her version of that night. When ZEIT VERBRECHEN reached out to her, she did not answer. Her then-boyfriend Klaus, who she left later, says, that Miriam got through that time better than a lot of other women, but that she had always been incredibly strong. But that he doesn't want any assumptions made based on those words, under any circumstance. If new evidence appears, Fabians attorney wants to file another request for resumption of the case.

      At least until then, the question will remain: What really happened in that bathroom between Fabian and Miriam?

      8 votes
    6. What Guantánamo made out of them

      By Bastian Berbner and John Goetz, published 1 September, 2021 The man who called himself "Mister X" in Guantánamo wore a balaclava and mirrored sunglasses when he tortured. The person he was...

      By Bastian Berbner and John Goetz, published 1 September, 2021

      The man who called himself "Mister X" in Guantánamo wore a balaclava and mirrored sunglasses when he tortured. The person he was torturing was not supposed to see his face. Now, 17 years later, Mister X is standing at a potter's wheel in his garage in Somewhere, America. A bald man with a greying beard, tattooed on the back of his neck. His hands, big and strong, mould a grey-brown lump of clay. The pot won't turn out very nice, you can already tell. He says that's the way it is with his art, he's more attracted to ugliness.

      Mister X thought long and hard about whether he wanted to receive journalists and talk about what happened back then. It would be the first time that a Guantánamo torturer has spoken publicly about what he did. The meeting on this day in October 2020 was preceded by numerous emails. Now, finally, we are with him. An interview of several hours is already behind us, in which Mister X told us about his cruel work. We told him that the man he maltreated at that time would also like to talk to him. Mister X replied that on the one hand he had longed for such a conversation for 17 years - on the other hand he had dreaded it for 17 years. He asked for half an hour to think it over. He said he could think well while making pottery.

      The man who would like to talk to him is called Mohamedou Ould Slahi. In the summer of 2003, he was considered the most important prisoner in the Guantánamo Bay camp. Of the almost 800 prisoners there, according to all that is known, no one was tortured as severely as he was.

      There are events that determine a biography. Even if they do not last that long in terms of lifespan, in this case barely eight weeks, they unfold a power that makes everything before fade into oblivion and captivates everything after.

      Back then, in the summer of 2003, Mister X was in his mid-thirties and an interrogator in the American army. He was part of the so-called Special Projects Team whose task was to break Slahi. The detainee had so far remained stubbornly silent, but the intelligence services were convinced that he possessed important information. Perhaps even information that could prevent the next major attack or lead to Osama bin Laden, who was then the world's most wanted terrorist: the leader of Al-Qaeda, the main perpetrator of the attacks of 11 September 2001.

      The team's mission was to defeat evil. To achieve this, it opposed him with another evil.

      Mister X always tortured at night. With each night that Slahi's silence lasted, he tried a new cruelty. He says torture is ultimately a creative process. Listening to Mister X describe what he did can leave you breathless, and sometimes Mister X seems to feel that way himself as he tells the story. Then he shakes his head. Pauses. Runs his hand through his beard. Fights back tears. He says, "Man, I can't believe this myself."

      The way he speaks, you don't get the impression that it was all so long ago. In fact, it's not over at all. Mister X says there is hardly a day when he does not think about Slahi or when he does not haunt his dreams. Slahi was the case of his life, in the worst sense of the word.

      There was a moment back then that not only burned itself into his memory, it also poisoned his soul, Mister X says. That night he went into the interrogation room where Slahi, small and emaciated, sat in his orange jumpsuit on a chair, chained to an eyelet in the floor. Mister X, tall and muscular, had thought of something new again. This time he pretended to go berserk. He screamed wildly, hurled chairs across the room, slammed his fist against the wall and threw papers in Slahi's face. Slahi was shaking all over.

      Mister X says the reason he never got rid of that moment was not that he saw fear in Slahi's eyes, but that he, Mister X, enjoyed seeing that fear. Seeing the trembling Slahi, he says, felt like an orgasm.

      Mohamedou Slahi is 50 years old today. In December 2020, two months after our visit to Mister X, he is standing on the Atlantic beach. In front of him the waves break on the Mauritanian coast, not far behind him begins the endless expanse of the Sahara. Slahi wears a Mauritanian robe and a turban, both in the bright blue of the sky above him. With narrowed eyes, he looks out to sea and says that if he were to sail off here on a steady westerly course, he would arrive where he was held for 14 years, at the south-eastern tip of Cuba.

      Slahi has been free again for five years. But like Mister X, he too cannot shake off his time in Guantánamo. He now lives again in Nouakchott, the capital of Mauritania, on the edge of the desert, the place where the USA had him kidnapped a few weeks after 11 September 2001. Unlike then, he is now a celebrity. He is approached on the street, he zooms out of his house into universities and onto podiums around the world to denounce human rights abuses by the United States. He says that when he closes his eyes at night and sleep comes, sometimes the masked man comes again.

      When one of the authors of this article first visited him in 2017, Slahi expressed a wish - he would like to find his torturers. At the time, he had already written a book about his time in Guantánamo. In the last sentence, he had invited the people who had tortured him to have tea with him: "My house is open."

      The trauma of 11 September 2001

      At that first meeting and again now, in December 2020, he says that during the torture period in Guantánamo he felt one thing above all: Hate. Again and again, he imagined the cruel way in which he would kill Mister X. He said that he had to kill him, his family and everyone else. Him, his family and everyone who meant something to him. But then, in the solitude of his cell, while thinking, praying and writing, he realised that revenge was not the answer. So he decided to try something else: Forgiveness.

      In the silence of his cell, he forced himself to think that this big, strong man, Mister X, was in fact a small, weak child. A child to whom he, Mohamedou Slahi, patted his head and said: What you did is bad, but I forgive you. The process of re-educating himself took several years. But at some point, still sitting in his cell in Guantánamo, he had managed to convince himself so much of the sincerity of this thought that he really felt the need to want to forgive.

      When Slahi expressed a desire to speak to Mister X, he said he hoped it would bring peace to his still troubled soul. In the best case scenario, he could replace the old, painful memories of that time with new, good memories.

      Thus began our search for Mister X.

      How must one imagine a man torturing another? In American files, for example in a Senate investigation report, there is a list of what Mister X did. They are descriptions of the crudest psychological and sometimes physical violence.

      When you meet him, something strange happens: you don't connect the image that all the reports have created in your head with the man sitting in front of you. We know for sure that he is Mister X. Former colleagues of his have confirmed his identity to us. But the Mister X we meet is: a subtle art lover. An educated man interested in history. All in all, a pretty nice guy. After spending several days with him, one cannot escape the impression that he is apparently also a very empathetic person.

      Mister X tells us that he occasionally invites homeless people to the restaurant, also that it happens that he cries in front of the TV when he sees reports from disaster areas. It is precisely because he can empathise so well that he has been so good as an interrogator, as a torturer. You have to put yourself in the other person's shoes. What causes him even greater pain? What could make him feel even more insecure? Where is his weak point? But precisely because of empathy, he says, he was also broken by what he had done at the time.

      Shortly after he left Guantánamo in the winter of 2003, Mister X began to drink. It was not unusual for him to drink three bottles of red wine a night. He spent more and more time in bed and spoke less and less with his wife and children. He hardly found any sleep any more. He toyed with the idea of killing himself, he says. A doctor diagnosed him with severe post-traumatic stress disorder. The torturer, of all people, had suffered the kind of trauma one would expect to find in his victim.

      There are many studies on the psychological suffering of torture victims. War refugees from Syria, refugees who were mistreated in Libyan camps, Uighur prisoners from China - in such people, depression, addictions, concentration problems, sleeping problems and suicidal thoughts are increasingly observed.

      Mister X also suffered from all these symptoms.

      One could see the distraught Mister X as the personification of the trauma that has gripped the entire United States since 11 September 2001. After that primal experience, the country that wanted to defend the values of the West in the fight against terror betrayed precisely those values. Rule of law. Justice. Democracy. And since that primordial experience, the country has been ravaged more than ever by an omnipresent violence perpetrated by broken people. Spree killings, assassinations, hate crimes. Maybe the whole US has some kind of post-traumatic stress syndrome?

      For 17 years, Mister X says, he has been working through the guilt he has brought upon himself. He has taken medication, undergone therapy and looked for a new job. For 17 years he has been trying to make up for his mistake. A few things have helped him. A little. But not really. Maybe also because he had secretly known all these years that in order to really come clean with himself, he would have to do one thing urgently. "The decent thing to do would be to tell Slahi to his face that I regret what I did to him. That it was wrong."

      In that sense, Slahi's offer to talk to us reporters is a gift. An opportunity to draw a line under the matter. But there's a thought that's been troubling Mister X and making it difficult for him to accept the offer.

      Mister X still thinks Mohamedou Slahi is a terrorist. And for one of the most brilliant in recent history. A charismatic. A manipulator. A gifted communicator who already spoke four languages, Arabic, French, German and English, and taught himself a fifth, Spanish, in Guantánamo.

      Slahi was probably the smartest person he had ever met, Mister X says. So smart that Slahi managed to fool his interrogators, just as he now manages to make millions of people around the world believe he is innocent. Mister X says he knows this person's psyche better than that of his own wife. For weeks he did nothing but put himself in this man's shoes and one thing was clear: Slahi was a brilliant liar.

      He looks his tormentor in the face

      In 2010, a US federal judge ruled that Slahi must be released because the US government's alleged evidence against him was just that, not evidence: Evidence. The government appeals.

      In 2015, the book Slahi wrote in prison is published: Guantánamo Diary. It is extensively redacted, but the message is clear: the US tortured an innocent man. The book becomes a bestseller.

      In 2016, Slahi is released, after 14 years without charges. In Mauritania, he is received like a hero.

      In 2019, it is announced that Guantánamo Diary will be made into a film. Jodie Foster and Benedict Cumberbatch will star, and Oscar-winner Kevin Macdonald will direct.

      In 2020, the Guardian's website will publish the trailer for a documentary in which one of Slahi's guards travels to Mauritania and former enemies become friends.

      Apparent friends, says Mister X. He doesn't buy any of this "forgiveness stuff" from Slahi. The film scenes - the walk in the Sahara sand, Slahi laughing and helping his guard into a Mauritanian robe - , Slahi has really staged all that masterfully. Slahi who generously forgives, the decent David who rises above the corrupt Goliath - the narrative of a hero.

      That is what makes Mister X hesitate for so long: Slahi, he fears, could also use him for his production. He could show the whole world: Look, now not only an insignificant guard apologises, but also my torturer, and I forgive him too! Slahi would become an even greater hero.

      Is Mister X's urge to face his victim stronger than his fear of being instrumentalised?

      Mister X has made a small, ugly potty. It must now dry. He puts it aside, wipes his hands on a towel and looks serious. He is silent for a long time and then says, "I'm going through with this now. Oh God."

      The picture jerks, the sound wobbles, and for a brief moment hope is written on Mister X's face that technology will save him from his courage. Then the face he knows so well appears before him on the computer screen - narrow as ever, but aged. The man on the screen, unlike Slahi in 2003, has hardly any hair left. And Slahi now wears glasses, with black rims.

      It is late in Mauritania, almost midnight, but Mohamedou Slahi has stayed awake. He also has a visit from a member of our team. By phone, we have been keeping Slahi updated from the US for the past few hours: There is a delay; Mister X needs a little more time.

      Now a picture is also building up on the monitor in Mauritania. The greying beard, the bald head, the tattoos on the back of his neck.

      Mohamedou Slahi looks his tormentor in the face. No mask, no sunglasses.

      Mister X: Mister Slahi. How are you doing?

      Mohamedou Slahi: How are you, sir?

      Mister X: Not bad, and you?

      Mohamedou Slahi: I am very well.

      Mister X: That's good.

      Mohamedou Slahi: Thank you for asking.

      Mister X: Yes, sir. I was extremely hesitant to make this call. But let me explain a few things to you.

      The first time Mister X saw him was on 22 May 2003. Mister X was standing in an observation room in Guantánamo, looking through a pane of glass that was a mirror from the other side. There, in the interrogation room, Slahi was being questioned by two FBI agents. For half a year they had spoken to him almost every day - without the slightest success. In a few days, it had already been decided, the military would take over, Mister X and his colleagues.

      There was a table in the middle of the room, on one side the agents, on the other Slahi. The FBI had brought cakes. One of them, blond and tall, obviously the boss, was leafing through a Koran and saying something about a passage. Then Slahi stood up. He wore no handcuffs, no chains. He walked around the table, took the Koran from the agent's hand and said, no, no, he got it wrong, he had to see it this way and that way. In the end, Mister X watched as the agents hugged Slahi like a friend. "I couldn't believe it," he says.

      The FBI agent who leafed through the Koran is Rob Zydlow. We spoke to him as well. He lives in California, he retired a few months ago. He thinks failure is a harsh word. But, yes, in Slahi's case, his plan didn't work. He tried the nice way, but no matter whether he brought home-made cakes, as he did that day, or burgers from McDonald's, whether he watched animal documentaries with Slahi or let him teach him Arabic, Slahi just didn't talk. He would always just say, "I'm innocent."

      Slahi, on the other hand, says today that the FBI cake tasted good, that he liked the documentary about the Australian desert best, and that Rob Zydlow's attempt to learn Arabic was simply ridiculous. It was true that the FBI people had been reasonably nice to him for months, but he did not owe those agents any answers. On the other hand, they owed him answers. Why had the US had him kidnapped?

      Slahi did not know that on that day, behind the glass, the man he would meet a little later as Mister X was watching. He did not know that in the Pentagon a document was just being passed from one office to the next, signature by signature, all the way to Secretary of Defence Donald Rumsfeld, giving examples of what methods this man could use to get the prisoner Mohamedou Slahi to talk. It was a paper that provided a framework, but still left the torture team plenty of room to come up with their own ideas.

      Rob Zydlow says he sensed a real hunting fever in the army people who took over.

      Mister X says he went to the army shop and bought a bluesuit. Slahi was a man-catcher, as his dealings with the FBI agents proved. So, that was the logic, Slahi would now not be dealing with a human being, but with a figure from a horror film.

      "What we did to you was wrong".

      In high school, Mister X was in the drama club. Even today he plays Dungeons & Dragons, a board game with elves, orcs and dragons, he reads comics and loves science fiction. While some of his colleagues were boring in their interrogation methods back then - question, question, question - he really immersed himself in the roles.

      On the evening of 8 July 2003, Mister X put on his overalls, black military boots, black gloves and a black balaclava, along with mirrored sunglasses. He had Slahi brought into the interrogation room and hooked to the eyelet in the floor, but the chain was so short that Slahi could only stand bent over. Then Mister X switched on a CD player and heavy metal music filled the room, deafeningly loud.

      Let the bodies hit the floor
      Let the bodies hit the floor
      Let the bodies hit the floor
      Let the bodies hit the floor

      Mister X put the song on continuous loop, turned off the lights, turned on a strobe light that emitted bright white flashes, and left the room. For a while, he says, he watched from the next room. But the music was so loud that he couldn't think. So he went outside for a smoke.

      Slahi says he tried to pray, to take refuge in his own thoughts. He did not talk.

      Mister X was trying out new songs. The American national anthem. A commercial for cat food that consisted only of the word "meow". Mister X turned up the air conditioning until Slahi was shaking all over. Mister X turned up the heating until Slahi had sweated through his clothes. Mister X put his feet up on the table in front of Slahi and told him that he had had a dream. In it, a pine coffin had been lowered into the ground in Guantánamo. There had been a number on the coffin. 760, Slahi's prisoner number. Then there was his outburst, which he could not get rid of later.

      No matter what he did, Slahi remained silent.

      Mister X: It is difficult for me to have this conversation because I am not convinced of your innocence. I still believe that you are an enemy of the United States. But what we did to you was wrong, no question about it. Nobody deserves something like that.

      Mohamedou Slahi: I can assure you that I have never been an enemy of your country. I have never harmed any American. In fact, I have never harmed anyone at all. Never.

      Whether Mohamedou Slahi was a terrorist, as Mister X thinks, or completely innocent, as Slahi himself claims, will probably never be clarified. Perhaps he was something in between, a sympathiser. In the search for concrete criminal acts, for terrorist actions by Mohamedou Slahi, we have spoken to many people who were close to him or who know his case well. There were constitutional protectors in Germany, where Slahi lived for eleven years, intelligence officers in Mauritania and the USA, investigators and several members of the Special Projects Team. We read German and American files. After years of research, we found - nothing.

      Mohamedou Slahi grew up two hours' drive from Nouakchott, in the sandy foothills of the Sahara. His father tended the camels, his mother the twelve children. He was an exceptionally good student - just like his cousin Mahfouz, who was the same age. As teenagers, in the mid-eighties, the cousins shared a room. Late into the night, they read books about Islam and longed to join the thousands of young men from all over the Islamic world and travel to Afghanistan to fight the infidel Soviet occupiers. But they were too poor to make such a journey. Then Slahi got a scholarship to study in Germany.

      In 1990, at the age of 19, he enrolled in electrical engineering in Duisburg. Five years later, now a graduate engineer, he started a job at the Fraunhofer Institute for Microelectronics. He now built microchips for the renowned German research institution, earning 4000 marks a month.

      That was one life of Mohamedou Slahi. The other had begun during his studies.

      1990: Stay in an Al-Qaida training camp in Afghanistan. Weapons training, oath of allegiance to Emir Osama bin Laden.

      1992: second trip to Afghanistan, where the Islamists were on the verge of overthrowing the Afghan government. Slahi was deployed in an artillery unit. After two months, he returned to Germany, allegedly, as he would later say, because the Islamists had disappointed him with their fighting among themselves - it was not at all the paradisiacal reign of God on earth that he had imagined.

      At that time, there was still a kind of community of interest between Al-Qaida and the West; after all, Bin Laden's people had helped to drive the Soviet occupiers out of Afghanistan.

      If you ask Slahi what his relationship with Al-Qaeda was like in 1992 after his return to Germany, he says: "That chapter of my life was closed. I cut all ties. I stopped reading the magazines, stopped informing myself about Al-Qaeda's activities, had no more friends in the organisation, no more contacts, with anyone, no phone calls, nothing."

      If this were true, Slahi would have turned her back on the organisation before turning against the US.

      But it isn't true. Slahi kept in touch: with his cousin, with whom he used to share a room and who had since become a confidant of Osama bin Laden under the name Abu Hafs al-Mauritani - once the cousin even called him on bin Laden's satellite phone; with a friend in Duisburg who was involved in the attack on the synagogue on Djerba in April 2002; with another friend who was later convicted of planning an attack on La Réunion. And Slahi, in Duisburg in October 1999, had three overnight guests, one of whom was Ramzi Binalshibh, who would later become one of the key planners of 9/11. Binalshibh later told his American interrogators that the other two visitors were two of the hijackers. At the meeting in Duisburg, Slahi advised them to travel to Afghanistan.

      Slahi's involvement with Al-Qaeda

      Slahi did not break off all contacts. On the contrary, the list of his friends and acquaintances reads like an extract from Al-Qaeda's Who's Who.

      If you ask Slahi about these contacts, he confirms everything, but acts as if it is an insult that you bring up these little things at all. These were his friends, and what his friends believed or did had nothing to do with him.

      All those contacts and friendships - it is not hard to imagine that hunting fever broke out among Mister X and his colleagues. It's hard to imagine what Slahi might know. Even if he himself was perhaps hardly involved.

      Perhaps he would lead the investigators to his cousin, bin Laden's confidant. It was suspected that the cousin and Bin Laden were on the run together.

      I wonder how many lives could be saved if only he finally came clean?

      Mister X says that as a team they felt they were fighting on the front line of the war on terror. He says he was aware that if he got anything of significance out of Slahi, President George W. Bush would be informed personally.

      For weeks, Mister X worked his way around Slahi. To no avail. Then he got a new boss, a man called Richard Zuley, known as Dick.

      Mister X says of him today, "Dick is a diabolical motherfucker."

      Richard Zuley himself says, "All Mister X got out of Slahi was petty stuff. Slahi had everything under control, we had to change that."

      Zuley now lives in a row house on Chicago's north side. For years he worked here as a police officer; now, in retirement, he spends a lot of time at the airfield where his small plane is parked. When Zuley talks about how he took over Slahi's interrogations, he smiles. "There was then no question about who was in charge."

      Zuley suggested to Slahi that the latter's mother could be raped if he didn't talk. And under Zuley's command, Slahi was beaten half to death. That was one day in late August 2003. When Mister X saw Slahi's bloody and swollen face, he says, he was shocked. For him, this raw physical violence went far beyond the limits of what was permissible and was also not compatible with Rumsfeld's list. Mister X confronted his boss - and was taken off the case the same day.

      When asked why, Zuley replies, "I used people who were effective." One senses no sense of injustice, only pride that he managed to break Slahi.

      Slahi was moved to a new cell that evening. "There was nothing in the cell," Slahi remembers, "no window. No clock. Nothing on the wall that I could look at. It was pure loneliness. I don't know how long it lasted, I didn't even know when it was day and night, but eventually I knocked and said I was ready to talk."

      After months of silence, Slahi was now talking so much that Zuley had paper and pens brought to him, and later a computer. Slahi wrote that he had planned an attack on the CN Tower in Toronto. He listed accomplices. He drew organigrams of terror cells in Europe. Slahi says it was all made up.

      In fact, intelligence agencies soon raised doubts about the veracity of the information Zuley's team passed on to them. In November 2003, Zuley ordered a lie detector test on Mohamedou Slahi. The latter recanted his confession and the machine failed.

      Mohamedou Slahi: You know so little about me. Obviously your government has given you very little information ...

      Mister X: Let me make something clear.

      Mohamedou Slahi: May I please finish my sentence?

      Mister X: Excuse me, please continue.

      Mohamedou Slahi: The military prosecutor who was going to charge me, Stuart Couch, was going to ask for the death penalty at the beginning, but then he realised that I am innocent.

      Stuart Couch is now 56 years old and a judge. An accurately dressed man with a military short haircut and a fierce southern accent. On a Sunday morning in January 2021, we have an appointment at a hotel in Charlottesville, Virginia. Couch talks about his Christian family and his time as a soldier in the Marines, which shaped him. He paints a picture of himself as a man who was shaped by a strong belief in values and rules. Rules that demanded a lot of him when he had to make the most difficult decision of his career in spring 2004.

      The US government had given him, the military prosecutor, the task of indicting the most important prisoner in Guantánamo Bay, Mohamedou Ould Slahi. Of course, this was a potential death penalty case, says Couch. After all, it had to be assumed that Slahi had recruited the later hijackers for al-Qaida - at the meeting in the Duisburg flat.

      There was a lot of circumstantial evidence for Slahi's involvement with Al-Qaeda, namely the many friendships and contacts. Couch assumed that with all the smoke, it was a matter of time before the fire was encountered. "My grandfather used to say, 'If you lie down with the dogs, you'll get fleas.' And man, Slahi must have lain with a lot of dogs."

      But Couch found no fire - not a shred of evidence. Instead, he found something else. On a site visit to Guantánamo, he heard loud music blaring from an interrogation room in a hallway. Let the Bodies hit the floor. Through the crack in the door he saw bright flashes of light. Inside, a detainee was chained to the floor in front of two speakers.

      "What I did was torture. No doubt about it"

      The scene repelled him as a human being and as a Christian, he says. As a prosecutor, he immediately understood: if they did the same to Slahi, he had a huge problem. What he had said or would still say would have no relevance in court. "Under torture, people tell everything, whether it is true or not, the main thing is that the torture stops," says Couch.

      He began investigating what was going on at Guantánamo. Shortly after Slahi's confession reached him, he had certainty: it was worth nothing.

      Stuart Couch says he wrestled with himself for days. Not pressing charges would mean possibly letting a terrorist get away with it. He consulted with his priest. Then he told his superior that he was withdrawing from the case.

      The case never went to trial. Nevertheless, Slahi remained in prison for another twelve years. Only in October 2016 was he released, one of the last decisions of the Obama administration.

      Asked today if Stuart Couch believes Slahi was a terrorist then, he replies, "I don't know."

      Mister X says he is sure. All you have to do is look at the way Slahi communicates. He plays games - no innocent man does that.

      In fact, watching Slahi talk to Mister X, one sometimes gets the impression of watching a shrewd politician. Mister X says a total of six times that the torture should not have happened. Slahi never responds to this. Instead, he talks about other things - his innocence, criticism of America. Once he starts talking about Chalid Sheikh Mohammed, the chief planner of 9/11, who is still in Guantánamo. Another time about the US war in Afghanistan.

      Mister X: I won't say anything about Khalid Sheikh Mohammed, nor about politics. I can only talk about the techniques I used. That they were wrong and I should never have done it. They should never have been abused. They should never have been beaten. That's not who we are. That's not who I am.

      Mister X tells Slahi that he painted him, six years after that August day in 2003. Bleeding Slahi in oil with a busted lip and a swollen eye. Now, during the conversation, he asks us reporters to send a photo of the painting to Mauritania via WhatsApp.

      Mohamedou Slahi: Ah, wow. This prisoner in the picture looks much better than the real prisoner back then. (Slahi laughs)

      Mister X: You actually didn't look very good that day. And this painting is not meant to ... it's to reflect what happened to you that day.

      Mister X painted the picture when he had just resigned from the army. His post-traumatic stress disorder had become so bad that he could no longer work. The alcohol had stopped helping, the medication was no longer working either. So now painting. He says he had hoped that the artistic confrontation would trigger a catharsis. But it only brought pain. So he destroyed the painting again. Only the photo is still there.

      Mister X: I have to live with this shame. Maybe this is a small victory for you, that I have to live with my behaviour.

      Mohamedou Slahi: Um, I don't know ... I always had the impression that you were an intelligent person. And it was hard for me to understand how you could do such a thing to me.

      Slahi asks exactly the question that determines Mister X's life. After art failed to give him an answer, he tried science. He enrolled in Creative Studies at university. He studied how creativity is used for evil purposes, for cigarette advertising, weapons of mass destruction, torture. He read study after study in search of an explanation for why he was capable of so much cruelty. From all that reading, he took away: The tendency to cruelty is in all human beings. It asserts itself when the circumstances allow it. The circumstances in his case were: a country that craved revenge. A president who demanded success. A superior who spurred on the interrogators.

      "My country made me do some pretty shitty things, and I did them," says Mister X. "I hate myself for it. And I hate my country for making me this monster." He speaks out, "What I did was torture. One hundred percent. No doubt about it."

      The few studies that exist on people who have tortured suggest that there are two types of torturers. The ones who live on afterwards as if nothing had happened. And the others who break. Scientists suspect that it is the worldview of the torturer that determines which category he or she will fall into.

      For example, if a person tortures, like Richard Zuley, in the belief that it is morally right to torture one individual in order to possibly save thousands, then he is more likely to escape unscathed.

      If, like Mister X, he tortures in contradiction to his own humanism, then shame and guilt are more likely to trigger trauma. The symptoms then often resemble those of torture victims, only one thing is sometimes added: a deep mistrust in institutions. Those who have been forced to do abysmal things in the name of a system, an ideology, a country, their trust in this system, this ideology, this country is sometimes shaken by this.

      Can there ever be reconciliation?

      Mohamedou Slahi, the victim, on the other hand, has managed something that therapists very rarely see. Victims are often stuck in a situation of helplessness and hopelessness. Slahi has broken out of this helplessness. He has made himself an actor.

      You can watch numerous videos of Slahi's performances on the net. The audience is often visibly moved when he talks about how he received his guard in Mauritania. Actress Jodie Foster, who won a Golden Globe for her role as Slahi's lawyer in the film The Mauritanian, said of him in a statement at the awards ceremony: "You taught us so much: what it means to be human. Joyful of life. Loving. Forgiving. We love you, Mohamedou Ould Slahi!"

      It is always this one thing that touches people, what they admire him for: that he is willing and able to forgive.

      In a way, Slahi says in one of our interviews in Mauritania, forgiveness is also a form of revenge for him. He is taking revenge on his tormentors and all the people who fought the American war on terror for 20 years: before the eyes of the world public, he exposes the actions of those who thought they were the good guys as evil. And he stylises himself, the supposedly so evil, as the good guy.

      Mohamedou Slahi: I want to tell you: I forgive you, just as I forgive all those who have caused me pain. I forgive the Americans ...

      Mister X: Yeah ...

      Mohamedou Slahi: ... With all my heart. I want to live in peace with you.

      Mister X: It is important for me to clarify that I did not ask for your forgiveness. I have to forgive myself.

      It doesn't work for Mister X, he rebuffs Slahi. The two do not find each other. One last try: Slahi tries another subject.

      Mohamedou Slahi: How are you today? Are you married? Do you have children?

      Mister X: I'm not going to talk about my family or where I live, what I do or don't do. That's how it is, mate.

      The conversation lasts 18 minutes and 46 seconds and ends with frustration on both sides.

      Mohamedou Slahi: Anyway, I wish you all the best.
      Mister X: You too.
      Mohamedou Slahi: I think you are what you do. I forgive you with all my heart, even if you don't ask me to.
      Mister X: It's okay. I have nothing more to say. Goodbye, Mister Slahi.
      Mohamedou Slahi: Bye.
      When the video link ends, the two are left unreconciled, the weak, self-doubting perpetrator, and the strong victim.
      When one person tortures another, it's quite intimate. Tears. Screams. Pain. Fear. Nudity. A torturer sees things that otherwise only the partner sees, if at all. Mister X and Mohamedou Slahi are familiar with each other and strangers at the same time. They know everything about each other - and nothing. In this conversation, in which there seems to be nothing in common, it becomes clear that there is one thing they do share: Eight weeks in Guantánamo in the summer of 2003 have made them who they are today.
      Mohamedou Slahi lives largely from his story, from what was done to him. His suffering has brought him not only pain and nightmares, but also wealth and prestige. He married a human rights lawyer who worked in Guantánamo and had a child with her. He has turned his destiny around.
      In Mister X's life, almost everything has turned into its opposite. He no longer votes for the Republicans, as he used to, but for the Democrats. He is no longer for the death penalty, but against it. He is no longer sure he wants to continue living in the USA, but is thinking of emigrating.

      For several years, Mister X has been teaching young soldiers and FBI agents interrogation techniques. At the beginning of the course, there are always people who say: torture should be allowed. He then says, no, absolutely not. Torture exacts a high price. Not only of the person who suffers it. But also on the one who commits it. Sometimes he talks about himself.

      Source: https://www.zeit.de/2021/36/folter-guantanamo-mohamedou-ould-slahi-gefangener-folterer-gespraech-terrorismus/komplettansicht

      Translated with DeepL: https://www.deepl.com/

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    9. Fortnite's new season has brought the game back to its roots

      For at least a year I'd been rather disappointed with Fortnite. It kept appealing to the lowest common denominator and the game that I fell in love with in the end of season 2 (which is almost two...

      For at least a year I'd been rather disappointed with Fortnite. It kept appealing to the lowest common denominator and the game that I fell in love with in the end of season 2 (which is almost two years ago) kept changing for the worse. It became less of a Battle Royale game and more of a playground where you never knew what you were gonna get. It kept getting worse through the seasons and I played it less and less. So during season 9 I was only barely hanging on - and once season 10 launched with even more proverbial bullshit, I finally decided to uninstall the game. That was in the beginning of August and I never looked back for a second - I was done with it!

      With Chapter 2 however (season 11), it's back to basics. The many weapons have been trimmed and there are only very few left - and none of the crazy ones. It's simpler and easier to navigate, and all the vehicles and movement mechanics have also been scrapped almost entirely. There are no more hover boards, ATVs, golf carts, airplanes, jump pads, rifts, etc. There's a harmless boat, and that's it! So when I saw the trailer for this new version of Fortnite, I reinstalled the game immediately. I've played 9 games now and this is the version I fell in love with - if not better! It's so good in its simplicity. The mechanics with building and whatnot have stayed the same, but the gameplay itself is much improved. It went from chaotic and action-packed to feeling more like a survival game. And the aesthetic of the new map is also just beautiful.

      I'm no game reviewer but I thought that this overhaul of a pretty massive game is worth talking about!

      Edit: not to mention the marketing stunt they pulled before launching this new version of the game was insanely clever. It made headlines all over the world, they even talked about it on the evening news here in little ol' Denmark!

      15 votes
    10. What are your favorite movies of 2019 so far?

      Since we're fast approaching the second half of the year, I think it's a good time to look back on the first half, to the movies that came out this year and to share our favorites. I'm giving my...

      Since we're fast approaching the second half of the year, I think it's a good time to look back on the first half, to the movies that came out this year and to share our favorites. I'm giving my favorite 10 (though in no particular order) but if more or fewer stood out to you and you want to share all of them, feel free! Blockbusters, indies, comedies, dramas, whatever stands out to you from 2019 so far. Don't feel pressured to write anything but the title or a basic synopsis if you don't want to.

      • Apollo 11: Okay, I know I said this list isn't in order, but this one is definitely #1. It's history in motion, and its images and editing will surely be seared into my mind as the way I think of the Apollo launch.
      • An Elephant Sitting Still: Technically came out in 2018 in some regions, but has a 2019 release in my country, which is the order I'm organizing this list in. A beautiful and heartbreaking journey into universal pain and suffering and catharsis in the tiniest things. At nearly 4 hours and with an oppressively melancholy tone, I struggle to recommend it to everyone and anyone, but if the description interests you, definitely give it a look.
      • The Farewell: Hilarious and sad, often in the same moment. My love of this may well have been colored by my experiences as an immigrant under very similar circumstances as its main character, but it's an interesting look at differing cultural philosophies of the worth of the individual on their own versus their relation to society.
      • The Last Black Man in San Francisco: A layered critique of gentrification and the personal individual obsessions that keep us from truly seeing it and other issues in our world as they happen. It's filled to the brim with things to say, sometimes to a detriment, and some of the screentime spent just showing the sad beauty of San Francisco could've been used to further flesh out some of its ideas, but I still found it extremely compelling all the way through.
      • John Wick: Chapter 3- Parabellum: I think the John Wick movies get a little more bloat on them every entry(much like their titles, actually), but the action only seems to get slicker. I still like the balance of the world, character work, and action in Chapter 2 the best, but while I think 3 drags itself down into its lore a bit too much, its setpieces are still top of the line. I find Keanu endlessly killing people left and right to be incredibly cathartic. Should probably talk to someone about that.
      • Burial of Kojo: This doesn't say "Netflix original" on it, but it does seem to be distributed by them in all the countries I checked, so I don't know what's happening there. Regardless, there's a good chance you'll find this on Netflix in your country. I'm willing to admit this movie is heavily, deeply flawed. It overtelegraphs many of its plot points repeatedly, for one. But I also think it is filled with a gorgeous charm. It's light fantasy and grounded fairy tale feels half Tarsem and half Guillermo del Toro, and I was captivated from beginning to end.
      • Booksmart: I find the new crop of female led high school movies (Booksmart, Edge of Seventeen, Eighth Grade) to be far more relatable and interesting than the dozens of high school movies of decades prior. It feels like the hands of the filmmakers is more on the pulse of the struggles of modern kids. Booksmart is very much a heightened comedy compared to the other examples I mentioned, but it is great at it. It's hilarious, even if there's one scene in particular that goes on forever. The comparisons to Superbad are mostly warranted, and I still lie awake at night, sad at the fact that I saw this opening night and the theater was mostly empty.
      • Dear Ex: The Netflix revolution of every indie movie ending up on streaming services and leaving the theaters to the blockbusters isn't quite happening at the speed originally anticipated, but it definitely seems like more and more of my favorites of the year end up being a streaming original. Dear Ex is a Netflix film about different people grappling with the loss of one man, and it shows the power of the individual to connect the lives of the people they love, and of the many tools we employ to try to get over losses in our lives.
      • High Flying Bird: Yet another Netflix movie. Steven Soderbergh is one of the people who can make a bearable heist movie in this day and age imo, and he lends that gift to this to make a movie where the heist isn't money or jewels, but the basic rights of human beings being trampled on by a system that creates middle men to suck up money, leaving the real workers with pennies. It's shot on an iPhone, and there are moments where that seems like a limitation, but honestly, a lot of it looks really impressive.
      • Ash is Purest White: This is Jia Zhangke well within his comfort zone, looking at the strain put on human relationships by the passage of time and the everchanging effects of globalization and shifting national landscapes. The World(2004) (aka Shijie) is still my favorite of his, and it is definitely an idea he's explored before, but his ideas and commentary on it have never failed me to keep me enthralled all the same.

      I have a list of all the 2019 movies I see that I consider "good" here (29 films at the time of writing this) if anyone wants to take a look at all of them.

      13 votes
    11. This Week in Election Night, 2020 (Week 14)

      good morning, tildes--this is not a test. we are 496 days and dropping away from possibly the biggest election day in recent american history. we have one opinion piece this week and a number of...

      good morning, tildes--this is not a test. we are 496 days and dropping away from possibly the biggest election day in recent american history. we have one opinion piece this week and a number of [LONGFORM] pieces this week. our polling section continues this week as well.

      the usual note: common sense should be able to generally dictate what does and does not get posted in this thread. if it's big news or feels like big news, probably make it its own post instead of lobbing it in here. like the other weekly threads, this one is going to try to focus on things that are still discussion worthy, but wouldn't necessarily make good/unique/non-repetitive discussion starters as their own posts.

      Week 1Week 2Week 3Week 4Week 5Week 6Week 7Week 8Week 9Week 10Week 11Week 12Week 13


      News

      Polling

      • From Emerson (B+ on 538); margin of error +/- 4.5: National poll

      Joe Biden continues to hold his announcement bounce, and has gained a point since May – now holding 34% of the vote, followed by Senator Bernie Sanders who moved up 2 points to 27%. Senator Elizabeth Warren has broken away from the rest of those running, into 3rd place – improving from 10% of the vote up to 14%. Senator Kamala Harris comes in fourth with 7%, Mayor Pete Buttigieg is in fifth with 6%, and Senator Cory Booker follows in sixth with 3% of the vote. All other candidates poll at 1%.

      Biden 26%
      Warren 14%
      Sanders 13%
      Buttigieg 9%
      Harris 7%
      O'Rourke 4%
      Booker 2%
      All others 1% or less

      General Stuff

      • from Vox: 2020 Democrats share plans to fight poverty at presidential forum. this week has been rich with townhalls and events, one of the first of which was the Poor People's Campaign forum, specifically dedicating itself to the issues of low-income Americans and poverty. a number of the perennial one-percenters showed up, as did frontrunners biden, sanders, warren, and harris; in general, the frontrunners took the opportunity to show off their plans where they had them for low-income america, and the one-percenters tried to make a case to voters.
      • from FiveThirtyEight: Democratic Candidates Answer Yes-Or-No Questions About Criminal Justice Policy. FiveThirtyEight decided to ask some criminal justice questions of the candidates running, and the results are interesting. the chart summarizing responses to the questions is here. literally the only thing all the candidates who answered agree upon unconditionally is pell grants for prisoners, but everybody basically agrees upon death penalty abolition (ryan, the sole dissenter, wants an exception for terrorists but otherwise does not support it), abolishing cash bail (inslee is the one exception), and marijuana legalization (delaney and klobuchar are the exceptions). inversely, only sanders and gravel support granting prisoners the right to vote; gravel is also the only person who answered in the affirmative to all six questions.
      • from NPR: 2020 Democrats Offer Up Affordable Housing Plans Amid Surging Prices. increasing concern with housing prices is driving democratic candidates to seek to tap into a voting base which spans a large part of the electorate. if it seems like not a coincidence that housing is playing a much larger role in this primary than it ever did in 2016, tha's because it is and it's being driven by voter sentiments. "When [Democratic pollster Geoff Garin] asked voters in 2016 if they thought housing affordability was a problem where they lived, 39% said it was a fairly serious or very serious problem. This year, that number is 60%."
      • from Vox: [LONGFORM] We asked all the 2020 Democrats how they’d fix child care. Here’s what they said. Vox's second entry in this section sees them asking around about child care policy, which is something that a number of candidates have taken up this year in their campaign planks. their findings are:

      universal childcare supporters: warren, sanders, harris, o'rourke, swalwell, klobuchar
      tax credit supporters: gillibrand, buttigieg, bennet, moulton, williamson
      universal preschool supporters: castro, yang, booker, ryan
      other: biden (no stated policy); de blasio (NYC-type program?); hickenlooper ("subsidies on a sliding scale"); bullock ("universal access to voluntary, early childhood education")
      did not respond: inslee, gabbard, delaney, messiam

      • from POLITICO: The gloves come off in the Democratic primary. the previously amicable primary got mildly spicy this week because of a number of plotlines. last week we of course began the "biden sorta kinda praising segregationists" plotline, for which he drew significant criticism but doubled down inexplicably; earlier in the week we also had the "sanders criticizes warren as corporatist" plotline, which sanders later said was actually directed at a moderate thinktank called third way. now that the veneer of not criticizing other candidates has been worn off, we're probably bound to see some other beefs flair up as the primary goes on.
      • from NPR: 8 Political Questions Ahead Of The 1st Democratic Debates. NPR offers up 8 questions for consideration given that tomorrow is the first debate of this long, grueling cycle:
      1. Will Biden stand up to the scrutiny?
      2. Is the debate an opportunity or danger zone for Bernie Sanders?
      3. Does Warren make the most of commanding the stage?
      4. Can Harris and Buttigieg stand out?
      5. Do the pragmatists or progressives win out?
      6. How much of a focus is Trump?
      7. How will foreign policy factor in?
      8. Who will stick in voters' minds?

      Elizabeth Warren

      • from POLITICO: Warren emerges as potential compromise nominee. warren has been the biggest beneficiary of the moderate/centrist wing of the democratic party realizing that its influence over the party is waning and that the increasing normal is going to be candidates in the vein of warren and sanders. warren is most likely getting the benefit here for obvious reasons: she self identifies as a capitalist, and sanders for the most part does not. of course, if you actually compare notes on their policies, they're mostly the same, so... not sure this gambit is going to work out?
      • from POLITICO: How Sen. Elizabeth Warren would try to ban private prisons. policy wise, warren unveiled a plan this week to ban private prisons. this is pretty straightforward:

      Warren would end federal contracts with the Bureau of Prisons and Immigrant and Customs Enforcement (ICE) for detention facilities and private prisons. Warren would try to extend this ban to states and localities as well. In addition, the plan calls for prohibiting contractors from collecting service fees for "essential services" such as phone calls, health care, and bank transfers."

      “This is a democracy. In a democracy, the laws should reflect the values of the people. So I say it is time to go on offense with Roe v Wade. It’s not enough to say we’re going to rely on the courts. We need to pass a federal law to make Roe v Wade the rule of the land.”

      Bernie Sanders

      • from CNN: Elizabeth Warren's rise opens a new chapter in the progressive primary. although titled for warren, this piece is actually about bernie sanders and how warren's rise in the polls threatens to balkanize the progressive vote between the two of them. it als goes into some details about the controversy over the sanders tweet that was apparently aimed at warren but which sanders said was actually directed toward third way.
      • from Vice: Bernie Sanders Wants to Wipe Out All Student Loan Debt. sanders's big coup this week was a plan to eliminate all student loan debt. Vice explains that: "Under the Sanders plan, there would be no eligibility standards — it would cancel 1.6 trillion in undergraduate and graduate debt for all 45 million people who hold it. Sanders would also make public universities, community colleges, and trade schools free." and as for how you pay for it, "Sanders intends to pay for the plan with taxes on Wall Street, namely a 0.5 percent tax on stock transactions and a 0.1 percent tax on bonds. The plan is projected to cost $2.2 trillion over 10 years."

      Pete Buttigieg

      • from CBS News: Officer-involved shooting remains Pete Buttigieg's biggest 2020 challenge yet. buttigieg has had a rough week dealing with what can really only be described as a complete clusterfuck of a situation. the set-up: "Prosecutors say the officer who killed Logan, Sgt. Ryan O'Neill, was responding to a report of a person breaking into cars when he encountered Logan in an apartment building parking lot. O'Neill told authorities that Logan had a knife, and when he refused the officer's orders to drop it, O'Neill opened fire, shooting Logan in the stomach. Another officer took Logan in a squad car to the hospital, where he later died." no body camera was activated.
      • from CBS News: Pete Buttigieg faces South Bend protesters: "You want black people to vote for you — that's not going to happen". unsurprisingly this has not gone over well with some segments of the black community, for which this is a regular occurrence. buttigieg was first confronted with protests prior to the town hall this week which were somewhat tense because of his seeming failure to address the problems in south bend's police department.
      • from the LA Times: Black residents of South Bend unload on Mayor Pete Buttigieg. this tension continued into the town hall, where buttigieg was at times roundly criticized by some members of the black population in a town hall that was kind of a train wreck. the town hall was a proxy for some of the broader gripes that members of south bend's black community but also for some of the problems various community members have with each other, and just in general things went badly. buttgieg for the most part was fine, but obviously shaken both in the town hall itself and afterwards when interviewed by CNN.
      • from NBC News: Buttigieg learns the hazards of campaigning for president as a mayor. this all has of course gotten buttigieg off message at possibly the worst (or best, depending on how you see it) time on an issue that has not been especially good for him and could potentially jeopardize what little black support he does have.
      • miscellany: south bend has basically had everything possible go wrong with it in the past week and change. there was the police shooting which has caused much controversy; there was also a mass shooting which killed one a few days later; most recently, there was also an EF2 tornado which impacted part of the city.

      Cory Booker

      • from TIME: [LONGFORM] Cory Booker's Moment is Yet to Come. this longform profile of cory booker by TIME goes into the significant efforts of the booker campaign so far to make a splash, and how despite those efforts and a fairly flawless campaign so far, booker has yet to see particularly good poll numbers, even in iowa where he has invested extensively.
      • from Vox: Cory Booker has a plan to reform the criminal justice system — without Congress. booker also has some policy on establishing a clemency system unilaterally. "Booker’s plan calls for granting an early release to as many as 17,000 to 20,000 people in federal prison for drug offenses, and establishing a panel within the White House that would make recommendations for more clemency applications in the longer term."

      Beto O'Rourke

      • from Buzzfeed News: These Donors Helped Give Beto O'Rourke A Historic Start. They're Disappointed With What Happened Next. beto's slip in the polls has not exactly inspired his voterbase. he's not dropping support like flies here as the article makes clear, but at least a vocal portion of his donor base is less than impressed and some of them are seeking to go elsewhere with their money, which is generally not good, especially given that beto is actually polling better than most candidates in the race currently even with his rather bad numbers. it's possible that if this continues, he'll end up in a feedback loop which drags down his candidacy. we'll have to see.
      • from USA Today: Beto O’Rourke: From Juneteenth to today, Americans are still on the march for justice. nonetheless, beto is still on the beat, and this week he had an op-ed in USA Today promoting his new voting rights act, which would "crack down on draconian voter ID laws; prevent politically motivated state officials from purging the voter roles to game the system; expand vote-by-mail and early voting; and declare the first Tuesday of every November a national holiday, so no one has to choose between going to work and participating in their democracy."

      Andrew Yang

      • from NBC News: Some Asian Americans are excited about Andrew Yang. Others? Not so much. andrew yang is an interestingly polarizing character in the asian-american community. while he is getting some of his best funding from them, he also is struggling with winning over many asian americans, which makes his path quite difficult since he doesn't really poll well with any other groups to make up for that.
      • from The Baffler: Andrew Yang’s War on Normal People. this article from The Baffler runs through the fairly comprehensive list of criticisms against yang, and especially his proposal for UBI. namely it argues that yang is taking a silicon valley approach to a problem that is decidedly not a silicon valley solvable problem. it also argues that yang, while he has the right rhetoric on paper, his execution both historically and currently falls well flat.

      Everyone Else

      • from NBC News: Biden doubles down on segregationist comments, says critics like Cory Booker 'should apologize' to him . as mentioned in the last thread, biden's big controversy this week was touting his ability to be bipartisan with segregationists, then doubling down on it and insisting that cory booker apologize for raking him over it. this has gone unresolved as far as i know; booker and biden talked about it at some point during the week but i'm not sure that they actually made up over it. booker refused to apologize to biden in the immediate aftermath of the remark here and really does not have a reason to apologize in the first place.
      • from CBS News: Kamala Harris: Concerns about my prosecutorial record are "overblown". kamala harris is finally getting enough heat for her prosecutorial career that she's decided to address it, apparently. harris has previously received large amounts of criticism from the progressive wing of the democratic party but especially leftists for some of her decisions as a prosecutor. harris has expressed regret for some of the policies that she helped enact and uphold, but in general she is fairly unrepentant about her record, as seen here.
      • from NBC News: Julián Castro wants to transform housing assistance for poor, give renters tax credits. julian castro has some housing policy: "[Castro] wants to transform the housing assistance program, known as Section 8, into a fully funded entitlement program — a reference to federal safety net programs such as Social Security. In addition, Castro called for a refundable tax credit for low- and middle-income renters if their rent exceeds 30 percent of their income."
      • from POLITICO: Michael Bennet pushes sweeping plan to remake political system. michael bennet has some political reforms he'd like to pass, which include "a constitutional amendment to overturn Citizens United, a lifetime ban on members of Congress becoming lobbyists, a prohibition on political gerrymandering and a push for ranked choice voting. Bennet is also supporting a laundry list of long-desired Democratic reforms, including automatic voter registration, D.C. statehood and greater transparency around super PAC fundraising and spending." most of this is fairly stock for democrats, but some of it is not.
      • from CBS News: Joe Sestak, former congressman and 3-star admiral, joins 2020 presidential race. another rando, joe sestak, decided to cast his lot in. sestak was a representative of pennsylvania's house delegation for a number of years before trying and failing to run for senate twice. he is democrat number 25 to enter the race.

      Opinions

      • from the Guardian: The secret to Elizabeth Warren's surge? Ideas. our sole opinion piece this week comes from the Guardian, and argues that the rise of elizabeth warren in the polls is driven by her unrelenting torrent of policies and willingness to treat voters as if they can understand that policy instead of watering it down.

      anyways, feel free to as always contribute other interesting articles you stumble across, or comment on some of the ones up there.

      12 votes
    12. This week's album and EP releases

      ...Sunday isn't that far from Thursday... ...I'm sorry! Here's a list of a lot of things that came out in this past week, mostly up through Friday. Of course, there's no way to be completely...

      ...Sunday isn't that far from Thursday...

      ...I'm sorry!


      Here's a list of a lot of things that came out in this past week, mostly up through Friday. Of course, there's no way to be completely comprehensive with this and I avoided including things where information was too lacking, so feel free to mention anything that isn't on here that you think is worth mentioning. Beyond that, if you have any thoughts of any of these albums, it would be great to hear them :)


      AJR - Neotheater (Electropop, Trap [EDM]) || Song.link - Spotify

      Alan Parsons - The Secret (AOR) || Song.link - Spotify

      Aldous Harding - Designer (Singer/Songwriter, Contemporary Folk) || Song.link - Spotify

      Amon Tobin - Fear in a Handful of Dust (Electroacoustic, Progressive Electronic) || Song.link - Spotify

      Aries - Juramento Mantarraya (Art Pop, Indie Pop, Psychedelic Pop) || Song.link - Spotify

      Awaken I Am - The Beauty In Tragedy (Post-Hardcore) || Song.link - Spotify

      Bailen - Thrilled To Be Here (Indie Rock, Americana) || Song.link - Spotify

      Bear's Den - So That You Might Hear Me (Indie Folk, Indie Rock) || Song.link - Spotify

      Billie Marten - Feeding Seahorses by Hand (Singer/Songwriter) || Song.link - Spotify

      blackbear - ANONYMOUS (Alternative R&B) || Song.link - Spotify

      Black Zone Magick Chant - Voyage Sacrifice (Ambient, Drone) || Song.link - Spotify

      Catfish and the Bottlemen - The Balance (Indie Rock, Post-Punk Revival) || Song.link - Spotify

      Chelou - Out Of Sight (Indie Pop) || Song.link - Spotify

      Claude Fontaine - Claude Fontaine (Psychedelic Pop, Bossa nova, Pop Reggae) || Song.link - Spotify

      Co Cash - F.A.C.T.S. (Trap Rap) || Song.link - Spotify

      Craig Finn (of the Holy Steady) - I Need A New War (Singer/Songwriter) || Song.link - Spotify

      The Cranberries - In the End (Pop Rock, Alternative Rock) || Song.link - Spotify

      The Damned Things - High Crimes (Hard Rock) || Song.link - Spotify

      Danko Jones - A Rock Supreme (Hard Rock) || Song.link - Spotify

      Delsbo Beach Club - A burger in Åkersberga (Indie Pop, Indie Rock) || Song.link - Spotify

      DJ Nate - Take Off Mode (Footwork) || Song.link - Spotify

      Dub Trio - The Shape of Dub to Come (Math Rock, Dub) || Song.link - Spotify

      Dylan Scott - Nothing to Do Town (Dylan Scott) || Song.link - Spotify

      El Momo a.k.a Mario Maher - Sueños reales (Hip Hop) || Song.link - Spotify

      Ezra Collective - You Can't Steal My Joy (Jazz Fusion) || Song.link - Spotify

      Farruko - Gangalee (Reggaeton) || Song.link - Spotify

      Foxygen - Seeing Other People (Glam Rock) || Song.link - Spotify

      George Benson - Walking to New Orleans (Rock & Roll, Rhythm & Blues) || Song.link - Spotify

      The Get Ahead - Deepest Light (Americana) || Song.link - Spotify

      Guided by Voices - Warp and Woof (Indie Rock) || Song.link - Spotify

      Hannah Cohen - Welcome Home (Art Pop) || Song.link - Spotify

      Hardline - Life (Hard Rock) || Song.link - Spotify

      Hembree - House On Fire (Alternative Rock, Indie Pop) || Song.link - Spotify

      Hillsong United - People (CCM) || Song.link for "LIVE/VISUAL" - for "LIVE" - Spotify

      IamSu! - Its Always Pure Love (West Coast Hip Hop) || Song.link - Spotify

      In the Valley Below - The Pink Chateau (Indie Rock) || Song.link - Spotify

      Jackie Mendoza - LuvHz (Indie Pop, Psychedelic Pop) || Song.link - Spotify

      Jacob Latimore - Connection2 (Pop Rap) || Song.link - Spotify

      James TW - Chapters (Singer/Songwriter) || Song.link - Spotify

      JJ Cale - Stay Around (Blues Rock, Country Rock) || Song.link - Spotify

      Josefin Öhrn + The Liberation - Sacred Dreams (Art Pop, Psychedelic Rock) || Song.link - Spotify

      Josh Ritter - Fever Breaks (Indie Folk, Folk Rock) || Song.link - Spotify

      Justin Garner - Imprint (Contemporary R&B) || Song.link - Spotify

      Justin Moore - Late Nights and Longnecks (Contemporary Country) || Song.link - Spotify

      Kelly Finnigan - The Tales People Tell (Soul) || Song.link - Spotify

      Kevin Abstract - ARIZONA BABY (Alternative R&B, Pop Rap) || Song.link - Spotify

      Kevin Morby - Oh My God (Singer/Songwriter, Folk Rock) || Song.link - Spotify

      Kiefer Sutherland - Reckless & Me (Country Pop) || Song.link - Spotify

      King Gizzard & The Lizard Wizard - Fishing For Fishies (Boogie Rock, Psychedelic Pop) || Song.link - Spotify

      Lamb - The Secret Of Letting Go (Art Pop) || Song.link - Spotify

      Local Natives - Violet Street (Indie Pop) || Song.link - Spotify

      Lord Dying - Mysterium Tremendum (Sludge Metal) || Song.link - Spotify

      Maddie & Tae - One Heart To Another EP (Contemporary Country) || Song.link - Spotify

      Marina - LOVE+FEAR (Pop) || Song.link - Spotify

      Marissa Nadler And Stephen Brodsky - Droneflower (Singer/Songwriter, Ethereal Wave) || Song.link - Spotify

      Matt Martians - The Last Party (Alternative R&B) || Song.link - Spotify

      The Mountain Goats - In League With Dragons (Indie Folk, Singer/Songwriter) || Song.link - Spotify

      NBA Big B - 5th God (Trap Rap) || Song.link - Spotify

      New Years Day - Unbreakable (Alternative Metal, Alternative Rock) || Song.link - Spotify

      Nick Murphy (AKA Chet Faker) - Run Fast Sleep Naked (Indietronica) || Song.link - Spotify

      Nils Lofgren - Blue With Lou (Heartland Rock, Singer/Songwriter) || Song.link - Spotify

      Olivia O'Brien - Was It Even Real? (Contemporary R&B) || Song.link - Spotify

      OLSSON - Tropical Cologne (Indie Pop) || Song.link - Spotify

      OMB Peezy - Preacher To the Streets (West Coast Hip Hop) || Song.link - Spotify

      Otoboke Beaver - Itekoma Hits! (Hardcore Punk) || Song.link - Spotify

      P!nk - Hurts 2B Human (Pop) || Song.link - Spotify

      Party Favor - Layers (Trap [EDM]) || Song.link - Spotify

      Peakes - Absent In Person EP (Indie Pop) || Song.link - Spotify

      Peter Doherty & The Puta Madres (Indie Pop, Folk Rock) || Song.link - Spotify

      The Pilgrim - Walking Into The Forest (Psychedelic Rock, Folk Rock) || Song.link - Spotify

      Pure Bathing Culture - Night Pass (Dream Pop, Chillwave) || Song.link - Spotify

      Radical Face - Therapy EP (Indie Pop, Folk Pop) || Song.link - Spotify

      Rob Thomas - Chip Tooth Smile (Pop Rock) || Song.link - Spotify

      Rodrigo y Gabriela - Mettavolution (Acoustic Rock, Flamenco nuevo) || Song.link - Spotify

      ScHoolboy Q - CrasH Talk (Pop Rap) || Song.link - Spotify

      Sid Le Rock - Scenic Route (Electronic, House) || Song.link - Spotify

      Sneakk - SAY LESS (Contemporary R&B) || Song.link - Spotify

      SOAK - Grim Town (Singer/Songwriter) || Song.link - Spotify

      Spotlights - Love & Decay (Post-Metal, Atmospheric Sludge Metal) || Song.link - Spotify

      The Story Changes - To Hell With This Delicate Equation (Alternative Rock, Emo-Pop) || Song.link - Spotify

      Sublime With Rome - Blessings (Ska Punk) || YouTube for "Light On" - for "Wicked Heart" - Spotify

      SUNN O))) - Life Metal (Drone Metal) || Song.link - Spotify

      Teen Daze - Bioluminescence (Chillwave) || Song.link - Spotify

      Tesla - Shock (Hard Rock) || Song.link - Spotify

      Tiny Fighter - Tell Me EP (Indie Rock, Indie Pop) || Song.link - Spotify

      Trade Wind - Certain Freedoms (Alternative Rock) || Song.link - Spotify

      Various Artists - For the Throne (Music Inspired by the HBO Series Game of Thrones) (Pop) || Song.link - Spotify

      Various Artists - UglyDolls (Original Motion Picture Soundtrack) (Pop) || Song.link - Spotify

      Walker Lukens - Adult (Pop Rock, Indie Pop) || Song.link - Spotify

      The Well - Death And Consolation (Stoner Rock, Doom Metal) || Song.link - Spotify

      Winnetka Bowling League - Cloudy With A Chance Of Sun EP (Indie Pop) || Song.link - Spotify

      YFL Kelvin - Neva Lookin Back (Trap Rap) || Song.link - Spotify

      Your Heart Breaks - Drone Butch Blues (Indie Folk, Indie Pop) || Song.link - Spotify


      Spotify Master playlist, all albums (minus the two 'various artist' sets above)


      Notes:
      If you spot any mistakes please let us know.

      Thank you to @Cleb, @cfabbro, and @Amarok for the help!

      Hillsong United - People || has two versions? live and live/visual. linked both since they have different results.
      Sublime With Rome - Blessings || album not due til May 31. linked 2 youtube singles, and spotify has 4 tracks.

      18 votes
    13. This week's album and EP releases

      Here's a list of a lot of things that came out in this past week, including many which are set to release on Friday. Of course, there's no way to be completely comprehensive with this and I...

      Here's a list of a lot of things that came out in this past week, including many which are set to release on Friday. Of course, there's no way to be completely comprehensive with this and I avoided including things where information was too lacking, so feel free to mention anything that isn't on here that you think is worth mentioning. Beyond that, if you have any thoughts of any of these albums, it would be great to hear them :)

      (oh and don't bully me for the genre tags, a lot of these things have very limited resources available and I couldn't individually listen to everything and determine what fits best, so I'm pulling from third parties and an artist's past work a lot of the time)


      03 Greedo & Mustard - Still Summer in the Projects (West Coast Hip Hop, Trap Rap)

      1TEAM - HELLO! (K Pop)

      A Brilliant Lie - Threads: Weaver (Alternative Rock, Pop Punk)

      American Pleasure Club - Fucking Bliss (Post-Industrial, Ambient Pop, Drone)

      Ben Platt - Sing To Me Instead (Pop)

      Betty Carter- The Music Never Stops (Vocal Jazz)

      Billie Eilish - When We Fall Asleep, Where Do We Go? (Alternative R&B, Electropop)

      Borleone - Hard to Kill (Trap Rap)

      Brutus - Nest (Post-Hardcore, Alternative Rock)

      C Duncan - Health (Indie Pop, Indie Rock)

      Carcer City - Silent War (Metalcore)

      Chris Cohen - Chris Cohen (Singer-Songwriter, Indie Pop)

      Clint Alphin - Straight to Marrow (Singer-Songwriter, Bluegrass)

      Coughy - Ocean Hug (Indie Pop)

      DJ Muggs & Mach-Hommy - Tuez-Les Tous (East Coast Hip Hop)

      Devin Townsend - Empath (Progressive Metal, Avant-Garde Metal)

      Facs - Lifelike (Post-Punk Revival)

      Fennesz - Agora (Ambient, Electroacoustic)

      Fredo Bang - Big Ape (Trap)

      Garcia Peoples - Natural Facts (Psychedelic Rock, Roots Rock)

      George Strait - Honky Tonk Time Machine (Country)

      I Prevail - TRAUMA (Metal Core)

      ILL BILL - Cannibal Hulk (East Coast Hip Hop, Hardcore Hip Hop)

      Ian Simmonds - All That's Left (Downtempo, Jazz)

      JBJ95 - Awake (K Pop)

      Jake Miller - Based on a True Story. EP (Pop)

      Jake Owen - Greetings from...Jake (Bro Country)

      Jamie Lawson - The Years In Between (Singer Songwriter)

      Jo Schornikow - Secret Weapon (Ambient Pop, Indie Pop)

      K Á R Y Y N - The Quanta Series (Art Pop, Glitch Pop)

      L.A. Guns - The Devil You Know (Hard Rock, Glam Metal)

      LION BABE - Cosmic Wind (Contemporary R&B)

      La Bouquet - Sad People Dancing (Contemporary R&B)

      Laura Stevenson - The Big Freeze (Indie Folk, Folk Rock)

      Lil Debbie - Bay Chronicles (Trap Rap)

      Logic - Supermarket (Soundtrack) (Indie Pop, Pop Rap)

      M. Lockwood - Communion In The Ashes (Alt-Country, Indie Folk, Power Pop)

      MaHaWaM - Is an Island (Hip Hop, House, Indie Pop)

      Magic Circle - Departed Souls (Traditional Doom Metal, Heavy Psych)

      Marvin Gaye - You’re the Man (Soul)

      Matthew Herbert Big Band - The State Between Us (Big Band, Electronic)

      Mdou Moctar - Ilana: The Creator (Tishoumaren)

      Mechanical God Creation - The New Chapter (Death Metal)

      Mekons - Deserted (Art Punk)

      Melii - phAses (Pop)

      Monsta X - Shout Out (K Pop)

      Moodie Black - MB I I I. V MICHOA (Industrial Hip Hop)

      Moon Tooth - Crux (Progressive Metal)

      Musket Hawk - Upside of Sick (Grindcore, Doom Metal)

      NEIKED - Best Of Hard Drive (Dance Pop)

      Nightmarathons - Missing Parts (Pop Punk)

      O.A.R. - The Mighty (Pop Rock)

      OWEL - Paris (Emo, Indie Rock)

      Ohtis - Curve of Earth (Indie Folk)

      Okey Dokey - Tell All Your Friend (Indie Pop)

      Oshiego - The Book of Wonders (Death Metal, Thrash Metal, Grindcore)

      PENTAGON (Korea) - Genie:us (K Pop)

      Park Ji Hoon - O'CLOCK (K Pop)

      pH-1 - HALO (K Pop)

      Pink Sweat$ - Volume 2 EP (Singer Songwriter)

      Quelle Chris - Guns (Abstract Hip Hop)

      Randy Randall - Sound Field Volume One (Ambient, Drone)

      Reaches - Wherever The Internet Goes, Sorrow Follows (Dance Pop, House)

      Saweetie - ICY EP (Trap Rap)

      Section H8 - Phase One (Hardcore Punk, Heavy Metal)

      Show Me The Body - Dog Whistle (Hardcore Punk)

      Simple Creatures - Strange Love (Pop Rock, Electropop)

      Small Feet - With Psychic Powers (Indie Pop, Indie Folk)

      Son Volt - Union (Americana, Alt-Country)

      Soulja Boy Tell 'Em - Tell Ya (Pop Rap)

      Stella Parton - Survivor (Country)

      Steve Earle & The Dukes - GUY (Americana, Country Rock)

      Stray Kids - Clé 1: MIROH (K Pop)

      Suzi Quatro - No Control (Hard Rock)

      TAEYEON - Four Seasons (K Pop)

      Tay Iwar - GEMINI (Singer Songwriter)

      The Bobbleheads - Myths and Fables (Pop Rock, Indie Rock)

      The Maine - You Are OK (Pop Rock, Alternative Rock)

      The Strumbellas - Rattlesnake (Indie Rock, Folk Rock)

      The Underground Youth - Lust & Fear (Psychedelic Rock, Gothic Rock)

      The XCERTS - Wildheart Dreaming EP (Power Pop )

      Tom Williams - What Did You Want To Be? (Indie Rock)

      Triumvir Foul - Urine of Abomination (Death Metal)

      Unkle - The Road: Part II (Art Pop, Trip Hop)

      White Denim - Side Effects (Indie Rock, Psychedelic Rock)

      Whitechapel - The Valley (Deathcore, Groove Metal)

      Wincent Weiss - Irgendwie anders (Pop)

      Yelawolf - Trunk Muzik III (Southern Hip Hop)

      Yngwie Malmsteen - Blue Lightning (Neoclassical Metal)

      woods + segal (Billy Woods & Kenny Segal)- Hiding Places (East Coast Hip Hop)

      12 votes
    14. A layperson's introduction to Thermodynamics, part 2: Equilibrium, phase changes and steam engines

      Intro Hello everyone, Today we cover equilibriums and phase changes. Through that we will get a basic understanding of how things like pressure, temperature, density, volume, etc. are related. The...

      Intro

      Hello everyone,

      Today we cover equilibriums and phase changes. Through that we will get a basic understanding of how things like pressure, temperature, density, volume, etc. are related.

      The previous chapter can be found here: https://tildes.net/~science/8ao/. I highly recommend that you read it before continuing.

      A collection of all topics covered can be found here: https://tildes.net/~tildes/8al/.

      Subject

      Summarized

      "Equilibrium" is fancy word for "balance". A system is in equilibrium when it is in balance with the surrounding systems. Any system will naturally attempt to be in equilibrim, and will adapt its physical properties to do so.

      A phase change is the transition of matter from a state (solid, liquid, gas, or plasma) to a different state. This happens due to a change in internal energy, changing how a material is bonded.

      Now that we have it summarised, lets dig a bit deeper.

      Equilibrium

      A system always tries to be in balance with its surrounding systems. We maybe don't think about this a lot, but we are all very familiar with this principle since we observe it every day.

      If you have a cup of hot cocoa, it will cool down until it has reached ambient temperature. At this point, the cocoa is considered to be in "thermal equilibrium". If we fill a balloon with air, it will expand. It will do so until the air inside the balloon has the same pressure as the air outside the balloon. At this point, the balloon is considered to be in "barometric (pressure) equilibrium".

      Just like when we talk about energy, there is a relationship when we talk about equilibriums. We have something we call (you may remember this from basic chemistry) an "ideal gas". An ideal gas is a good way of looking at this principle. Since the temperature, volume and pressure have a direct relationship.

      Pressure-volume-temperature diagram for ideal gases.

      In the diagram above we can see that if we change one of the three variables, then one (or both) of the other two variables has to change too. For instance, if we heat some air in a canister, the air will try to expand. But being unable to change in volume, it will instead increase pressure. [1]

      Phase changes

      Any material has a set of phases. The ones we'll discuss are the solid, liquid and gaseous phases. Unless we control the material's environment very carefully, materials will always follow this order when energy is added. Solid becomes liquid, liquid becomes gas, and vice versa. For instance water; ice (solid) becomes water (liquid), water becomes steam (gas). So each of these transformations is a phase change.

      So when water is solid (ice), the molecules are in a grid. The molecules do not move around much, maybe a little bit where they stand. But they all still stand in a grid.

      When the water gets heated up, the molecules will start to move. Molecules have a natural attraction to each other due to subatomic forces like the van der Waals force. So the molecules will no longer stay in a grid, but they will still keep each other close due to this attraction. So a material that sticks together but freely moves around is called a liquid.

      Once the material overcomes this natural attraction, the molecules can go anywhere they want. And that's when we get a gas. Or steam, in the case of water. All of this applies even for materials we don't usually imagine would melt or evaporate, for instance steel.

      Here is a visual representation of the three states.

      Now comes the fun part. Ice is water that is at 0 degrees Celcius or below. Liquid water is water that is 0 degrees and above. But wait! Does that mean that water can be both solid and liquid at the same temperature? Yes, indeed. A material requires a certain amount of internal energy to become liquid. That is why internal energy and temperature is often used interchangeably, but is not exactly the same.

      The water molecules in ice will use the supplied energy to get excited and start moving around. This continues until the solid-liquid water reaches a point where all molecules move around. At that point it has completely become a liquid. While water is in solid-liquid state, the amount of internal energy dictates how much is liquid and how much is solid. The exact same thing happens with water at 100 degrees. It can be steam or liquid, but not fully either until it reaches a certain amount of internal energy.

      Here is a diagram of this process.

      Another fun tidbit that makes water special: Water has a lower density as a solid than it has as a liquid, when both are at 0 degrees Celcius. This means that per unit of volume ice weighs less than (liquid) water. Therefore ice floats on top of water. This is the only material that behaves in this way. And thats extremely important to our existince, since it helps regulate heat in the ocean.

      Steam engines (and implication)

      We have learned a few new things today. But there is one really important wrinkle to all of this. A system always will try to be in balance. And this we can exploit. Pressure is a type of "pushing". So thats a type of work! And an increase in thermal energy can lead to an increase in temperature. We remember that from the ideal gas. So if we cleverly organize our system, we can create work from heat! This is the basis behind most heat engines (simplified a ton). We supply thermal energy to some gas or fluid, and extract work from this gas or fluid.

      A classical example is the steam engine. We have water inside a closed system. When we heat up the water, it will turn into steam. And this steam will want to be much less dense than water. As a consequence, the pressure inside the water tank increases drastically. We release a small amount of this steam into a closed piston.

      Here is an animation of this in action.

      The piston suddenly gets a high pressure level. As we remember, it will want to be in equilibrium with its surroundings. Currently the pressure inside the piston is much higher than outside the piston. As we remember from the ideal gas law, a higher volume will mean a lower pressure. So the piston will be moved, as the steam expands to reach a pressure balance. The movement from the piston will drive something, like a wheel. The steam is removed from the expanded piston, and the piston will return to its closed position.[2] Then the process is repeated again and again, to have the piston continously move something.

      All that from a bit of water in a tank and some supplied heat.

      Whats next?

      Next time we will talk about another important property. Entropy! In the previous topic I had a lot of questions regarding the quality of energy types, and what specifies heat from work on an intrinsic level. Entropy is the big answer to this. From that we will also cover the heat death of the universe, which would be a good introduction to "a laypersons introduction to nihilism" if we have any philosophers here.

      Note

      [1] For solid and fluid materials (as well as non-ideal gassess) this becomes a lot more complicated. If we ever do a "layperson's intro to fluid mechanics" we will cover it then.
      [2] This described design is very inefficient and very simplified. Usually the piston is made so steam is supplied in turns supplied to either side of the piston. Then the work will both removed the steam that already performed work as well as move the piston. That way you can have continous movement in both directions.

      See for instance this image.

      17 votes
    15. How long does it take you to read an academic journal article?

      I feel like I'm a bit slow, though I'm gaining practice. I cannot read two moderate or long-ish papers in one day. I guess part of that reason is that the field I'm mostly reading in is a field...

      I feel like I'm a bit slow, though I'm gaining practice. I cannot read two moderate or long-ish papers in one day. I guess part of that reason is that the field I'm mostly reading in is a field I'm new to, though in accordance with that what I'm reading often is kindo-of introductory material (linguistics, and Linguistics Handbook ed. Aronoff, 2017). A chapter is around the size of an average paper (around 25-30 pages). Another factor may be that I'm not a native speaker of English, but I think I do have a quite decent command of it especially when reading, enough to read through ~60 A4 pages in five-six hours, but I just can't do it.

      So I wonder if I'm too slow or maybe exaggerating it a bit? How long does it take for you, and how many can you read, without skimming/skipping, in a "day"?

      11 votes
    16. the emo rap deep dive - chapter three: dirty sprite

      howdy pardner! welcome back to my emo rap deep-dive series! for those just joining us, i'd encourage you to go back and check out chapter one: sprite. and chapter two: dirt. first. so why am i...

      howdy pardner!

      welcome back to my emo rap deep-dive series! for those just joining us, i'd encourage you to go back and check out chapter one: sprite. and chapter two: dirt. first.

      so why am i even writing this to begin with? if i'm being honest, it's not all entirely educationally-motivated. i've been really wanting a way to share my favorite genre of music with people (maybe it's a subconscious testing of the waters before i begin to record my own music?) and collect their thoughts. but every time i went to share a link in ~music, i'd deliberate over and over, "what should i share?" it's been so hard for me to pick one single song that's all-encompassing and anthemic (is that even a word? i keep using that word) of the genre as a whole.

      so instead of spamming ~music, or having to cherry pick a small number of tracks, i thought i'd use this as an opportunity to provide a little historical background and, hopefully, maybe, inspire a new appreciation in a subgenre that very often gets overlooked, or thought of as basic / whiney / overproduced.

      that said - hopefully you've all been following along, and i'll stop stalling! let's dive right into chapter three of our emo-rap deep dive - dirty sprite. or, how did we go from OutKast to Lil Pump?


      let me open with a question. what do the following have in common?

      polish composer and piano virtuoso frederic chopin
      controversial american rapper lil pump
      american actor and i guess also musician? corey feldman

      you guessed it!

      opiates.

      all of the present characters used opiates in their lifes, typically throughout the better parts of their creative years. chopin was using medicinal opiates in order to aide with his tuberculosis. feldman fell into and has since (i believe) fought his way out of a heroin addiction. lil pump sips promethazine by the bottle just to party (hyperbole. don't drink prometh by the bottle) which is a prescription medication often used as a sedative or used to prevent coughs or nausea. often sold as a mixture of promethazine and codeine, itself being an opiate. if you've seen a rap music video in the past two to three years, you may have seen this bottle somewhere throughout.

      where do all of these drugs come from?

      the answer to that question actually holds a lot of relevance to the history of emo rap itself, but to answer it, we first have to go all the way back to the 90s.

      off we go!


      believe it or not, drugs as a matter of discussion weren't always ever-present in the rap game. from the late 70s to the early 80s, only about 10% of all rap songs mentioned drug use, whereas in the early 90s, we see that number jump waaaay the fuck up to 45%, to eventually hit 69% by 1997 [source]. this is all taking place around the same time that we saw the decline of major urban neighborhoods due to the effects of white flight, decreasing the amount of tax dollars flowing throughout these areas, and leading to a decrease in public services that would include decreased effectiveness of, say, fire brigades or police squads.

      with poorer households now making up a majority of these neighborhoods, the illegal drug trade quickly grew in popularity as a way to make money on the business end, and a way to escape the day-to-day on the client end. a plethora of burned, broken into, or otherwise abandoned houses became a seemingly limitless amount of places to go about the production of drugs - most notably, crack cocaine. these houses came to be known colloquially as trap houses, and the music inspired by this phenomenon, trap music.

      this sound grew it's roots in the early 90s thanks to the early projects out of the south like UGK (title: Cocaine in the Back of the Ride), Three 6 Mafia (title: We Got Da Dope), and The Showboys (title: Drag Rap). coincidentally, the showboys are actually a group out of new york, though gained the height of their popularity touring around southern states.

      as we head into the mid-nineties/early-naughts, we see the emergence of a few acts that really take this sound and run with it. setting the roots for the coming commercial explosion of the trap sound, we see examples like OutKast's "Southernplayalisticadillacmuzik", Lil Jon's "Who You Wit". we're gonna see lil jon's name pop up a few times as we go through this.

      taking the reigns from these majorly influential projects, we next see T.I. come to the stage for his second album "Trap Muzik" in 2003. much to the surprise of the industry (his debut album did not go over all too well), Trap Muzik debuted at number 4 on the Billboard 200, sold over 100k copies in it's first week, and was later in 2012 called one of the classic albums of the last decade by Complex. the album features many early hits from T.I. like "Be Easy", "24's", and even some tracks with producer credits from Kanye West like "Doin' My Job". still sticking to their guns, pioneering the trap sound, we continue to see records from Lil Jon and Three 6 Mafia taking to the radio such as, respectively, "Get Low" and "Stay Fly"

      paving the way towards the 2010s, we begin to see the rise of artists like Gucci Mane and his debut album "Trap House" (aptly titled eh?) hitting the Billboard 200 with tracks like "Icy", Young Jeezy with internationally-charting tracks like "Soul Survivor", and most notably in modern trap, producer-powerhouse Zaytoven with work on tracks like "Papers" x Usher.


      so we skip forward 5-7 years and things look...different.

      instead of having chart-toppers like "Smack That" x Akon, "Hey There Delilah" x Plain White T's, or "Umbrella" x Rihanna

      we see a lot of love for things like "First of the Year (Equinox) x Skrillex, "Sail" x AWOLNATION, and most importantly by far, "Versace" x Migos which was quickly popularized by Drake's remix. the rest of 2013 serves as the absolute corner stone of modern trap music seeing the success of songs like "Swimming Pools (Drank)" x Kendrick Lamar, "Started From The Bottom" x Drake, and of course, the absolute trap anthem, "Love Sosa" x Chief Keef.

      in that avalanche of tracks, we get the recipe that will come to make up the bulk of today's trap music:

      1. edm-inspired instrumentals
      2. triplet meter rhyme
      3. heavy 808s and crystal clear hi-hats.

      over the next few years, we steadily start to see these three ingredients come together to produce some absolute bangers leading up to the trap zeitgeist.

      in 2014:
      "Fight Night" x Migos
      "Black Widow" x Iggy Azalea
      the ever-memed "Lifestyle" x Young Thug

      in 2015:
      the year of Fetty Wap with tracks like "Trap Queen", "679" on the Billboard 100
      "No Type" x Rae Sremmurd
      "Flex" x Rich Homie Quan

      in 2016:
      "Panda" x Desiigner
      "Broccoli" x DRAM
      Drake jumping back in with "Jumpman"
      "Down in the DM" x Yo Gotti


      and then, finally, we arrive at 2017 - the year that caused the internet's busiest music nerd anthony "melon" fantano to pose the question "have we reached peak trap?". up until recently, the term "trap music" was actually not all too commonly associated with rap music - instead referring most commonly to a subset of edm with (still) heavy 808s, thicc bass drops, and dirty breakdowns. however, with the musical zeitgeist quickly moving to seat rap at the throne over rock music, and with the internet popularizing songs like "Ultimate" x Denzel Curry, "Flicka Da Wrist" x Chedda Da Connect, and "U Guessed it" x OG Maco, the term has now been absolutely overtaken as many rap fans find themselves infatuated with the sound. this causes the scene to absolutely explode throughout 2017 with songs like:

      "Humble" x Kendrick Lamar
      "Bad and Boujee" x Migos
      "Bodak Yellow" x Cardi B
      "Look At Me!" x XXXTentacion
      and of course
      "Gucci Gang" x Lil Pump

      this year sees the debuts of several artists that are still dropping bangers today, like the previously listed Cardi B, Lil Pump, XXXTentacion (rest in peace), A Boogie wit Da Hoodie, and (again) of course, 6ix9ine.

      analogous to the rise of screamed lyrics, heavy instrumentals, and prettyboy-frontmen of mid-late 2000s rock bands, we see the rise of trap music today.


      now, the final question to be answered.

      how do we get from rap songs with hedonistic lyrics, heavy 808s, and loud-personality frontmen, to a subsect of the genre that nearly predominantly speaks of subjects like death, addiction, loss, and suicide?

      i'll see ya soon for the fourth and final installment of the emo-rap deep dive - chapter four: xanax sprinkles.

      12 votes
    17. the emo rap deep dive - chapter two: dirt

      welcome back, class! i'm actually kinda having fun with this project lmao. dive into the comments and let me know what you lot are thinking! this is the second installation in, what i believe will...

      welcome back, class!

      i'm actually kinda having fun with this project lmao. dive into the comments and let me know what you lot are thinking! this is the second installation in, what i believe will be, a four part series. enjoy!

      in the last chapter, we learned a little about how rap in the 90's began to get a bit more introspective, self-reflective, and focus on some generally harsher, more grating topics. while all eras definitely have their hype music (see: "Nuthin' But a G Thang" x Dr. Dre and Snoop Dogg or "Slob on my Knob" x Three 6 Mafia, we slowly began to see songs like "Slippin'" x DMX or "Rock Bottom" x Eminem which slowly began the trend of rappers using their music to really peel back the curtains of their lives, using their music as an escape into catharsis from their daily struggles.

      however, emo rap does seem to have something else happening inside of it. it's not just simply sad or emotionally-charged rap music, that's been around for quite a long time! what's that extra layer that gives us the gritty, rough, and often-whiney nature to modern emo rap? for that, we turn to the name of the genre itself.


      not only did the 90's prove as a time of great growth and evolution in rap, but it saw the expolsion of a new genre of rock music as well. with roots set in the 80's, emo rock first gained major commercial popularity with bands like Green Day and The Offspring quickly moving albums to the tops of the charts with songs like, respectively, "She" and "Self Esteem". as the genre fell face-first into the zeitgeist, we quickly saw a rise of early emo rock groups like Lifetime, Jimmy Eat World, and one of the most influential early emo groups - Texas is the Reason. throughout the decade, the prophecy foretold by the Rolling Stones in their track "Paint it Black" quickly began to unfold. teenagers were wearing black, goth kids slowly started to emerge from the depths of the underworld, and hot topic was finally starting to make money. the foundations and roots of emo have been set, ready and waiting to lead us into the 21st century.


      the year is 2000, and pretty much everything is fucking awesome. we see the launch of the indestructible classic Nokia 3310. we get video games like Tony Hawk's Pro Skater 2, The Legend of Zelda: Majora's Mask, and of course, Pokemon Gold and Silver. the billboard charts are full names that make us go "oh yeah!" like Destiny's Child, Aaliyah, Erykah Badu, Montell Jordan, 3 Doors Down, Backstreet Boys, Creed, Madonna, and the list goes on and on and on.

      the 2000s saw an absolute unit of a revival of the newly restructured emo genre, quickly launching off massively influential tracks like "All the Small Things" x Blink 182, and we even see the creation of the first emo-centric record labels across the late-nineties and early naughts. this means that a lot of the emo bands of the time had not only better representation and access to the innerworkings of the industry, but better access to resources which would help them promote and distribute themselves as well - this is what allowed a lot of bands to leap and bound right into the hot topic t-shirt wall.

      one of the bigger labels we came to see was Vagrant records, moving to quickly sign groups like The Get Up Kids, Hot Rod Circuit, Dashboard Confessional, and Saves the Day. with the internet in their toolbox, some major corporate sponsorships funding the whole gig, and a huge amount of confidence in the future of emo, Vagrant set out on what's considered to be one of the most influential projects in the (still) early days of emo when they launched a nationwide tour with every band in their label in tow.

      shortly thereafter, Jimmy Eat World launches the biggest single of their career "The Middle", Dashboard Confessional break heavy into the mainstream, and Madison Square Garden goes absolutely wild for Saves The Day, Blink-182, Green Day, and Weezer.

      emo is starting to get big, and people are starting to realize that there's money to be made here.


      this brings us now to the mid-ish 2000s. everyone's on myspace, everyone's got a motorola razr, everyone's getting into skating or bmx, and every chick with jetblack black hair or fishnets is going absolutely fucking crazy over Brendon Urie from Panic! At The Disco. this is the part where the big money steps in and major record labels start signing a lot of emo bands left and right. this massive cash injection into the industry saw the rise of a lot of bands which would go on to not only define the industry, but to define the middle school and high school lives of a great number of their listeners. as the emo singularity entered the phase of it's big bang, we saw the rise of a number of stars like Taking Back Sunday, Simple Plan, My Chemical Romance, Fall Out Boy, and many many many deep breath many others.

      fueled by industry investments, teen angst, and a desire to be different, this led to an explosive rise in popularity for the genre, with many songs quickly moving to RIAA gold/platinum status and Billboard chart success like "Misery Business" x Paramore, "Miss Murder" x AFI, or "Check Yes Juliet" x We The Kings. this massive influx of success inspired some of the best parties, most genuine moments, and most cringiest photographs of our many young lives. very frequently this music was used as an escape for those who felt that their problems were going otherwise unrecognized or misunderstood, who felt that they were sad or alone, who hated the seeming lack of control that they had in their own lives - constantly living under the legislature of parents, school systems, or cops that always seemed to hate us edgy confrontational teenagers.

      however, like Sam Smith would come to say, "too much of a good thing won't be good for long." what happens when a star shines too bright? what happens after a supernova?

      things go dark.

      it's now that we begin to enter the part of this whole movement that we've all repressed - and it starts with bracelets.


      sigh.

      it's 2010-ish.

      vuvuzelas are hilarious, "TiK ToK" x Ke$ha is topping charts, and highschools everywhere are full of Silly Bandz and sex bracelets. we've reached a point of absolute pop culture saturation with the emo vogue. while songs of the previous era like "Welcome to the Black Parade" (linked earlier) or "Dirty Little Secret" x The All-American Rejects still hold an anthemic position in the musical zeitgeist, by and large, emo simply was no longer enough. the all-black motif was drab and dark. the music didn't cut deep enough, the lyrics didn't hit hard enough, the vocals weren't powerful enough. we needed something stronger, something more powerful.

      this desire for harder hitting music led to an underground rise of hardcore bands like La Dispute and Pianos Become the Teeth. these bands were very much hitting in the right direction, blending the angst and yearning of modern emo music with the strength of metal instrumentals and vocals hit home with a good number of people still looking to hold onto the last bastions of the emo movement.

      and, as we've seen before, as this demographic loves to live fast and hard, the remodeled emo genre quickly skyrocketed into popularity with bands like Asking Alexandria, Bring Me The Horizon, and A Day to Remember rushing to the forefront of the movement. the rough, gritty nature of the instrumentals paired with the phenomenally screamed vocals seemed to add several more layers of separation between what we were listening to, and the "traditional" music we had been brought up listening to. this was new, this was edgy, but more importantly, this was ours. this was music that we knew the lyrics to, music that we could sing along with because we'd teach ourselves how to scream-sing when we had the house to ourselves, and music that, most importantly, we were pretty damn sure our parents weren't going to get into. they started using myspace, we left for facebook - abandoning the customized purple, black, and sparkly profile pages of yore.

      however, there was something missing here. this was music we could connect to, sure. we were glad to have the songs we did to relate with! even still, we got greedy. connecting to it wasn't enough. we needed music we could fuck to. we needed eyecandy. we needed music that was brutal, strong, and beyond comprehension. we got gluttonous.

      now we begin to enter the scene age. flashy colors and attitudes replace the black nature of the previous era. ostentatiously hardocre and brutal instrumentals (or alternatively, very pop-y, electronically inspired instrumentals) back vocals sang by artists who's image was crafted under nature and umbrella of being unconventionally attractive to this new audience. this led to projects such as "You Aint No Family" x iwrestledabearonce, "Sex Ed Rocks!" x SMOSH & ISETMYFRIENDSONFIRE, and (oh god,) "Bree Bree" x Brokencyde.

      i know my language here is pretty overtly negative, not to make it seem like i hate every band from this era. i actaully like iwrestledabearonce, and a lot of these bands hold a great amount of nostalgia in my life. tracks like "Knives and Pens" x Black Veil Brides were anthemic of this late-stage emo-rock era, checking a good number of the boxes above, and drawing attention to the struggles of people of this era. for example, it can be said that the way emo-rap heavily goes about drawing attention to drug use/abuse is very analogous to the way that a lot of this late-stage emo rock draws attention to self-expression and self-harm.

      this era was loud while it was here, and saw the popularity of a lot of projects like the following before it quickly died out around 2014/2015:

      We Butter The Bread With Butter

      "Wake Up" x Suicide Silence

      Pierce The Veil

      Sleeping With Sirens

      and, often, scene music held no semblance of it's metal roots at all! you may remember hits of the era like "DON'T TRUST ME" x 3OH3!, "Shake It!" x Metro Station, "Good Girls Go Bad" x Cobra Starship, or "Sexting" x Blood on the Dance Floor.


      palette cleanser: "Dirty Diana" x Michael Jackson (The Weeknd Cover)

      so here we've arrived. the year is 2014, and the billboard is topped with pharrell, meghan trainor's debut single, "Shake It Off" x Taylor Swift, and the debut tracks from the likes of Lorde and Sam Smith.

      ...and some guy named Young Thug?

      Wait, who's this Bobby Shmurda guy?

      2 Chainz?

      YG?

      something's a-changing... where's the industry headed?

      find out next time on the emo rap deep dive - chapter three: dirty sprite.

      12 votes
    18. the emo rap deep dive - by earlgreytea. chapter one: sprite.

      howdy there folks! there's been a new breed of rap/hip-hop coursing through the industry in recent years. some songs riding the wave up to the crest in the industry, and gaining some popularity,...

      howdy there folks!

      there's been a new breed of rap/hip-hop coursing through the industry in recent years. some songs riding the wave up to the crest in the industry, and gaining some popularity, some artists intermingled in major controversy, and most relevantly, a lot of really sad late-millenial-early-gen-z kids getting together to cry in the dark, hug each other, dance until their bodies hurt, and get absolutely fucked up.

      this wave, as you can tell by the title of the post and my ceaseless, shitty, un-asked-for poetry, is that of

      #emo rap.

      (edit: as i was writing this i realized that i started to write for a really long time, so i'm just going to leave this at chapter one for now. if you want me to keep going, or if you saw any big ol' lies in here, feel free to let me know in the comments downstairs!)


      chapter one - sprite. the crisp history of emo rap.

      the modern evolution of emo rap is a lovechild of two unexpected homes - the montagues and the capulets. (sorry.)

      the first origin source is from exactly what the name of the genre suggests - emotional rap. in the 90s, the world of rap was vastly different than it is today. rock music was very much still the cultural zeitgeist, most kids daydreamed of being rockstars, and rap lyrics could be seen bouncing between the usual subjects: struggles of racism/classism, or bragging rights over the monetary, the loud, and the beautiful. the quality of life in the inner cities or housing projects, who had the best shooters, gang representation (east side / west side), or just how damn good weed is.

      it goes without saying that, since the birth of the genre, rap has had the capacity to be very introspective and reflective on the lifestyle and living conditions of the artist who'd penned the track. however - it, to my knowledge, was not all that common to see artists focusing on internal struggles, the pressures they faced to succeed financially for the sake of themselves and their families, the pressures they faced to perform well under their labels.

      very early examples of these more self-reflective types of songs come from the big dogs themselves.

      "Trapped" x Tupac Shakur speaks very much on the idea of being "trapped" inside of his neighborhood. this very politically charged song gets right into the perspective of Pac himself, and more importantly, the raw emotion flowing through his head as he looks around his day to day.

      "Suicidal Thoughts" x Notorious B.I.G Biggie himself coming out with one of his most vulnerable tracks he'd ever produced. this relatively short song proves to be very dense and curt, with the man himself talking about how he doesn't believe he's fit to get into heaven, how he believes his mom would have rather aborted him, and contemplating the effects that his death would have on those around him.

      tracks like these set the stage for the next wave of introspective rappers to take the stand, and interestingly enough, our three biggest culprits all seemed to be involved in some form or fashion in the music of the others.

      jumping from the nineties to the naughts, we see our next field of rappers entering stage right - kanye west, kid cudi, and drake.

      one of the first major albums to set the stage for the emo rap that we very well could see carrying the rap torch into the next decade, was none other than kanye west's "808s and Heartbreak". with features from kid cudi, we see kanye exploring a lot of heartbreak, loss, and loneliness on this record. for example, we've got tracks like "Bad News" where it seems like ye recants moments of his finding infidelity in the girl of his dreams, with lyrics like

      Didn't you know
      I was waiting on you
      Waiting on a dream
      That'll never come true
      
      ...
      
      Oh you just gonna
      Keep another love for you
      Oh you just gonna
      Keep it like you never knew
      

      over the next two years after 808s' release, we see cudi come out with a series of small records under his "man on the moon" project, featuring absolute earworms like "Day N' Night" and some of his deepest work like "Soundtrack 2 My Life". over the course of the project we hear cudi very often speaking on topics like depression, the death of his dad, and lots of drugs that were used as a means of escape from his own head.

      and in the next year, drake drops what (i would) consider to be his big-break record "Take Care". after his debut album saw a good deal of commercial success, and got drake a good amount of fame for himself, "Take Care" as an album serves as a bit of cathartic introspection for a young drizzy - often touching on topics like failed relationships, materialism, and loneliness. (mostly though, a lot of heartbreak. i think this is the album that gained drake a lot of negative attention in the rap community for being "soft", and "a bitch". i disagree, but hey, toxic masculinity, what ya gonna do.)

      the most notable songs off of take care came to be "Marvin's Room" with lines like

      Guess she don't have the time to kick it no more
      Flights in the morning
      What you doing that's so important?
      I've been drinking so much
      That I'ma call you anyway and say
      Fuck that nigga that you love so bad
      

      and of course, the title song of the album "Take Care" featuring topics of trust, heartbreak, and this yearning for someone's heart, at the expense of your own emotional wellbeing.

      'Cause that truth hurts, and those lies heal
      And you can't sleep thinking that he lies still
      So you cry still, tears all in the pillow case
      Big girls all get a little taste
      Pushing me away so I give her space
      Dealing with a heart that I didn't break
      

      and with these tracks leading us well into 2012, it's officially been made socially acceptable for rap to reach this level of introspection. yes, you will still catch shit for being "soft" (though less-so nowadays i find), but with absolute industry influencers like ye, cudi, and drizzy, it would be hard to argue that there's no place for this kind of music or these kinds of lyrics in the modern rap scene.

      the tone has been set, and we look onward to the next six years of rap music. what's to come of it? will there be more heavy r&b influence like we saw in Take Care? will electronic beats like we saw in 808s, or futuristic production styles like we had in Man in the Moon take charge? will these trendsetters who have now allowed rap to get interpersonal, raw, and introspective in a new field be paired with some new, unexpected style and add a brand new face to the game?

      join us next time for chapter two: dirt.

      bishop.

      14 votes
    19. Australia's barbaric policy confronted by Boochani's prison memoir

      Summary The article is an interview with Behrouz Boochani, a Kurdish refugee who has been detained by the Australian government on Manus Island since 2015. Boochani discusses his experiences of...

      Summary

      The article is an interview with Behrouz Boochani, a Kurdish refugee who has been detained by the Australian government on Manus Island since 2015. Boochani discusses his experiences of detention and the book he has written about those experiences.

      Extract

      I don't remember exactly when I started to write the first words but I remember that I thought my writing of this time was like a mission and duty ... to make readers aware of this prison camp. I imagined there would be unknown readers from around the world ... That's why I wrote it in a literary language. Not only for this historical period or those people who are involved in this plight ... I wrote this book so that it extends beyond geographical bounds and generational imaginaries.

      This chapter about the way they exiled us to Manus was one of the hardest parts to write … If you remember, years ago, I wrote a letter to you and complained that I was scared of writing, that I hate writing. You answered me, saying: ‘Behrouz I wrote about my relatives who were killed.’ Your grandparents, aunties, uncles, cousins … I knew that I had to do it to survive. I knew that I could expose this system through these words … I could get back my identity through writing this book and not allowing this system to reduce me to a number.

      Link

      https://www.theage.com.au/national/australia-s-barbaric-policy-confronted-by-boochani-s-prison-memoir-20180821-p4zyt7.html

      4 votes
    20. Web serial recommendations

      Is anyone else here into web serials or serial fiction more generally? I was first introduced to the medium through Worm, probably the most well-known web serial out there at this point, and I...

      Is anyone else here into web serials or serial fiction more generally? I was first introduced to the medium through Worm, probably the most well-known web serial out there at this point, and I loved it. (Well, okay, if we're getting technical I was probably first introduced to it through fanfiction, but it didn't register to me then that this was a medium used by original works as well.) I've worked my way through a few other serials since reading Worm, and I've continued to enjoy the format. Does anyone have recommendations for web serials (or printed serials!) they like?

      For me, I'm currently reading Hate Would Suffice, a story about a teenager and a world frozen in ice. It updates almost daily with chapters around a thousand words long, and while it's a pretty new one I'm thoroughly enjoying it so far.

      6 votes
    21. About the "ten thousand hours of practice to become an expert" rule

      Expertise researcher Anders Ericsson on why the popular "ten thousand hours of practice to become an expert" rule mischaracterizes his research: No, the ten-thousand-hour rule isn't really a rule...

      Expertise researcher Anders Ericsson on why the popular "ten thousand hours of practice to become an expert" rule mischaracterizes his research:

      No, the ten-thousand-hour rule isn't really a rule

      Ralf Krampe, Clemens Tesch-Römer, and I published the results from our study of the Berlin violin students in 1993. These findings would go on to become a major part of the scientific literature on expert performers, and over the years a great many other researchers have referred to them. But it was actually not until 2008, with the publication of Malcolm Gladwell’s Outliers, that our results attracted much attention from outside the scientific community. In his discussion of what it takes to become a top performer in a given field, Gladwell offered a catchy phrase: “the ten-thousand-hour rule.” According to this rule, it takes ten thousand hours of practice to become a master in most fields. We had indeed mentioned this figure in our report as the average number of hours that the best violinists had spent on solitary practice by the time they were twenty. Gladwell himself estimated that the Beatles had put in about ten thousand hours of practice while playing in Hamburg in the early 1960s and that Bill Gates put in roughly ten thousand hours of programming to develop his skills to a degree that allowed him to found and develop Microsoft. In general, Gladwell suggested, the same thing is true in essentially every field of human endeavor— people don’t become expert at something until they’ve put in about ten thousand hours of practice.

      The rule is irresistibly appealing. It’s easy to remember, for one thing. It would’ve been far less effective if those violinists had put in, say, eleven thousand hours of practice by the time they were twenty. And it satisfies the human desire to discover a simple cause-and-effect relationship: just put in ten thousand hours of practice at anything, and you will become a master.

      Unfortunately, this rule— which is the only thing that many people today know about the effects of practice— is wrong in several ways. (It is also correct in one important way, which I will get to shortly.) First, there is nothing special or magical about ten thousand hours. Gladwell could just as easily have mentioned the average amount of time the best violin students had practiced by the time they were eighteen— approximately seventy-four hundred hours— but he chose to refer to the total practice time they had accumulated by the time they were twenty, because it was a nice round number. And, either way, at eighteen or twenty, these students were nowhere near masters of the violin. They were very good, promising students who were likely headed to the top of their field, but they still had a long way to go when I studied them. Pianists who win international piano competitions tend to do so when they’re around thirty years old, and thus they’ve probably put in about twenty thousand to twenty-five thousand hours of practice by then; ten thousand hours is only halfway down that path.

      And the number varies from field to field. Steve Faloon became the very best person in the world at memorizing strings of digits after only about two hundred hours of practice. I don’t know exactly how many hours of practice the best digit memorizers put in today before they get to the top, but it is likely well under ten thousand.

      Second, the number of ten thousand hours at age twenty for the best violinists was only an average. Half of the ten violinists in that group hadn’t actually accumulated ten thousand hours at that age. Gladwell misunderstood this fact and incorrectly claimed that all the violinists in that group had accumulated over ten thousand hours.

      Third, Gladwell didn’t distinguish between the deliberate practice that the musicians in our study did and any sort of activity that might be labeled “practice.” For example, one of his key examples of the ten-thousand-hour rule was the Beatles’ exhausting schedule of performances in Hamburg between 1960 and 1964. According to Gladwell, they played some twelve hundred times, each performance lasting as much as eight hours, which would have summed up to nearly ten thousand hours. Tune In, an exhaustive 2013 biography of the Beatles by Mark Lewisohn, calls this estimate into question and, after an extensive analysis, suggests that a more accurate total number is about eleven hundred hours of playing. So the Beatles became worldwide successes with far less than ten thousand hours of practice. More importantly, however, performing isn’t the same thing as practice. Yes, the Beatles almost certainly improved as a band after their many hours of playing in Hamburg, particularly because they tended to play the same songs night after night, which gave them the opportunity to get feedback— both from the crowd and themselves— on their performance and find ways to improve it. But an hour of playing in front of a crowd, where the focus is on delivering the best possible performance at the time, is not the same as an hour of focused, goal-driven practice that is designed to address certain weaknesses and make certain improvements— the sort of practice that was the key factor in explaining the abilities of the Berlin student violinists.

      A closely related issue is that, as Lewisohn argues, the success of the Beatles was not due to how well they performed other people’s music but rather to their songwriting and creation of their own new music. Thus, if we are to explain the Beatles’ success in terms of practice, we need to identify the activities that allowed John Lennon and Paul McCartney— the group’s two primary songwriters— to develop and improve their skill at writing songs. All of the hours that the Beatles spent playing concerts in Hamburg would have done little, if anything, to help Lennon and McCartney become better songwriters, so we need to look elsewhere to explain the Beatles’ success.

      This distinction between deliberate practice aimed at a particular goal and generic practice is crucial because not every type of practice leads to the improved ability that we saw in the music students or the ballet dancers. Generally speaking, deliberate practice and related types of practice that are designed to achieve a certain goal consist of individualized training activities— usually done alone— that are devised specifically to improve particular aspects of performance.

      The final problem with the ten-thousand-hour rule is that, although Gladwell himself didn’t say this, many people have interpreted it as a promise that almost anyone can become an expert in a given field by putting in ten thousand hours of practice. But nothing in my study implied this. To show a result like this, I would have needed to put a collection of randomly chosen people through ten thousand hours of deliberate practice on the violin and then see how they turned out. All that our study had shown was that among the students who had become good enough to be admitted to the Berlin music academy, the best students had put in, on average, significantly more hours of solitary practice than the better students, and the better and best students had put in more solitary practice than the music-education students.

      The question of whether anyone can become an expert performer in a given field by taking part in enough designed practice is still open, and I will offer some thoughts on this issue in the next chapter. But there was nothing in the original study to suggest that it was so.

      Gladwell did get one thing right, and it is worth repeating because it’s crucial: becoming accomplished in any field in which there is a well-established history of people working to become experts requires a tremendous amount of effort exerted over many years. It may not require exactly ten thousand hours, but it will take a lot.

      We have seen this in chess and the violin, but research has shown something similar in field after field. Authors and poets have usually been writing for more than a decade before they produce their best work, and it is generally a decade or more between a scientist’s first publication and his or her most important publication— and this is in addition to the years of study before that first published research. A study of musical composers by the psychologist John R. Hayes found that it takes an average of twenty years from the time a person starts studying music until he or she composes a truly excellent piece of music, and it is generally never less than ten years. Gladwell’s ten-thousand-hour rule captures this fundamental truth— that in many areas of human endeavor it takes many, many years of practice to become one of the best in the world— in a forceful, memorable way, and that’s a good thing.

      On the other hand, emphasizing what it takes to become one of the best in the world in such competitive fields as music, chess, or academic research leads us to overlook what I believe to be the more important lesson from our study of the violin students. When we say that it takes ten thousand— or however many— hours to become really good at something, we put the focus on the daunting nature of the task. While some may take this as a challenge— as if to say, “All I have to do is spend ten thousand hours working on this, and I’ll be one of the best in the world!”— many will see it as a stop sign: “Why should I even try if it’s going to take me ten thousand hours to get really good?” As Dogbert observed in one Dilbert comic strip, “I would think a willingness to practice the same thing for ten thousand hours is a mental disorder.”

      But I see the core message as something else altogether: In pretty much any area of human endeavor, people have a tremendous capacity to improve their performance, as long as they train in the right way. If you practice something for a few hundred hours, you will almost certainly see great improvement— think of what two hundred hours of practice brought Steve Faloon— but you have only scratched the surface. You can keep going and going and going, getting better and better and better. How much you improve is up to you.

      This puts the ten-thousand-hour rule in a completely different light: The reason that you must put in ten thousand or more hours of practice to become one of the world’s best violinists or chess players or golfers is that the people you are being compared to or competing with have themselves put in ten thousand or more hours of practice. There is no point at which performance maxes out and additional practice does not lead to further improvement. So, yes, if you wish to become one of the best in the world in one of these highly competitive fields, you will need to put in thousands and thousands of hours of hard, focused work just to have a chance of equaling all of those others who have chosen to put in the same sort of work.

      One way to think about this is simply as a reflection of the fact that, to date, we have found no limitations to the improvements that can be made with particular types of practice. As training techniques are improved and new heights of achievement are discovered, people in every area of human endeavor are constantly finding ways to get better, to raise the bar on what was thought to be possible, and there is no sign that this will stop. The horizons of human potential are expanding with each new generation.

      -- Ericsson, Anders; Pool, Robert. Peak: Secrets from the New Science of Expertise (p. 109-114). Houghton Mifflin Harcourt. Kindle Edition.

      22 votes
    22. Daily book: How to Live Safely in a Science Fictional Universe by Charles Yu

      How to Live Safely in a Science Fictional Universe Charles Yu's debut novel, How to Life Safely in a Science Fictional Universe, could be described as a story about contemporary family life...
                                                   How to Live Safely in a Science Fictional Universe
      

      Charles Yu's debut novel, How to Life Safely in a Science Fictional Universe, could be described as a story about contemporary family life disguised as science fiction. It concerns a young man who has spent most of the past decade in a small time machine in his job as a time machine repairman. He makes calls on people who have rented time machines for recreational purposes but have become stuck in time and must be rescued by him. As the novel progresses, it is revealed that this man's name is the same as that of the author, Charles Yu. The protagonist is a lonely and rather sad fellow, who spends much of his non-working hours drifting along in his capsule, thinking about his past and his parents, especially his father who disappeared long ago. Accompanied only by his dog and a computer that has the pixilated face of a female and a cartoon-like voice, Charles hopes to one day locate his father in some alternate universe to which he apparently has traveled in a time machine. Charles's parents, a few clients, and several street performers are the only other humans that he encounters during the course of the story. He makes one trip to a city in Minor Universe 31, a residential and entertainment world made mostly from a science fiction "substrate," where the company for which he works is headquartered. His objective is to have maintenance work done on his time machine and when he goes to pick it up, he encounters his future self. Panicking, he draws his service revolver and shoots his future self in the stomach, just as his future self is attempting to tell him that the key is the book. He has no idea what this means as he stumbles into his time machine and races away. On the capsule's console, he finds a manual-type book that has the same title as the novel.

      With the help of his computer, he realizes that he must read the book and make amendments and additions to it as he goes along. At some point in the future, he must give the completed book to his past self, who then will shoot him and begin the rewriting process again in an endless cycle. Charles realizes he has become stuck in a time loop. By the rules of time travel, if he changes anything that happens during this loop, he risks entering an alternate universe from which he might not emerge. Under the circumstances, escaping the time loop appears to be extremely difficult. He may be doomed to spend the rest of his life in the time machine, writing the book, giving it to himself, shooting himself, and starting the cycle again. The book is a manual about time travel, but it also offers advice on how such a traveler should live within or use time wisely. The main use of Charles's time is in thinking about his father and mother, but he begins visiting periods in his past in his time machine, watching his younger self interact with his parents. Eventually, he discovers that the book given to him by his future self is literally the key, because it holds a key that unlocks a box that his mother gave him, inside of which his father left clues to where he went in time. This inspires Charles to realize that he can break out of his time loop through the power of his mind and memory. He does so and rescues his father from the past time in which he is stuck. As the novel ends, it looks as if the family has a chance to regain normalcy and move forward with a better understanding of how to cope with the difficulties of life by facing the problems of the past with courage and honesty.

                             Praise
      

      “Glittering layers of gorgeous and playful meta-science-fiction. . . . Like [Douglas] Adams, Yu is very funny, usually proportional to the wildness of his inventions, but Yu’s sound and fury conceal (and construct) this novel’s dense, tragic, all-too-human heart. . . . Yu is a superhero of rendering human consciousness and emotion in the language of engineering and science. . . . A complex, brainy, genre-hopping joyride of a story, far more than the sum of its component parts, and smart and tragic enough to engage all regions of the brain and body.”
      —The New York Times Book Review

      “Compulsively rereadable. . . . Hilarious. . . . Yu has a crisp, intermittently lyrical prose style, one that’s comfortable with both math and sadness, moving seamlessly from delirious metafiction to the straight-faced prose of instruction-manual entries. . . . [The book itself] is like Steve Jobs’ ultimate hardware fetish, a dreamlike amalgam of functionality and predetermination.”
      —Los Angeles Times

      “Douglas Adams and Philip K. Dick are touchstones, but Yu’s sense of humor and narrative splashes of color–especially when dealing with a pretty solitary life and the bittersweet search for his father, a time travel pioneer who disappeared–set him apart within the narrative spaces of his own horizontal design. . . . A clever little story that will be looped in your head for days. No doubt it will be made into a movie, but let’s hope that doesn’t take away the heart.”
      —Austin Chronicle

      “If How to Live Safely in a Science Fictional Universe contented itself with exploring that classic chestnut of speculative fiction, the time paradox, it would likely make for an enjoyable sci-fi yarn. But Yu’s novel is a good deal more ambitious, and ultimately more satisfying, than that. It’s about time travel and cosmology, yes, but it’s also about language and narrative — the more we learn about Minor Universe 31, the more it resembles the story space of the novel we’re reading, which is full of diagrams, footnotes, pages left intentionally (and meaningfully) blank and brief chapters from the owner’s manual of our narrator’s time machine. . . . . Yu grafts the laws of theoretical physics onto the yearnings of the human heart so thoroughly and deftly that the book’s technical language and mathematical proofs take on a sense of urgency.”
      —NPR

      “How to Live Safely is a book likely to generate a lot of discussion, within science fiction and outside, infuriating some readers while delighting many others.”
      —San Francisco Chronicle

      “An extraordinary work. . . . I read the entire book in one gulp.”
      —Chris Wallace, GQ

      “A great Calvino-esque thrill ride of a book.”
      —The Stranger

      “Science and metaphor get nice and cozy in Charles Yu’s How to Live Safely in a Science Fictional Universe. The novel joins the likes of Gary Shteyngart’s Super Sad True Love Story and Jillian Weise’s The Colony, fiction that borrows the tropes of sci-fi to tell high-tech self-actualization narratives.”
      —Portland Mercury

      “A brainy reverie of sexbots, rayguns, time travel and Buddhist zombie mothers. . . . Packed with deft emotional insight.”
      —The Economist

      “A funny, funny book, and it’s a good thing, too; because at its heart it’s a book about loneliness, regret, and the all-too-human desire to change the past.”
      —Tor.com

      “A keenly perceptive satire. . . . Yu’s novel is also a meditation on the essentials of human life at its innermost point.. . . Campy allusions to the original Star Wars trilogy, a cityscape worthy of the director’s cut of Blade Runner and a semi-coherent vocabulary of techno-jargon cement these disparate elements into a brilliant send-up of science fiction. . . . Perhaps it would be better to think of the instructional units of How to Live Safely in a Science Fictional Universe in terms of the chapters of social commentary which John Steinbeck placed into the plot structure of The Grapes of Wrath.”
      —California Literary Review

      “How to Live Safely in a Science Fictional Universe is the rare book I pick up to read the first several pages, then decide to drop everything and finish at once. Emotionally resonant, funny, and as clever as any book I have read all year, this debut novel heralds the arrival of a talented young writer unafraid to take chances.”
      —largehearted boy

      “A wild and inventive first novel . . . has been compared to the novels of Kurt Vonnegut Jr. and Jonathan Lethem, and the fact that such comparisons are not out of line says everything necessary about Yu’s talent and future.”
      —Portland Oregonian

      “Bends the rules of time and literary convention.”
      —Seattle Weekly

      “Getting stuck with Yu in his time loop is like watching an episode of Doctor Who as written by the young Philip Roth. Even when recalling his most painful childhood moments, Yu makes fun of himself or pulls you into a silly description of fake physics experiments. In this way, he delivers one of the most clear-eyed descriptions of consciousness I’ve seen in literature: It’s full of self-mockery and self-deception, and yet somehow manages to keep its hands on the wheel, driving us forward into an unknowable future. How to Live Safely in a Science Fictional Universe is intellectually demanding, but also emotionally rich and funny. . . . It’s clearly the work of a scifi geek who knows how to twist pop culture tropes into melancholy meditations on the nature of consciousness.”
      —io9

      “Funny [and] moving. . . . Charles Yu’s first novel is getting ready for lift-off, and it more than surpasses expectations which couldn’t be any higher after he was given the 5 Under 35 Award . . . How to Live Safely in a Science Fiction Universe is one of the trippiest and most thoughtful novels I’ve read all year, one that begs for a single sit-down experience even if you’re left with a major head rush after the fact for having gulped down so many ideas in a solitary swoop. . . . Yu’s literary pyrotechnics come in a marvelously entertaining and accessible package, featuring a reluctant, time machine-operating hero on a continual quest to discover what really happened to his missing father, a mysterious book possibly answering all, and a computer with the most idiosyncratic personality since HAL or Deep Thought. . . . Like the work of Richard Powers . . . How to Live Safely in a Science Fictional Universe fuses the scientific and the emotional in ways that bring about something new.”
      —Sarah Weinman, The Daily Beast

      “One of the best novels of 2010. . . . It is a wonderfully stunning, brilliant work of science fiction that goes to the heart of self-realization, happiness and connections. . . . Yu has accomplished something remarkable in this book, blending science fiction universes with his own, alternative self’s life, in a way, breaking past the bonds of the page and bringing the reader right into the action. . . . Simply, this is one of the absolute best time travel stories . . . even compared to works such as The Time Machine by H.G. Wells or the Doctor Who television series.”
      —SF Signal

      “Within a few pages I was hooked. . . . There are times when he starts off a paragraph about chronodiegetics that just sounds like pseudo-scientific gibberish meant to fill in some space. And then you realize that what he’s saying actually makes sense, that he’s actually figured out something really fascinating about the way time works, about the way fiction works, and the “Aha!” switch in your brain gets flipped. That happened more than once for me. There are so many sections here and there that I found myself wanting to share with somebody: Here—read this paragraph! Look at this sentence! Ok, now check this out!”
      —GeekDad, Wired.com

      “In this debut novel, Charles Yu continues his ambitious exploration of the fantastic with a whimsical yet sincere tribute to old-school science fiction and quantum physics. . . . A fascinating, philosophical and disorienting thriller about life and the context that gives it meaning.”
      —Kirkus, starred review

      “With Star Wars allusions, glimpses of a future world, and journeys to the past, as well as hilarious and poignant explanations of “chronodiegetics,” or the “theory of the nature and function of time within a narrative space,” Yu, winner of the National Book Foundation’s 5 under 35 Award, constructs a clever, fluently metaphorical tale. A funny, brain-teasing, and wise take on archetypal father-and-son issues, the mysteries of time and memory, emotional inertia, and one sweet but bumbling misfit’s attempts to escape a legacy of sadness and isolation.”
      —Booklist

      “This book is cool as hell. If I could go back in time and read it earlier, I would.”
      —Colson Whitehead, author of Sag Harbor

      “Charles Yu is a tremendously clever writer, and How to Live Safely in a Science Fictional Universe is marvelously written, sweetly geeky, good clean time-bending fun.”
      —Audrey Niffenegger, author of Her Fearful Symmetry and The Time Traveler’s Wife

      “Funny, touching, and weirdly beautiful. This book is awesome.”
      —Nick Harkaway, author of The Gone-Away World

      “How to Live Safely in a Science Fictional Universe is that rare thing—a truly original novel. Charles Yu has built a strange, beautiful, intricate machine, with a pulse that carries as much blood as it does electricity.”
      —Kevin Brockmeier, author of The View from the Seventh Layer and The Brief History of the Dead

      “Poignant, hilarious, and electrically original. Bends time, mind, and genre.”
      —David Eagleman, author of Sum

      4 votes