Galilea montijo en h extremo 2009

Presenting the evidence: 17 May 2024

2024.05.14 05:44 courtingdisaster Presenting the evidence: 17 May 2024

Presenting the evidence: 17 May 2024
Come one, come all, we're clooowning again! 🤡
Thanks to u/1DMod for posting the Jimmy Fallon video that led to me to start to connect the dots that other creators have noticed. Long story short, we're clowning for Stockholm N1 (maybe even night ✌️ as well), buckle up clowns!

✌️

First things first, May 17 is ✌️ fortnights after the release of TTPD on April 19. We know that Taylor is still throwing up peace signs which seems unnecessary if it only ever meant that there was a second part of TTPD. I think it's an indication that we haven't completely cracked that egg yet.
This photo was necessary for the post, ok

National/International Day Of

While these days aren't necessarily solid proof of anything, Taylor did release TTPD on Poetry & The Creative Mind Day and also released the ME! music video (ME! Out now!) on Lesbian Visibility Day so I think it's definitely worth investigating.
After publishing this post I was reading through the comments in this thread about easter eggs and was reminded by u/-periwinkle that some people predicted the Toe breakup date based on something Taylor mentioned in her NYU speech ("Part of growing up and moving into new chapters of your life is about catch and release"). 11 months later, the Toe breakup news came out on, you guessed it, National Catch and Release Day. More on the NYU speech later.
First, let's have a look at the holidays for May 17 that could be relevant:
  • Endangered Species Day - Does anyone remember the ✌️ trips to the zoo while in Sydney...? We also have the big cat imagery on her new 1989 outfit to consider. If you haven't read this incredible post by u/Funny-Barnacle1291, I'd urge you to stop clowning with me (just for a moment) and go and read it. Taylor's TikTok bio still reads, "this is pretty much just a cat account" which could be a surface level meaning of her posting videos of her cats, but we know miss Feline Enthusiast herself loves a layered meaning. She also compared herself to feeling, "a lot like being a tiger in a wildlife enclosure" in the Lover diaries she released (pictured below).
TNT at Sydney Zoo Paris N4 TikTok bio Lover diaries comparing herself to a tiger Sydney Zoo
  • National Pizza Party Day - I know I am personally still haunted by her Stephen Colbert interview on 13 April 2021. The interview starts with Colbert talking about Taylor's Versions and also talking about how he believes the song "Hey Stephen" is about him. What surprise song did we get on guitar Paris N3..? Important to note that this interview also talks about him "waiting tables on the lunch shift at Scoozi, an Italian restaurant in the River North area of Chicago, that, by the way, serves a really incredible slice of pizza." Taylor also goes on to say that the song is actually about Stephen King and Taylor then says "The Dark Tower series changed my life, plus The Shining, The Stand and don't even get me started on his short stories... Absolutely luminescent." This interview is obviously very strange and likely filled with easter eggs. We know that her mention of the River North area of Chicago was also the location of one of the TTPD murals that went up ahead of its release.
  • I've just seen this tweet which has beautifully tied in the new Red shirt that was premiered Paris N1 ("This is not Taylor's Version") with a quote from the Stephen Colbert interview, "This isn't about you, it's about pizza... See?" We can clearly see the mood board is about Stephen however she keeps only talking about the pizza. It feels like a Cassandra moment where we (Gaylors but Stephen in the interview) are recoginising all the Stephen pictures and the general public (Swifties) are only focused on the pizza because that's what Taylor is showing them (the public narrative featuring Travis Kelce). There was also this excellent post connecting the new Red shirt to a painting by René Magritte's titled, "The Treachery of Images". We then get "Treacherous" as a surprise song on Paris N4.
  • u/naked_blanket pointed out that there is a scene in the Lavender Haze music video "where a bunch of people are gathered around a pizza box."
  • I can't remember where I saw it now but I was reminded of the below photo of Taylor and Keleigh Teller. Keleigh posted this to her Instagram on 30 May 2023 along with 8 emojis. The importance of the 8s will be explained further down the post under the Stockholm heading but for now, pizza.
No... This is pizza
https://preview.redd.it/4ikx6teucd0d1.jpg?width=443&format=pjpg&auto=webp&s=6aec634e52a1083cccbcaefcb78227f2fe8db793
ME! Out soon 😉
  • National Graduation Tassel Day - Taylor was awarded with an honorary doctorate at NYU in 2022. We know that her speech at this event was filled with “Midnights” easter eggs including lyrics to “Labyrinth” and “You're On Your Own, Kid”. I wonder what other easter eggs are hidden in this speech...? Here's a link to the video and you can also read the full transcript here. I'm not going to do any further digging into this one right now, just presenting it as evidence but please feel free to note anything of importance in the comments. I do want to note here though that I recently saw a video where Taylor was leaving TTPD easter eggs while doing promo for Red TV (maybe an ATW10MV short film interview?) so I don't think it's out of the question that this speech contains TTPD (and beyond) easter eggs. I'll link the video if I can find it again.
Dr Taylor Alison Swift
These chemicals hit me like whiiiiite wiiiiine

Direct 17/5 easter eggs

  • Tokyo N3 - One of the surprise songs during Tokyo N3 was "The Outside". This excellent video by Kristen (underthepink7 - go follow her, she's amazing) goes into some additional easter eggs that I'm not going to go into here but definitely worth a watch (which also connects to "Down Bad"). What I do want to talk about though is what Taylor said when she introduced the song. Here's a video of the performance including her speech beforehand where she says, "this song is 175 years old." At the time most people thought that it was an egg for number of days leading us to 2 August 2024. It could still be referring to this however I'm starting to believe it's related to the date.
  • Date format - Before we go any further, it's important to note that the date format in Europe (where the Eras Tour currently is) goes DD/MM/YY. This is why I think the 175 could be a date as that equates to May 17 in Europe.
  • Tokyo N4 - On 10 February 2024, the surprise songs in Tokyo were "Come In With The Rain" (track 17) and "You're On Your Own, Kid" (track 5), another 175 and in this case it's specifically 17/5.
  • Anti-Hero music video - There's been some really interesting analysis that I've seen on Twitter where the timestamps in Taylor's recent music videos appear to be lining up with the date of things happening in real life. Underthepink7 and Kiturakk on Twitter have pointed out some interesting connections to the numbers 175 in the "Anti-Hero", "Bejeweled" and "Willow" music videos. I'll admit this could be considered a bit of a stretch but what if I told you none of it was accidental...
Is Taylor using timestamps in her self-directed music videos to refer to dates in real life?

Important days in history

These could be nothing, could be something, still worth noting:
Important events in history that may be important to Taylor

Important events in the TSCU on this day

  • "Bad Blood" music video premiered at the Billboard Awards
  • Entertainment Weekly where Taylor is on the cover with a rainbow pin and gravestone that says "I tried" is published
  • City of Lover concert (i.e. Taylor's Lover concert performed in Paris) airs on ABC for the first time
I think we're about to recreate her sparkling summer

Stockholm

  • 88th show - Taylor made a point to let everyone know that Paris N4 was the 87th show of the tour. Yes, 87 is Travis' number, but what if it was also to let everyone know that Stockholm will feature both her 88th and 89th shows? Obviously 89 is an important number to her as it's the year she was born, however last year we saw Taylor embracing double dates (5/5 Speak Now TV announcement, 7/7 Speak Now TV release - there's probably others, that's all I remember off the top of my head) so I don't think it's a stretch to say that the 88th show would hold significance to her. I saw this thread on Twitter yesterday regarding "portal dates" and while obviously this is referring to dates, I can see "portal shows" being potentially noteworthy. Following on from this, Kristen has highlighted some Taylor Nation tweets that include the words "17" or "May" with one of those tweets being posted on 8/8 (while quoting "Betty" of all songs...) which Kristen notes is the karmic number representing resurrection and regeneration (tweets pictured below).
  • I was reading through the comments in the Jimmy Fallon video thread and u/cookiechipchocolate reminded me that one of Kanye's albums is titled "808s & Heartbreak". Could be a sly reference to her 88th show however I'll admit this is a bit more of a stretch connection that I've made.
  • In the same thread, I saw this comment from u/taytopancakes noting that the day after is "said to be the most magical/lucky day of the year" which just so happens to also be Taylor's 89th show of the Eras Tour. I'd say the stars are certainly starting to align!
  • Following on from the Keleigh Teller pizza photo on 30 May 2023 that has 8 emojis that I shared above, the other big thing Keleigh contributed to the TSCU in 2023 is her quote of, "you're my Elizabeth Taylor" in the video she shared where she gave Taylor that opal and blue topaz ring for her 34th birthday. This quote always stuck out to me. I know that Elizabeth Taylor had many husbands so I looked it up and, you guessed it, she had 8 husbands (7 different men). It's also interesting to note that the first thing that comes up when you google "opal signficance" is "the opal has long been considered a lucky and protective talisman" which connects back to the TTPD announcement post that Taylor tweeted on 5 February 2024.
  • u/slugs_instead and u/chickadee323 also pointed out that we have been seeing a lot of infinity symbols lately; we've seen the infinity symbols everywhere from The Man wall, jewelry Taylor wears, the Karma music video and most recently in the stage visuals for "Down Bad". An infinity symbol turned on its side looks like an 8. I believe the infinity symbol represents Taylor's cycle of death and rebirth, "I rise up from the dead, I do it all the time" and "I'm getting tired even for a phoenix, always risin' from the ashes". What better way to signify the two sides of Taylor than two infinity symbols side-by-side, i.e. 88. Important thing I want to note - I just went and watched the footage of the "Down Bad" infinity symbol that I linked above and it stops just before completing - she's still on the journey, the cycle is not yet complete.
Deep portal, time travel
https://preview.redd.it/a28zn1akid0d1.jpg?width=1237&format=pjpg&auto=webp&s=e2b4751ac3530892d8a17d3c5ca1bbea8a1f5ee9
  • Beyoncé - The Renaissance World Tour kicked off on 10 May 2023 in Stockholm at the very same stadium that Taylor is performing in next weekend. To me it would make sense to start a tour named Renaissance in Italy, where the Renaissance originated not in Sweden... We've seen Taylor and Beyoncé supporting each other a lot in the last year and Beyoncé's producer recently said, "let's just say she's on the approach of shocking the world." We know she's on her own three-act journey at the moment (complete with queer-flagging in her shows and her own Biyoncé rumours) so I don't think this quote is directly related to Cowboy Carter but potentially regarding the culmination of her arc. Is it possible that her arc lines up with Taylor's creating a supernova that will change the industry forever?
Taylor & Bey supporting each other at their respective film premieres, a literal pride flag on the Renaissance Tour (it's actually just Chiefs colours, phew!)
  • Taylor recorded songs in Stockholm - Kristen notes that many of Taylor's important singles were recorded in Stockholm including "I Knew You Were Trouble", "Shake It Off", "Blank Space", "Bad Blood", "Ready For It" and "New Romantics". Perhaps this city holds a special place in her heart?
  • One Direction - paging u/1DMod to go into more detail here however noting that One Direction has a song called "Stockholm Syndrome" and the lyrics are very interesting indeed ("I used the light to guide me home"). Checkout this recent post by u/1DMod regarding the possible Larry connections to TTPD.
  • Friends Arena - The stadium in Stockholm is called the Friends Arena. Taylor had a Friends pin on her jacket on the Entertainment Weekly cover. Was this stadium always supposed to play an important role? Kristen also notes that the opening ceremony took place on 27 October 2012 (obviously 27 October is the day that 1989 was released, both times) and Elton John played there on 13 December 2010 (who had his own journey down the yellow brick road and people refused to see his queerness for years even though he was in screaming colour).

New Romantics

Kristen, who I have referenced in nearly every part in this post (again, she's amazing, go follow her), has a mass coming-out theory that she has dubbed the New Romantics. I highly recommend checking out her content on Twitter and TikTok and she's also recently launched a podcast that you can read more about here for more information on this theory. Essentially the theory is that a large number of artists in the entertainment industry are queer and are working together as a "safety in numbers" type approach to coming out of the closet and potentially changing the industry in a monumental way.
Let's have a look at some players that are relevant to either May 17 or Stockholm (or both in one person's case!):
  • Zayn - This is the person who is relevant to both May 17 and Stockholm! Obviously he was part of One Direction who I spoke about above as having a song titled "Stockholm Syndrome". Did you know his new album "The Closet" "The Room Under The Stairs" is being released this Friday, May 17? Again, I'll leave this to u/1DMod to add any additional relevant information as this is not my area of expertise but from what I understand, all members have their own queer rumours.
  • Billie Eilish - Recently out as a girl kisser, Billie Eilish is also releasing an album on this day titled "Hit Me Hard and Soft" featuring a song called "Lunch" that would leave even the most homophobic Swiftie unable to defend her queerness if released by Taylor.
  • Madison Beer - Madison is out as bi. Her tour, The Spinnin Tour, began 24 February 2024 in Stockholm (a different venue though).

Theories as to what exactly is coming

Karma is REAL
  • Coming Out - I personally don't believe she would come out during a show in Stockholm, however it's worth at least noting as a possibility. It would mean that she was "out" before Pride Month 😉 She did just sing "Begin Again" as a surprise song in Paris N4 - is she beginning again as her authentic self at the very next show?
  • Music Video - I know we thought we were getting a second music video for TTPD a fortnight after the album was released, however maybe that's what all this easter egging is for. I personally think it's something much bigger than that however will be very excited to dissect another music video! u/allie_lacey noted in this comment that Florence has recently said that she has "just got done filming with Taylor". A Florida!!! music video is something that a lot of us have been clowning for recently but I'd love to point to this comment by u/-periwinkle in particular as I think they've made a really good point about the mirrorball jellyfish which makes me think we will get a music video for this song at some point.
  • Book - The creator of the video that u/1DMod initially posted believes that Taylor is announcing a book on 17 May 2024 with it to be released on 21 October 2024. I'm not going to go into this theory in detail however if you are interested in finding out more about what they have to say, here are a couple of videos of theirs (video 1, video 2, video 3).
Is this another easter egg that she laid 3 years ago?

In Summation

Something is happening in Stockholm. I don't know why exactly but it is THE ONE to watch.
I think it would be interesting to revisit the NYU speech, Karma music video, Stephen King, photos from the Uno parties and the Lover era in general for further hints as to what's coming. I think the key is going to be working together due to a comment that Questlove (yes, the one who throws the Uno parties) left on one of Kristen's videos. Here's a link to the video, the top comment is his.
Regardless, I'll be there talking smack in the megathread on Friday and keeping an eye out for any new "Chiefs" colours. See you there, clowns!
Who's clowning with me?! 🤡🤡🤡
Edit: I'll be making some additions to this post as people have been making incredible connections already, thank you! These will be noted as a new bulletpoint to try and keep it transparent as to what has been added. As I'm researching I'm also making new connections of my own that I will also add as separate bulletpoints.
submitted by courtingdisaster to GaylorSwift [link] [comments]


2024.05.13 09:17 Total-Interview82 Day trip to Tardisland?

Day trip to Tardisland? submitted by Total-Interview82 to DoctorWhumour [link] [comments]


2024.05.11 13:31 devoid0101 New Kp-like planetary geomagnetic activity indices: Hourly (Hp60) and half-hourly (Hp30) indices

New Kp-like planetary geomagnetic activity indices: Hourly (Hp60) and half-hourly (Hp30) indices
It looks like we touched upon KP11, a G6 storm (if such a thing existed). Serious solarmax spaceweather
“The geomagnetic Hpo index is a Kp-like index with a time resolution of half an hour, called Hp30, and one hour, called Hp60. besides that, the Hpo index is not capped at 9 like Kp, but is an open ended index that describes the strongest geomagnetic storms more nuanced than the three-hourly Kp, which is limited to the maximum value of 9. Next to the Hpo we also provide the linear apo index (ap30 and ap60). The Hpo index was developed in the H2020 project SWAMI and is described in Yamazaki et al (2022).
Abstract The geomagnetic activity index Kp is widely used but is restricted by low time resolution (3-hourly) and an upper limit. To address this, new geomagnetic activity indices, Hpo, are introduced. Similar to Kp, Hpo expresses the level of planetary geomagnetic activity in units of thirds (0o, 0+, 1−, 1o, 1+, 2−, …) based on the magnitude of geomagnetic disturbances observed at subauroral observatories. Hpo has a higher time resolution than Kp. 30-min (Hp30) and 60-min (Hp60) indices are produced. The frequency distribution of Hpo is designed to be similar to that of Kp so that Hpo may be used as a higher time-resolution alternative to Kp. Unlike Kp, which is capped at 9o, Hpo is an open-ended index and thus can characterize severe geomagnetic storms more accurately. Hp30, Hp60 and corresponding linearly scaled ap30 and ap60 are available, in near real time, at the GFZ website (https://www.gfz-potsdam.de/en/hpo-index).
Key Points New Kp-like planetary geomagnetic activity indices, Hpo, are presented
Hourly (Hp60) and half-hourly (Hp30) indices are available from GFZ website
Hpo indices are open-ended without the upper limit at 9o
Plain Language Summary The geomagnetic activity index Kp is a measure of planetary geomagnetic activity, expressed in units of thirds (0o, 0+, 1−, 1o, 1+, 2−, …9o). Kp is widely used in the space physics community, as it is known to be a good proxy of the solar-wind energy input into the magnetosphere-ionosphere-thermosphere system. Kp has two important limitations. One is the temporal resolution. Kp is a three-hourly index, so that temporal features within 3 hr are not resolved. The other is the upper limit of the index. Kp does not exceed a maximum value of 9o, so that under extremely disturbed conditions, geomagnetic activity is not accurately represented. We introduce a group of new geomagnetic activity indices Hpo that overcomes these limitations. Hpo is designed to represent planetary geomagnetic activity in a similar way as Kp but with higher temporal resolution and without the upper limit at 9o. This paper describes the production of 30-min (Hp30) and 60-min (Hp60) indices, and demonstrates their properties in comparison with Kp. Hpo indices since 1995, including near-real-time values, are distributed through the GFZ website (https://www.gfz-potsdam.de/en/hpo-index).
1 Introduction Variations in the solar wind cause changes in electric currents that flow in the magnetosphere and ionosphere. The associated changes in the magnetic field can be observed using magnetometers on the ground. There exist various types of geomagnetic indices to monitor the intensity of geomagnetic disturbance associated with solar wind variations (Mayaud, 1980). The Kp index is one of the most widely used indices of geomagnetic activity. The derivation, application and historical background of Kp are detailed in Matzka, Stolle, et al. (2021), and thus are described here only briefly.
Kp is derived from K indices (Bartels et al., 1939) evaluated at 13 subauroral observatories from both northern and southern hemispheres. A K index expresses geomagnetic activity on a scale of 0–9 at each observatory for a given 3-hourly interval of the UT day (00–03, 03–06, …, 21–24 UT). It is based on the range of geomagnetic disturbance over the 3-hourly interval, which may contain geomagnetic pulsations (McPherron, 2005; Saito, 1969), bays associated with substorms (McPherron, 1970; Lyons, 1996), sudden storm commencements and sudden impulses (Araki, 1994), geomagnetic storm main phase (Gonzalez et al., 1994) and solar-flare and eclipse effects (Yamazaki & Maute, 2017). K is designed to have a similar frequency distribution regardless of observatory, and thus it does not depend on latitude. K indices are converted to standardized Ks indices, which take into account the influence of seasonal and UT biases. Kp is the average of the 13 Ks indices expressed in units of thirds (0o, 0+, 1−, 1o, 1+, 2−, …, 9o), thus it represents planetary, rather than local, geomagnetic activity. The complete time series of the definitive Kp index since 1932 and nowcast indices for the most recent hours are available from the Kp website at Deutsches GeoForschungsZentrum GFZ (https://www.gfz-potsdam.de/en/kp-index/) with a digital object identifier (DOI; Matzka, Bronkalla, et al., 2021). Real-time Kp forecasts (Shprits et al., 2019) based on solar wind data are also available from the GFZ website (https://spaceweather.gfz-potsdam.de/products-data/forecasts/kp-index-forecast).
The Kp index has a wide range of applications in space physics studies. For example, Kp can be used to select undisturbed data from the measurements obtained from the magnetosphere, ionosphere or thermosphere to determine their climatological base states (e.g., Drob et al., 2015; Fejer et al., 2008). Kp is also often used for modeling the geospace response to solar wind variations. Just to give a few examples, Kp is used to drive the 3-D Versatile Electron Radiation Belt model (Subbotin et al., 2011), the Whole Atmosphere Community Climate Model with thermosphere and ionosphere extension (WACCM-X; Liu et al., 2018) and the Naval Research Laboratory Mass Spectrometer Incoherent Scatter radar empirical atmospheric model (Emmert et al., 2021), among many other models of the magnetosphere, ionosphere and thermosphere. Thomsen (2004) argued that what makes Kp so useful is its sensitivity to the latitudinal distance from the Kp stations to the equatorial edge of auroral currents, which is tightly linked to the strength of magnetospheric convection.
Kp has two important limitations. One is the temporal resolution. Kp cannot resolve temporal features within 3 hr. For example, the onset of geomagnetic disturbance determined by Kp could be off from the actual onset by up to 3 hr. This could be an issue when Kp is used to drive a geospace model, because the state of the magnetosphere, ionosphere and thermosphere can change significantly within the 3-hr interval. As a compromise, some models use interpolated Kp values as input data, for example, thermospheric density models (Vallado & Finkleman, 2014), WACCM-X (Liu et al., 2018). The other limitation of Kp is its upper limit at 9o. Kp is not able to quantify geomagnetic activity after it reaches 9o. Extreme geomagnetic storms involving Kp = 9o are not necessarily equally strong in terms of geomagnetic disturbance. Extrapolated values of Kp above 9o are sometimes used for a better representation of geomagnetic activity during severe geomagnetic storms (e.g., Shprits et al., 2011).
The objective of this paper is to introduce a new group of Kp-like geomagnetic indices. The indices are collectively called Hpo, where “H” stands for half-hourly or hourly, “p” for planetary, and “o” for open-ended. Hpo has been conceived and developed under the EU Horizon 2020 project, Space Weather Atmosphere Model and Indices (SWAMI; Jackson et al., 2020). Hpo is designed to represent planetary geomagnetic activity in a similar manner as Kp but with higher time resolution and without an upper limit, to overcome the limitations of Kp described above. The derivation of 30-min (Hp30) and 60-min (Hp60) indices is outlined in Section 2, and their basic properties are described in Section 7.
2 Derivation of Hpo Hpo indices are derived using 1-min magnetic data from the same 13 subauroral observatories as Kp (see Section 2.2 of Matzka, Stolle, et al., 2021). Time series of Hpo starts from the year 1995, because 1-min digital data are not available from all the observatories before 1995. The procedure for deriving Hpo is similar to that for nowcast Kp described in Matzka, Stolle, et al. (2021), involving the steps described below.
2.1 Evaluation and Removal of Quiet Curve
Records of the geomagnetic field from a ground station contain regular quiet daily variation and geomagnetic disturbance (Chapman & Bartels, 1940). The estimation of the quiet curve for Hpo is based on the Finnish Meteorological Institute method (Sucksdorff et al., 1991), which uses 1-min data from the previous day, present day, and subsequent day. The quiet curve is obtained for the northward X and eastward Y components of the geomagnetic field, and subtracted from the corresponding data, which leaves geomagnetic disturbance.
2.2 Evaluation of the Magnitude of Geomagnetic Disturbance
The magnitude of geomagnetic disturbance is evaluated for every 30-min interval for Hp30 and 60-min interval for Hp60. For a given time interval, the range of geomagnetic disturbance (i.e., maximum minus minimum value) is compared with the maximum absolute value of geomagnetic disturbance, and the larger value of the two is adopted as the magnitude of geomagnetic disturbance. This contrasts with the derivation procedure for Kp, which always uses the range of geomagnetic disturbance. We found that this modification of the procedure improves the compatibility between Hpo and Kp. The magnitude of geomagnetic disturbance is obtained for the X and Y components, and the larger value is used in the next step.
2.3 Evaluation of H30 and H60 Indices
H30 and H60 indices are analogous to K indices for Kp, and are collectively called H herein. For the evaluation of K, an observatory-specific table is used for converting the magnitude of geomagnetic disturbance (in nT) to an integer K value (0–9). An example of the conversion table for the Niemegk observatory can be found in Table 1. New tables have been created for each observatory that convert the magnitude of geomagnetic disturbance to an H value (0–9). This was done, for each observatory, by generating a conversion table for H in such a manner that the frequency distribution of H is as similar as possible to the frequency distribution of K. The construction of the conversion tables for H is based on the geomagnetic data during 1995–2017, which were all the available data when the construction of Hpo was initiated. The conversion table for H30 and H60 for Niemegk is presented in Table 1. Furthermore, extended conversion tables are produced in order to allow H to go beyond 9. In the extended conversion tables, the maximum value of H is unlimited. The lower limit for H = 10 is given by the lower limit of H = 9 multiplied by a factor of 1.35. The lower limit of H = 11 is given by the lower limit of H = 10 multiplied by a factor of 1.30, and the lower limit of H = 12 is given by the lower limit of H = 11 multiplied by a factor of 1.20. For values of H greater than 12, the multiplication factor will be always 1.20, so that H can be defined no matter how large the magnitude of geomagnetic disturbance is. These multiplication factors were determined on a trial-and-error basis so that the behavior of the final Hpo index above 9o will be compatible with those of other open-ended indices (see Section 7).
Table 1. Lower Limits of H30, H60, and K for the Niemegk Observatory Index 0 1 2 3 4 5 6 7 8 9 H30 (nT) 0 2.16 4.46 8.89 17.9 33.9 65.7 119 190 267 H60 (nT) 0 2.97 6.11 12.1 24.3 44.7 82.7 144 218 337 K (nT) 0 5.00 10.0 20.0 40.0 70.0 120 200 330 500 2.4 Evaluation of Hp30 and Hp60 Indices
H indices are converted to standardized Hs indices using the same method for converting K to Ks. The conversion tables can be found in the Supporting Information of Matzka, Stolle, et al. (2021). The conversion of H to Hs minimizes the influence of seasonal and UT biases. Finally, the average of the 13 Hs indices is converted into Hpo values in units of thirds (0, 1/3, 2/3, 1, 4/3, 5/3, 2, …) in analog fashion as with the nowcast Kp (see Section 3.3 of Matzka, Stolle, et al., 2021) and expressed as (0o, 0+, 1−, 1o, 1+, 2−, …) following the convention for Kp. The Hpo value is derived using the H indices evaluated with the conversion tables capped at 9 (like the one shown in Table 1). If this initial Hpo value is 9o, all the H indices are re-evaluated using the extended conversion tables, in which H can go beyond 9, to re-calculate Hpo. This ensures that Hpo and Kp behave similarly up to 9− (and differently only at 9o and above).
Like Kp, Hpo indices are a quasi-logarithmic, rather than linear, measure of geomagnetic activity, and thus are not suitable for basic arithmetic operations such as addition and multiplication. To avoid this issue, linearly scaled ap30 and ap60 indices (collectively called apo) are produced for Hp30 and Hp60, respectively, by using the table that is used for producing ap from Kp (Matzka, Stolle, et al., 2021) but extending its higher end in a similar manner as the extension of H tables above 9. The relationship between Hpo and apo is illustrated in Figure 1a. Like ap, values of apo correspond to half the magnitude of geomagnetic disturbance at Niemegk.
Details are in the caption following the image Figure 1 Open in figure viewer PowerPoint (a) The relationship between Hpo and apo. (b–j) Frequency distributions of the occurrence of Kp, Hp60, and Hp30 values for different years. (k) Monthly mean values of ap, ap60, and ap30 during 1995–2020. The total sunspot number is also indicated.
Hp30 and Hp60, along with their corresponding ap30 and ap60, are archived since 1995 and available, in near real time, from the GFZ website (https://www.gfz-potsdam.de/en/hpo-index) with DOI (https://doi.org/10.5880/Hpo.0002) under the CC BY 4.0 license (Matzka et al., 2022, for data publication).
3 Some Properties of Hpo The frequency distributions of the occurrence of Hp30, Hp60, and Kp values are compared in Figures 1b–1j for every 3-year interval from 1995 to 2021. The distribution pattern of Kp is different in different solar cycle phases. For instance, during the solar minimum years 2007–2009 (Figure 1f) and 2019–2021 (Figure 1j), the occurrence rate of low Kp values (e.g., Kp ≤ 1o) is appreciably higher than during the solar maximum years 2001–2003 (Figure 1d) and 2013–2015 (Figure 1h). Hp30 and Hp60 reproduce different distribution patterns of Kp well, even for the later years not used in the construction of the conversion tables defining the H indices. The agreement of Hp30 and Hp60 with Kp during 2018–2021 (Figure 1j) suggests that the conversion tables for H indices are valid beyond the period 1995–2017.
The linearly scaled ap30 and ap60 indices are suitable for assessing average geomagnetic activity over a certain period. Monthly mean values of ap30 and ap60 are plotted in Figure 1k. They are in good agreement with monthly mean ap, showing 11-year solar-cycle variation. The sunspot number is also displayed in Figure 1k for comparison. Geomagnetic activity is known to be highest during the declining phase of solar cycle due to the effects of recurrent high speed solar wind streams (Lockwood et al., 1999).
In Figure 2, Hp30 (top), Hp60 (middle), and Kp (bottom) are compared with other geospace indices. The left panels show comparisons with Newell's coupling function (Newell et al., 2007), which is a measure of the energy input from the solar wind into the magnetosphere. The coupling function was derived using OMNI 5-min solar wind data (King & Papitashvili, 2005). Panels in the middle and right columns show comparisons with AE and PC indices, respectively. The AE index is a measure of auroral electrojet activity based on geomagnetic field measurements in the auroral region. The PC index represents geomagnetic activity in the polar region (Troshichev et al., 1988). Following Stauning (2007), the average of the PC indices from the northern (PCN) and southern (PCS) hemispheres were calculated using non-negative values. For comparisons with Hpo and Kp indices, 5-min solar wind data and 1-min AE and PC indices were averaged over every 30-min intervals. Hp60 and Kp are assumed to remain the same within their temporal windows. The solar wind data were shifted by 20 min to account for the delay due to energy transfer from the bow shock to the ionosphere (Manoj et al., 2008).
Details are in the caption following the image Figure 2 Open in figure viewer PowerPoint Dependence of (a–c) Hp30, (d–f) Hp60, and (g–i) Kp on (a, d, g) Newell's solar-wind coupling function, (b, e, h) AE index, and (c, f, i) PC index. For the PC index, the average of the northern (PCN) and southern (PCS) indices is used, considering only their positive values. In each panel, black dots indicate the average of the solar-wind coupling function, AE or PC index at each Hpo or Kp value (0o, 0+, 1−, …, 9−), with error bars representing the standard deviation and the green curve representing the best-fitting third-order polynomial function for Hpo or Kp below 9o. The gray dots in panels (a–f) are individual data points for Hpo ≥9o, and the yellow dot is their average value.
The solar-wind coupling function, AE and PC indices averaged at each value of Hpo and Kp from 0o to 9− are indicated in Figure 2 by black dots, with error bars representing the standard deviation. Curves in green show the best-fitting third-degree polynomial function for Hpo and Kp below 9o. The fitted curves for Hp30, Hp60, and Kp are similar to each other. The results suggest that for Hpo <9o, the dependence of Hp30 and Hp60 on the solar-wind coupling function, AE and PC indices is consistent with that of Kp. For Hpo ≥9o, the number of data points is rather small, and thus the average solar-wind coupling function, AE and PC indices were not calculated for each Hpo value. Instead, a single average value was derived using all the data corresponding to Hpo ≥9o (gray dots), which is indicated by the yellow dot in each panel of Figures 2a–2f. It is seen that the average value falls near the polynomial curve derived from the data for Hpo <9o. The results suggest that Hp30 and Hp60 can represent geomagnetic activity for Hpo ≥9o in the manner expected from their behavior for Hpo <9o.
The behavior of Hpo at its high end is further illustrated in Figure 3 based on five geomagnetic storm events. The selected geomagnetic storms are those in November 2003, March 2001, October 2003, November 2004, and July 2002, which are the five most intense geomagnetic storms during the period considered in this study (1995–2021) according to the minimum value of the Dst index. The left panels show time series of Hp30, Hp60, and Kp, as well as the Dst index, over a 7-day interval, in which the third day corresponds to the storm main phase. The temporal evolution of Kp is generally well captured by Hp30 and Hp60. Variations within 3 hr are seen in Hp30 and Hp60, which are not resolved by Kp. The maximum values of Hp30, Hp60, Kp, and the minimum value of Dst are (9−, 9−, 9−, and −422) for the November 2003 event, (10o, 10−, 9−, and −387) for the March 2001 event, (12−, 12−, 9o, and −383) for the October 2003 event, (11−, 9−, 9−, and −374) for the November 2004 event and (11o, 11o, 9o, and −300) for the July 2002 event. Thus, according to Hpo, the October 2003 event is the strongest among the five. Hpo ≥9o is seen mainly during the storm main phase, when the Dst index rapidly decreases. The right panels compare the 3-hourly mean of Hp30 (calculated from ap30) and Kp. The correlation is rather good; the correlation coefficient r is greater than 0.98 in all cases. Similarly good correlation is found for the comparison between 3-hourly mean of Hp60 and Kp (not shown here). These results suggest that Hpo can represent geomagnetic activity in a similar way as Kp even during the strongest geomagnetic storms.
Details are in the caption following the image Figure 3 Open in figure viewer PowerPoint (a, c, e, g, i) Time series of Kp, Hp60, Hp30, and Dst over a 7-day interval during strong geomagnetic storm events. Zero in the horizontal axis corresponds to 00 UT of the day with the storm main phase. (b, d, f, h, j) Comparison of Kp and three-hourly average of Hp30 during the strong geomagnetic storm events. The 3-hourly average of Hp30 is derived from the corresponding values of ap30. The correlation coefficient r is also indicated.
To provide some insight into variations of Hp30 and Hp60 within 3 hr, Figure 4 depicts the response of ap30, ap60, and ap to isolated substorms. The substorm onset list based on the technique described by Newell and Gjerloev (2011a) was obtained from the SuperMAG website (https://supermag.jhuapl.edu/). We selected isolated substorm events where there is no other substorm onset in the preceding 6 hr and following 12 hr. A total of 1947 isolated substorm events have been identified during 1995–2018. Figure 4a shows the variation of the AE index averaged over those substorm events. The average AE index peaks approximately 1 hr after the onset, and decays gradually to go back to the pre-onset level in 3–4 hr. The average ap30 and ap60 indices (Figures 4b and 4c) show the increase and decrease of geomagnetic activity that occur within 3 hr around the substorm onset. ap (Figure 4d) is not able to fully resolve such a short-term variation due to its low time resolution. The results suggest that variation of Hpo within 3 hr can contain physically meaningful information, which is not resolved by Kp.
Details are in the caption following the image Figure 4 Open in figure viewer PowerPoint Superposed epoch analysis of (a) AE, (b) ap30, (c) ap60, and (d) Kp over 1947 isolated substorm events identified during 1995–2018 based on the method of Newell and Gjerloev (2011a). Error bars represent the standard error of the mean. Zero in the horizontal axis corresponds to the substorm onset.
4 Summary and Outlook We have described a group of new open-ended geomagnetic activity indices Hpo. Hourly (Hp60) and half-hourly (Hp30) indices, along with their linearly scaled counterparts (ap30 and ap60), are available in near real time from the GFZ website (https://www.gfz-potsdam.de/en/hpo-index) with DOI (Matzka et al., 2022). Important properties of Hpo that are revealed by our initial analysis can be summarized as follows: The frequency distributions of the occurrence of Hp30 and Hp60 values are consistent with that of Kp at different phases of the solar cycle (Figures 1a–1i).
Month-to-month variations of Hp30 and Hp60 are consistent with that of Kp (Figure 1k).
The relationships between Hpo indices and Newell's solar wind coupling function, AE and PC indices are similar to those between Kp and these three quantities.
Hp30 and Hp60 can capture temporal variation of Kp during strong geomagnetic storm events (Figure 3).
Hp30 and Hp60 can reproduce short-term variation of geomagnetic activity within 3 hr associated with substorms (Figure 4).
These results demonstrate that Hpo can be used as a higher time-resolution alternative to Kp. Indeed, there are already a few studies that utilized Hpo for its advantage over Kp. Yamazaki et al. (2021) used Hp30 to select quiet-time measurements of the geomagnetic field from Swarm satellites. The orbital period of a Swarm satellite is approximately 90 min, thus using Hp30, geomagnetic activity can be evaluated for every one third of the orbit, while there is only one Kp value for every two orbits. The high-cadence output of Hpo enables a more accurate selection of quiet-time data than the three-hourly Kp index. Bruinsma and Boniface (2021) used Hp60 to drive a recent version of the Drag Temperature Model, DTM-2020, which is a semi-empirical model of the Earth's thermosphere, developed for orbit determination and prediction of spacecraft and debris. They showed that the use of Hpo leads to the improvement of the model compared with the predecessor model DTM-2013 (Bruinsma, 2015) that is driven by Kp. Similarly, Hpo may be used for improving other geospace models driven by Kp. Recalibration and validation are recommended when Hpo is used as an input for existing models that are parameterized with Kp.
submitted by devoid0101 to Heliobiology [link] [comments]


2024.05.11 08:43 CaptainMawii Skill ceiling for heavy is really low, huh?

Skill ceiling for heavy is really low, huh?
It's like my second time playing with the flame thrower. And I rarely play heavy. OP AF.
submitted by CaptainMawii to thefinals [link] [comments]


2024.05.11 08:04 Night_Fev3r @EbonyPrince2k24 backups, in case they're deleted.

@EbonyPrince2k24 backups, in case they're deleted.
CONTEXT & TL;DR:
An X / Twitter created May '24 posted a video that shows off the items from the ' meet the grahams' cover art.
The white Popular Jewelry receipt is physically blocked by a Nadine Ghosn card on the cover art. In a video posted by Ebony Prince, the blocked portion is revealed to be a link to a digital copy of the receipt. The digital receipt matches the details (prices and date) of the physical one, seemingly proving the items are not replicas.
The account seemingly wants to sell the items, but Drake/Akademiks claim of them being stolen has made this difficult. They are also taking Etherium (ETH, cryptocurrency) offers for a 30s security footage clip of Drake allegedly doing something bad.
They have publicly threated Drake/Akadmiks with legal action if they do not retract their theft accusations before "noon Monday 5/13/24" (time zone unknown, assumed NYC).
However, aside from the first video: they have not posted any proof to backup any of their claims. Every new post leads people to theorize on the alleged clues, but again they have not been backed with any proof.
That is where we currently are as of 5/12/24 06:30 PM PST.

THE TOO LONG / SEE FAQ BELOW BEFORE ASKING FOR CLARIFICATION
May 12 06:00 PM PST - I am still archiving their Twitter account continuously, I have every tweet plus attached media saved. Waiting to do an all-in one upload, or until they upload hard proof of anything like with the 'meet the graham' cover items.
PS: if mods unpin, they aren't censoring. Don't blame them for wanting to keep Kendrick's latest song pinned in addition to their usual daily discussion thread (reddit only allows two pinned posts per sub or one pinned comment per thread). This is supposed to be a music sub, not a conspiracy one.
View using new.reddit.com or the official mobile app to view captions under the media for reddit hosted content.
Disclaimer: to avoid breaking sitewide rules that would get this post/account deleted, I will not be listing any names/information of non-public persons. I will also attempt to keep this post objective and documentative, rather than speculative or conspiratorial. Notes are for clarity of misunderstood information.
Disclaimer: I am not a mod, they simply chose this post to pin/use as a megathread. reddit mods cannot edit titles or the content of this post; not trying to give them a hard time by adding theories to this, just reputably sourced information from articles, etc.
Content mirror includes:
  • Cropped screenshot of all Twitter posts.
  • Cropped screenshot of who they follow.
  • Unaltered files (including names) of X banner, profile picture and media content.
  • html of their X page.
Mirrors (warning without ad blockers these sites may have fake download links):
First two mirrors were removed. Probably due to high traffic or mass reporting. Google Drive deletes for both those reasons, too. Only includes raw Set 1 files. I am still saving their more recent posts, but will not bother uploading them until they post proof instead of vague text or this is all finished.
Timeline / reddit-hosted backups:
Set 1
X banner.
X profile picture.
First post at 3:35 PM · May 10, 2024 (PST)
https://twitter.com/EbonyPrince2k2 4/status/1789061624852013566

Second post at 4:07 PM · May 10, 2024 (PST)
https://twitter.com/EbonyPrince2k24/status/1789069835868967336

Third post at 5:38 PM · May 10, 2024 (PST)
https://twitter.com/EbonyPrince2k24/status/1789092657794371766
#1. King @kendricklamar is not a liar, and I am not a thief!
#2. Mr. Aubrey Graham (@Drake) & Mr. Livingston Allen (@Akademiks) have until noon Monday 5/13/24 to retract your claims of theft, or my attorney Ms. Adrienne Edward and I will exhaust every legal option available.
Fourth post at 6:25 PM · May 10, 2024 (PST)
https://twitter.com/EbonyPrince2k24/status/1789104508754162091
To Mr. Aubrey Graham (@Drake), may this photo help jog your memory as to where you discarded those items. The issue in the photo should also jog your memory. Jimmy Brooks would not have been proud of you that night...
Their liked posts.
Set 2
⚠ Sets 2 and newer are not accompanied by any proof. Keep a skeptical mind when viewing them. ⚠
4:56 AM · May 11, 2024 (PST)
https://twitter.com/EbonyPrince2k24/status/1789263365841277222?t=3_odEyHy03tbALd-ZLeZ-Q&s=19

5:17 AM · May 11, 2024 (PST)
https://twitter.com/EbonyPrince2k24/status/1789268486780281300?t=JcJibnBHQFh40Bb7j9FLWQ&s=19
5:37 AM · May 11, 2024 (PST)
https://twitter.com/EbonyPrince2k24/status/1789273689369796961?t=43y6rWVpC6VR1Q3lPzf1mQ&s=19
Set 3

11:33 AM · May 11, 2024 (PST)
https://twitter.com/EbonyPrince2k24/status/1789363298690912407
11:44 AM · May 11, 2024 (PST)
https://twitter.com/EbonyPrince2k24/status/1789365922064482533
Two Black American Men became unemployed at this exact moment. And you made an enemy...

12:09 PM · May 11, 2024 (PST)
https://twitter.com/EbonyPrince2k24/status/1789372362414022833
https://t.co/JwvxzUJlkT
What Nino Said???
Children of Harlem Stand Up!
P.S.: "We Don't Wanna Hear You Say Nigga No More"
Nor any of the rest of you foreign culture appropriating savages...

1:10 PM · May 11, 2024 (PST)
https://twitter.com/EbonyPrince2k24/status/1789387682155557175
How do we know you're "Not Like Us"???
We never come back after we curse out the service providers...

⚠ Important Information / FAQ ⚠
I'll update as more information is found by myself or others.
Video items in order of appearance
Notes:
The laptop is not the same as the one seen in J Cole's recent beach photo.
The Popular Jewelry online receipt is also non-itemized. The online receipt code was physically blocked by the Nadine Ghosn card in 'meet the grahams' cover art, seemingly proving the receipt and other items are not replicas. The purchaser is "Drew Ferguson" who was an OVO affiliate. Their current relationship is seemingly unknown.
Jimmy Brooks
Jimmy Brooks would not have been proud of you that night...
Jimmy Brooks is the name of the 'Degrassi: The Next Generation' character Aubrey (Drake) Graham played. Drake played was on the show from 2001-2009 for 145 episodes.
Notably the character Jimmy Brooks ends up wheelchair-bound.
Degrassi: The Next Generation (TV Series 2001–2015) - IMDb
Christopher Alvarez
The "baby" in the "stroller" is a disabled adult in a mobility wheelchair. Believed to be Christopher Alvarez, a NYC journalist who appeared in a viral video with DJ Khaled.
DJ Khaled Finds Friendship's the Key When It Comes to This Fan (tmz.com)
Christopher Alvarez, M. S. LinkedIn
Conflicting dates
Dates printed on the Popular Jewelry receipts are dated July 2023, while the security footage screenshot is timestamped January 2023. This on its own does not prove a hoax:
...may this photo help jog your memory as to where you discarded...
The post could be a visual hint directed at Drake and not a claim that Drake lost the 'meet the grahams' cover items on that specific date.
The Mark Hotel
The apparent CCTV footage shows Drake, Christopher Alvarez, and two currently unidentified men in the lobby of The Mark Hotel.
The still image of the footage is timestamped January 22, 2023 03:19:03 AM EDT (?).
The luxury hotel is in close proximity to the Apollo Theater and Barclays Center, where Drake performed during that month.
The Mark Hotel - Wikipedia
Kendrick Lamar NY penthouse
The video showing off Drake's items, as seen on the 'meet the grahams' cover, was allegedly taken from the same building as Kendrick Lamar's penthouse.
Initial rumors claim the view lines up exactly with Kendrick's penthouse room. The views do seem to line up with the building itself at the very least? See notes below.
Kendrick Lamar Buys a Penthouse on the Brooklyn Waterfront - The New York Times
Kendrick Lamar's Brooklyn Penthouse
Pierhouse at Brooklyn Bridge Park NYC Real Estate Brokerage
Notes:
The video from EbonyPrince2k24 matches a balcony from Harriet's Rooftop & Lounge.
Assuming the photos of Kendrick's penthouse are still accurate, the video from the post was not taken from there. The railing and floor of the balconies do not match.
The Pierhouse penthouse and Harriet's Lounge seemingly share the same building according to Google Maps. Or are at least two separate buildings that are physically connected.
The Historical House of Ebony
The first two X posts include a poster for a dance performance and a logo (?), both belonging the the titular house.
The poster comes from an Instagram post (November 19, 2023) by a performative "ballroom house" of the same name.
The House of Ebony was featured in an HBO Max show titled 'Legendary,' where multiple houses competed for a prize of USD$100,000. They placed 6th place. The connection to Drake or Kendrick Lamar is seemingly unknown.
Legendary (TV series) - Wikipedia)
The source of the logo image has zero results through Google Image reverse search or through TinEye reverse image search.
X banner and profile picture
The banner is seemingly a logo for the House of Ebony as discussed above.
The profile picture is an icon of the "African-American Flag."
African-American Flag - Wikipedia
submitted by Night_Fev3r to KendrickLamar [link] [comments]


2024.05.10 23:22 Lamorosii The K-Pop Index: COOL Edition (Artist Discovery & Discussion)

Hello Everyone!
Continuing with our journey through K-Pop history...we've come to our first ever mixed group! Maybe not the first in Korea's history, but in the sense of K-Pop? Pretty darn close! And on top of that? They are one of the longest lastest groups in the genre, overall. They debuted in 1994 and consistently released at least one album a year (8 tracks minimum) until 2006. They slowed down quite a bit after, releasing two more albums in 2008 and 2009. After that? Three singles over 6 years and have been pretty quiet ever since.
This group actually surprised me during this write-up. Their discography intimated me, as it's definitely one of the biggest ones I've tried to tackle. One of the main reasons I kind of avoided it. Fortunately, or unfortunately depending on how you look at it, it was pretty easy to do. Despite having quite the hefty amount of material to sift through, there is a SURPRISING lack of material for this group. I don't know if that's just how the group worked or if history preservation for this group was abysmal. You'll notice that near the end of their discography, there are little to no links except for the music. There just...isn't any. There are like...4 solid albums with no live performances, which strikes me as odd.
Regardless, this is a bit of a departure for the genre. In an era where K-Pop was still searching for it's identity, this particular group took a softer approach. A vast majority of their music I would classify as easy listening. They have exceptions, of course, but if you want more on the line of ballad/R&B? You'll probably like a lot of what they have to offer.
Any fans here? Anybody else wish mixed groups were a thing that people liked nowadays?
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
1st Korean Studio Album: The [Ku:l]
Release Date: July 10, 1994

Song Title Music Video Live Performance
1. The (Ku:l) Prologue -- --
2. 너이길 원했던 이유 Official Music Video KBS Performance
3. 사랑의 끝 -- --
4. 이젠 (R & B) -- --
5. 그냥 그런 이야기 -- --
6. 잊을 수 있어 -- Performance
7. 이젠 (Reggae) -- Performance
8. 자유속으로 -- --
9. AM0432 -- --
10. 이젠 (Inst.) -- --

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
2nd Korean Studio Album: The [Ku:l] II
Release Date: October 10, 1995

Song Title Music Video Live Performance
1. 프롤로그 -- --
2. 작은 기다림 Official Music Video MBC Performance
3. 나만의 자유 -- Performance
4. 슬퍼지려 하기 전에 -- MBC Performance
5. 너이길 원했던 이유 Ⅱ -- --
6. 나의 기도 -- --
7. 비밀의 연인 -- --
8. 이젠 -- --
9. 작은 기다림 (Inst.) -- --

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
3rd Korean Studio Album: Destined For The Best
Release Date: November 1, 1996

Song Title Music Video Live Performance
1. 루시퍼의 변명 -- MBC Performance
2. 운명 Official Music Video KBS Performance
3. 너의 집 앞에서 -- --
4. 현실+상상 -- --
5. 너의 지나간 사랑 -- --
6. 결별 -- --
7. 짧은 사랑 -- --
8. 지금까지 -- --
9. 슬퍼지려 하기 전에 -- Performance
10. 너의 집앞에서 (Inst.) -- --
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
1st Korean Special Album: Summer Story
Release Date: July 1, 1997

Song Title Music Video Live Performance
1. 해변의 여인 Official Music Video MBC Performance
2. 송인 -- MBC Performance
3. 있을때 잘해 -- --
4. 지금까지 -- --
5. 너의 지나간 사랑 -- --
6. 잊을수 있어 -- --
7. 진주 조개잡이 -- --
8. 슬퍼지려 하기 전에 -- --
9. 너의 집 앞에서 -- --
10. 해변의 여인 (Remix) -- --
11. 있을 때 잘해 (Remix) -- --
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
4th Korean Studio Album: Cool 4
Release Date: April 1, 1998

Song Title Music Video Live Performance
1. 그대 그리워지는 이밤에 -- Performance
2. 애상 Official Music Video Performance
3. 변명 Official Music Video Music Camp Performance
4. 영원한 비밀 -- --
5. 날아 날아 -- --
6. 클라멘타인 -- --
7. 북에서 온 민숙이 -- --
8. 친구가 연인이 되기까지 -- --
9. 또자 - 쿨쿨 -- KBS Performance
10. 오토리버스 -- --
11. 지난 슬픔 버리고 -- --
12. 북에서 온 민숙이 (Sam ver.) -- --
13. 한 장의 추억 -- --
14. 애상 (MR) -- --
15. 북에서 온 민숙이 (MR, Bonus Track) -- --
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
2nd Korean Special Album: Cool 4.5
Release Date: January 23, 1999

Song Title Music Video Live Performance
1. 슬퍼지려 하기전에 -- --
2. 십계 (십계명) Official Music Video Performance
3. 미절 (Misery) -- Performance
4. 날아 날아 (사브리나 보이스의 랩 인용) -- --
5. 나의 바램 -- --
6. 친구가 연인이 되기까지 -- --
7. 북에서 온 민숙이 -- --
8. 클레멘타인 -- --
9. 송인 -- --
10. 눈속의 여인 (해변의 여인 Remake) -- --
11. 애상 -- --
12. 약속 -- --
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
5th Korean Studio Album: 해석남녀
Release Date: April 25, 2000

Song Title Music Video Live Performance
1. Cool Night -- MBC Performance
2. Love Letter -- --
3. 해석남녀 Official Music Video SBS Performance
4. Skin Ship -- --
5. 5분전 -- --
6. 웨딩데이 -- --
7. 맥주와 땅콩 Official Music Video MBC Performance
8. 칼로리 -- --
9. 사랑의 이름으로 -- --
10. 비연 -- --
11. All For You -- --
12. 바람의 아들 -- --
13. 늦었음을 -- --
14. 매끈한 여자 -- --
15. All For You Guitar -- KBS Performance
16. 오랜 친구에게 -- --
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
6th Korean Studio Album: Cool 6ix
Release Date: July 5, 2001

Song Title Music Video Live Performance
1. 좋은 세상 만들기 -- --
2. Jumpo Mambo Official Music Video KBS Performance
3. 오래된 연인 -- --
4. 비밀 -- --
5. 이별로 배운 사랑 -- --
6. 소중한 사람아 -- --
7. 애구애구 -- --
8. 믿어? 믿어! -- Performance
9. -- KBS Performance
10. Queen Of The Night -- --
11. You & I -- --
12. 하늘로 쓰는 편지 -- --
13. 천사에게 -- --
14. Someday -- KBS Performance
15. Weekend -- --
16. 친구가 된다는 건 -- --
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
3rd Korean Special Album: First Whisper
Release Date: December 5, 2001

Song Title Music Video Live Performance
1. I Love You -- --
2. Tell Me Why -- --
3. White Christmas -- --
4. 아로하 Official Music Video Performance
5. 헤어지는 날 -- --
6. 그래서 행복합니다 Official Music Video --
7. 나의 바램 -- --
8. 소원 -- --
9. Love Again -- --
10. 하늘로 쓰는 편지 -- --
11. 아마 그댄 -- --
12. 웨딩전야 -- --
13. 그녀의 결혼식 -- --
14. 한장의 추억 -- --
15. 우리 이렇게 서로 스쳐 보내면 -- --
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
7th Korean Studio Album: Cool 7even
Release Date: July 4, 2002

Song Title Music Video Live Performance
1. Intro -- --
2. 짚신커풀 -- --
3. 숙아 Official Music Video Performance
4. Sad Cafe -- MBC Performance
5. 남과 여 -- --
6. 울보 -- --
7. 좋은사람 -- --
8. 진실 Official Music Video MBC Performance
9. 고백가 -- --
10. Cheat -- --
11. Blue Eyes -- --
12. 여우비 -- --
13. 헤어짐에 관한 짧은 필름 -- --
14. Any Time -- --
15. 첫사랑을 만나다 -- --
16. 나밖에 모르던 내가 -- --
17. 그대는 다르겠죠 -- --
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
4th Korean Special Album: Second Whisper
Release Date: December 12, 2002

Song Title Music Video Live Performance
1. 백설공주를 사랑한 일곱번째 난장이 Official Music Video --
2. 작년, 오늘 Official Music Video --
3. Sometimes -- --
4. If -- --
5. 산책 -- MBC Performance
6. 부디 -- --
7. 다시 -- --
8. This Song -- --
9. 청혼 -- --
10. 겨울이야기 -- --
11. 발자욱 -- --
12. 양치기 소년 -- --
13. 유리 공주 -- --
14. 작년 오늘 기차 -- --
15. 걱정이죠 Official Music Video --
16. Daring -- --
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
8th Korean Studio Album: COOL 8ight
Release Date: July 4, 2003

Song Title Music Video Live Performance
1. Cool Love -- Performance
2. One Summer Drive Official Music Video MBC Performance
3. 결혼을 할 거라면 Official Music Video MBC Performance
4. 못난이 -- --
5. 그대 행복을 빌어줄 순 없죠 -- --
6. 과거를 묻지 마세요 -- --
7. 바보야 -- --
8. 숟가락 두 개 -- --
9. 에덴의 동쪽 -- --
10. Beautiful People -- --
11. -- --
12. 2 Become 1 -- --
13. 섬집아기 -- --
14. 사랑 조리법 -- --
15. -- --
16. 괜찮아요 -- --
17. 추억이 오는 날 -- --
18. 못난이 (Guitar ver.) -- --
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5th Korean Special Album: Third Whisper
Release Date: December 17, 2003

Song Title Music Video Live Performance
1. Blue Moon -- --
2. 떠나야만 했나요? Official Music Video --
3. 나는 유죄다 -- --
4. 당신에게 일어날 수 있는 일 -- --
5. 설야 -- --
6. 별과 나 (Notting Hill) -- --
7. 그래요 난 -- --
8. 약속할게요 (Promise) -- --
9. 겨울잠 -- --
10. Again -- --
11. 괜찮을 것 같아 -- --
12. 소곡 -- --
13. Last Christmas -- --
14. 겨울여행 -- --
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9th Korean Studio Album: 9th Performance: Let‘s See What‘s Happening Now
Release Date: July 19, 2004

Song Title Music Video Live Performance
1. 친구찾기 Official Music Video --
2. Jingle Love Song (청춘에서 황혼까지) -- --
3. 사랑노래 -- --
4. 아가씨와 건달들 Official Music Video --
5. 그대, 20m, 나 -- --
6. Now I Know -- --
7. 5 땡 Q -- --
8. Turning -- --
9. 도시 바캉스 -- --
10. 등푸른 추억 -- --
11. Falling In Love -- --
12. 둘만의 비밀 -- --
13. 에게해에 지다 -- --
14. Solo -- --
15. 할 수 있는 건 -- --
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10th Korean Studio Album: Forever Cool 10th
Release Date: July 14, 2005

Song Title Music Video Live Performance
1. 이 여름 Summer Official Music Video --
2. 고백합시다 -- --
3. Sexy Summer Lady -- --
4. 애정의 조건 -- --
5. 너에게 가는 여행 -- --
6. 혼자인걸요 -- --
7. Goodbye (feat. MC 몽) -- --
8. 스트롱~맨 -- --
9. 널 잊는 날 -- --
10. 어머머 -- --
11. 널 잊는 연습 -- --
12. 단 하나의 둘 -- --
13. Promise -- --
14. The Fighter -- --
15. Friends -- --
16. 10 Years -- --
17. End... And -- --
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6th Korean Special Album: Never Ending Story
Release Date: July 6, 2006

Song Title Music Video Live Performance
1. 오늘 하루 Official Music Video MBC Performance
2. 잘한거죠 -- --
3. 헤어지자 -- --
4. 아내에게 -- --
5. 사랑합니다 -- --
6. 도시의 바캉스 -- --
7. 둘만의 비밀 -- --
8. 스트롱 맨 -- --
9. 단 하나의 사랑 -- --
10. Good-Bye -- --
11. 아가씨와 건달들 -- --
12. 등 푸른 추억 -- --
13. 잘한거죠 (Inst.) -- --
14. 헤어지자 (Inst.) -- --
15. 아내에게 (Inst.) -- --
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7th Korean Special Album: Cool Returns
Release Date: July 25, 2008

Song Title Music Video Live Performance
1. BPM 140 -- --
2. Dance Dance -- --
3. 이별을 견디는 몇가지 방법 - --
4. 첫사랑 -- --
5. 보고 싶은데 -- Performance
6. 사랑을 원해 Official Music Video MBC Performance
7. 서울 구경 -- --
8. 바보 -- --
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
11th Korean Studio Album: COOL 11
Release Date: July 20, 2009

Song Title Music Video Live Performance
1. 보고보고 Official Music Video MBC Performance
2. In Your Eyes -- Mnet Performance
3. Kiss -- --
4. Happy Time -- --
5. 신발 -- --
6. Blue Night -- Performance
7. 선물 -- --
8. 헤어지나요 -- --
9. 달콤한 거짓말 -- --
10. Summer Melody -- --
11. I'm So Cool -- --
12. 고고씽 -- --
13. In Your Eyes (Guitar ver.) -- --
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
1st Korean Single: 이별 앞에 서다
Release Date: August 2, 2013

Song Title
이별 앞에 서다
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2nd Korean Single: 한여름 밤의 고백
Release Date: July 21, 2015

Song Title
한여름 밤의 고백
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3rd Korean Single: 다 잘될 거야
Release Date: September 23, 2015

Song Title Music Video Live Performance
다 잘될 거야 Official Music Video --
submitted by Lamorosii to kpopnostalgia [link] [comments]


2024.05.10 23:17 Lamorosii The K-Pop Index: COOL Edition (Artist Discovery & Discussion)

Hello Everyone!
Continuing with our journey through K-Pop history...we've come to our first ever mixed group! Maybe not the first in Korea's history, but in the sense of K-Pop? Pretty darn close! And on top of that? They are one of the longest lasting groups in the genre, overall. They debuted in 1994 and consistently released at least one album a year (8 tracks minimum) until 2006. They slowed down quite a bit after, releasing two more albums in 2008 and 2009. After that? Three singles over 6 years and have been pretty quiet ever since.
This group actually surprised me during this write-up. Their discography intimated me, as it's definitely one of the biggest ones I've tried to tackle. One of the main reasons I kind of avoided it. Fortunately, or unfortunately depending on how you look at it, it was pretty easy to do. Despite having quite the hefty amount of material to sift through, there is a SURPRISING lack of material for this group. I don't know if that's just how the group worked or if history preservation for this group was abysmal. You'll notice that near the end of their discography, there are little to no links except for the music. There just...isn't any. There are like...4 solid albums with no live performances, which strikes me as odd.
Regardless, this is a bit of a departure for the genre. In an era where K-Pop was still searching for it's identity, this particular group took a softer approach. A vast majority of their music I would classify as easy listening. They have exceptions, of course, but if you want more on the line of ballad/R&B? You'll probably like a lot of what they have to offer.
Any fans here? Anybody else wish mixed groups were a thing that people liked nowadays?
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~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
1st Korean Studio Album: The [Ku:l]
Release Date: July 10, 1994

Song Title Music Video Live Performance
1. The (Ku:l) Prologue -- --
2. 너이길 원했던 이유 Official Music Video KBS Performance
3. 사랑의 끝 -- --
4. 이젠 (R & B) -- --
5. 그냥 그런 이야기 -- --
6. 잊을 수 있어 -- Performance
7. 이젠 (Reggae) -- Performance
8. 자유속으로 -- --
9. AM0432 -- --
10. 이젠 (Inst.) -- --

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2nd Korean Studio Album: The [Ku:l] II
Release Date: October 10, 1995

Song Title Music Video Live Performance
1. 프롤로그 -- --
2. 작은 기다림 Official Music Video MBC Performance
3. 나만의 자유 -- Performance
4. 슬퍼지려 하기 전에 -- MBC Performance
5. 너이길 원했던 이유 Ⅱ -- --
6. 나의 기도 -- --
7. 비밀의 연인 -- --
8. 이젠 -- --
9. 작은 기다림 (Inst.) -- --

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
3rd Korean Studio Album: Destined For The Best
Release Date: November 1, 1996

Song Title Music Video Live Performance
1. 루시퍼의 변명 -- MBC Performance
2. 운명 Official Music Video KBS Performance
3. 너의 집 앞에서 -- --
4. 현실+상상 -- --
5. 너의 지나간 사랑 -- --
6. 결별 -- --
7. 짧은 사랑 -- --
8. 지금까지 -- --
9. 슬퍼지려 하기 전에 -- Performance
10. 너의 집앞에서 (Inst.) -- --
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1st Korean Special Album: Summer Story
Release Date: July 1, 1997

Song Title Music Video Live Performance
1. 해변의 여인 Official Music Video MBC Performance
2. 송인 -- MBC Performance
3. 있을때 잘해 -- --
4. 지금까지 -- --
5. 너의 지나간 사랑 -- --
6. 잊을수 있어 -- --
7. 진주 조개잡이 -- --
8. 슬퍼지려 하기 전에 -- --
9. 너의 집 앞에서 -- --
10. 해변의 여인 (Remix) -- --
11. 있을 때 잘해 (Remix) -- --
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4th Korean Studio Album: Cool 4
Release Date: April 1, 1998

Song Title Music Video Live Performance
1. 그대 그리워지는 이밤에 -- Performance
2. 애상 Official Music Video Performance
3. 변명 Official Music Video Music Camp Performance
4. 영원한 비밀 -- --
5. 날아 날아 -- --
6. 클라멘타인 -- --
7. 북에서 온 민숙이 -- --
8. 친구가 연인이 되기까지 -- --
9. 또자 - 쿨쿨 -- KBS Performance
10. 오토리버스 -- --
11. 지난 슬픔 버리고 -- --
12. 북에서 온 민숙이 (Sam ver.) -- --
13. 한 장의 추억 -- --
14. 애상 (MR) -- --
15. 북에서 온 민숙이 (MR, Bonus Track) -- --
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
2nd Korean Special Album: Cool 4.5
Release Date: January 23, 1999

Song Title Music Video Live Performance
1. 슬퍼지려 하기전에 -- --
2. 십계 (십계명) Official Music Video Performance
3. 미절 (Misery) -- Performance
4. 날아 날아 (사브리나 보이스의 랩 인용) -- --
5. 나의 바램 -- --
6. 친구가 연인이 되기까지 -- --
7. 북에서 온 민숙이 -- --
8. 클레멘타인 -- --
9. 송인 -- --
10. 눈속의 여인 (해변의 여인 Remake) -- --
11. 애상 -- --
12. 약속 -- --
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5th Korean Studio Album: 해석남녀
Release Date: April 25, 2000

Song Title Music Video Live Performance
1. Cool Night -- MBC Performance
2. Love Letter -- --
3. 해석남녀 Official Music Video SBS Performance
4. Skin Ship -- --
5. 5분전 -- --
6. 웨딩데이 -- --
7. 맥주와 땅콩 Official Music Video MBC Performance
8. 칼로리 -- --
9. 사랑의 이름으로 -- --
10. 비연 -- --
11. All For You -- --
12. 바람의 아들 -- --
13. 늦었음을 -- --
14. 매끈한 여자 -- --
15. All For You Guitar -- KBS Performance
16. 오랜 친구에게 -- --
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6th Korean Studio Album: Cool 6ix
Release Date: July 5, 2001

Song Title Music Video Live Performance
1. 좋은 세상 만들기 -- --
2. Jumpo Mambo Official Music Video KBS Performance
3. 오래된 연인 -- --
4. 비밀 -- --
5. 이별로 배운 사랑 -- --
6. 소중한 사람아 -- --
7. 애구애구 -- --
8. 믿어? 믿어! -- Performance
9. -- KBS Performance
10. Queen Of The Night -- --
11. You & I -- --
12. 하늘로 쓰는 편지 -- --
13. 천사에게 -- --
14. Someday -- KBS Performance
15. Weekend -- --
16. 친구가 된다는 건 -- --
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3rd Korean Special Album: First Whisper
Release Date: December 5, 2001

Song Title Music Video Live Performance
1. I Love You -- --
2. Tell Me Why -- --
3. White Christmas -- --
4. 아로하 Official Music Video Performance
5. 헤어지는 날 -- --
6. 그래서 행복합니다 Official Music Video --
7. 나의 바램 -- --
8. 소원 -- --
9. Love Again -- --
10. 하늘로 쓰는 편지 -- --
11. 아마 그댄 -- --
12. 웨딩전야 -- --
13. 그녀의 결혼식 -- --
14. 한장의 추억 -- --
15. 우리 이렇게 서로 스쳐 보내면 -- --
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7th Korean Studio Album: Cool 7even
Release Date: July 4, 2002

Song Title Music Video Live Performance
1. Intro -- --
2. 짚신커풀 -- --
3. 숙아 Official Music Video Performance
4. Sad Cafe -- MBC Performance
5. 남과 여 -- --
6. 울보 -- --
7. 좋은사람 -- --
8. 진실 Official Music Video MBC Performance
9. 고백가 -- --
10. Cheat -- --
11. Blue Eyes -- --
12. 여우비 -- --
13. 헤어짐에 관한 짧은 필름 -- --
14. Any Time -- --
15. 첫사랑을 만나다 -- --
16. 나밖에 모르던 내가 -- --
17. 그대는 다르겠죠 -- --
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
4th Korean Special Album: Second Whisper
Release Date: December 12, 2002

Song Title Music Video Live Performance
1. 백설공주를 사랑한 일곱번째 난장이 Official Music Video --
2. 작년, 오늘 Official Music Video --
3. Sometimes -- --
4. If -- --
5. 산책 -- MBC Performance
6. 부디 -- --
7. 다시 -- --
8. This Song -- --
9. 청혼 -- --
10. 겨울이야기 -- --
11. 발자욱 -- --
12. 양치기 소년 -- --
13. 유리 공주 -- --
14. 작년 오늘 기차 -- --
15. 걱정이죠 Official Music Video --
16. Daring -- --
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
8th Korean Studio Album: COOL 8ight
Release Date: July 4, 2003

Song Title Music Video Live Performance
1. Cool Love -- Performance
2. One Summer Drive Official Music Video MBC Performance
3. 결혼을 할 거라면 Official Music Video MBC Performance
4. 못난이 -- --
5. 그대 행복을 빌어줄 순 없죠 -- --
6. 과거를 묻지 마세요 -- --
7. 바보야 -- --
8. 숟가락 두 개 -- --
9. 에덴의 동쪽 -- --
10. Beautiful People -- --
11. -- --
12. 2 Become 1 -- --
13. 섬집아기 -- --
14. 사랑 조리법 -- --
15. -- --
16. 괜찮아요 -- --
17. 추억이 오는 날 -- --
18. 못난이 (Guitar ver.) -- --
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
5th Korean Special Album: Third Whisper
Release Date: December 17, 2003

Song Title Music Video Live Performance
1. Blue Moon -- --
2. 떠나야만 했나요? Official Music Video --
3. 나는 유죄다 -- --
4. 당신에게 일어날 수 있는 일 -- --
5. 설야 -- --
6. 별과 나 (Notting Hill) -- --
7. 그래요 난 -- --
8. 약속할게요 (Promise) -- --
9. 겨울잠 -- --
10. Again -- --
11. 괜찮을 것 같아 -- --
12. 소곡 -- --
13. Last Christmas -- --
14. 겨울여행 -- --
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
9th Korean Studio Album: 9th Performance: Let‘s See What‘s Happening Now
Release Date: July 19, 2004

Song Title Music Video Live Performance
1. 친구찾기 Official Music Video --
2. Jingle Love Song (청춘에서 황혼까지) -- --
3. 사랑노래 -- --
4. 아가씨와 건달들 Official Music Video --
5. 그대, 20m, 나 -- --
6. Now I Know -- --
7. 5 땡 Q -- --
8. Turning -- --
9. 도시 바캉스 -- --
10. 등푸른 추억 -- --
11. Falling In Love -- --
12. 둘만의 비밀 -- --
13. 에게해에 지다 -- --
14. Solo -- --
15. 할 수 있는 건 -- --
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
10th Korean Studio Album: Forever Cool 10th
Release Date: July 14, 2005

Song Title Music Video Live Performance
1. 이 여름 Summer Official Music Video --
2. 고백합시다 -- --
3. Sexy Summer Lady -- --
4. 애정의 조건 -- --
5. 너에게 가는 여행 -- --
6. 혼자인걸요 -- --
7. Goodbye (feat. MC 몽) -- --
8. 스트롱~맨 -- --
9. 널 잊는 날 -- --
10. 어머머 -- --
11. 널 잊는 연습 -- --
12. 단 하나의 둘 -- --
13. Promise -- --
14. The Fighter -- --
15. Friends -- --
16. 10 Years -- --
17. End... And -- --
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
6th Korean Special Album: Never Ending Story
Release Date: July 6, 2006

Song Title Music Video Live Performance
1. 오늘 하루 Official Music Video MBC Performance
2. 잘한거죠 -- --
3. 헤어지자 -- --
4. 아내에게 -- --
5. 사랑합니다 -- --
6. 도시의 바캉스 -- --
7. 둘만의 비밀 -- --
8. 스트롱 맨 -- --
9. 단 하나의 사랑 -- --
10. Good-Bye -- --
11. 아가씨와 건달들 -- --
12. 등 푸른 추억 -- --
13. 잘한거죠 (Inst.) -- --
14. 헤어지자 (Inst.) -- --
15. 아내에게 (Inst.) -- --
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
7th Korean Special Album: Cool Returns
Release Date: July 25, 2008

Song Title Music Video Live Performance
1. BPM 140 -- --
2. Dance Dance -- --
3. 이별을 견디는 몇가지 방법 - --
4. 첫사랑 -- --
5. 보고 싶은데 -- Performance
6. 사랑을 원해 Official Music Video MBC Performance
7. 서울 구경 -- --
8. 바보 -- --
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
11th Korean Studio Album: COOL 11
Release Date: July 20, 2009

Song Title Music Video Live Performance
1. 보고보고 Official Music Video MBC Performance
2. In Your Eyes -- Mnet Performance
3. Kiss -- --
4. Happy Time -- --
5. 신발 -- --
6. Blue Night -- Performance
7. 선물 -- --
8. 헤어지나요 -- --
9. 달콤한 거짓말 -- --
10. Summer Melody -- --
11. I'm So Cool -- --
12. 고고씽 -- --
13. In Your Eyes (Guitar ver.) -- --
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
1st Korean Single: 이별 앞에 서다
Release Date: August 2, 2013

Song Title
이별 앞에 서다
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2nd Korean Single: 한여름 밤의 고백
Release Date: July 21, 2015

Song Title
한여름 밤의 고백
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
3rd Korean Single: 다 잘될 거야
Release Date: September 23, 2015

Song Title Music Video Live Performance
다 잘될 거야 Official Music Video --
submitted by Lamorosii to kpopthoughts [link] [comments]


2024.05.10 22:40 Lamorosii 쿨 (Cool)

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1st Korean Studio Album: The [Ku:l]
Release Date: July 10, 1994

Song Title Music Video Live Performance
1. The (Ku:l) Prologue -- --
2. 너이길 원했던 이유 Official Music Video KBS Performance
3. 사랑의 끝 -- --
4. 이젠 (R & B) -- --
5. 그냥 그런 이야기 -- --
6. 잊을 수 있어 -- Performance
7. 이젠 (Reggae) -- Performance
8. 자유속으로 -- --
9. AM0432 -- --
10. 이젠 (Inst.) -- --

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
2nd Korean Studio Album: The [Ku:l] II
Release Date: October 10, 1995

Song Title Music Video Live Performance
1. 프롤로그 -- --
2. 작은 기다림 Official Music Video MBC Performance
3. 나만의 자유 -- Performance
4. 슬퍼지려 하기 전에 -- MBC Performance
5. 너이길 원했던 이유 Ⅱ -- --
6. 나의 기도 -- --
7. 비밀의 연인 -- --
8. 이젠 -- --
9. 작은 기다림 (Inst.) -- --

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
3rd Korean Studio Album: Destined For The Best
Release Date: November 1, 1996

Song Title Music Video Live Performance
1. 루시퍼의 변명 -- MBC Performance
2. 운명 Official Music Video KBS Performance
3. 너의 집 앞에서 -- --
4. 현실+상상 -- --
5. 너의 지나간 사랑 -- --
6. 결별 -- --
7. 짧은 사랑 -- --
8. 지금까지 -- --
9. 슬퍼지려 하기 전에 -- Performance
10. 너의 집앞에서 (Inst.) -- --
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
1st Korean Special Album: Summer Story
Release Date: July 1, 1997

Song Title Music Video Live Performance
1. 해변의 여인 Official Music Video MBC Performance
2. 송인 -- MBC Performance
3. 있을때 잘해 -- --
4. 지금까지 -- --
5. 너의 지나간 사랑 -- --
6. 잊을수 있어 -- --
7. 진주 조개잡이 -- --
8. 슬퍼지려 하기 전에 -- --
9. 너의 집 앞에서 -- --
10. 해변의 여인 (Remix) -- --
11. 있을 때 잘해 (Remix) -- --
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
4th Korean Studio Album: Cool 4
Release Date: April 1, 1998

Song Title Music Video Live Performance
1. 그대 그리워지는 이밤에 -- Performance
2. 애상 Official Music Video Performance
3. 변명 Official Music Video Music Camp Performance
4. 영원한 비밀 -- --
5. 날아 날아 -- --
6. 클라멘타인 -- --
7. 북에서 온 민숙이 -- --
8. 친구가 연인이 되기까지 -- --
9. 또자 - 쿨쿨 -- KBS Performance
10. 오토리버스 -- --
11. 지난 슬픔 버리고 -- --
12. 북에서 온 민숙이 (Sam ver.) -- --
13. 한 장의 추억 -- --
14. 애상 (MR) -- --
15. 북에서 온 민숙이 (MR, Bonus Track) -- --
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
2nd Korean Special Album: Cool 4.5
Release Date: January 23, 1999

Song Title Music Video Live Performance
1. 슬퍼지려 하기전에 -- --
2. 십계 (십계명) Official Music Video Performance
3. 미절 (Misery) -- Performance
4. 날아 날아 (사브리나 보이스의 랩 인용) -- --
5. 나의 바램 -- --
6. 친구가 연인이 되기까지 -- --
7. 북에서 온 민숙이 -- --
8. 클레멘타인 -- --
9. 송인 -- --
10. 눈속의 여인 (해변의 여인 Remake) -- --
11. 애상 -- --
12. 약속 -- --
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
5th Korean Studio Album: 해석남녀
Release Date: April 25, 2000

Song Title Music Video Live Performance
1. Cool Night -- MBC Performance
2. Love Letter -- --
3. 해석남녀 Official Music Video SBS Performance
4. Skin Ship -- --
5. 5분전 -- --
6. 웨딩데이 -- --
7. 맥주와 땅콩 Official Music Video MBC Performance
8. 칼로리 -- --
9. 사랑의 이름으로 -- --
10. 비연 -- --
11. All For You -- --
12. 바람의 아들 -- --
13. 늦었음을 -- --
14. 매끈한 여자 -- --
15. All For You Guitar -- KBS Performance
16. 오랜 친구에게 -- --
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
6th Korean Studio Album: Cool 6ix
Release Date: July 5, 2001

Song Title Music Video Live Performance
1. 좋은 세상 만들기 -- --
2. Jumpo Mambo Official Music Video KBS Performance
3. 오래된 연인 -- --
4. 비밀 -- --
5. 이별로 배운 사랑 -- --
6. 소중한 사람아 -- --
7. 애구애구 -- --
8. 믿어? 믿어! -- Performance
9. -- KBS Performance
10. Queen Of The Night -- --
11. You & I -- --
12. 하늘로 쓰는 편지 -- --
13. 천사에게 -- --
14. Someday -- KBS Performance
15. Weekend -- --
16. 친구가 된다는 건 -- --
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
3rd Korean Special Album: First Whisper
Release Date: December 5, 2001

Song Title Music Video Live Performance
1. I Love You -- --
2. Tell Me Why -- --
3. White Christmas -- --
4. 아로하 Official Music Video Performance
5. 헤어지는 날 -- --
6. 그래서 행복합니다 Official Music Video --
7. 나의 바램 -- --
8. 소원 -- --
9. Love Again -- --
10. 하늘로 쓰는 편지 -- --
11. 아마 그댄 -- --
12. 웨딩전야 -- --
13. 그녀의 결혼식 -- --
14. 한장의 추억 -- --
15. 우리 이렇게 서로 스쳐 보내면 -- --
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
7th Korean Studio Album: Cool 7even
Release Date: July 4, 2002

Song Title Music Video Live Performance
1. Intro -- --
2. 짚신커풀 -- --
3. 숙아 Official Music Video Performance
4. Sad Cafe -- MBC Performance
5. 남과 여 -- --
6. 울보 -- --
7. 좋은사람 -- --
8. 진실 Official Music Video MBC Performance
9. 고백가 -- --
10. Cheat -- --
11. Blue Eyes -- --
12. 여우비 -- --
13. 헤어짐에 관한 짧은 필름 -- --
14. Any Time -- --
15. 첫사랑을 만나다 -- --
16. 나밖에 모르던 내가 -- --
17. 그대는 다르겠죠 -- --
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
4th Korean Special Album: Second Whisper
Release Date: December 12, 2002

Song Title Music Video Live Performance
1. 백설공주를 사랑한 일곱번째 난장이 Official Music Video --
2. 작년, 오늘 Official Music Video --
3. Sometimes -- --
4. If -- --
5. 산책 -- MBC Performance
6. 부디 -- --
7. 다시 -- --
8. This Song -- --
9. 청혼 -- --
10. 겨울이야기 -- --
11. 발자욱 -- --
12. 양치기 소년 -- --
13. 유리 공주 -- --
14. 작년 오늘 기차 -- --
15. 걱정이죠 Official Music Video --
16. Daring -- --
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
8th Korean Studio Album: COOL 8ight
Release Date: July 4, 2003

Song Title Music Video Live Performance
1. Cool Love -- Performance
2. One Summer Drive Official Music Video MBC Performance
3. 결혼을 할 거라면 Official Music Video MBC Performance
4. 못난이 -- --
5. 그대 행복을 빌어줄 순 없죠 -- --
6. 과거를 묻지 마세요 -- --
7. 바보야 -- --
8. 숟가락 두 개 -- --
9. 에덴의 동쪽 -- --
10. Beautiful People -- --
11. -- --
12. 2 Become 1 -- --
13. 섬집아기 -- --
14. 사랑 조리법 -- --
15. -- --
16. 괜찮아요 -- --
17. 추억이 오는 날 -- --
18. 못난이 (Guitar ver.) -- --
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
5th Korean Special Album: Third Whisper
Release Date: December 17, 2003

Song Title Music Video Live Performance
1. Blue Moon -- --
2. 떠나야만 했나요? Official Music Video --
3. 나는 유죄다 -- --
4. 당신에게 일어날 수 있는 일 -- --
5. 설야 -- --
6. 별과 나 (Notting Hill) -- --
7. 그래요 난 -- --
8. 약속할게요 (Promise) -- --
9. 겨울잠 -- --
10. Again -- --
11. 괜찮을 것 같아 -- --
12. 소곡 -- --
13. Last Christmas -- --
14. 겨울여행 -- --
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
9th Korean Studio Album: 9th Performance: Let‘s See What‘s Happening Now
Release Date: July 19, 2004

Song Title Music Video Live Performance
1. 친구찾기 Official Music Video --
2. Jingle Love Song (청춘에서 황혼까지) -- --
3. 사랑노래 -- --
4. 아가씨와 건달들 Official Music Video --
5. 그대, 20m, 나 -- --
6. Now I Know -- --
7. 5 땡 Q -- --
8. Turning -- --
9. 도시 바캉스 -- --
10. 등푸른 추억 -- --
11. Falling In Love -- --
12. 둘만의 비밀 -- --
13. 에게해에 지다 -- --
14. Solo -- --
15. 할 수 있는 건 -- --
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
10th Korean Studio Album: Forever Cool 10th
Release Date: July 14, 2005

Song Title Music Video Live Performance
1. 이 여름 Summer Official Music Video --
2. 고백합시다 -- --
3. Sexy Summer Lady -- --
4. 애정의 조건 -- --
5. 너에게 가는 여행 -- --
6. 혼자인걸요 -- --
7. Goodbye (feat. MC 몽) -- --
8. 스트롱~맨 -- --
9. 널 잊는 날 -- --
10. 어머머 -- --
11. 널 잊는 연습 -- --
12. 단 하나의 둘 -- --
13. Promise -- --
14. The Fighter -- --
15. Friends -- --
16. 10 Years -- --
17. End... And -- --
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
6th Korean Special Album: Never Ending Story
Release Date: July 6, 2006

Song Title Music Video Live Performance
1. 오늘 하루 Official Music Video MBC Performance
2. 잘한거죠 -- --
3. 헤어지자 -- --
4. 아내에게 -- --
5. 사랑합니다 -- --
6. 도시의 바캉스 -- --
7. 둘만의 비밀 -- --
8. 스트롱 맨 -- --
9. 단 하나의 사랑 -- --
10. Good-Bye -- --
11. 아가씨와 건달들 -- --
12. 등 푸른 추억 -- --
13. 잘한거죠 (Inst.) -- --
14. 헤어지자 (Inst.) -- --
15. 아내에게 (Inst.) -- --
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
7th Korean Special Album: Cool Returns
Release Date: July 25, 2008

Song Title Music Video Live Performance
1. BPM 140 -- --
2. Dance Dance -- --
3. 이별을 견디는 몇가지 방법 - --
4. 첫사랑 -- --
5. 보고 싶은데 -- Performance
6. 사랑을 원해 Official Music Video MBC Performance
7. 서울 구경 -- --
8. 바보 -- --
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
11th Korean Studio Album: COOL 11
Release Date: July 20, 2009

Song Title Music Video Live Performance
1. 보고보고 Official Music Video MBC Performance
2. In Your Eyes -- Mnet Performance
3. Kiss -- --
4. Happy Time -- --
5. 신발 -- --
6. Blue Night -- Performance
7. 선물 -- --
8. 헤어지나요 -- --
9. 달콤한 거짓말 -- --
10. Summer Melody -- --
11. I'm So Cool -- --
12. 고고씽 -- --
13. In Your Eyes (Guitar ver.) -- --
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
1st Korean Single: 이별 앞에 서다
Release Date: August 2, 2013

Song Title
이별 앞에 서다
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
2nd Korean Single: 한여름 밤의 고백
Release Date: July 21, 2015

Song Title
한여름 밤의 고백
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
3rd Korean Single: 다 잘될 거야
Release Date: September 23, 2015

Song Title Music Video Live Performance
다 잘될 거야 Official Music Video --
submitted by Lamorosii to TheKPopIndex [link] [comments]


2024.05.10 10:23 stlatos Sound Changes in Sanskrit Mārtāṇḍá- / Átri- and arvīṣa- / ṛbī́sa- ‘volcano’ based on myths

https://www.academia.edu/118834217

Summarizing the sound changes within:

Átri was also ejected from his mother (Speech) early, descended alone, and had a second birth from a pit in the earth (Houben 2010), of a type said to be hot (Śrauta-Sūtras). He was saved from this pit by the Aśvins (likely given strengthening food (offerings to the gods, as usual) and insulated in snow (to protect him from the heat or to allow him to exit?, possibly analogous to the idea that the womb protected embryos from the mother’s stomach)). In another myth, Átri saved the sun. These seem to show that Átri was a name for Mārtāṇḍa, or both Sun Gods with the same myths told of them. If so, the unclear etymology of Átri-would be ‘fiery? / Sun?’, from PIE *HaHter-s > Av. ātar-š ‘fire’, Skt. athr-, L. āter ‘*burnt > black/somber’. If *-Htr- > -thr- was regular in Skt., then -tr- here would be analogy from the nominative.

The hot pit in the earth he was born from would then be a volcano, it was called arvīṣa- / ṛbī́sa- in Sanskrit, which has been seen by some as a non-IE loan (Kuiper) due to its apparently unnatural form. However, many native words in the Rig Veda also have alternation (for whatever reason), and based on the words for ‘volcano’ as ‘fire-mouth(ed)’ in later Indic (Hindi jvālāmukhī), the same type of compound would explain arvīṣa- as aruṣá- ‘red / fire-colored / glowing /sun / etc.’ + ās(án)- ‘mouth / face’ (either with dissimilation of ṣ-s > 0-ṣ or with later Skt. aru- ‘sun’). Since Skt. ās- came from PIE *HoHs- (L. ōs, ON óss ‘river mouth’), *-HHs(o)- > -īṣa- would appear in compounds, with many C- or n-stems > o-stems (Whalen 2024b). Since *-H- > -i-, it makes sense that *-HH- > -ī-. The alternation arvīṣa- / ṛbī́sa- needs to be explained whatever its origin, and either Middle Indic contamination or ṛbī́sa was borrowed from a related IIr. language that underwent the same changes (if one group not near volcanoes at the time). This would include the common merger of s / ṣ / ś, v / b, a > ǝ. Together:

*
aru- + ās- < *HaHs-
aru+HHsó-
aru+īsó-
arv+īsó-
arvīṣa-

or

*
aruṣá- + ās- < *HaHs-
aruṣ+HHsó-
aruṣ+īṣó-
aru+īṣó- dissimilation
arv+īṣó-
arvīṣa-

Skt. mārtāṇḍá- meant ‘mortal / man’ (Norelius) and was opposed to cows in a hymn. This would then be a very simple and generic name for the mythic ancestor of humanity. From this alone, since of his brother Garuḍá- / Garútmant- only Garútmant- has understandable IE cognates, it is likely contamination of a pair (like L. levis & gravis > *grevis) caused Garútmant- > *Garutāṇḍá- (if dissimilation of T-T occurred) or directly to Garuḍá- (depending on how extensive the original analogy was). Still, this depends on finding an origin for mārtāṇḍá- to be certain.

If Mārtāṇḍá- was equivalent to Av. Gaya- Marǝtan-, whose story is very close to Mārtāṇḍá’s (Norelius 2020), could both their names be derived from a common source? IIr. *marta- ‘mortal’ (Skt. márta-s, Av. maša-, G. mortós / brotós << PIE *mer(H)- ‘die’) might have formed a compound *marta-Hnar- ‘mortal man’ ( < *H2ner- ‘strong? / brave? / warrior / man’). In this case, dissimilation of r-r in the strong stem would create *marta-Hnar- > *marta-Hna-, in the weak stem before C *marta-Hnr̥- > *marta-Hn- / *marta:n-, & in the weak stem before V possibly *marta-Hnr- > *marta:nr- > *marta:ndr- > *marta:nd-. With this, *marta-Hn- / *marta:n- > Marǝtan- (with either *marta:n- becoming nom. *marta:n with analogy or metathesis of *H (as in Kümmel)). Since loss of *r / *l occasionally causes retroflexion in Skt., I see no problem in *marta:ndr- producing a vrddhi adj. *ma:rta:ndrá- becoming Mārtāṇḍá- (possibly with meaning ‘a mortal’ >> ‘mortal / man / (family) of mortals / the father of the line of men’).

Choke & Machoke (A. ṭṣ(h)oók & maṭṣoók) were 2 brothers (or father & son) who founded villages in Ashrit. According to local history (Liljegren 2009: 54-55), Choke son of Machoke was the ancestor of the (Palula/Achareta-speaking) people of Ashrit. There are different versions. According to Ahmad Saeed (Decker 1992: 71-72), they came from Chilas on the Indus River, lost a bid for leadership of their tribe, and they and their followers went west. According to documentation by Dr. Inayatullah Faizi (Liljegren 2009: 55), Choke was one of 3 brothers, the eldest of whom disputed his rule and was the winner of the power struggle; he sent (or forced) his younger brothers Choke & Machoke away (they parted along their travel). Choke gained control of the Ashrit Valley; the legend tells of several battles with the Kalasha. This resembles Zeus, Poseidon, and Hades (Zeus was usually called the youngest) dividing the rule of the world into Land, Sea, and Underworld, or the 3 founding Scythian brothers, only one of whom, Kolá-xaï-s ‘lord of the sun’, was worthy of the golden cup that came from the sky; his brothers Arpó-xaï-s ‘lord of water / lord of the deep’ & Lipó-xaï-s ‘lord of the earth’ also resemble this threefold division (Whalen 2024c).

These names do not seem historical and there were also, “two villages, Awi and Riri in Oveer in northern Chitral, inhabited by descendants of Kachote, whose tale is very similar to that of Choke and Machoke” (Decker 1992: 72). That they were only legendary might be seen in Dooshi & Kanooshi / dúuši & kaṇúuši. According to a story by an old man from Puri (Liljegren 2009: 56), 2 brothers founded the village; they came (via Dogdarra in Dir Kohistan) from a place called dangeri phurúṛi (in Tangir Valley), which probably is the same as Phurori (shown on some maps). Their names are clearly related to Nuristani ‘older’ & ‘younger’ (Skt. kániṣṭha-, jyéṣṭha- ‘1st/chief / eldest brother’, Ni. düṣṭö´ ‘elder’). These might show a modern outcome (though analogy has changed both to end in -oke, as *Yemos > Remus with R-) of *martya-s. The variants Dk. Machun (in Hunza) & Dishil (in Nagar) would be from *ma(r)tya:n (very similar to Av. Marǝtan-). I do not know the origin of -il, but it’s possible that some language had jyéṣṭha- > *dyéṣṭha- > *dyéṣḷha- or that it is from yet another analogy (in a language in which kániṣṭha- had r \ l and metathesis, lik Kt. křaštá but > *kaštil or the like). Maybe with cognates:

IIr. *martya-s > OP martiya-, Av. mašya- ‘man’, Kh. móš ‘human’, Dm. mač, *mæhčæ > Ka. mííš (`)
A. maṭṣoók ‘Machoke’, Machun

*k^euk- >> Skt. śóka-s ‘light /flame’
A. ṭṣ(h)oók ‘Choke’

For source of retro., compare Skt. śukrá- ‘white / pure’, Rom. šukar ‘beautiful’, Av. suxra- ‘luminous (of fire)’, *indra-ćukra- > Kalasha indóčik ‘lightning’. Others like Skt. šúcyati ‘shine / glare / burn’, śocyate ‘be purified’, Ben. chũci ‘ceremonial cleanliness’, B. šucO ‘pure’, Ks. ṣìṭṣ ‘clean’ show various (apparently irregular outcomes). Since Ks. ṣìṭṣ has no clear *-r-, maybe some š / ṣ alternation existed (also in Skt. kṣ : Dardic č(h) / ṭṣ(h)). If metathesis in *k^(e)uk-ro- > *ćr(a)uka- existed, it might spread by analogy, but I think this is unlikely. Together, these could again be from words for ‘man’ and ‘sun / bright’. Though only one set might resemble these by chance, 2 makes the theory more likely.


Decker, Kendall D. (1992) Languages of Chitral. Sociolinguistic Survey of Northern Pakistan, Volume 5

Houben, Jan E. M. (2010) Structures, Events and Ritual Practice in the Rg-Veda: The Gharma and Atri's Rescue by the Aśvins
https://www.academia.edu/37664186

Kümmel, Martin Joachim (2014) The development of laryngeals in Indo-Iranian
https://www.academia.edu/9352535

Liljegren, Henrik (2009) The Dangari tongue of Choke and Machoke: Tracing the proto-language of Shina enclaves in the Hindu Kush
https://www.academia.edu/3849218

Norelius, Per-Johan (2020) The divine miscarriage: Mārtāṇḍa, the sun, and the birth of mankind
https://www.academia.edu/98068042

Whalen, Sean (2023a) Indo-European Divine Twins
https://www.reddit.com/mythology/comments/10op7nj/indoeuropean_divine_twins/

Whalen, Sean (2023b) Greek part-animal gods and heroes
https://www.reddit.com/mythology/comments/10szo9s/greek_partanimal_gods_and_heroes/

Whalen, Sean (2023c) Peter Zoller and the Serpentine Spirits
https://www.reddit.com/mythology/comments/12vnln1/peter_zoller_and_the_serpentine_spirits/

Whalen, Sean (2024a) Gandharvá-s & Kéntauros, Váruṇa-s & Ouranós
https://www.academia.edu/115937304

Whalen, Sean (2024b) Indo-Iranian *mn > *ṽn > mm / nn, *Cmn > *Cṽn > Cn / Cm, Indo-European adjectives in -no- and -mo- (Draft)
https://www.academia.edu/118736225

Whalen, Sean (2024c) Reclassification of North Picene (Draft)
https://www.academia.edu/116163380

https://en.wikipedia.org/wiki/Puy_de_D%C3%B4me

submitted by stlatos to HistoricalLinguistics [link] [comments]


2024.05.08 18:35 Bennoelman Those Dutch Drugs are going hard

Those Dutch Drugs are going hard submitted by Bennoelman to eu4 [link] [comments]


2024.05.08 08:52 stlatos Indo-Iranian *mn > *ṽn > mm / nn

https://www.academia.edu/118736225
Many linguists think that IE adj. in -no- and -mo- all came from *-mno-, derived from nouns in *-m(o)n-. One collection of related ideas (Nikolaev 2021) is, in part:

  1. IIr. nouns in -man- show *CmnV > CmV / CnV by regular sound change (drāghmán- ‘length’, ins. drāghmā́)

  1. whether -m- or -n- appears does not have clear cause (Nikolaev argues against a labial in the root being responsible)

  1. when a m(V)n-stem is the second part of a compound, it becomes mo-stems (kárman- ‘work’, vīrá-karma- ‘whose deeds are manly’)

  1. several of these are seen outside IIr., though not clear in some branches (G. spérma > áspermos ‘seedless’)

  1. it is not regular for the 1st part of a compound to show the same n-loss, but analogy caused it in both (G. akmó-theton ‘anvil post’)

  1. other n-stem words show the same, even when not mVn-, likely analogy or a related sound change (Skt. ukṣán- > mahokṣa- ‘large bull’)

  1. these changes depend on tone: *Cmnó > Cmá / Cná, *Cmno > *Cṃno > Cana (*wésṃno- > Skt. vásana- ‘clothes’, G. éanos)

There are problems with most parts. Though many apparent counterexamples could be due to analogy, they add up. On the whole, the existence of nouns in -o-, -on-, -mon-, -non-, -mo-, -no-, etc., seems likely to be produced by original o-stems that produced derivatives that were n-stems; some happened to contain *-mo-, thus make *-mon-, not the other way around. Just like any other noun, mon-stems might have formed derivatives in *-mno- (a few likely examples below), but saying they are the source of so many words in -no- and -mo- is not reasonable, especially with little evidence and no set of regular changes that can account for all data. Also, -to-, -ton-, -ko-, -kon-, etc., do not seem likely to be produced by original *-T-m(o)n-. That this is both clear and not claimed by proponents of *-mon- > -mo- / -no- removes any theoretical need.

Nikolaev’s examples contain *-imno- > -na- (*praHimán- > Skt. premán- ‘love / affection’, ins. preṇā́), though if *ymno counted *y as a C, it would not matter much. However, since he also has *bhuHmn- > bhū́man- ‘world’, ins. bhūnā́, the timing makes it less likely that these happened at a stage that could be interpreted as *praHimán- = *praHymán-. Also, adj. in -no- and -mo- appear after V’s, both -ino- and -imo exist with no special meaning, and all could come from *-imHo- / *-iHmo- (L. maritimus, opīmus, etc.) with optional *mH > *nH (remember that supposed *Cmno > Cmá / Cná is also not regular, and there is no way to avoid this). Some examples of IE words with -(i)no-:

PIE *peyH1- (Skt. páyate ‘swell’, pī́van- ‘fat’) supposedly created *poH1mo- > L. pōmum ‘fruit’, but instead *poH1imo- is needed, since cognates show both *o: and *o(:)i (the god(esse)s Pōmōna, Pōmōnus,Vestinian Poimun- (Poimunien ‘in Pomonium?’), Umbrian *Pōimōno- > Puemune). This is not likely a result of only this word happening to have an uncommon suffix *-imo-, but that *poH1imo- / *poH1mo- shows that the loss of *-i- was happening at the same time as the loss of *H, leading to either *-oi- or *-oH-. Others in Note (1).

Other objections to each part (keeping in mind that each is not meant to be certain or prove the whole theory wrong by itself):

  1. *Cmno > *Cṃno > Cana does not apply in compounds (*vīrá-karmna- > vīrá-karma-), though this could be due to *vīrá-karmná-, etc., and later simplification

  1. if words like G. áspermos came from a sound change, why would G. have other -Cmno-?; if G. dáknō ‘bite’, dagómenos ‘weak’, dágmnos ‘pitiable’ < *dánk-m(e)nos ‘worn down’ were due to analogy, *-Cmno- > -Cmo- would have to be very early and its presence in many IE would suggest it was of PIE date or immediately after breakup, if regular (this contradicts several other points, also see below)

  1. there are just as many good old-looking examples of n vs. 0 in both parts of compounds; why is one regular and the other not?

  1. there is no reason to think words like Skt. mahokṣa- require a sound change (ukṣán- > *maha-ukṣán- could exist, so there is no preference for the existence of intermediate *maha-ukṣná- > mahokṣa- instead of a rule of grammar changing stems directly); u-, i-, and C-stems often become o-stems in compounds, and o- > i- or yo-stems; whatever the cause, 5 or more sound changes make less sense than suffixes that replace the ending, rather than change it (and analogy might have extended this alternation, even if some were really produced by a sound change to begin with)

  1. there is no evidence that Skt. vásana- ‘clothes’, G. éanos, etc., came from *wésṃno- instead of *wésano-. Though PIE *a is seen as rare or conditioned, many suffixes could be reconstructed with *-(a)no-, with *-a- often lost (like i/0 and u/0 above):

*dH2p-ano-? > G. dapánē ‘expense’
*dH2p-no-? > L. damnum ‘expense/loss/harm’ (not *dapumnum if from *-mno-)

L. daps ‘(sacrificial) feast’, *dapno- > ON tafn ‘sacrifice / sacrificial animal’, Arm. tawn ‘feast / festival’ (likely the same as above, also no evidence for *-m-)

*weranaH2- > Arm. geran ‘timbebeam/log’
*wernaH2 > OIr. fern ‘alder’, Alb. verrë ‘white poplar’
*werno(s)- > G. érnos ‘young sprout’

The most important problem is that comparative evidence shows that *Cmn did not become Cm / Cn at all, at least not directly. If Nikolaev’s stages were real, the changes in *g^h(e)i- > Skt. hinóti ‘urge on / throw’, Arm. jgem ‘throw’, *g^heimon- > Skt. hemán- ‘eagerness’, Av. zaēman- ‘active / awake’, zaēni- ‘eager’, zaēna- ‘*swift / *thrown > *arrow > weapon’, etc., would require *g^heimn-í- = *g^heymn-í- > *g^heyn-í- > zaēni-. However, the words cognate to zaēna-, including loans, show -u- and *-w- in *dzainu > TB tsain ‘arrow’, pl. tsainwa, Arm. zēn ‘weapon/armoharness’, gen. zinu, NP zin ‘saddle’, Kh. *hēwna > *hīwn > hún ‘saddle’. Instead of *-w- appearing from nowhere, *mn > *wn makes the most sense, and fits other optional changes (Celtic *k^Hatu-welH2mon- ‘warleader’ > *-welxǝwon- > British Catuvellauni, Cassivellaunus ‘name of a warleader’, W. Caswallawn / Cadwallawn, Vellaunus ‘a god’, *akamn- ‘stone’ >> L. acaunamarga ‘red marl’, Arm. (2)). If there were, instead, a u-stem *g^heymn-ú- >*zaēnu- with exactly the same meaning as zaēna-, it seems unlikely it would happen to be the only one borrowed into Arm. and TB both, and be unrelated to supposed metathesis in *hēnw- > *hīwn > hún. Loans often show features lost in the donor languages (and Kh. is a Dardic language, a group that retains many archaic features, and is at the periphery, another type that commonly shows otherwise lost features). Another loan from IIr. might be the source of *zaymna > *zaymma > *zymama > Aramaic zǝmāmā ‘reins’, Arabic zimām.

If a u-stem existed here, it would also not be able to account for the same type of change in a word that only sounded the same, with no reason for a u-stem: *g^heimon- ‘winter’ > G. kheimṓn, Av. zaēn-, etc. If IIr. words with -(m/w)-n- are needed in both words pronounced *g^heimon-, a sound change *m > m / *w̃ > w / ũ near n would be the best solution (reasonably, it would be optional based on the data):

*g^heimon-to- > Skt. hemantá-s, *haywanta- > A. haywaán ‘winter’, pl. haywandá, *hyamanda > *yOmOnO > Kh. yomùn, *yawanō > Sh. yṓno

*g^himno- > Skt. himá-s ‘cold / frost / snow’, Kh. hím ‘snow’, Pashayi hīm, *híṽ > *híw̃ > Ba. hiũ, Id. hī̃, Sh. hín, Gurezi hinn, Savi hina, Pj. himma

*dwi-g^himno- ‘2 winters (old)’ > L. bīmus ‘two years (old)’, *dvi-zivn > Wg. düzun-zālǝ ‘heifer in its 3rd year’ (Skt. śatá-hima- ‘100 years old’)

It is easy to see that m and w alternated when separated from n, thus *mn > *mn / *ṽn > nn / mm / etc. (including many cases where *C disappeared and created long V, *himn > *himm > hīm (as in himma where non-final)) should be clear. Turner reconstructs many of these words with *-mn- (even when cognates in Skt. have -m-) or plain *-n-, seeing -n(n)- as analogy (and/or << snih-) but no reasonable analogy could produce all the other variants (or is needed, based on hemantá- ~ haywandá, etc., when no analogy with a word with *-w- is possible). No fully regular set of changes can describe all data, but the basic alternations are clear if unpredictable. Knowing that *-mn- / *-ṽn- existed when seen between V’s shows that this should be expected for *-Cmn- as well, with the outcomes -Cn- / -Cm- matching *-mn- / *-ṽn- > -mm- / -nn- (both apparently optional). Just as much of the variation is clearest in Dardic, it also has many other examples of m / v from all types of *P (3).


The need for nasalized *ṽ in these stages (Whalen 2023) is also seen in words in which *m- > v- in some, but sometimes also -r- vs. -n- in the same, requiring *m-r > *ṽ-r > *v-r̃ / *v-n :

IIr. *mṛgá- ‘game, horned (deer), (large) bird’ > B. mirig ‘deer’, Ba. múgur ‘billy goat’, Kh. mùru ‘female ibex’, Iran. *mǝrǝγa- ‘bird’ > Ps. mǝrγǝ´ / murγǝ´ / marγǝ´

IIr. *mṛg-iska- ‘small bird’ > Iran. *mǝrǝγiška- > Mz. mička ‘sparrow’, NP Arak malič, Hamadan milič, Mj. braγiko
IIr. *mṛg-iska- ‘small bird’ > Iran. *mǝrǝǰiška- > *ṽǝrǝǰiška- > *vǝrǝčšika- > Ni. girišig
*ṽǝrǝǰiška- > *vǝr̃ǝǰiška- > *vǝnǝǰiška- > MP vinǰišk, NP NP gunǰišk, Bl. jinjišk
*ṽǝrǝǰī > *vinji > OKho. biṃji- >> TB *wiñcä- > wiñcaññe ‘of sparrows’

Though these words are kept separate by others, vinǰ- / virǰ- / *mirǰ- / mirg- in ‘sparrow’ when mirg- ‘bird’ exists makes these stages needed Having 3 (at least) separate words that are so similar, with vinj- having no clear origin, seems pointless. Note that *-gi- > -ǰi- is the regular outcome, but as shown by *gWemtu- > Skt. gántu- ‘course/way’, Av. jantu-, analogy could restore or retain K based on cognates (when the relation was clear, thus when *m- > v- no restoration from mirg- ‘bird’).

Notes
(1) Ex. of -i- vs. -0-, showing that -ino- was older than -no-, thus not caused by *-Cmno-:

*peyH1- > Skt. páyate ‘swell’, pī́van- ‘fat’
*poH1imo- > *poH1mo- > L. pōmum ‘fruit’
*poH1imo:n ‘God / Goddess of Fruits’ > Vestinian Poimun-, Umbrian *Pōimōno- > Puemune
*poH1mo:n > L. Pōmōna

*k^oH3no-s > G. kônos ‘(pine-)cone / spinning top? / bullroarer?’, Skt. śāna-s / śāṇa-s ‘whetstone’
*k^oH3inaH2 > *xaino: > ON hein, OE hán ‘whetstone’

*staH2- ‘stand’ >> *staH2-ino- > ON steinn, E. stone, Slavic *staina: > *ste:na: ‘cliff / rock / block’ > R. stená
(meaning ‘hard / strong’ like *staH2ro- > ON stórr ‘big’, Li. storas ‘thick’)

*H1ek^w-iHno- > L. equīnus ‘of horses’
*-in- > Sanskrit aśvin-
*-ino- > OPr aswinan ‘mare's milk’
*-eino- > Li. ašvíenis ‘stallion’

*melH2iHno- > *meHliHno- > Li. mė́lynas ‘blue’
*melH2inHo- > *melH2no- > G. melanós ‘blue-black’

*leukinHo- > Arm. lusin ‘moon’, *leukiHno- > *leukisno- > *leuksno- > L. lūna
(note that Arm. lusin from *leukisno- is also possible)

*H3opinHo- > H. happina- ‘rich’
*H3opni- > L. omnis ‘every/whole’

*gWlH2ino- > Arm. kałin ‘acorn / hazel nut’
*gWlH2no- > G. bálanos ‘acorn / oak / barnacle’

*pltH2ino- > *hlahin > Arm. layn ‘wide/broad/large’
*pltH2no- > *hlitanos > OIr. lethan ‘wide’, G. plátanos ‘plane tree’

*wedino- > Arm. getin ‘ground/soil’
*wedn- > G. édaphos ‘ground/soil / bottom/base’

*skandulHo- > *sxantułxo- > Arm. pl. sanduł-k` / sandux-k` ‘laddestairs’
*skandulo- > *skandlo- > L. pl. scālae ‘ladder / flight of steps’

*grH2unHo- = *grxunxo- > *gurRunRo > *kurrunko > Arm. kṙunk ‘crane’
*gerH2no- > G. géranos

*H(a)mburHo- > Arm. ambuṙ-k` ‘storm’
*H(a)mbro- > G. ómbros ‘rain(storm)’, Arm. amprop ‘thunder(bolt)’

*pteturo- > *fteturo > *fetturo > Arm. p`etur ‘feather’
*ptetro- > G. pterón, Skt. pátra- / páttra-, pátatra- ‘wing/feather’

G. aírinos ‘of ryegrass/darnel’, Lt. airene ‘ryegrass/darnel’

L. geminī ‘twins’, *yamuna- > Ni. iämüṇa ‘twin’

*Hak^iHnaH- > Cz. osina ‘awn’
*Hak^(a)ni- > Skt. aśáni- ‘thunderbolt / arrow tip’, Li. ašnìs ‘edge/blade’

*slaHg-isno- > Skt. ślakṣṇá- ‘smooth/slippery/soft’
*slaHg-inHo- > *srakina > *srikana > Ni. sirikana ‘smooth/slippery’, Kv. salkáň

*bhrHg^ó- ‘birch’, *bhrHg^isno- > *frākhisno- in L. frāxinus / *fārk(s)nos > farnus ‘ash’

*HrikinHo- > L. ricinus ‘large vermin of sheep/dogs / tick’
*Hrikinso- > *Hriknso- > *Hrik(n)so- > *ri(n)ksa- > Os. liskä, Skt. likṣā́, A. liiṇṭṣií ‘nit’


(2) mn / wn in Arm.; though Martirosyan says that *-mo:n > *-mun > *-mn > -wn is regular, otherwise *-mon- > -mun-, there are many examples of optionality, both *mn > wn and *wn > m(n) (not counting *-nn > -mn in atamn, etc., if really later than *-mn > -wn):

Iran. *pari-štaH-man- >> Arm. paštawn ‘worship / service’, pl. paštamun-k‘

gełgełem ‘sing beautifully / warble / quiver / vibrate’, geławn ‘song’

*g^heluHno- > G. khelū́nē ‘upper lip’, *g^helumn ‘*ceiling > *dome > *shell’ > G. khélumna ‘tortoise / lyre’, Arm. *jelumn > *jeluwn > jełun ‘palate/ceiling’, gen. *jelwans > jełuan, ins. *jelman-bhi > jełmamb

*Hnomn ‘name’ > *anuwn / *anumn > Arm. anun, EArm. anum (or dissim. *n-n > n-m later?)

*H3oid- > G. oîdos, Arm. aytumn ‘swelling’

*welwu()mn- > L. volūmen ‘roll (of writing) / whirl / wreath’, G. eílūma ‘wrapper’, Arm. gelumn

? > xet’em ‘bite/push/shove’, xet’umn ‘bite of conscience’

*H1leudh- ‘come / go (up)’ > G. eleúthō ‘bring’, Arm. eluzumn ‘sprout’ (compare elust ‘growing of plants’)

*g^hiyom- > G. khiṓn ‘snow’, *jiyun > Arm. jiwn, Av. zyam- ‘winter’

*jiwn-hayt’ > *jimnayt’ > EArm. Xotorǰur jimEt’ ‘snowblind’ (hayim ‘watch / look at’ >> *hayti- ‘vision’)


(3) a few out of many ex. of IIr. (often Dardic) w > m, m > w, many m from P between V’s, so nasalization must have been optional late

Skt. náva- ‘young / new’, A. náaw, Ti. nam, Dm. nõwã, Ks. *nõra > nõ.a, Kh. nóγ ‘new’

Skt. náva ‘9’, Dm. noo, A. núu, Ti. nom, D. no, Sa. no, Kv. nu, Kt. nu, Ni. nu, Kh. nyòf

*Hnomn ‘name’ > Dk. nóom, naam-, A. nóo, nóow-, Km. nām \ nāv, Rom. anav \ nav

G plé(w)ō ‘float/sail’, Rom. plemel ‘float/swim’, Skt. prav- ‘swim’

Skt. lopāśá-s > *lovāśá- \ *lovāyá- > Kh. ḷòw, Dk. láač \ ló(o)i ‘fox’, fem. *lovāyī > *lomhāyī > A. luuméei, Pl. lhooméi

PIE *g^hew- ‘pour’ > G. khéō ‘pour’, Skt. juhóti ‘pour a libation / sacrifice’, *goü- > B. goi- / gom- ‘sacrifice’

IE? *kswiP-to- > Av. xšvipta-, *xšvufta- > Ps. šaudǝ ‘milk’, šómle ‘buttermilk’


Turner, R. L. (Ralph Lilley), Sir (1962-1966) A comparative dictionary of Indo-Aryan languages. London: Oxford University Press. Includes three supplements, published 1969-1985.
https://dsal.uchicago.edu/dictionaries/soas/
https://dsal.uchicago.edu/cgi-bin/app/soas_query.py?qs=him%C3%A1&searchhws=yes&matchtype=exact

Martirosyan, Hrach (2009) Etymological Dictionary of the Armenian Inherited Lexicon
https://www.academia.edu/46614724

Nikolaev, Alexander (2021) YAv. Spitiiura and the compositional form of PIE *u̯r̥h₁-en- 'lamb' in Indo-Iranian
https://www.academia.edu/49130944

Whalen, Sean (2023) Indo-Iranian Nasal Sonorants (r > n, y > ñ, w > m)
https://www.academia.edu/106688624

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2024.05.05 10:09 No-Home8231 You cannot tell me this isnt similar

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2024.05.03 04:48 LadyValkyrie420 Sources on Richard Gadd, Baby Reindeer, Gary Reich, Etc.

THIS IS THE FORMAL LIST FOR MY RESOURCES ON MY MOST RECENT LIVESTREAM: https://www.youtube.com/live/PoVplNSFojs?si=UEfHZ09zegVkZ7pl My quality isn't great but if you need anyone to walk you through the below, I've done what I could. I do suggest 1.25-1.5x speed! Happy sleuthing!!
APR 2002
Brown Eyed Boy
https://find-and-update.company-information.service.gov.uk/officers/5r2e9gpW6UTmCUdqYFoIXenTpok/appointments
OCT 2008
Meet Charlie
https://www.youtube.com/watch?v=18vobsVQ0No&t=36s
MARCH 2009
"Donny" Sings
https://youtu.be/focV7EEaXQ8?si=saTcf_pbTKZ7Hai5
DEC 2009
Ayahuasca Healing Retreats
https://maps.org/2009/12/12/ayahuasca-healing-retreats10/
MAR 2010
Uncle David
https://youtu.be/Wv9EC6IAGPU?si=6YDHPPYOvf_ggIP8
https://youtu.be/Jl67bTS0Tu0?si=ifrxAJyn3__89LoH
https://youtu.be/ZycZb2CRGQ4?si=_XAwEBTtDdLau9il
https://youtu.be/7eFoPDscuU8?si=ctwIGSId9gF0YgBP
FEB 2011
Baby Baby Reindeer
https://youtu.be/3yHQw9-Hf7I?si=h8tsb4_yBLB4d_FE
MAY 2011
How Not to Live Your Life
https://youtu.be/BXVw1N0WiZw?si=E4tJyC1L9TV5_8MM
FEB 2012
Venus Williams
https://youtu.be/jPeHxmHBG_8?si=IAl9WhOtmb8lCLR1
MAR 2013
Brown Eyed Boy
https://find-and-update.company-information.service.gov.uk/company/08453379
APR 2013
Vicious Released
https://youtu.be/P-dQ5zDlGMA?si=yTJNm-SETp3FgZ_0
AUG 2013
Cheese & Crack Whores
https://www.comedy.co.uk/fringe/2013/richard_gadd/
MAY 2014
Annabel Linder's Son
https://robynsassenmyview.com/2014/05/10/i-did-it-my-way-because-of-my-mum-says-vicious-sa-born-producer-gary-reich/
Nark
https://youtu.be/SixEYDWGkyQ?si=H8juS2bHVFNaiw-r
JULY 2014
Martha Arrives
https://twitter.com/FionaHarvey2014/status/484260386573934592?t=-EMOI6yvpvhJu5iFtOJ1mg&s=19
https://twitter.com/FionaHarvey2014/status/485473029297033216?t=m5j_DxCq81tFCiVvQKde6g&s=19
JUN 2014
Ian & Gary at Pride
https://m.facebook.com/ianmckellen/photos/a.162951253600/10152207274453601/?type=3
AUG 2014
Martha's Curtains
https://twitter.com/FionaHarvey2014/status/514416588645494785?t=s4Al6HnZa8EPbmBHHg6I6w&s=19
DEC 2014
Bum Shots
https://twitter.com/FionaHarvey2014/status/545642730815508481?t=sI9nw0zhw7wu0Kot4c9vGw&s=19
MAR 2015
Comedy Festival
https://www.scotsman.com/arts-and-culture/theatre-and-stage/stand-up-richard-gadd-on-glasgow-comedy-festival-1510857
AUG 2015
Stole the Show
https://twitter.com/rjjtaylostatus/635739816693497856
Happy Reindeer
https://twitter.com/Iansmithcomedy/status/635482571418271744?t=VG-BMyVav5JZsVxsgEeN4Q&s=19
OCT 2015
Waiting for Gaddot
https://londonist.com/2015/10/comedian-richard-gadd-puts-the-pun-into-punk
DEC 2015
X
https://twitter.com/FionaHarvey2014/status/670951751424589824?t=Jtrw-7aLgLlgSSJ1PGKS5Q&s=19
Martha's Emails
https://twitter.com/FionaHarvey2014/status/672091775402668036?t=5hJ5ZMdeLciT-XS2_MajLw&s=19
JUN 2016
Vicious Canceled
https://www.telegraph.co.uk/tv/2016/12/16/itvs-vicious-came-end-not-even-ian-mckellen-derek-jacobi-could/
JUL 2016
Uncle David 2 GFM
https://www.kickstarter.com/projects/2029079422/uncle-david-2
AUG 2016
Monkey See, Monkey Do Interview
https://youtu.be/5mzIxkvuRFE?si=6GBcBHvAS5aXGXaB
JAN 2017
Initiate Intuition Ltd.
https://find-and-update.company-information.service.gov.uk/company/10588072
MAR 2017
Comedy & Tragedy
https://youtu.be/Th2PBzR9Mg4?si=zCpV-cNSr6AdAL53
APR 2017
Gary Reich Review
https://www.youtube.com/watch?v=qdUKBLrckOE
JUN 2017
Young LGBT Casting Call
https://www.hollywoodreporter.com/movies/movie-news/cannes-lions-ian-mckellen-gary-reich-launch-short-form-film-project-lgbtq-stories-1015885/
LGBT Heroes
https://youtu.be/-89pcpldfiY?si=oNKbYqCRznv8BFws
AUG 2017
Monkey See, Monkey Do Trailer
https://youtu.be/F8Ry7RUJBsM?si=XywBqRgMI7S4yiIM
DEC 2017
Green Eyed Boy
https://find-and-update.company-information.service.gov.uk/company/11123201
2018
Uncle David 2
https://mubi.com/en/films/uncle-david-2/trailer
APR 2019
Turn Up Charlie Announced
https://deadline.com/2018/04/luther-star-idris-elba-to-star-as-struggling-dj-in-netflix-comedy-turn-up-charlie-1202366803/
JUL 2019
Chanting with Kai
https://youtu.be/YxFw7epcqUQ?si=oImpZxbWiwWwAHuI
AUG 2019
3 Paths
https://www.homehouse.co.uk/events/3-paths-magik-ayahuasca-shamanic-path-magik-2/
OCT 2019
Baby Reindeer Live Show
https://youtu.be/_UmlVt5KK-s?si=Ts1Uv6LYL7HGHV6E
NOV 2019
Love for Charlie
https://www.youtube.com/watch?v=xBCdlB1_P2k
MARCH 2020
Introducing Kivare
https://www.facebook.com/share/v/b5i1zEcbuwqLNN3g/?mibextid=w8EBqM
The Pleasure Podcast
https://uk-podcasts.co.uk/podcast/the-pleasure-podcast/s3-ep-3-richard-gadd-art-and-sex-after-trauma
APRIL 2020
Turn Up Charlie Cancelled
https://www.hollywoodreporter.com/tv/tv-news/turn-up-charlie-starring-idris-elba-canceled-at-netflix-1292049/
Baby Reindeer at West End
https://youtu.be/emAN73l7G08?feature=shared
OCT 2020
Sacred Pathways
https://find-and-update.company-information.service.gov.uk/company/12959475
DEC 2020
Netflix Baby Reindeer Announced
https://www.chortle.co.uk/news/2020/12/14/47478/richard_gadds_baby_reindeer_to_become_a_netflix_series
AUG 2021
Kivare, Performance Artist
https://vimeo.com/592810179
MAY 2022
Men Accused of Impropriety
https://twitter.com/vee_gang/status/1528502302646099969?t=qTjF8wVROq4c6cKnbtu50g&s=1
JUNE 2022
No Room for Fear In My Pussy
https://youtu.be/xoV5ykYAjfM?si=GMTBYZufcUFx3YBs
FEBRUARY 2023
Egypt Guided Tour
https://davidmanningenergywork.com/egyptianalchemy
MAR 2023
Comedy In The Works
https://www.comedy.co.uk/tv/news/7244/nick-mohammed-julia-davis-c4-morning-has-broken/
DEC 2023
Call for Queer Spirit
https://queerspirit.net/blog/call-for-queer-spirit-2024
APR 2024
Rumors "Busted"
https://twitter.com/TheSuperrrSlice/status/1784851205102977408
Jeremy Vine
https://www.facebook.com/story.php?id=100064377416223&story_fbid=815555290600377
"Everyone Knows" Richard Osmon
https://open.spotify.com/episode/5I85kd1Kx5ihoMMZchRQhS?si=JoWS4Zk5QqSQZjRm6909QA
CURRENT
Sacred Pathways
https://www.sacredpathways.co.uk/
Facillitator Kai
https://queerspirit.net/festival/whatson/facilitators/kai-reich
Ancient Egyptian Sex Magic
https://queerspirit.net/festival/whatson/workshops-and-events/temple/ancient-egyptian-queer-sex-magick
submitted by LadyValkyrie420 to u/LadyValkyrie420 [link] [comments]


2024.05.03 02:46 MadMayhem103 LCD Top/Bottom Row White Blocks 16x2

LCD Top/Bottom Row White Blocks 16x2
Hi everyone, just wanted to say thank you to everyone who responded to yesterday's post of mine. I soldered it today as many of you guys mentioned. Im slowly getting the hang of Arduino but it's still a bit difficult for me. As seen in the attached video, my LCD screen is now giving me two rows of white blocks when running the sample "Hello World" code from the Arduino IDE. Any help would be greatly appreciated. I tried showing the soldering as well
I'll try and specify where I connected what since my wires are a little messy and once again im sorry for that.
Red Wires - 5v of Arduino to Positive rail of bread board. 5V to VDD. 5V to right side of POT , Pin A to 5V,
Black/Grey Wires - Ground of Arduino to Negative rail of breadboard. Gnd to VSS. GND to left side of POT
Green Wire - V0 to middle of Pot
Yellow/ Orange Wires - RS to Pin 12, E to Pin 11, D4 to Pin 5, D5 to Pin 4, D6 to Pin 3, D7 to Pin 2, Pin K to GND
Note: I had Pin RW connected to GND which caused flickering so I disconnected it. I've also tried changing the contrast with the Pot but it just goes from the white boxes to a blue screen.
Code:
/* LiquidCrystal Library - Hello World Demonstrates the use a 16x2 LCD display. The LiquidCrystal library works with all LCD displays that are compatible with the Hitachi HD44780 driver. There are many of them out there, and you can usually tell them by the 16-pin interface. This sketch prints "Hello World!" to the LCD and shows the time. The circuit: * LCD RS pin to digital pin 12 * LCD Enable pin to digital pin 11 * LCD D4 pin to digital pin 5 * LCD D5 pin to digital pin 4 * LCD D6 pin to digital pin 3 * LCD D7 pin to digital pin 2 * LCD W pin to ground * LCD VSS pin to ground * LCD VCC pin to 5V * 10K resistor: * ends to +5V and ground * wiper to LCD VO pin (pin 3) Library originally added 18 Apr 2008 by David A. Mellis library modified 5 Jul 2009 by Limor Fried (http://www.ladyada.net) example added 9 Jul 2009 by Tom Igoe modified 22 Nov 2010 by Tom Igoe modified 7 Nov 2016 by Arturo Guadalupi This example code is in the public domain. http://www.arduino.cc/en/Tutorial/LiquidCrystalHelloWorld */ // include the library code: #include  // initialize the library by associating any needed LCD interface pin // with the arduino pin number it is connected to const int rs = 12, en = 11, d4 = 5, d5 = 4, d6 = 3, d7 = 2; LiquidCrystal lcd(rs, en, d4, d5, d6, d7); void setup() { // set up the LCD's number of columns and rows: lcd.begin(16, 2); // Print a message to the LCD. lcd.print("hello, world!"); } void loop() { // set the cursor to column 0, line 1 // (note: line 1 is the second row, since counting begins with 0): lcd.setCursor(0, 1); // print the number of seconds since reset: lcd.print(millis() / 1000); } 
https://preview.redd.it/9qqd6ifzy3yc1.jpg?width=554&format=pjpg&auto=webp&s=89740c69015971a997c2df4d234fd2dd369d386f
https://preview.redd.it/4rytzxfzy3yc1.jpg?width=977&format=pjpg&auto=webp&s=e1476fc609fd9c8f9e547f487e3b4103949acf71
submitted by MadMayhem103 to arduino [link] [comments]


2024.05.01 06:21 fganniversaries Fighting Game Anniversaries: Week 18 (April 29 - May 5)

Hey, yall. This is fganniversaries and apologies for skipping last week. As per usual, I will be recapping anniversaries relating to fighting game announcements/releases this week. Like always, if I missed one, do please let me know in the comments. Here would be the following anniversaries:
April 29
April 30
May 1
May 2
May 3
May 4
May 5
submitted by fganniversaries to Fighters [link] [comments]


2024.05.01 06:21 fganniversaries Fighting Game Anniversaries: Week 18 (April 29 - May 5)

Hey, yall. This is fganniversaries and apologies for skipping last week. As per usual, I will be recapping anniversaries relating to fighting game announcements/releases this week. Like always, if I missed one, do please let me know in the comments. Here would be the following anniversaries:
April 29
April 30
May 1
May 2
May 3
May 4
May 5
submitted by fganniversaries to FGC [link] [comments]


2024.05.01 06:18 fganniversaries Fighting Game Anniversaries: Week 18 (April 29 - May 5)

Hey, yall. This is fganniversaries and apologies for skipping last week. As per usual, I will be recapping anniversaries relating to fighting game announcements/releases this week. Like always, if I missed one, do please let me know in the comments. Here would be the following anniversaries:
April 29
April 30
May 1
May 2
May 3
May 4
May 5
submitted by fganniversaries to u/fganniversaries [link] [comments]


2024.05.01 02:50 SOO4R3R-217 Hokkaido + Some Leftover Spots From Few Countries

Hokkaido, Japan:
  1. Bentley Mark VI and Continental GT (Sapporo, 2021) https://www.google.com.ph/maps/@43.0559199,141.3500007,3a,15y,89.41h,86.83t/data=!3m7!1e1!3m5!1srPUEwWrUKBQrc_qcteQfAQ!2e0!5s20210501T000000!7i16384!8i8192?hl=en&entry=ttu
  2. Toyota GR Supra A90 (Otaru, 2021) https://www.google.com.ph/maps/@43.198486,141.0005859,3a,15y,102.61h,87.17t/data=!3m6!1e1!3m4!1sbHzXXJ1fovs1TG9E44Fx3Q!2e0!7i16384!8i8192?hl=en&entry=ttu
  3. Tuned Porsche 970 Panamera 4S (Wakkanai, 2023) https://www.google.com.ph/maps/@45.522288,141.9367962,3a,15y,43.52h,88.62t/data=!3m6!1e1!3m4!1sWY0lEuf4p7hiAD7DqbXkEQ!2e0!7i16384!8i8192?hl=en&entry=ttu
  4. Mitsubishi Lancer Evolution X (Hokkaido, 2014) https://www.google.com.ph/maps/@43.0490202,141.3560307,3a,15y,100.87h,84.44t/data=!3m7!1e1!3m5!1s6pFOcr2TTRbLUp5WcHuetw!2e0!5s20140801T000000!7i13312!8i6656?hl=en&entry=ttu
  5. 2008 Dodge Challenger RT (Hokkaido, 2022) https://www.google.com.ph/maps/@43.0490587,141.3558847,3a,15y,169.6h,88.03t/data=!3m7!1e1!3m5!1szUbqw9LPGpboEtSUDVJC5w!2e0!5s20220901T000000!7i16384!8i8192?hl=en&entry=ttu
  6. Mitsubishi Lancer Evolution IX (Sapporo, 2018) https://www.google.com.ph/maps/@43.0537178,141.3487297,3a,15y,301.8h,85.92t/data=!3m7!1e1!3m5!1sqQdcllKcq4TK4a-tTDEBAg!2e0!5s20180701T000000!7i13312!8i6656?hl=en&entry=ttu
  7. Mitsubishi Lancer Evolution VI (Sapporo, 2021) https://www.google.com.ph/maps/@43.0727176,141.3685359,3a,15.1y,133.6h,86.32t/data=!3m7!1e1!3m5!1skIZB1f2fNvwpisxxUDPxSw!2e0!5s20211101T000000!7i16384!8i8192?hl=en&entry=ttu
  8. BMW M3 E90 (Sapporo, 2019) https://www.google.com.ph/maps/@43.0729473,141.3697223,3a,15y,322.65h,88.73t/data=!3m7!1e1!3m5!1sbWAKbRcY05AXwH0gPouy4g!2e0!5s20190501T000000!7i16384!8i8192?hl=en&entry=ttu
  9. Mercedes Benz S63 AMG W222 (Sapporo, 2022) https://www.google.com.ph/maps/@43.0574517,141.3503866,3a,37y,45.07h,70.96t/data=!3m6!1e1!3m4!1sJ_1Sf-9FUYfui-Si__c8Ng!2e0!7i16384!8i8192?hl=en&entry=ttu
  10. Cadillac XLR (Sapporo, 2010) https://www.google.com.ph/maps/@43.0570843,141.3472916,3a,17.5y,235.93h,77.54t/data=!3m7!1e1!3m5!1smz7Q4dpHshJkOhUitoOjrQ!2e0!5s20100801T000000!7i13312!8i6656?hl=en&entry=ttu
  11. Audi R8 V8 Type 42 (Sapporo, 2017) https://www.google.com.ph/maps/@43.0558778,141.3469422,3a,15y,308.34h,85.82t/data=!3m7!1e1!3m5!1sXKCHlQKS8ekvTqT6uzndHQ!2e0!5s20170801T000000!7i13312!8i6656?hl=en&entry=ttu
  12. Mitsubishi Lancer Evolution IX (Sapporo, 2014) https://www.google.com.ph/maps/@43.0553691,141.3469844,3a,15y,108.05h,84.66t/data=!3m7!1e1!3m5!1sM6UH8-eBJBWBH8Id6PxXyw!2e0!5s20140801T000000!7i13312!8i6656?hl=en&entry=ttu
  13. Ferrari 488 Spider (Sapporo, 2017) https://www.google.com.ph/maps/@43.0562102,141.3226275,3a,15y,133.74h,84.45t/data=!3m7!1e1!3m5!1sbkNk2CSittSHUzM4hE31NA!2e0!5s20170801T000000!7i13312!8i6656?hl=en&entry=ttu
  14. Porsche 957 Cayenne Turbo (Sapporo, 2017) https://www.google.com.ph/maps/@43.0559313,141.3203093,3a,15y,188.97h,84.23t/data=!3m7!1e1!3m5!1spXix1fTBDa47MScb_TDEJQ!2e0!5s20170701T000000!7i13312!8i6656?hl=en&entry=ttu
  15. Tuned Nissan Silvia S15 (Sapporo, 2018) https://www.google.com.ph/maps/@43.0560042,141.3252757,3a,35.7y,93.89h,68.6t/data=!3m7!1e1!3m5!1sPHw0GIrC3sG-HKSJbIz4tA!2e0!5s20180701T000000!7i13312!8i6656?hl=en&entry=ttu
  16. Mitsubishi Lancer Evolution VII (Chitose, 2021) https://www.google.com.ph/maps/@42.797178,141.6770478,3a,15y,219.44h,87.15t/data=!3m7!1e1!3m5!1sLTzbB32a-Xw-GSVJyIa5Bg!2e0!5s20210801T000000!7i16384!8i8192?hl=en&entry=ttu
  17. Mitsubishi Lancer Evolution X (Chitose, 2020) https://www.google.com.ph/maps/@42.7891803,141.6794069,3a,15y,234.67h,87.25t/data=!3m7!1e1!3m5!1sykr1WFylwQv4HELnx5zf6w!2e0!5s20201001T000000!7i16384!8i8192?hl=en&entry=ttu
  18. Nissan Skyline GTR BNR32 (Chitose, 2015) https://www.google.com.ph/maps/@42.7971511,141.6775959,3a,15y,194.82h,86.5t/data=!3m7!1e1!3m5!1s5j3WQ_DeG_gare-h-utdMQ!2e0!5s20150601T000000!7i13312!8i6656?hl=en&entry=ttu
  19. Porsche Macan GTS (Chitose, 2023) https://www.google.com.ph/maps/@42.7838186,141.6772277,3a,15y,278.61h,85.12t/data=!3m7!1e1!3m5!1ssMraUIsp58oHyhx1pLFVzQ!2e0!5s20230801T000000!7i16384!8i8192?hl=en&entry=ttu
Philippines:
  1. Porsche Panamera Turbo (Quezon City, 2024) https://www.google.com.ph/maps/@14.6651369,121.0817971,3a,15y,134.2h,82.74t/data=!3m6!1e1!3m4!1sw5aRuxnFfDZonYx9HhssBg!2e0!7i16384!8i8192?entry=ttu
  2. 2x Mercedes Benz 170 S (Makati, 2024) https://www.google.com.ph/maps/@14.5556236,121.0175428,3a,16.3y,109.5h,82.05t/data=!3m6!1e1!3m4!1sBRJZ1xvXO1CLPYKqNdjZwg!2e0!7i16384!8i8192?hl=en&entry=ttu
  3. Maserati Levante (Makati, 2024) https://www.google.com.ph/maps/@14.5579991,121.0248446,3a,15y,62.33h,85.68t/data=!3m7!1e1!3m5!1suB9OMrEh7fwmi88AZwrOhQ!2e0!5s20240201T000000!7i16384!8i8192?hl=en&entry=ttu
  4. Bentley Bentayga II (Makati, 2024) https://www.google.com.ph/maps/@14.5613197,121.0276944,3a,15y,186.21h,85.91t/data=!3m7!1e1!3m5!1sl8ConL1YcVLG9l-SFID2kA!2e0!5s20240201T000000!7i16384!8i8192?hl=en&entry=ttu
  5. Toyota GR Supra A90 (Makati, 2024) https://www.google.com.ph/maps/@14.5613197,121.0276944,3a,15y,333.94h,84.08t/data=!3m7!1e1!3m5!1sl8ConL1YcVLG9l-SFID2kA!2e0!5s20240201T000000!7i16384!8i8192?hl=en&entry=ttu
  6. 2012 Mercedes Benz G63 AMG (Makati, 2024) https://www.google.com.ph/maps/@14.5578049,121.0271834,3a,36.7y,128.73h,69.94t/data=!3m6!1e1!3m4!1syEHxpGRAy3KHxkW2AyI0JQ!2e0!7i16384!8i8192?hl=en&entry=ttu
  7. Tuned Mitsubishi Lancer Evolution VII (Quezon City, 2024) https://www.google.com.ph/maps/@14.6492199,121.0742946,3a,15y,68.28h,84.37t/data=!3m7!1e1!3m5!1slwmaC7OE2x6lIf0Y_Jpfag!2e0!5s20240201T000000!7i16384!8i8192?hl=en&entry=ttu
Ireland:
  1. Tuned Toyota Supra A80 (Kilkenny, 2009) https://www.google.com.ph/maps/@52.6555843,-7.2473205,3a,15y,123.96h,82.02t/data=!3m7!1e1!3m5!1srpXNj87f-0oaRbX7msU43w!2e0!5s20090701T000000!7i13312!8i6656?hl=en&entry=ttu
  2. 2017 Nissan GTR R35 (Kilkenny, 2017) https://www.google.com.ph/maps/@52.6356472,-7.2511928,3a,27.1y,105.68h,76.14t/data=!3m7!1e1!3m5!1sR9zrxc1zOnHqioTK4KixqQ!2e0!5s20170501T000000!7i13312!8i6656?hl=en&entry=ttu
Switzerland:
  1. Ford Focus RS Mk2 (La Chaux-de-Fonds, 2014) https://www.google.com.ph/maps/@47.0890015,6.8064739,3a,15y,120.73h,77.67t/data=!3m6!1e1!3m4!1sMjXnaDEi_kXR0IcHxW0hDg!2e0!7i13312!8i6656?hl=en&entry=ttu
  2. Renault Megane RS (La Chaux-de-Fonds, 2013) https://www.google.com.ph/maps/@47.0922312,6.8120819,3a,33.3y,142.69h,75.41t/data=!3m6!1e1!3m4!1sS5C2_aWH44y03LDSkIx56g!2e0!7i13312!8i6656?hl=en&entry=ttu
  3. Renault Megane RS (La Chaux-de-Fonds, 2014) https://www.google.com.ph/maps/@47.0938477,6.8213198,3a,16.2y,232.23h,85.93t/data=!3m6!1e1!3m4!1s-9oAP8meuAIf6Ru7CI9B3A!2e0!7i13312!8i6656?hl=en&entry=ttu
submitted by SOO4R3R-217 to StreetviewCarSpotting [link] [comments]


2024.05.01 01:09 Z010X Let's talk about "If you did your research..."

This is for those in the US who want to understand more, how long it has been going on, why students should not be dismissed as "uninformed", date/time contexts, availability of data, legislation, investigations and some good citations sources that are legally recognized as legitimate in both Congress and the courts including the Supreme Court. Good for parents/family/friends, students/graduates, and general tax payers.
"Did some research crowd before you _______"
Well lets hop in on the fallacy; its really pointless. I might as well carry a gallon of water in a desert with colander at best a strainer is not a bad way of looking at it. Without contexts below taken into account you wouldn't bother making it if your not just trolling or apathetic to it; fair points that is why this post is not for you. For those in the older crowd this is why you should be even more cautious making this fallacy to people like myself outside of merely stating your opinion. The problem is we are now at a point to where it is going to affect you on a common factor such as taxes (state and federal), fiscal budgets of states and federal, as well as new regulations.
Why this post: I am documenting this as part of my journey to all of you outlining on how I arrived to getting my BDoR approved, and my loans discharged as well as what is not told going through the process much less before it and about it. Not so y'all can argue with yourselves, although your free to do so, is the intent. This is for explaining to those that "don't have skin in the game" as they actually do, serving as a really formed rebuttal against news media's clear motive on emotional engagements over pragmatic information.
I am a person foremost a Dad and a professional in the economy. It has and still is painful in various ways. My perspective is that I gained far more in personal finance understanding, debt and its implications, and the struggle of getting out of it made me hungrier to succeed as well as modeling to my daughter those principals.
Time Range - When something occurs especially in law time and dates really matter. Many attorneys informed me of this not only in my child custody case, my initial attempts in bankruptcy for adversarial proceedings, your tax filings, and of course the programs forgiving loan debts. Through this process I was given advice by legal counsel so I must certainly say this is for people and in no way shape or form constitutes legal advice in your own situation nor would I irresponsibly claim otherwise.
This is short circuit number one and to prevent the same wet blanket statement as a rebuttal I am going to set a timeframe that is applicable to myself. I am mostly looking at those that graduated high school from 2000 to 2004 as well as College grads in for-profit schools prior to 2009. That does not mean others cannot benefit from it outside this time range. If you were in the earlier 2000 - 2010 surge in technology you'd also know that <15% of Americans had access to the internet during this timeframe. The internet now is not what it was back then and must be recognized as such. You'll understand why as we go through this post, specifically in the next context.
Locality (Geolocality) - Laws when passed or litigated in court against persons or entities this is important. when rulings are made, being appealed, and when they are applicable. Luckily I was raised by my mom to keep good records in her short time working as a paralegal before she opened her day care that she ran for 15+ years.
One such example is if I looked up legal documents in California yet the lawsuit is filed in Denver they will not show in CA gov databases was very common back then. Private brokers of cross-walks did exist as I later found out often behind paywalls that at the time could very well be prohibitive especially in my journey. Prohibitive in what matter you may ask? I entered the local southern California economy as a graduate in May of 2008. According to Wikipedia: In the United States, the Great Recession was a severe financial crisis combined with a deep recession. While the recession officially lasted from December 2007 to June 2009, it took many years for the economy to recover.
Now that I mentioned Wikipedia let also establish another good factor to the "Did you research" statement: Wikipedia, a free-content online encyclopedia written and maintained by a community of volunteers known as Wikipedians, began with its first edit on 15 January 2001. Looking at the timeframe I listed earlier that'd make me a Sophmore in High School. Depending on your school's location and budget would play a role in the: Internet Access in U.S. Public Schools and Classrooms: 1994-99 (ed.gov) which challenged schools to have internet access by 2000 putting myself as an early adopter as the library had no more than 10 computers available for student use often with time limits per student.
Ok let's take a look at this in context assuming I would "Just Google'd the college". I went to Westwood college. According to Google Trends queries to the actual college entity vs the owning company alongside state localities to understand For-Profit colleges: For-profit colleges in the United States, Alta
Such a simplified query can encompass both good or bad results for students/parents/etc as determined by Google's search algorithm implementation they had in production at that time.
I can easily say we all enjoy the Wikipedia and Google search abilities, except those that were around BEFORE IT.
Alta College became an entry in October of 2009 according to Wikipedia's version history, I attended from 2005 to 2008. Yes, you may say this is anecdotal and situational. To that however I would state in regards to the information I've listed above in terms of accessibility of information including my lack of knowledge in LLC formation therein already is grounds to the why the statement of "If you did your research" come up short. Additionally the college I attended had its first wikipedia page published in July 2006 https://en.wikipedia.org/w/index.php?title=Westwood_College&oldid=65337438 now as I stated earlier I entered in August 2005. A good source of objective information on both companies DID NOT EXIST.
Another implicit assumption on each student would be the understanding behind incorporation, the legal benefits to do so and the implications of not doing so. Earlier I mentioned my mom owning her own business as a LLC. Oddly it never occurred to ask why'd you would have chained LLCs until I took my economics course in late 2008; I also can assert she wouldn't have been able to tell me either as she passed away in early 2008. I can firmly state it was not covered in my High School. Taking location in mind along with the time frame the Google Trend would make sense to me without this knowledge as a precaution when making my choice. If we improved American history classes to teach more about actual universities in High School as well as the business concepts of Inc, LLC, Liabilities ect we'd be more aware going forward. I cannot change the past, just learn from it. That is a point I think most can agree on. I only know this now in hindsight.
This now raises another misconception I encountered; that this is a "recent problem". No. It is not. When I researched how to approach my mounting student loan debt making $30K annually in California where my job was as a junior developer bankruptcy looked like a viable option. After speaking with several law offices I found out that was not an option. One case in particular was cited to me: United Student Aid Funds Inc. v. Espinosa (No. 08-1134). Toby J. Heytens, an assistant to the U.S. solicitor general, told the justices that “there is an important public interest at stake here, which is that the Department of Education is reinsuring all of these loans.”. Um I wasn't alive in 1980 much less in school. I can clearly affirm, even under perjury, that court case was never covered in any formal school setting. I will not assume for others.
This seemed odd to me as the IRS has insolvency guidelines which must be read, signed under perjury, if you're attempting to go through bankruptcy. According to the law office I was working with this is standard procedure. During that time I did more digging and found: Getting By: Economic Rights and Legal Protections for People with Low Income - Helen Hershkoff, Stephen Loffredo - Google Books that prior to 1976 student loans were dischargeable in bankruptcy like other unsecured loans. An undue hardship test was introduced for federally insured loans under five years. Higher Education Act of 1965 was a result of January 1965, President Lyndon Johnson told Congress that higher education was "no longer a luxury but a necessity" and urged Congress to enact legislation to expand access to college.\3]) Representative Edith Green of Oregon introduced H. R. 3220 this would be amended a lot through the following decades.
To me this was a pivot point in 2009 when my daughter would be born. This new sense of urgency to continue my career growth grew exponentially to say the least. I would later find out that as I did what I thought was the right thing in making more money I would eventually come into a catch-22 where I no longer could be insolvent due to income growth over my last 5 years yet not making enough to cover a realistic cost of living / quality of life. I like to call this the "green gap" where you make too much but not enough when taking the time and place of the person in question into account.
That last part is important in another way. On April 20, 2009, the United announced that Alta Colleges had agreed to pay the U.S. government $7 million to resolve allegations under the False Claims Act that Alta's Texas schools submitted false claims for federal student aid funds. The college admitted no wrongdoing and was not required to change any of its practices. 1863 was when it got passed. The laws are on the books, in Texas... GEOLOCATION matters here! Denver and California are not in Texas, nor does Alta College accept students. I realized later I was structing my searches in the context of California not Texas thus missing what could have served as a red flag and impeding troubles.
Did you also get that odd tidbit there? I went to Westwood College, owned by Alta College. Westwood College at one time had 17 campuses across California, Colorado, Georgia, Illinois, Texas and Virginia, as well as an online campus. Westwood College offered 27 degree programs, including in business, design, technology, industrial services, justice and health care. I didn't find that correlation until after I graduated while pulling fiscal records for approaching bankruptcy for the second time which again proved fruitless for the new reason. I made too much, according to the insolvency guidelines.
Talk about looking for the wrong thing in the wrong place. Veterans with GI PAY ATTENTION HERE. These documents I found on a google query back on May 2018 listed as plain pdf files in an IIS server that didn't have directory exploration OFF so it was indexed by Google. This led me to fine the following:
United States Senate HEALTH, EDUCATION, LABOR AND PENSIONS COMMITTEE Tom Harkin, Chairman Benefitting Whom? For-Profit Education Companies and the Growth of Military Educational Benefits.
Entered December 8th, 2010.
Lets get one thing straight when reviewing Congressional Investigations: Perjury is liable on both Congressional party as well as those called into testify them as well as the documents of record. Citing these documents is the same as litigating in court which carries far more weight than any news headline on repeated blast. Lets check which side of congress this falls on: U.S. Senate: About : The Supreme Court in landmark cases has broadly upheld congressional powers to conduct investigations, as long as inquiries are related to subjects on which Congress can validly legislate. During the Senate investigation of the Teapot Dome scandal in the 1920s, the Supreme Court held in McGrain v. Daugherty (1927) that congressional committees can issue subpoenas, compel witnesses to testify, and hold them in contempt if they failed to comply. In another decision, Sinclair v. United States (1929), the Court ruled that a witness who lies before a congressional committee can be convicted of perjury.
Now that we have a good citation source, unlike most news reporting, take a look at Page 3 of the report above: As a result of the wars in Afghanistan and Iraq, combined with the growing economic need for postsecondary education, over the past few years Congress has fundamentally re-examined its commitment to providing educational benefits to a new generation of veterans. With the passage of the Post-9/11 Veterans Educational Assistance Act of 2008 (Post-9/11 GI Bill) on June 30, 2008, almost all servicemembers, including reserve troops who serve a minimum of 90 days active duty after September 10, 2001, became eligible for educational benefits up to 36 months at an average of $458 per credit hour
This is the beginning of how this snowball started especially for me. For-Profits took advantage of Veteran GI benefits with them having to show for it as the report further explains. Additionally, this is now a PRIME target for money.
Between 2006 and 2010, combined VA and DoD education benefits received by 20 for-profit education companies increased from $66.6 million in 2006 to a projected $521.2 million in 2010, an increase of 683 percent: o Between 2009 and 2010 alone, revenue from military educational benefits at 20 for-profit education companies increased 211 percent. o In the first year of Post-9/11 GI Bill implementation, the VA spent comparable amounts ($697 million and $640 million respectively) on tuition for students attending public schools and students attending for-profit schools, but the VA funded 203,790 students at public schools compared to 76,746 at for-profits. o Revenue from DoD educational programs at 18 for-profit education companies increased from $40 million in 2006 to an expected $175.1 million in 2010, a 337 percent increase. o Revenue from VA educational programs for the same 18 for-profit education companies increased from $26.3 million in 2006 to an expected $285.8 million for 2010, including a five[1]fold increase between 2009 and 2010. o Revenues from military education benefits at 20 for-profit education companies increased more rapidly than overall revenues for every year between 2006 and 2010.
Well, what about non-veterans? Now that these companies earned the ire of Congress because the GI money for education was not being used wisely a wide range of investigations opened up starting mostly from what I found in 2009; in simpler terms after I went through the program. Another report on September 30th 2010: 9 U.S. Senate Comm. on Health, Educ., Labor & Pensions, “The Return on the Federal Investment in For-Profit Education: Debt Without a Diploma” is an excellent accompaniment.
Now lets talk sales. The how/why of students, parents and guarantors agreeing to this madness. Well if you've learned ANYTHING from the prior sections with timeframe, locality, accessible information and how to apply all of it correctly we run into a sales person's dream buffet. We can see in HELP-ALTA-000271 that distrubition of reports clearly targeted veterans which correlates the findings in the Senate's investigation.
Often what is not discussed in detail is what is covered in document HELP-ALTA-000123 Key Responsibility #2 Lead Development. An internal training shared with counselors assisting in student sign up. Cross reference this with internal document HELP-Alta-000262 (Document 10 Page 2) that outlines new hire standards to meet a volume standard of 70% to 80%. Disclosure of these internal non-public, therefore NON-RESEARCHABLE documents was done via subpoena. Begs the question: How can a student research something they don't know about. Outside of the attorneys I have met in life this is well over the head of a lot of people I have had direct interactions with however I will NOT extrapolate over the US as a whole. Use the information in context with your experience.
Next lets look at what was the motivation to "sell" the student for the signup. IN HELP-ALTA-000002 page 2 we find the following: During the first 90 days, all Admissions Representatives will receive an evaluation every 30 days using the 30-60-90 review template which will provide critical feedback on performance each 30-day period. During the initial 90 day period, the Director of Admissions will closely monitor the performance of each Representative to ensure sufficient progress is being made. Insufficient progress of the Representative can result in termination of employment.
When cross referenced with HELP-ALTA-000042 this is no longer just retention of the position at stake. We find incentives at the director level through the exec level: Motivating your Admissions Team is of critical importance to the Director of Admissions. To assist a Director to effectively recognize his/her team, Admissions has established a national recognition and awards program. For all national recognition programs, refer to the current year Recognition and Awards Guide [HELP-ALTA-000243]
HELP-ALTA-000026 lists a section for Admission Representatives to take as part of their training on Page 8: Process for Handling Objections 1) Challenge all smokescreens: Listen 2) Verify 3) Isolate 4) Resolve 5) Gain Agreement 6) Re-Close
Here we are seeing a pattern of what, myself and others MEAN by predatory. In HELP-ALTA-000265 Page 5
Standards of Performance The matrix below outlines Standards of Performance that Admissions Representatives must strive to achieve in order to contribute to the overall success of the organization. Each Standard should be used as a guideline when assigning individual goals to achieve personal success. In addition, Representatives will have standards of monthly volume and start standards for each class which are outlined on subsequent pages.
In the next section they define: Minimum Performance Guidelines The focus of all Admissions team members is on achieving the goals agreed upon with their supervisor according to the Standards of Performance. While the requirements of each office or team may vary by region and Division, the following matrix highlights the absolute minimum requirement of an Admissions Representative.
Reaching the established minimum requirements is not acceptable as standard performance; Representatives who are not progressing appropriately or fail to achieve minimum requirements are subject to corrective action up to and including termination. Guidance and feedback will be provided through One on One’s, Observations, 30-60-90 Reviews, Term Reviews, Action Plan Guides, coaching and other periodic reviews.
Yes, they were paid in accordance to how many students the admitted and compensated / terminated for it. When it became clear to the executives about retention rates they implemented a restructure to how long the programs would take in a strategy document HELP-ALTA-000067 (this is its own post in its own right).
You may be wondering, where was this taking place, this is where Step 3) Isolate takes place. I have established that locality is important. Sales taught me that is also good leverage too. First is Online which is covered in 000067. During June 2005 to October 2005 with ~20% Tv Ads, 35% Search Engine Ads, 35% in Internet Ads, Friend/Family at < 10%, Student AdvisoTeacher <5%, 0% from Employer.
This is where I made, in my life the worst mistake I have made in 18+ years. I saw the Ads on TV first during late-time hours in the Summer of 2005. I had graduated High School in 2004, now 18, working full time as data entry clerk, renting the floor from a family member (not a room, you read it right).
I watched as opiate addiction was ruining my mothers health, entering her in rehabs still holding my job down taking the bus. December 2004 I got my first ever bonus. In January I used it to get my first car as my mom urged me to get a degree. She had watched as I flipped burgers in 2003 for McDonalds to this data entry job knowing full well what CoL was in our area. Being tech savy as I built my own PCs for others, though never my own, when I was only 14 I turned to the internet to fact check these tv ads. NEVER believe what ya see on TV as the mantra. I found lots of materials of praise yet hardly anything at all in the reverse. Man if I only knew SEO tactics now as a Senior Full-Stack Engineer in this industry! Doesn't do any good to think about that now though, lets go back to 19 year old me. I made an appointment, toured the campus with my mom and here is how they got me. I could earn a Bachelors in 36 months in programming.
She knew full well I had technology in my DNA feeling assured I would excel in such a field. What went through my mind wasn't salary, it was my mother's health. The admissions rep stated I required a cosigner. My mom said she'd cover it so her last child can get a good job in a now fast growing industry. We talked it over deciding to visit a local JC. Their we found that I would not be able to attend for nearly 9 months out. Seeing the price differences I said maybe that was smarter. To my surprise my mom objected with getting me degree as fast as possible was a better idea. I didn't know why she said that till much later. "You just need the degree son, sometimes employers are even ok with it not being in the same industry as what ya get it in.". I signed the dotted line...
She died in March 2008, never seeing me graduate in May 2008; I completed the degree in 2.75 years in which I overtook, getting a Bachelors, over my sister's AA which she started 5 years ahead of me. To her grave she thought through and through everything was going to turn out well for me especially given my chosen field. In that regard she was not wrong because I MADE it that way. I still to this day have never let that degree define my credentials, nor would I let it stop me from providing for my daughter.
The last point in my long post here is the statement above make one other misconception. It assumes that you have a support network. I didn't. Dad left when I was 2 and never bothered with our family or siblings. Mom passed away. Lost the grandparents to Cancer when I was 9. With my nearest family member 1900 miles away from me I instilled a do or die attitude. My wife passed in 2021 from a hit and run so it is just me raising our daughter. 4 years to go until she is 18... Want to guess what I have told her about student loans, debt and credit cards? Spoiler: NO.
When my BDoR was approved it was not to "fix" my mistake. It was a breach of contract when the school lost accreditation and no longer deemed to meet the government standard for receiving loans for education. These loans are now a ledger correction in the eyes of the government, which if you've understood my points about timeframes was setup long before I was born. Any tabs on what transpired through various lawsuits from Sallie Mae -> Navient -> now MOHELA shows poor book keeping. I will simply echo "Too big to fail". This is where older folks best be wary... You setup the systems in place, voted or didn't vote is not relevant, at best you knew and at worse you didn't pay attention when it was under your nose. The reverse is also true though. My degree is not valid either according to the government. I didn't get one for nothing or no accountability.
I often do wonder what my mom would feel like if she had seen what happened, though I am glad she didn't have to see how the good intentions paved a hellish road.
I am 1 of 43 million borrowers. If y'all interested I can do a follow up post on where the training materials were used to artificially inflate student placements in jobs or other topics. Let me know.
submitted by Z010X to StudentLoans [link] [comments]


2024.04.30 11:55 pillowcase-of-eels [Music/Book] Emilie Autumn's Asylum, pt. 2 – Goth violinist's psych ward memoir prompts horror and cringe in some, questionably tasteful incarceration role-play in others [Hobby History - Medium]

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Hello, and welcome to the second installment of my Emilie Autumn write-up. (Per mod recommendation, new installments will be posted every two or three days – there are seven in total.)
Emilie Autumn is a singer-songwriter with an elaborate semi-fictional universe and a complicated relationship with her fanbase. I strongly recommend you check out Part 1 🔍 before reading.
In this installment, we dive into the drama surrounding the contents of The Asylum for Wayward Victorian Girls / TAFWVG – the half-autobiographical journal, half-historical fantasy that has defined EA's artistic output and fanbase lore for the past fifteen years. It's still more “Hobby History” than “Hobby Drama” proper, but trust me, it provides valuable context about the general vibes of the fandom.
Content Warning throughout this installment for themes of sexual and gender-based violence, including torture, sex trafficking and femicide, as well as attempted suicide, mental illness, hospitalization, and ableist discrimination; brief mention of Holocaust imagery. Oh, and obviously, spoiler alert for the whole book – but that's comprehensive investigative work for ya!
🪞 = picture / visual 🎵 = music / audio 📺 = video 📝 = primary source / receipt 🔍 = press article / write-up / further reading 🎤 = song lyrics 🐀 = anonymous fan confession 🦠 = reaction / meme

OVERVIEW: “A DOCUMENT IN MADNESS – THOUGHTS AND REMEMBRANCE FITTED” (LAERTES, ACT IV, SCENE 5)

...When the book was first released, I had only two aims - to explain myself to a growing audience that thought they knew me but didn't truly, and then to expose the corruption of the modern day mental health care system and educate in order to inspire at least a tiny bit of change. (EA answers a fan question on Goodreads, 2018 📝)
The Book begins with Emilie Autumn...
...Well, technically The Book begins with a malapropism. Wrong “foreword”, EA! 🪞 Which is our first clue that despite the myriad revised editions this book has gone through, it could probably have done with a little more initial editing, and perhaps a bit more room to reflect, between the events related and the publication of the first final draft.
Anyway, The Book begins with first-person narrator Emilie Autumn surviving a suicide attempt, stating this to her shrink over the phone soon after. Her shrink tells her that she is currently a danger to herself, and that he won't refill her prescriptions (the meds for her bipolar disorder) unless she immediately checks herself into inpatient care. And it all goes downhill from there.
The psych ward stay at an LA hospital lasts longer than the anticipated 72 hours, and proves overall more traumatic than therapeutic. An increasingly distressed Emilie suffers through the inappropriate comments of creepy doctors, the poor bedside manners and general cluelessness of emotionally numb nurses, the intimidating presence of armed guards around the hospital, being stripped of her belongings and privacy, the lack of transparency or actual care in the ward, her partner's indifference during the occasional phone call, the bad hospital food (I can see how that would suck in such a context), having to repeatedly fill out forms and questionnaires (okay, that's annoying too), a patient eating yoghurt in her vicinity (uh...) and staff members existing while fat (wait, what?). She documents the whole unpleasant experience in a journal that she has to turn in at bedtime.
One day, upon recovering her notebook in the morning, Emilie starts finding torn scraps of ancient wallpaper between the pages. They're scribbled with letters from a young woman named Emily, who is also locked up against her will in a psychiatric facility – namely, a women's insane asylum... in Victorian England. Awaiting each new time-traveling letter with bated breath, Emilie gradually learns that the Asylum for Wayward Victorian Girls (yes, that's its actual name within the story) isn't so much a hospital as it is a dumping ground / torture dungeon. Women – who aren't so much “crazy” as unconventional and inconvenient to men – are kept in chains, subjected to leechings and ice baths, pimped out as human exhibits and sex slaves, and killed en masse in gruesome medical experiments by a psychopathic doctor who's like a Disney-villain take on Dr Mengele. “My life and hers are basically the same. Nothing has changed at all in mental healthcare,” thinks Emilie in the modern-day psych ward, as a nurse offensively tells her that it's time for art therapy.
Alright, that was a long summary, and I'm showing my bias a little bit. But the contents and tone of the book are relevant to this write-up – as are, of course, the common criticisms that arose in the years after its publication.

A (BI)POLARIZED RECEPTION

In the spirit of neutrality and historical accuracy, I will quote some 5-star Goodreads reviews that I think reflect the reasons why many people genuinely loved and continue to love the book...
I don't think I've ever read anything like TAFWVG. It is amazing, horrifying, and both a work of magical fiction and brutal honesty. I felt like for the first time I had found someone who could understand how I feel. I identified on so many levels with this book, both physically, mentally, and emotionally. I appreciate Emilie as an artist so much more now because I realize just how much of herself she puts into everything she does. (...)
What scares me is that it is so incredibly real and several times, I felt as if Emilie was speaking thoughts I've had myself. (...) So many of the things she expressed during states of depression for these characters make so much sense to me, though, and I greatly value how real and honest this is. (📝)
Having some of Emilie Autumn's actual handwriting in the book made it much more personal and made it seem much more like a journal than just any ordinary book. This is a must read for any "muffin" (Emilie Autumn fan). (📝)
...and some of the less scathing and more nuanced 1-star reviews, highlighting common complaints about the book's contents and tone:
The writing was not strong enough to handle the story being told and there were so many issues from how mental health was handled to the entitled behaviour of the main character to the treatment of all the other characters, I ended up giving up in frustration. It’s a shame as this could have been a really interesting exploration of the mental health system in America paralleled with that of the 1800s, but instead just turned into a lot of, in some cases offensive, ramblings. (📝)
I was shocked in the opening pages by the voice of the main character, and I don't think it was a technique to give her depth. It sounded like genuine elitism with the flavor of "I should be allowed to kill myself." Um. Ok??? (...) I wish the prose had been tolerable for me to get to the high concept journal entry stuff, but everything that the premise promises... from the quality of what I read, it falls very, very short. There are horrible elements to being inside an institution: it's scary, it's dehumanizing, it definitely isn't the "best" space for healing... but this author does not have the knowledge, expertise, or perspective to provide an adequate critique. (📝)
The torture and rape are mentioned as daily occurrences and, while I'm sure such things did occur in Victorian times, it was so overdone and hinted to with such macabre glee, I felt I was watching someone's sordid fantasy. (...) This is not a solemn look at mental illness from the inside. It is a glamorized, twisted, fetishist notion of mental illness and asylums which made me feel truly uncomfortable. (📝)
...I opted not to quote this one because it was too savage and not always fair, but it's a fun read.
In short, the people who enjoy the book tend to praise the engaging storyline, the witty and eloquent writing, the raw authenticity, the depths of insight, and getting to take a peek inside EA's brain. The people who don't, on the other hand, criticize the unbalanced structure, the overwrought and rambling style, the obvious distortions or straight-up fabrications (we'll get to that, all in good time), the acute main character syndrome, the seeming lack of self-awareness or appropriate research (despite claims of “historical accuracy”), the flippant and even dangerous claims about highly sensitive topics, and being made to read stuff that should probably have stayed firmly concealed inside EA's brain.
Many critics report being put off by EA's high opinion of her own intellect and booksmarts, as she routinely assumes staff members to be too dim-witted, uncultured and incompetent to be worth engaging with. (Which is a bit rich, coming from a self-tutored West Coaster who inaccurately claims to speak “the Queen's English” and misspells “in memoriam”.) She takes this disdain to... really mean places. Some readers were especially taken aback by a series of straight-up petty, out-of-left-field fatphobic jabs. 📝
Others cringed (and this is a serious problem for an author who claims to be an advocate) at EA's blatant disdain of any other form of mental illness besides her own. This mostly shines though callous and cruel descriptions of those she calls “the real crazies” – meaning the other patients. By callous, I mean she spends several paragraphs calling a detox patient cute nicknames like “the Duchess von Nutsberg”, “Miss Nuttersby” or “the Mayor of Cracktown” as she gleefully mocks her withdrawal meltdown – with a subtle dig at Courtney thrown in for good measure (second screenshot, end of first paragraph). It's one of the only instances when EA expresses sympathy for the staff; as she hears them brutalizing the problematic patient in the other room, she muses that, in their place, she would probably want to “bash [the woman's] head against the wall”. This is intended as comic relief from her own narrative.
But the most all-encompassing complaint is EA's perceived glamorization of mental anguish and extreme suffering. (Not the gross kind that's experienced by lowly crack addicts – the other kind, the refined kind.)
This complaint refers, in large part, to the book's apparent glorification of self-harm, and categorically negative depiction of psychiatric care. On top of the two main narratives, the book also included three pre-hospitalization journals – the “Cutting Diary”, the “Suicide Diary” and the “Drug Diary” – whose unfiltered, unapologetic contents (including high-contrast pictures of fresh self-harm cuts) were very polarizing.
I will note that EA herself, in interviews, has overtly stated that she's not anti-medication or therapy, and that physically hurting yourself is not a great strategy in the long run. But these nuancing statements are not present in the book. Some former fans have cited EA and her work as a reason why they delayed seeking medical help for their own self-harm and mental health issues.
The complaint also refers to the abundant depictions of tragically gorgeous women being subjected to the most odious abuse, and justifying their self-destructive tendencies as appropriate reactions to said abuse.
Mmh, what did that one Goodreads reviewer mean about “someone's sordid fantasy”...? CW for rape, torture, murder. This is the way... step inside! 🎵

PSYCHSPLOITATION EXTRAVAGANZA

Come see our girls! Crazy girls! If you're willing to be thrilled, this is a hell of a ride! Those girls! Crazy girls! They're hot! They're nuts! They're suicidal! (“Girls! Girls! Girls!”, 2012 📺🎵)
Many comparisons have been drawn with the video game Alice: Madness Returns and the movie Sucker Punch. (In fact, EA got thiiis close to accusing Zack Snyder of plagiarism📝, but wisely stopped short.) In my humble opinion, those similarities are essentially cosmetic, and don't really cut to the quick of what makes TAFWVG – and what makes it so familiar, yet so bizarre within its purported genre. So allow me to share my white-hot take on this self-published fantasy novel from the first Obama presidency.
You heard it here first, folks, and only fifteen years late: TAFWVG is basically a Sweeney Todd reskin of Justine, or the Misfortunes of Virtues 🔍), by the infamous Marquis de Sade.
I'm doubtful that Sade was a conscious, direct influence on EA, and the two books are obviously very different in style and explicitness – but they have many, many tropes in common. Hear me out.
Both Emily-with-a-Y and Justine are virtuous, pure-hearted heroins of singular eloquence and beauty (or, for those familiar with literary parlance, “Mary-Sues”) who have The Absolute Worst Luck. Both grew up around wealth and sophistication, but abruptly found themselves poor and alone in the world as teenagers – though both are briefly reunited with a long-lost sister during the plot. (In both cases, one sister dies. Like I said, terrible luck!) Both find themselves in a world of sin and depravity that they vehemently reject, while almost all the other characters gleefully revel in base greed, power schemes, and pure sadism.
After fleeing her convent school to escape the indecent advances of a priest, Justine is entrapped by a gang of depraved aristocrats who use her as a sex slave before having her thrown in jail as a thief. A cold, unscrupulous older woman helps her escape, and forces her to join her gang of robbers. Soon, Justine falls in with a succession of colorful maniacs, such as a medical enthusiast who wants to vivisect his own daughter, a man who rapes women specifically to get them pregnant and kill their newborn babies, and an order of lurid monks who turned their convent into a private sex dungeon.
Compare with TAFWVG:
After being groomed by a human trafficking ring fronting as a music school, Emily is sold off to a depraved aristocrat who would use her as a sex slave – and who, we later learn, murdered one of his own daughters for fun during an orgy. She escapes, but is soon arrested and jailed as a thief for stealing a loaf of bread (I suspect that may draw on another classic of French literature 🎵📺). A cold, unscrupulous older woman bails Emily out, but only for a forcible transfer to the Asylum – which her doctor-son uses as an human experimentation lab and for-profit sex dungeon. When inmates inevitably get pregnant, they are forced to receive botched abortions and hysterectomies, and various other un-sedated mutilations, from a twisted surgeon who is implied to be (gasp!) a young Jack the Ripper.
(In both cases, I personally find that it's the sheer accumulation of impossibly sordid twists that makes the reading bearable, and possibly even fun, rather than just sickening. Each new misfortune is so fantastically awful that the whole thing becomes about as poignant and realistic as The Human Centipede.)
One last intriguing detail: not only were Justine and TAFWVG both written while “inside” (the Bastille and an LA hospital, respectively), both were also reworked by their author several times after publication. And both heroins' fates somehow got worse with every re-issue! Lest we forget: one narrative is a 2009 historical fiction that was meant to champion female empowerment, sisterhood, and more compassion in the treatment of mental illness. The other is 18th century non-con porn that was so brutally graphic, so outrageously deranged, that its author was deemed a menace to society and sentenced to live out his days... in an insane asylum. (Tangent: it's even more darkly funny when you know that 1. Sade was a legit monster, a repeat offender of heinous sexual crimes, but it was the freaking book that got him locked away for good, and 2. he was arrested while on his way to submit yet another version of the manuscript.)
What's interesting is that EA explicitly addresses – and ostensibly calls out! – the exact sort of exploitation and objectification, specifically of mentally ill women, which many readers feel she enacts in the book. It was a central theme in Opheliac: here's her discussing the erotic undertones in Romantic-era depictions of dying women. 🎤 In TAFWVG, the inmates are forcibly dressed with ethereal white gowns and flowers in their hair for a human exhibit / brothel that the doctors call “The Ophelia Gallery”. 🪞 Johns frequently pay to see the girls re-enact Ophelia's death in a bathtub; Emily deems this “madness at its most perverse”.
But then again, it's a time-honored tradition for exploitation media, both fiction and non-fiction – from Reefer Madness 🔍 to Cannibal Holocaust to Michelle Remembers – to cover its ass by clamoring that it's merely "raising awareness" and "showing the truth" of the horrors it depicts in exquisite, lurid detail.

”AFFLICTION, PASSION, HELL ITSELF, SHE TURNS TO FAVOUR AND TO PRETTINESS” (LAERTES, ACT IV SCENE 5): WINNERS OF THE 'MISS UNDERSTOOD' BEAUTY PAGEANT

A number of fans certainly raised an eyebrow at this darkly fetishistic aspect 🐀 📝 of the Asylum narrative, even when they couldn't quite put their finger on what didn't sit right with them. Some wrote it off as cathartic fantasy, like a lot of EA's work. Some expressed mild discomfort, and kindly called the book “paradoxical”. Others were outright disgusted by what they perceived as blatant hypocrisy and trauma-profiteering. The concept definitely hasn't aged very well; in fact, in recent years, there's been increasing pushback 🔍 against the “insane asylum” as a setting for horror fiction. Advocates find that those stories tend to reinforce harmful stereotypes against psych patients, trivialize medical brutality as entertainment, and make it even scarier for people to seek treatment when they need it.
But! For the book's first several years of existence, this discomfort was definitely not mainstream in the fandom. In fact, it was pretty marginal – underground, even; the general consensus was that the whole thing was awesome.
Let me illustrate. Soon after the book came out, EA got a tattoo on her right bicep that read “W14A” (Emily's assigned, tattooed number in the Asylum), to symbolize how she had been “branded for life” by her hospital stay. Over the following years, she started assigning “inmate numbers”, with a similar four-digit format, to fans who requested it online or during meet-and-greets. A number of Asylum forum members started using their unique number as a username or flair; to this day, some fans still use theirs to sign comments on EA's Instagram. A fair few also got their inmate number tattooed.
There are a few reasons for this years-long honeymoon period before the first waves of outrage. First of all, “years” is how long it took before a substantial portion of the active fanbase had actually read the book. On top of dispatching delays, the first and second editions were full-color hardbacks, selling in limited pressings at about $50 plus shipping, which a lot of youngepoorer fans could not readily afford: they had to rely on second-hand accounts from the ultra-fans who did manage to get their hands on a copy. And many such ultra-fans were also young people, who may have been led to EA by their own mental health struggles, a taste for the dramatic – and in many cases, sadly, a personal history of trauma that made it easy not to be phased. To a good part of EA's audience, the blunt violence and over-the-top edginess wasn't tacky or unsettling: it was unironically cool and genuinely relatable. Cool enough to overlook the bad takes and casual bigotry, if you picked up on them at all in the excitement.
Besides, EA pushed The Book so hard, as early as 2007, that before it was even officially released in late 2009, it had become the all-encompassing framework for the entire fan experience. From the music to the stage shows to the in-group slang and lore, everything was Asylum now. So I imagine that even if you hadn't read the book, or weren't all that into it, it was kind of a “tune in or else tune out” situation.
Anyway, that's about all I can think of to explain what possessed dozens, hundreds of fans, across continents, for years, to actually cosplay as “Wayward Victorian Girls” from the story (just to reiterate: mentally ill rape-and-torture victims who, by the end, are being killed in droves and either buried in mass graves or incinerated). I'm talking madwoman tousled hair, sleep-eludes-me smoky eyes, thigh-high black-and-white striped stockings, and virginal “hospital gowns” (white slip dresses), sometimes complete with fake blood splatter. Dressing up for EA shows, or public Muffin Meetups. Posing wistfully for artsy photoshoots in empty bathtubs or childhood bedrooms – or your local abandoned house, through the metal bars of a smashed ground floor window, so it looks like you're in jail. (No, I am not going to dig through DeviantArt for evidence of my claims. I'm assuming a number of the people in those pictures now have kids and stable jobs, and I'm afraid someone might put a hit on my head for causing their blunderyears to resurface.)
Look, I'm not clutching my pearls and saying that those dreamy-edgy visuals were all horrendously insensitive or caused any tangible harm. OR that there's no merit in “shocking” or “distasteful” art that takes a controversial approach to real-world horrors, including glamorizing them.
But even as an outspoken proponent of smut and an staunch cringe apologist, I do find it a bit surreal, looking back from the year 2024, how chill most of the fandom was with the core concept of LARPing as... survivors... of mass incarceration and torture... in striped uniforms... with numbers tattooed on their bodies...? Yeaaah, this feels more and more uncomfortable the longer I think about it. Your Honor, I plead collective insanity for this one. After all, as Kurt Vonnegut once wrote, “you are what you pretend to be.”
*
Ah, well. Art sure is complicated! We can at least take some comfort in the fact that the Offensively Titillating material is mainly contained within the obviously fictional part of the book. Can you imagine the mess if, like the autobiographical portions, the Bedlam Softcore bits featured actual people from EA's real life?!
I mean. Given enough time, that could get pretty awkward.
...We'll circle back to that in the next installment.
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2024.04.28 19:19 pillowcase-of-eels [Music] Emilie Autumn's Asylum, pt. 1 – How one alternative musician got tangled in her own fantasy... and a decade-long passive-aggressive feud with her own fanbase [Hobby History - Long]

General Content Warning for this entire write-up, so everyone can have a good time: - Extensive discussion of topics related to mental illness, including self-harm, suicidal ideation, mania / bipolar disorder, distortion of truth, medication, involuntary hospitalization, medical abuse in a hospital setting, and romanticization of mental illness. - Non-detailed mentions of domestic violence (implied abuse by intimate partner and parents) and sexual / gender-based violence (including rape, child sexual assault, grooming, sex trafficking and torture). These last few items feature prominently in one installment, pertaining to a work of fiction; descriptions may be a bit more specific/detailed in that segment, but not graphic. - Mentions and quotes of unchill bigoted behavior, including ableism (mental and physical), white nonsense / white fragility / racism, fatphobia, prejudice against drug users.
Additional CWs may be added at the beginning of specific segments when relevant. While these are heavy topics, the tone of this write-up is generally light-hearted and aims to entertain. If this approach sounds uncomfortable or trivializing, this may not be a good read for you; please trust your gut!
*
Picture this: it's the early 2010s, somewhere in the western world. Instagram is a novelty, Harvey Weinstein runs Hollywood, almost no one on Earth leans one way or the other about RNA vaccines, and Donald Trump is that one real estate guy you vaguely remember from Home Alone 2. New player Lady Gaga is the most interesting thing to have happened to pop since Madonna, and the whole industry is attempting to catch up; Miley Cyrus is the chick who used to be on Hannah Montana; Melanie Martinez hasn't hatched yet. The time of Oddball Concept Divas is dawning just below the horizon.
You're a Bowie-loving student who skipped goth night at the club to tag along with your art school friends for a very special evening. You're a giddy sixteen-year old rocking cat ears, purple Wet 'n Wild eyeliner, a polyester petticoat, and a coffin-shaped backpack. You're an effete theater kid who sewed his own waistcoat for the occasion, but won't dare wear it to school the next day. You're a buff, bearded dude in a Venom shirt who's trying not to look too excited, since your girlfriend supposedly had to drag you here. You're a slightly bemused parent leaning against the back wall of the venue, sipping a warm half-pint, wondering if this isn't all a bit dark for a tween. (“It's called 'Victoriandustrial', mom,” you've been told in the car, “and it's not dark, it's art.”)
On stage is a pink-haired woman, with red porcelain-doll lips and a heart painted on her cheek. Among a set of antique consoles, twee tchotchkes, teacups and plastic rats, she pounces and twirls in glittery platform boots, tattered striped stockings, and a tightly laced crystal-studded corset that looks like it's splattered in blood. This is ostensibly a concert, but there is no live band. Where one would expect a drum kit or a bass, three bedazzled burlesque vixens act as back-up singers and dancers, with the occasional vaudeville act – a fire-twirling number, a fan dance, throwing pastries and spitting tea into the audience. Lots of wholesome girl-on-girl kissing, too. The music on the backing track is a genre-bender of clanging beats and beeps, lofty orchestral strings, and the frantic hammering of a MIDI harpsichord, as the pink-haired frontlady sings of heartache and betrayal and drowning. Think if the Brontë sisters had invented industrial rock.
The audience gasps in excitement when the lady whips out a vamped-out wireless electric violin. With rockstar cool and virtuoso poise, she leans into the instrument, touches the bow to the strings, and tears out a single plaintive, impeccably distorted high note. Then her fingers go wild, and for a few seconds, everything is perfect suspended animation. Uncannily perfect, almost. Just behind you, you hear someone whisper: “Wait, is she miming it?”
*
Forgive the theatrical intro, but I had to set the stage for... the drama. And I do mean drama in the thespian sense of the term! This, ladies and gentlemen, is a Shakespeare play: wordy and confusing, but it's neat how the main character's opening lines foreshadow the tragic climax. It's a Greek tragedy for the digital age – if, instead of killing his dad and banging his mom, after becoming king, Oedipus was doomed to becoming uniquely obnoxious. It's The Rocky Horror Show under the grim direction of Samuel Beckett. Like all good theatre, this story is about how fiction bleeds into reality – through the stories we tell ourselves about ourselves, and how all the world's a stage and all that.

WHO IS EMILIE AUTUMN, AND WHAT'S THE DRAMA?

Here's the Broadway Weekly blurb, so you can decide whether the show is worth your time: Emilie Autumn, also known as EA, is a US-American alternative singer-songwriter, author, and actor. She became known in alt circles in the mid-2010s for her violin skills, unique fashion, outspoken stances on feminism and mental health advocacy, and the way she dramatized and sublimated her own life story in her art. In 2009, she self-published a semi-autobiographical book that became a sort of bible to her creative universe and fandom. She toured extensively and enjoyed niche, but considerable success until the mid-2010s – with hordes of devoted fans adopting her fashion sense and lingo, and crediting her music for getting them through dark times.
For the past twelve years or so, EA has mostly been focused on adapting her book into a stage musical, releasing two more albums of songs intended for the libretto. At the time of this write-up, it has been six years since the last album and a decade since the last live show. Although she still talks about the musical as an ongoing, Broadway-bound project, in recent years, she's often gone dark for months at a time on social media. There is no forum, no large Discord, no active community to speak of; comments are restricted on her currently-inactive Instagram and blog.
Who is she hiding from, you ask? Why, you've probably guessed it: the hordes of devoted fans whom she infuriates every time she does anything.
And what are they furious about? (Or frustrated, flummoxed, or plain ol' flabbergasted?) Well, it depends who you ask. For some, it's disappointment in her artistic and marketing choices (what are fans for?). Others cite unkept promises or absurd release delays. For others yet, it's the AliBaba merch sold at jaw-dropping markups with three paragraphs of purple prose in the product description.. Or maybe it was the angry rants on Twitter? Okay, it's the casual bigotry that she staunchly denies or dismisses. It's the criticism she can't take. It's the fact that she won't stop lying about her own life! Either way, I don't personally know of any fanbase that has been so consistently exasperated, for so many years, and for such a diverse array of reasons, by their favorite artist.
In truth, each individual mini-scandal isn't all that juicy or scandalous. Nobody died, no one got sued; nothing of significant value, other than time and sanity, was taken away from anyone. What I find interesting here is the years and years of bizarre parasocial codependency (and antagonism) between a fragile woman who became addicted to her own poppycock, and an obsessive fanbase who cared way too much not to take it personally.
Before we even get to EA's relationship with her fans, you're going to need some lore about EA herself. A “Hobby History” of sorts. Strap in! There's romance, tragedy, laughter, character development, variety numbers, numerous costume changes, (actual) celebrity cameos – and based on how long this OpenOffice doc already is at the time of my writing this, we're probably going to need several intermissions too. This write-up is link-heavy, both with receipts and with additional watching and listening material. Not all of them need to be clicked in order to understand the story; I'm merely providing the rabbit holes. I've tried to make things more easily navigable by including a little glossary about the nature of links; one emoji-indicator carries over the next link until I use a different one.
🪞 = picture / visual 🎵 = music 📺 = video 📝 = primary source / receipt 🔍 = press article / write-up / further reading 🎤 = song lyrics / spoken word audio 🐀 = anonymous fan confession 🦠 = reaction / meme

BAROQUE BEGINNINGS: THE VIOLIN YEARS

VampireFreaks: Do you ever smile to yourself knowing your old music teachers might be seeing your success? EA: I smile to myself knowing they might be dead. (Long-lost interview, late 2000s)
Born in Malibu in the late 70s, Emilie Autumn, often known as EA, was originally trained as a classical violinist.
By her account, she started playing the violin at age 4, and was homeschooled at age 9 so that she could focus on her instrument. After stints at various performing arts colleges, some rather prestigious, she dropped out of formal schooling in her mid-to-late teens to embark on a solo violin career.
In 2001, after disappointing experiences with major record companies, she created her own label, Traitor Records, and released a EP of chamber music, with minor success. The stuffy industry of classical music didn't “get” the twenty-something manic-pixie-fiddler, who played Bach just a bit too fast, but with electric stage presence – wearing period corsets, combat boots, and the occasional fairy wings. But EA evidently knew that there was an audience for that somewhere.
And that somewhere – drumroll – was Illinois.
VW: What do you most hope to accomplish? EA: Everything. (‘Virtual World Radio’ Interview, 2002 📝)

ENCHANT ERA: BRUSHES WITH FAME ON FAERIE WINGS

What if I'm an ocean, far too shallow, much too deep? (...) What if I'm a siren singing gentlemen to sleep? (“What If”, 2003 🎵)
Soon, EA relocated from her native California to Chicago. There, in between odd jobs, she veered away from baroque and began performing her own “fantasy rock” stylings at piano bars, holiday fairs and local venues – and building a decent following through her LiveJournal, website, and IRL friends. People loved the whole renegade genius thing, loved the violin, loved the nightingale voice, loved the fairy wings and costumes🪞, loved the handmade merch and general disdain for The Business, loved her deadpan humor and bookish nerdiness. In 2003, she released her first LP, Enchant 🎵 – an ethereal, introspective indie-pop joint, born under the sign of Imogen Heap, with a moon in Fiona Apple and Tori Amos rising.
Everything about EA's act was exquisitely DIY, personal, and intricate. For instance, the Enchant booklet folded out into a Masquerade-style puzzle of her own design.🪞 The first person to solve the puzzle would win “the Wings, Ruff, Fan and Scepter of the Faerie Queene herself” – all lovingly handmade by EA, and depicted in peak 2003 graphic design on the booklet. For months, YEARS after Enchant came out, people poured over the cryptic metaphors and literary references, the historical symbolism and visual puns of the artwork, looking for hints and patterns. They read every fan chat, every interview, every relevant Shakespeare play, hoping to decipher the inner workings of EA's mind and find new keys to the puzzle. Sure, it's been two decades now and no one's ever managed to crack the damn thing 🔍, which is by now widely assumed to be flawed and unsolvable; still, it's the kind of zany, brainy, immersive experience that tends to cultivate a niche but hyper-invested fanbase.
So it makes perfect sense that underground aficionada and internet frontierswoman Courtney Love (she haunted public AOL chatrooms as early as 1995! 🔍) would take an interest. Just a few months after releasing Enchant, EA was off to southern France to record violin and vocals for Courtney's new solo album; a few months after that, in early 2004, she joined Courtney's band on a brief tour to promote the record.
Alas, no cigar: America's Sweetheart flopped. Maybe because most of those summer recording sessions were ultimately lost to an engineering oopsie; maybe because Courtney was having an especially rough year – and going through all the “rock-bottom moments” that she would discuss in group therapy, later that fall, when she began her sobriety journey at court-ordered rehab. EA, a former homeschool kid who had never done drugs, seems to remember the tour as a generally terrifying experience; she later stated, with some bitterness, that the experience was not worth the time it had taken away from her own solo career.
But it was a good year for TV appearances! Here she is on the David Letterman Show in March 2004, rocking out on a perfectly inaudible violin as C-Love fades in and out of her own body. 📺 She also landed a cute tutorial segment on HGTV's Crafters: Coast to Coast, making sushi-shaped soap and fairy wings. In December, she accompanied Billy Corgan for a Christmas song on a Chicago station.
All of this was chronicled in quirky, wordy posts on her blog – interspersed with late-night musings about casual misogyny in the media 📝, including against Courtney, handmade crafts and clothing auctions, candid pictures of outings with friends in Chicago... as well as periodic updates on the progress of her next opus: Opheliac.
God, too much to even begin to tell right now, and I’m recording anyway, but I can give you this update: I just finished yesterday recording violin parts and backing vocals for B. Corgan’s first single (...) More later, recording piano for my new track “GOD HELP ME”…why do I torture myself with my own self-inflicted drama…or is it a way of exorcizing…yes, I’ll go with that one for now…☠ (“Whirlwind...”, December 2004)
By that point, EA was starting to be more open about her conflicted relationship with what would later be diagnosed as bipolar disorder. The galaxy-brain moments, the trance of creative frenzies, the liminal high of going three days without sleep, the magic... the crippling sensitivity, the restless anxiety, the Zoloft that one both needs and hates, the ever-lurking suicidal thoughts. As EA gradually revealed over the course of 2004, Opheliac would be an exploration of the “mad woman” archetype. The title was a medical neologism for “the syndrome of Ophelia”, as in the tragic character from Hamlet 🔍, driven to insanity and ultimate self-destruction by the fuckboys who rule her life. Here's EA explaining it in her own words. 🎤 The album would dive into how psychiatry and romantic relationships are governed by old misogynistic tropes, and how the “mentally ill” label is used to silence and downplay the justified anger and hurt of abused women.
In a striking case of life imitating art (are you picking up on the theme yet?), this concept was about to become more painfully relevant than ever to EA's personal existence.
CW: implied partner abuse, suicidal ideation.

DISENCHANTMENT: A SERIES OF UNFORTUNATE EVENTS

In the lake, you will find me Behind your house, behind your house (...) My ocean is bluer than the heart you had to break My sea is deeper than your lake (“In the Lake”, 2005 🎵)
Where were we? Ah yes, the Christmas song with Billy Corgan at the end of 2004. Around that time, EA was also recording violin parts and backing vocals for his upcoming solo album. 🎵 They had presumably connected through Courtney, they both lived in Chicago, I guess something clicked.
In January of 2005, EA abruptly went off of her meds, broke up with her live-in boyfriend-slash-bassist, packed up her violin and corsets, and moved into Corgan's mansion. In March of 2005, she posted very melancholy lyrics about drowning in a lake to haunt a deceitful lover. The post was entitled“In The Lake (The Zoloft is calling my name...)” 🎤📝. Later, after the song was released as a B-side, EA disclosed that it had been intended as a public suicide note 📝.
Blog entries from that time touched on a “whirlwind of action and emotion”, “changing residences” and feeling like “you're falling through the air, but you don't know if you'll hit the water or the rocks” 📝. But, EA being an expert vague-poster, her posts remained very elusive about what was going on, who was involved, and how it impacted her. (The specifics were pieced together years later, by fan-led forensic efforts – which, obviously, involved ascertaining the existence of an actual body of water in Billy Corgan's backyard 📝).
Whatever happened over the course of those months was never disclosed explicitly by EA, but is widely assumed to have inspired songs such as “Liar” 🎤, “Misery Loves Company”, “Let the Record Show”, and “I Know Where You Sleep”, , recorded that same spring. A solid quarter of the Opheliac tracklist – which was shaping out to be decidedly darker and grittier than Enchant.
You can lie to the papers, you can hide from the press (...) I know your tainted flesh, I know your filthy soul I know each trick you played, whore you laid, dream you stole I know the bed in the room in the wall in the house Where you got what you wanted and ruined it all I know the secrets that you keep I know where you sleep
Even as her personal blog posts grew more somber, nihilistic, and generally fed-up in the face of what she called “the worst breakdown of her young life”, even as the songwriting process had her rummage through traumatic memories [CW: CSA] 🎤, and even as the Corgan-adjacent trauma was compounded by various rushed moves and broken friendships over that summer and fall, EA remained remarkably (some might say frantically) prolific.
Other than progress on Opheliac, 2005 saw multiple violin collaborations with alternative bands, numerous auctions of, mh, visually strident “punktorian” fashion pieces 📝🪞 (“STRESS COUTURE!” 🦠📺), and an updated re-issue of her 2001 poetry collection, complete with audiobook. ("...The book has been selling like crack in a limo with Courtney Love (and believe me, I know)." - Ooooof, EA. Low-hanging fruit. 📝)
In October, she started recruiting:
WANTED: Hot goth bitch to join touring band of other hot goth bitches. (...) Must be able to: sing backing vocals in a wide range with excellent pitch, growl à la Kittie, handle minimal keyboard parts, push buttons/turn knobs with killer attitude, be extremely comfortable on stage in bloomers and a corset, reside in the Chicago area, know the difference between a crumpet and a scone, have at least one hidden talent. 📝
By winter, most of her blog post titles were written in THIS FORMAT!!!!!!!! In December, she announced that “Emilie Autumn and the Bloody Crumpets” would preview Opheliac live at the Double Door in Chicago, on Friday the 13th (ooh!) of the following month. “We are coming to destroy your world,” the post threatened enticingly. "Miss it and suffer. We really don't want to hurt you.” The flyer advertised a dress code:
Masquerade, Ophelias, green girls, Victorian insane asylum escapees, princes of Denmark, bloomered harlots and rogues – general burlesque ribaldry!
Exit diaphanous butterfly wings and elven tiaras 📺, enter the haunted murder-doll with the blood-red heart on her cheek; out with Elizabethan chamber-pop, in with Victoriandustrial. The fairy had to die to make way for the iconic, the sublime, the tragic, the ridiculous, the positively bananas...

OPHELIAC ERA: LET THE RECORD SHOW

EA: What's more interesting, and what's more fun to watch, than a crazy girl's self-destruction? Nothing. Nothing in the world. (The Opheliac Companion, 2008 🎤)
If I'm going down Then I'm going down good I'm going down Then I'm going down clean (...) The prettiest broken girl you've ever seen (“Let the Record Show”, 2006 🎵)
CW: mania, self-harm, abortion, suicidal ideation, hospitalization.
If you haven't gathered as much by now, what fans were witnessing in real time on EA's blog, without necessarily seeing it, was the ebb and flow of a months-long manic episode. That's not me armchair-diagnosing: EA herself has discussed penning and recording a lot of her best material in a trance-like rush, “when you're writing on the ceiling because there's not enough paper to contain your thoughts”.
...Once I became stable and healthy, I realized that I had no memory of how a great deal of my music had been created. I had written and even programmed most of my best work in a similar manic state, and, when stark raving sane, I didn’t know how to do it anymore, because the part of me that really composes never needed to know how to do it, it just did. (2019 Instagram post 📝)
It's not an uncommon experience for artists with bipolar disorder. Before you burn so hot that you wind up in the back of an ambulance, and/or before the pendulum swings back towards debilitating depression, the boundless energy, heightened sensitivity, and unexpected thought patterns associated with mania can lead to periods of prolific and effortless creation.
Mania also has the potential to lower your inhibitions, making you more bodacious, more quick-witted – more dazzling, more fun at parties, more dramatic. All traits that are valued in the entertainment industry, especially one that, with the rise of social media, was coming to rely increasingly on parasocial engagement and “personal branding”. Why would you refrain from oversharing, overreacting, overworking, overpromising, overcurating a fantasy image of yourself... when new industry models reward exactly that?
My point is that, in retrospect, “the end was built into the beginning”: all the things that would make fans go “What the hell, Emilie!” in subsequent years were brewing below the surface before the album even dropped.
In the summer of 2006, EA said goodbye to her Chicago friends and returned to California, where she moved in with her new beau, another Illinois-born guitarist with an impressive forehead: Brendon Small, of Dethklok/Metalocalypse quasi-fame. (If you're into that sort of thing: the orchestral strings on “Detharmonic”? Yep, that's EA! 🎵📺)
In September, Opheliac was released into the world. Expectations were high... And many sources agree it was a goddamn banger. It was ultrafemme, ultradark, unhinged, hilarious and deadly and brilliant. It had gnarly kitchen-sink drums layered under angelic string harmonies, fauxperatic swells, and guttural screaming. It had sarcastically self-aware double-entendres that were also literary references that were also musical notation jokes. You get the idea: it was the album that a small, but sizable demographic of tormented millennial teens had been waiting to obsess over. Some time in late 2005 or so, EA had signed with German label Trisol Records, which gave her access to better promotion, press coverage and touring opportunities in Europe when the album came out in the fall. By winter, she was on the cover of alternative mags, and the talk of the town on underground music webzines. Within a year, she was embarking on the first of three almost-back-to-back European tours.
It was around that time that EA started giving her fanbase a more defined, aesthetically on-brand identity. EA, funnily enough, disliked the term “fan” due to its proximity to “fanatic”, and started calling individual supporters “muffins” or the "Bloomer Brigade". (After The Book came out in 2009, they would become “Plague Rats”. You know how pets get weird if you re-name them too many times? I wonder if the same is true of fans.) Meanwhile, EA's fanbase as a collective – as well as her home, her recording studio, her online forum and her inner brainspace... – became canonically known as “The Asylum”. Cue infinite jokes about her fans being “committed.”
And they really were, in a slightly more intense way than your average indie-alternative fanbase. Many fans enthusiastically adopted facets of EA's mannerisms and lingo, which gave the fandom a definite LARP-ing bend; and the official forum did, in fact, offer a subforum for Asylum-themed role-play. (In a number of ways, the Asylum was basically Juggalos for socially anxious theater goths. Substitute the clown facepaint, Faygo, and hatchets for cheek-hearts, Earl Grey tea, and obsolete medical tools.) While there was always some side-eye at the embarrassingly candid, often very young Plague Rats who took the Asylum thing too seriously (always speaking in character and worshipping the ground Mistress Emilie walked on), a lot of people were quite thrilled to play romantic Victorian madhouse with their new favorite artist. Live shows were like costume balls. The forum thrived.
It was like Opheliac had opened a portal to this vibrant and inclusive alternate dimension, which the community was now bringing to life in the real world. And each tour brought more inmates (muffins, Plague Rats, you get it) to the Asylum. “Spread the Plague!” was the name of the game.
So, on paper, in the three years that followed Opheliac, EA kind of won the high-concept-indie-artist equivalent of the lottery. After going through her own personal hell of abuse, major upheavals and serious mental health crises, she had decided to gamble on a radically different tone and musical direction. She came out the other side with critical acclaim for her soul-baring record, tons of live shows with a badass girl squad, photoshoots so iconic they pop up on random Pinterest boards to this day, snazzy corporate sponsorships (including Manic Panic and RockLove Jewelry), and an exponentially growing fanbase who couldn't get enough of whatever she had to give. And she gave quite a lot!
Within those three years, in between tours, EA released A Bit O' This & That 🎵 (a compilation of demos and back-catalogue curiosities), Laced / Unlaced (a full-instrumental double album - one side was the baroque recordings from her late teens, the other was demented, distortion-heavy classical-prog), and three EPs packed with new songs, covers, remixes and bonus content. There was also a deluxe reissue of Enchant, without the puzzle, but with a brand new booklet of handwritten lyrics and marginalia. All came in lovely inter-matching digipaks that really made you want to collect them all – much like the handmade merch 📝🪞 that EA still sold on some legs of her tours. She spent time with the fans at most shows, eventually holding meet-and-greets and private showcases for VIP ticket-holders. She also released “The Opheliac Companion”, a kind of “director's commentary” of the album – roughly 10 hours worth of lyrical deep dives, microphone specs, tangents within tangents within tangents, and whacky (tipsy, sometimes unintelligible) banter between EA and her sound engineer🎤. On top of all that, she wrote, designed and self-published a fully illustrated 200-page coffee-table book, the first print of which sold out within a year. Not bad!
Of course, things that seem to good to be true usually are: at this stage in the story, EA is never as enthusiastically prolific as when her personal life is falling apart behind the scenes.
In the three years that followed Opheliac, along with soaring success, EA got to experience: more rapid-cycling between manic phases and the pits of depression, multiple harrowing medication adjustments, an very-much-unwanted pregnancy followed by a traumatic abortion, a suicide attempt, at least one inpatient stay, and a break-up in the aftermath of it all. There were also a few physical health scares that required hospitalization. On one occasion, she had to go off all her meds cold-turkey when they were confiscated at the EU border right before the start of a tour. In some pictures from her summer 2007 festival appearances, you can make out faint self-harm scars on her thigh through the layered stockings. (Obvious CW, for the morbidly curious.🪞(But if you weren't, would you still be reading?))
So yeah. EA was not doing great.
She didn't share any of these struggles with her fans in real time; her posts were all droll banter and updates on tours and releases. Most of what I just listed was disclosed in late 2009, in the autobiographical part of The Book. (The Book gets at least one instalment of its own. Bear with me, there's a LOT to unpack.) And The Book, while never specifying a timeline, kind of really made it sound like the Bad Stuff (the abortion, the suicide attempt, the hospital stay) had taken place a while back, before the release of Opheliac. In fact, EA plainly stated as much, citing “getting locked up and being put in the asylum" 📝 as the reason for the shift in sound between Enchant and Opheliac.
She repeatedly referred to herself as “stabilized” and “now properly medicated” in interviews. As far as the fanbase was concerned, she had triumphed over her abusers, turned trauma into beauty, and lived to pass on her story of survival. And now she had found balance and community and true acceptance of herself, all that good stuff – and all was fine and dandy within the Asylum. On stage, she sang about blind rage and all-consuming despair and general hopelessness, but she didn't actually feel like that – not anymore, right?
This narrative was both inspirational and quite convenient for the fans. We love our Mad Hatters 🎵📺, our Rainmen, our manic pixies. We love and celebrate “crazy” when it manifests as outside-the-box brilliance and/or bubbly eccentricity. But in my experience, even in spaces that ostensibly focus on "destigmatizing mental illness", positivity and support can quickly turn to rejection and awkwardness when your “quirks” manifest in more challenging ways – like through erratic decisions, aggressive or dishonest behavior, or increasingly untethered beliefs about yourself and the world. No matter how much people claim to “embrace the madness”, it just isn't that fun or in good taste for a large group to play-act ~ whimsical insanity ~ with someone who is for realsies mentally falling apart.
Before time has had time to do its thing, "revisiting your trauma" is just called ruminating. And it's rarely good for you, even when you commit some of greatest art in the process.
I think fans had to assume that there was some critical distance in EA's act, that these extreme negative emotions were all theater – because if they weren't, then the Asylum wasn't an empowering performance about healing from past hurt. It was more like a years-long reality show in which a woman picked at her wounds publicly, again and again, in real time, to the cheers of oblivious strangers who thought they were watching a play.
All I'm saying is that EA was essentially still in the thick of raw trauma when she became a poster-child for overcoming it; that the last thing a person needs, at such a vulnerable stage in their life, is an intense parasocial relationship with sad goth teenagers, let alone one centered around romanticized retellings of their own darkest moments; and that if more people had declined to actively engage in pretend-play that toed the line of self-harm... there is a chance that things might have turned out differently. Maybe EA would still be a successful musician whose career isn't plagued by conflict and mutual disappointment, and maybe some fans wouldn't have wasted years getting red in the face at an over-exposed mentally ill woman for not getting her shit together.
OKAY, THAT GOT HEAVY (and preachy), apologies and thank you for your patience. I will now quit my soapboxing, resume telling the story, and let you draw your own conclusion as our dark plot unravels.

EPILOGUE: DEAD IS THE NEW ALIVE

A quick taste of the poison A quick twist of the knife When the obsession with death, the obsession with death Becomes a way of life ("Dead is the New Alive", 2006 🎵)
I am still over-glorified My reasons to live Were my reasons to die But at least they were mine (“306”, 2006)
In summation: becoming an overnight success thanks to your darkest trauma will do things to person's mind.
As EA kept hyping up how much her fans meant to her, and what an amazing and inclusive and free-thinking motley crew the Asylum was, she was also growing more and more controlling of her increasingly large (and opinionated, and overall rather young) fanbase – and more generally, of the way people ought to talk to and about her.
It was during the Opheliac era that she started reveling in made-up stories about her own life. Then came the habit of losing her shit on fans that she perceived as ungrateful or disrespectful. It was also then that massive kerfuffles became routine on the merch and planning front, and EA's creative output started to routinely fall short of her promises. The more fans started raising legitimate complaints, the more defensive and uncompromising EA became in her public interactions. The more people expressed weariness of the Asylum theme, or started questioning EA's hot takes on mental health and feminism, the harder she doubled down on the Asylum lore and fictional universe. Which is where the drama really starts.
Alright, the time has come. Let's talk about The Book.
...Actually, let's not. I'm nearing my character limit, and you could probably use a break and a stretch after making it this far. This is our intermission, and we'll get to The Book in our next instalment.
Thank you for reading! Stay tuned if you're interested in how it all comes tumbling down.
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2024.04.28 06:05 omegacluster Album Anniversary List 2024-04-28

Today's anniversaries are:
1998
2009
2010
2011
2015
2016
2017
2018
2019
2020
2021
2022
2023
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