Fashion catchy slogans
The Magic Touch: Why Branding Reigns Supreme in Performance Marketing
2024.05.13 11:40 Far-Pie-105 The Magic Touch: Why Branding Reigns Supreme in Performance Marketing
 | https://preview.redd.it/midzsmt3y50d1.jpg?width=1024&format=pjpg&auto=webp&s=340c49f3005f5ecbb4b062b9ff4e270ec8bb23df submitted by Far-Pie-105 to SEO_Digital_Marketing [link] [comments] In the ever-evolving realm of marketing, one element possesses an almost mystical quality, capable of transforming campaigns from ordinary to extraordinary: branding. Far more than just a logo or a tagline, branding holds the power to captivate audiences, build trust, and drive results. But what is it about branding that makes it indispensable in the realm of performance marketing? Let's unravel the enchantment and discover why branding reigns supreme in the world of performance marketing. 1. Building a Compelling Narrative: At the heart of effective branding lies a captivating story – one that resonates with audiences on a profound level. By crafting a narrative that communicates your values, mission, and unique selling proposition, you create an emotional connection that transcends transactional relationships. This narrative serves as the cornerstone of your performance marketing efforts, guiding messaging, and content creation to ensure consistency and resonance across all channels. 2. Fostering Trust and Credibility: In a digital landscape fraught with hesitation and uncertainty, trust is the currency of commerce. A strong brand inspires confidence and credibility, assuring consumers that they are making the right choice by choosing your products or services. Through consistent branding elements, such as a polished website, cohesive visual identity, and authentic communication, you establish a sense of trust that lays the groundwork for successful performance marketing campaigns. 3. Differentiating from the Competition: In a crowded marketplace, differentiation is essential for survival. A well-defined brand identity sets you apart from competitors, giving consumers a reason to choose you over alternatives. Whether it's through unique brand messaging, innovative product offerings, or a distinctive brand personality, differentiation fuels engagement and drives conversions in performance marketing campaigns. By showcasing what makes you truly unique, you create a competitive advantage that is difficult for others to replicate. 4. Amplifying Recognition and Recall: Consistency is key when it comes to branding. By maintaining a cohesive visual identity and messaging across all touchpoints, you reinforce brand recognition and recall. Whether it's through memorable logos, catchy slogans, or signature brand elements, a strong brand presence ensures that your audience remembers you long after they've encountered your marketing materials. This familiarity breeds loyalty and increases the likelihood of repeat business, driving long-term success in performance marketing. 5. Maximizing Return on Investment (ROI): At its core, performance marketing is about delivering measurable results. And branding plays a crucial role in maximizing the return on investment (ROI) of your marketing efforts. By leveraging the power of a strong brand to enhance engagement, conversion rates, and customer lifetime value, you can achieve greater efficiencies and effectiveness in your performance marketing campaigns. Whether it's through targeted advertising, personalized messaging, or strategic partnerships, a well-executed branding strategy magnifies the impact of your marketing initiatives, yielding higher returns and sustainable growth. Conclusion: In the enchanted realm of performance marketing, branding emerges as the secret ingredient that elevates campaigns from good to great. By weaving a compelling narrative, fostering trust, and differentiation, amplifying recognition, and maximizing ROI, branding becomes the catalyst for success in the digital age. So, embrace the magic of branding and unleash its transformative power in your performance marketing endeavors. Stay ahead in the dynamic landscape of digital marketing at https://www.hopbug.com |
2024.05.13 07:35 tab_rick 10 Best Bathroom Sink Manufacturers in the World
 | In the ever-evolving world of kitchen & bathroom design, the bathroom sink stands as an iconic centerpiece, embodying both form and function. From the rustic charm of copper sinks to the sleek elegance of solid surface, stainless steel and vitreous china, choices in the market cater to every taste and decor style. Vessel sinks, with their countertop placement, have risen in popularity, especially in upscale powder rooms and modern bathroom designs. Pedestal sinks exude a classic aura, while the durability of granite composite and cast iron remains unmatched. As we dive deeper into this sector, we’ll spotlight some of the industry’s top manufacturers, shaping trends and elevating spaces across the globe. submitted by tab_rick to KKRsolidsurface [link] [comments] KingkonreeHeadquarters: Shenzhen, ChinaYears of Experience: 23 Main Market: Worldwide Main Products:
About Kingkonree: Kingkonree, often referred to as KKR, is more than just a brand—it represents a benchmark of excellence and innovation in the commercial sink industry. With over two decades of history, KKR offers a diverse product portfolio, from solid surface sinks to meticulously crafted bathroom vanities, addressing a wide spectrum of needs. KKR offers a wide variety of products that not only showcase diversity but also meet exceptional quality standards. Each product reflects KKR’s unwavering commitment to superior craftsmanship, evident in the immaculate finishes achieved through meticulous sanding processes and the uniform textures they maintain. Their utilization of high-grade resins guarantees the sustained beauty and effectiveness of their products. Central to KKR’s ethos is the principle of collaboration. Their in-house design experts, consistently updated with the latest design paradigms, work synergistically with external specialists to craft tailored solutions for each requirement. Their expertise in providing both OEM and ODM services underscores their adaptability and dedication to client fulfillment. Whether engaging with furniture enterprises or coordinating with distributors from inception to finalization, KKR maintains an unwavering emphasis on quality and timeliness. Being ISO 9001 certified, KKR continuously surpasses international benchmarks, making them a top choice in sectors such as hospitality and retail design. Their esteemed reputation is further elevated by recognition from the hospitality sector, particularly for adhering to hygiene standards. Ultimately, Kingkonree is more than just a brand—it signifies a promise of quality, forward-thinking innovation, and enduring collaborations. Kohler Co.Headquarters: Wisconsin, USAYears of Experience: Over 150 years Main Market: Global Main Products:
Kohler Co. epitomizes the fusion of tradition, innovation, and luxury in bathroom fixtures. Established over a century ago in Kohler, Wisconsin, the brand has persistently set industry benchmarks in bathroom and kitchen aesthetics, gaining global recognition. Kohler’s sinks manifest their unwavering dedication to quality. From the classic allure of their pedestal sinks evoking timeless elegance to the contemporary finesse of their undermount sinks that merge flawlessly with countertops, they cater to diverse preferences. However, Kohler’s distinction lies beyond mere design; it’s in the craftsmanship. Every sink isn’t just an aesthetic achievement but also a pinnacle of functionality, designed for enduring daily demands, guaranteeing homeowners a harmonious blend of style and resilience. At its core, innovation drives Kohler’s vision. Beyond just manufacturing sinks, they are committed to elevating the user experience. Innovations such as noise-reducing basins and scratch-resistant surfaces exemplify their progressive mindset. They intuitively address the requirements of today’s homeowners, providing solutions that streamline and enhance daily tasks. What genuinely distinguishes Kohler Co., though, is its storied legacy. While they have navigated through changing design currents over decades, their foundational principles of quality, luxury, and innovation have been unwavering. This amalgamation of deep-rooted experience and agility ensures that they not only meet but frequently surpass the dynamic needs of the market. In summary, Kohler Co. transcends mere fixtures; they curate experiences. Each sink they fashion embodies a commitment – an assurance of unparalleled quality, enduring design, and trailblazing innovation. VIGOHeadquarters: New York, USAYears of Experience: 14 Main Market: USA and worldwide Main Products:
Located in the dynamic heart of New York City, VIGO stands as a distinguished icon of contemporary design within the kitchen and bath fixture industry. For over ten years, the brand has pursued a singular vision: enhancing daily life. Their method? Designing products that seamlessly meld functionality with visual appeal. The collections from VIGO underscore their unwavering dedication to design excellence. Each item, whether it’s their top-tier faucets, robust sinks, or refreshing showers, embodies a modern aesthetic that balances style with practicality. But VIGO goes beyond mere aesthetics; they curate experiences. Envision immersing yourself in a shower framed by VIGO’s sophisticated screens, or using a faucet that operates as seamlessly as it looks. This encapsulates the VIGO journey. Yet, VIGO’s focus isn’t limited to the present; they’re poised for the future. Their commitment to innovation shines through the meticulous testing of each product, assuring that customers receive items that are not just in vogue but also of the highest quality. Boasting certifications from renowned bodies like ANSI, IAPMO, and UPC, VIGO products not only adhere to industry benchmarks but frequently define them. What truly differentiates VIGO is their design philosophy. They are steadfast in the belief that every kitchen and bath, irrespective of dimensions or decor, merits excellence. With VIGO, this excellence is guaranteed – a harmonious fusion of New York City’s pulsating energy, avant-garde design, and unparalleled quality. Kraus USAHeadquarters: Washington, USAYears of Experience: 16 Main Market: USA and worldwide Main Products:
Located in the central district of Port Washington, New York, Kraus has stood as a hallmark of innovative design since 2007. With an ambition to redefine the kitchen and bath sector, Kraus consistently offers products that are not only in line with contemporary aesthetics but also emphasize functionality and longevity. Exploring their product lineup reveals a diverse selection of sinks tailored to various design tastes. Whether you appreciate the timeless appeal of ceramic sinks, the modern sophistication of solid surface basins, or the distinct beauty of glass sinks, Kraus presents a fitting option. Beyond aesthetics, Kraus’s sinks prioritize user experience. From the streamlined undermount sinks that meld seamlessly with countertops to the striking vessel sinks that enhance bathroom visuals, each product harmoniously merges style with utility. Central to Kraus’s ethos are three fundamental principles: Quality, Creativity, and Design. They champion the idea that thoughtful design can elevate daily spaces, transforming them into zones of relaxation and revival. Their continuous drive for innovation, coupled with a focus on affordability, ensures that every product embodies their slogan: “Live Beautifully™.” BlancoHeadquarters: Oberderdingen, GermanyYears of Experience: Over 98 Main Market: Worldwide Main Products:
Within the domain of kitchen and bath fixtures, Blanco is distinguished not only by its product assortment but also by its unwavering dedication to quality and innovation. Among their diverse sink offerings, spanning ceramic to stainless steel, are their SILGRANIT sinks that are truly distinctive. So, what sets SILGRANIT apart? SILGRANIT is a premium granite composite designed with contemporary homeowners in mind. Beyond its visually appealing matte finish and refined appearance, it champions both functionality and durability. These sinks are built to last, ensuring a lasting return on your investment. Their non-porous nature renders them hygienic and effortless to maintain. From spills and stains to scratches, SILGRANIT stands resilient, making it a preferred choice for those seeking a harmonious blend of aesthetics and endurance. However, Blanco’s dedication extends beyond pioneering materials. Recognizing that a sink is more than a mere functional unit, they view it as a pivotal component of your home’s design ethos. Whether your preference leans towards a sleek modern aesthetic or a classic touch, Blanco offers a sink that flawlessly aligns with your design vision. Villeroy & BochHeadquarters: Mettlach, GermanyYears of Experience: 275 Main Market: Worldwide Main Sink Products:
Established in 1748, Villeroy & Boch epitomizes enduring dedication to quality craftsmanship and forward-thinking design. Centrally located in Europe, this brand has consistently led the realm of ceramic excellence, setting new standards in design and utility. Within their extensive collection, you will discover a diverse array of sink designs tailored to cater to distinct tastes and requirements. From the flawless integration of their drop-in sinks, the refined elegance of their vessel sinks, to the utility of their vanity sinks, Villeroy & Boch strikes a perfect balance between aesthetics and functionality. Their TitanCeram sinks, defined by meticulous craftsmanship and slender walls, underscore the brand’s devotion to pioneering ceramic artistry. Furthermore, Villeroy & Boch’s spirit of innovation extends beyond mere aesthetics. They have incorporated cutting-edge technologies such as CeramicPlus, facilitating effortless cleaning as liquids effortlessly roll off the sink. Moreover, with a focus on health, their AntiBac technology delivers antimicrobial protection, promoting a hygienic bathroom ambiance. In essence, Villeroy & Boch isn’t merely a brand but a storied legacy. It symbolizes a tradition of quality, design, and an unwavering commitment to elevating home interiors. Their sinks serve not merely as fixtures but as testamentary pieces, reflecting a storied past while embracing the future of design. Elkay Manufacturing CompanyHeadquarters: Downers Grove, IllinoisYears of Experience: 103 Main Market: Worldwide Main Sink Products:
Established in 1920 by Leopold Katz and Louis Katz in Chicago, Elkay Manufacturing Company set forth with a clear objective: to deliver superior-quality sinks and provide exceptional service. Today, they are recognized as America’s premier kitchen sink manufacturer, having diversified their product line to include an extensive range of kitchen and bathroom plumbing systems, commercial sinks, and water delivery systems. Elkay’s diverse product lineup underscores their dedication to innovation and excellence. Their workstation sinks, crafted from materials such as stainless steel, fireclay, and quartz, are structured to elevate kitchen efficiency, promoting a streamlined and organized workspace. Elkay ensures there’s a sink suitable for every taste, be it the resilient nature and adaptable aesthetic of stainless steel, the lively hues of quartz, or the wear-resistant finish of fireclay. Elkay’s prowess extends beyond residential offerings. They have established a distinguished presence in the domain of commercial-grade stainless steel sinks, serving industries like healthcare, education, and foodservice. Their ADA-compliant offerings further reflect their commitment to inclusivity, making certain that facilities cater to all individuals. Central to Elkay’s impressive journey is their steadfast dedication to customer contentment. Their sink selection tool, curated to aid customers in identifying the ideal sink, exemplifies their client-focused approach. From their modest inception in Chicago to their present stature as sector front-runners, Elkay consistently upholds its legacy, extending quality and novelty with each contented customer. HansgroheHeadquarters: Schiltach, GermanyYears of Experience: 122 Main Market: Worldwide Main Products:
Hansgrohe sinks transcend mere functionality. They epitomize the brand’s commitment to marrying aesthetic elegance with practicality. Their minimalist rectangular silhouette, accentuated by a distinctive L-shaped rim, integrates gracefully into contemporary kitchens or bathrooms, serving as a central design feature. For any setting, from individualized compact spaces to expansive family kitchen islands, Hansgrohe presents a curated selection of sink sizes and styles to address every requirement. The portfolio ranges from sleek single sinks designed for constrained spaces to dual sinks that facilitate efficient multitasking. Material selection further underscores Hansgrohe’s unwavering dedication to excellence. Their stainless steel sinks radiate enduring sophistication, while their SilicaTec granite variants introduce an essence of organic grace, available in hues to harmonize with all interior palettes. Beyond aesthetics, durability is paramount. Their stainless steel models, crafted from premium hand-welded steel, guarantee prolonged use and effortless maintenance. In contrast, their granite sinks, fortified with sturdy quartz particles, ensure a resilient surface. Conclusively, Hansgrohe assures the impeccable pairing of taps with their sinks, achieving design cohesion without any sacrifice in quality. LinkasinkHeadquarters: Phoenix, ArizonaYears of Experience: 22 Main Market: Worldwide Main Products: Copper, Cast Bronze, Smooth & Hammered Metals, Concrete, Glass, Mother of Pearl Inlay, Jeweled, and Mosaic Tile Sinks. About Linkasink: Linkasink stands as a beacon of artistic excellence, craftsmanship, and innovative design. Catering to both modern and classic aesthetics, it has established a distinct presence in the realm of kitchen and bath design. Whether you appreciate the historical essence or the modern sophistication of stainless steel tile mosaics, Linkasink promises elegance in every creation. Its dedication to handcrafted precision distinguishes the brand. Each sink is a testament to the skills of artisans, who employ time-honored methods to breathe life into every design. This rigorous precision ensures that every Linkasink product transcends functionality, becoming a piece of art. Linkasink’s genesis traces back to the vision of esteemed interior designer, Kirk Guthrie. His pursuit of bespoke copper sinks, unmet by the market, led him to partner with copper craftsmen in Mexico. This collaboration birthed unparalleled, custom-made sinks that swiftly garnered industry attention. Transitioning from a modest showcase at the Kitchen & Bath Show to an industry stalwart, Linkasink’s trajectory underscores its commitment to innovation, zeal, and the art of handcrafted design. Stone ForestHeadquarters: Santa Fe, New MexicoYears of Experience: 32 Main Market: Worldwide Main Products:
Stone Forest stands as more than a brand—it represents a harmonious fusion of nature’s pristine beauty and human innovation. Grounded in a deep appreciation for natural elements and an astute sense of design, Stone Forest has consistently led in creating sinks and fixtures that balance artistry with functionality. Each creation by Stone Forest narrates the tale of its origin, detailing the journey of a raw stone meticulously refined into an opulent fixture. The brand’s unwavering dedication to preserving the authentic allure of these materials guarantees that every product boasts its distinct texture, character, and charisma. Beyond mere visual appeal, Stone Forest underscores its dedication to sink excellence and longevity. By leveraging the inherent robustness of natural elements, the brand ensures its sinks are not only aesthetically pleasing but also enduring, presenting unmatched value to its clientele. Stone Forest’s legacy is rooted in its relentless pursuit of innovation and superior quality. From sourcing the most exquisite stones to engaging skilled artisans who mold these elements with unmatched precision, Stone Forest has continually set new standards in luxury kitchen and bath design. What Defines a Good Bathroom Sink Manufacturer?A premier bathroom sink manufacturer is characterized by meticulous standards that underscore quality, utility, and client fulfillment. Essential factors to evaluate include:
ConclusionHere is a summarized comparison table:
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2024.05.13 06:15 Imtryingmybest0987 Bakery Name Ideas
I am starting a bakery and I need name ideas that are memorable and unique.
Background: I am a male, 30 years old and I’ve just quit my corporate job so I’m giving bakery a try since people have always told me to just start one. I used to work in fashion brand marketing since I have always been the fashionable person in my family and circle of friends. I’m known to wear a lot of coats and embody Sprezzatura. My personal brand in my circle has always been elevated, classic, luxurious, yet effortless if that helps at all lol.
Here are some name ideas I have but still unsure. (I like one word names if possible because it reminds me of “Sprinkles”, the cupcake bakery, and it’s just so minimal and fun + a succesful brand)
ANOTHER route that I am thinking of is something person related like “The Barefoot Contessa” any ideas? My name is also Ram if that sparks any ideas
Thank you!
submitted by Imtryingmybest0987 to namenerds [link] [comments]
Background: I am a male, 30 years old and I’ve just quit my corporate job so I’m giving bakery a try since people have always told me to just start one. I used to work in fashion brand marketing since I have always been the fashionable person in my family and circle of friends. I’m known to wear a lot of coats and embody Sprezzatura. My personal brand in my circle has always been elevated, classic, luxurious, yet effortless if that helps at all lol.
Here are some name ideas I have but still unsure. (I like one word names if possible because it reminds me of “Sprinkles”, the cupcake bakery, and it’s just so minimal and fun + a succesful brand)
- craved - I like this name because I wanted the name “baked” but a bakery of the same name just opened in my area. A fun slogan might be like: “from cravings to craved” or “cravings satisfied, craved perfected”
- cravings - I really love this name but this is a baked goods brand by Chrissy Teigen so it is taken and I don’t wanna use cravin’ or something like that because it is not timeless.
ANOTHER route that I am thinking of is something person related like “The Barefoot Contessa” any ideas? My name is also Ram if that sparks any ideas
Thank you!
2024.05.13 05:47 PlantOld1235 Question to Pro-Ceasefire Activists
I think everybody agrees that if the hostages are freed, the war will be over. We have heard such assurances from Israeli leaders across the political spectrum, and it is certainly the overwhelming sentiment of the Israeli people and Jewish people around the world. (I am aware that there is also messaging around finishing Hamas, which would presumably still happen in the form of targeted attacks against Hamas leadership, but not like what is happening today.)
Most if not all rational people want the war to be over. The IDF soldiers want to go home. Nobody wants to hear more explosions. Certainly, the people of Gaza would like this to be over.
These are things that all sides can agree upon, right? We don't want war. We don't want death. We want all firing of weapons to cease.
So, regardless of what you think of Israel or Jews or Palestinians or Hamas, etc., if you want peace and you know that the _only way to make that happen near-instantaneously_ is to _free the hostages_, then why is that not the singular point that every pro-ceasefire activist is promoting?
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So, just to be clear, let's consider a scenario: You are a pro-ceasefire activist. The one thing that you want is ceasefire. And you are told that the only way for an instant ceasefire is the return of the hostages who have been held captive for over 200 days without even a visit from the Red Cross. You show up at a pro-ceasefire rally and somebody gets on the megaphone and shouts some catchy rhyming slogan about "Intifada is the only solution!" Do you find this at all confusing? Or do you just go along with it?
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I consider myself to be pro-ceasefire and I look forward to the war being over as soon as possible. It is my hope that not a single person needs to be hurt or scared and that those holding the hostages will recognize the error in their ways and give them up. Is that wishful thinking? Sure, it is. But, if I go to a rally, that is the message that I'm going to bring because it is line with my desire for a ceasefire. In fact, it is the only solution that we know of that will actually end the fighting. Which is what we want, right?
I do not understand how one can brand themselves pro-ceasefire and simultaneously be in favor a violent uprising across the land of Israel and the world (as they say to "globalize the intifida").
Even if you believe that Jews and Israel are the ultimate evil and we all love genocide and eating babies and whatever tf you want to believe about us, you know the one thing that will end the war is freeing the hostages, so why not that make that your message?
submitted by PlantOld1235 to IsraelPalestine [link] [comments]
Most if not all rational people want the war to be over. The IDF soldiers want to go home. Nobody wants to hear more explosions. Certainly, the people of Gaza would like this to be over.
These are things that all sides can agree upon, right? We don't want war. We don't want death. We want all firing of weapons to cease.
So, regardless of what you think of Israel or Jews or Palestinians or Hamas, etc., if you want peace and you know that the _only way to make that happen near-instantaneously_ is to _free the hostages_, then why is that not the singular point that every pro-ceasefire activist is promoting?
---
So, just to be clear, let's consider a scenario: You are a pro-ceasefire activist. The one thing that you want is ceasefire. And you are told that the only way for an instant ceasefire is the return of the hostages who have been held captive for over 200 days without even a visit from the Red Cross. You show up at a pro-ceasefire rally and somebody gets on the megaphone and shouts some catchy rhyming slogan about "Intifada is the only solution!" Do you find this at all confusing? Or do you just go along with it?
---
I consider myself to be pro-ceasefire and I look forward to the war being over as soon as possible. It is my hope that not a single person needs to be hurt or scared and that those holding the hostages will recognize the error in their ways and give them up. Is that wishful thinking? Sure, it is. But, if I go to a rally, that is the message that I'm going to bring because it is line with my desire for a ceasefire. In fact, it is the only solution that we know of that will actually end the fighting. Which is what we want, right?
I do not understand how one can brand themselves pro-ceasefire and simultaneously be in favor a violent uprising across the land of Israel and the world (as they say to "globalize the intifida").
Even if you believe that Jews and Israel are the ultimate evil and we all love genocide and eating babies and whatever tf you want to believe about us, you know the one thing that will end the war is freeing the hostages, so why not that make that your message?
2024.05.12 20:36 markgloom Empower Your Fashion Vision with Dressrious 1.68 Dressrious - Unleash Your Fashion Talent
 | Empower Your Fashion Vision with Dressrious 1.68 submitted by markgloom to Dressrious [link] [comments] Hey fashion enthusiasts! Ever stared blankly at your closet wishing for a spark of inspiration? Or maybe you’re a fashion pro overflowing with creative ideas but struggling to showcase them? Well, get ready to level up your style game because Dressrious 1.68 is here to turn your dressing room into a dreamroom! This release is all about empowering you to express your unique style and ignite inspiration. Whether you’re a fashion blogger, buyer, stylist, or simply someone who loves to play with clothes, Dressrious 1.68 has something special for you. Enhanced Lookbook: A Muse for Every Style Besides photos and notes, now you can add up to twelve closet items and one outfit per Lookbook page. We are also introducing the Reading Model, which lets you dive deeper into the world of style. Minimize distractions and immerse yourself in a clutter-free environment perfect for browsing and collecting outfit ideas. With the new powered Lookbook, fashion bloggers & stylists can experiment with different styles, showcase outfit transitions, and create mood boards that inspire your audience. Dream It, Style It: Introducing the Dream Icon We’ve introduced a fresh alternative icon called “Dream” and a revamped launch screen featuring the empowering slogan, “Unleash Your Fashion Talent.” Our aim is for Dressrious to be more than just an app—it’s your style companion, inspiring you to bring your sartorial dreams to life, track your style journey, and stay motivated every step of the way in your fashion exploration. Upgrade your Dressrious app today and unlock a world of fashion possibilities! |
2024.05.12 11:28 essinstitute25 YouTube SEO tactics for video optimisation and reach Digital Marketing Institute
 | https://preview.redd.it/p7flsqfasyzc1.jpg?width=800&format=pjpg&auto=webp&s=49cba67036a92610c8e2649e6eb53f88f7dbb33d submitted by essinstitute25 to u/essinstitute25 [link] [comments] There is no doubt that people prefer video content to text-based content. A lot of people, including 59% of leaders, choose to watch videos instead of reading long blog posts, according to research. Effective video SEO techniques can improve the quality of your videos to the search algorithm and increase their exposure, which result in increased views, brand awareness, and potential consumers. Both Google and YouTube prioritise user experience and hence use algorithms to determine the optimal placement of websites and videos. Listed below are some simple SEO tips by SEO trainer from a top Digital Marketing institute in Delhi for optimising your YouTube videos and boosting reach: Rename Files with Target WordsYour YouTube SEO trip starts before you click “Upload.” The goal goes beyond placing on YouTube and includes showing up in Google search results. Search engines don’t scan video material, they crawl the source code and read the file name as part of that. Make sure the name of your video file includes the term you want to rank for. This lets YouTube’s algorithm connect your video to search queries that are related to it. Change file names like “business_ad_003FINAL.mov” to ones that include keywords like seo-course-in-hindi.mp4.Say, if your video is about painting a house, you could name the file “house-painting-guide.mov” or something similar. Adding words like “best,” “how-to,” or “guide” to your term will make it more visible. This simple step increases your video’s relevancy and attracts more viewers by increasing its visibility to search engines. Add Keywords to the TitleWriting catchy titles for your videos is important for getting people to watch them. People will see and hear your video’s title first, so it needs to be interesting.Put relevant, high-traffic keywords at the beginning of your title. This will make it more likely that people looking for related content will find your video. The title of your video should accurately describe what it is about and match what it says. So, if your video is about “Brand Positioning,” make sure that word is in the title. Don’t go over the recommended number of characters either. A search engine will cut off your title if you do that. For the most clicks, the title should be between 50 and 60 letters long and clear. Optimise your DescriptionThe description of your video tells people what the video is about in more depth. You are allowed 5,000 characters, so make good use of this room to show off your video. A well-written description does two main things: it gets people to click on your video and it helps search engines find it by strategically placing your primary and secondary keywords. Since only 120 characters are shown at first on the search results page, you should put the most interesting information at the beginning of your description. When you describe your content, use sentences along with exact keywords. You should also use call-to-action (CTA) words to get people to do something, like subscribe, download, or buy.Look at examples with captions with a wide range of keywords and timestamps. Adding five to eight hashtags that are related to your main term is recommended. It get you added to the suggested videos sidebar, which will get you more views and engagement. Tag Video with Popular KeywordsPopular tags on your video increase your reach if added. Tags tell people what your video is about and tell YouTube’s search engines important things about the video’s settings. If you properly tag your video with relevant keywords, YouTube will be able to sort and connect it with other similar videos, which could make it more noticeable. Use the same tags that your well-known competitors are using, and make sure they closely match what’s in your video. Also, make sure that the most important keywords are at the top of your tags when you write them. To make sure you can answer all kinds of search questions, find a good mix between keywords that are used a lot and keywords that are used less often.Free Chrome extensions like Keywords Everywhere, YouTube Tag extractor, are helpful for keywords and tags research Categorise Your Video for YouTube SEOCategorising your videos don’t directly affect their rankings or activity. Choosing the right group gives the YouTube algorithm useful information to add your video on relevant places. YouTube’s categories, include games, schooling, music videos, pets and animals, and fashion, help organise the huge amount of content that is available. You put your videos in the group by using the “Advanced settings” menu when you share it. Think about things like the best creators in the category, how the audience usually behaves, and what videos in related categories have in common, like the quality of the production or the style.Boost Engagement with Custom ThumbnailsYour video’s thumbnail is a visual representation, influencing viewers’ decisions as they browse through search results. They affect click-through rates (CTR). ideal CTR between 2% and 10% to send positive signals to the YouTube algorithm.Opting for a custom thumbnail over auto-generated options boost clicks, with branded thumbnails featuring company logos proving particularly memorable amidst the sea of videos. Drawing inspiration from successful competitors while maintaining originality is key. YouTube recommends using high-quality images with specific dimensions and file formats for optimal display across platforms. Remember to verify your YouTube account to upload custom thumbnails and seize the opportunity to shape your videos’ visual identity for increased viewer engagement. If you want to make your videos more visible on YouTube, use these YouTube SEO tips to get more people to watch your videos and keep them watching. Do a lot of study to find keywords and topics that are important, and make sure that your content matches what people are looking for. By regularly posting useful content, you can get more people to search for your business and YouTube channel, which will increase interest and help you succeed in the long run. You can learn complete SEO for both videos and websites offline from a digital marketing institute or through a online seo course. |
2024.05.11 22:13 DM19_HXTSHXT "We last because we're colorful..." MHO #3: Vena Sera
 | I love this cover, it feels like the rush that the album is. submitted by DM19_HXTSHXT to Chevelle [link] [comments] You could say that 2007 was a pretty good year, not only was it the birth year of a very important person (*wink wink) but a few months later, CheVelle would release their fourth studio album, Vena Sera (which is a rough latin translation to "vein liquids". This album served as a turning point for the band, as just a year before the album started being recorded, Joe Loeffler (brother of Pete and Sam) would leave the group, prompting the band to bring in brother-in-law Dean Bernardini as the new bassist of CheVelle. This album notably brought in a new, more energized sound in contrast to the previous This Type of Thinking (Could Do Us In). I've heard many thoughts about Vena Sera, but now it's time that y'all will hear mine, Ladies & Gents, it only gets more difficult from here.... The Core 11: 01. Antisaint: As the opener of this album, Antisaint does a great job, I can only imagine what hearing that first blast of energy felt like back in the day. Not only that, but this song is the first display of something overlooked within this album, the lyrics and meaning. Sure the sound of Vena Sera's tracks may have "undone" the tone CheVelle set with TTOT, and even Wonder What's Next, but the actual meaning conveyed through the music was just as deep. You'll see this again in a minute... 02. Brainiac: "What is...a top 10 CheVelle song of all time?" well, it is to me at least. For the longest time this was my absolute #1 favorite on the album, but over time 2 other tracks have come to tie it. But this—just like The Meddler from Hats Off to the Bull—is a song that's just perfect to me, I wouldn't change anything. When I look at the cover of Vena Sera, I instantly think of three things; This song, which to me represents the sound waves that ripple across the cover, and the two other songs for their respective representations. I love this tracks lyrics, the drum work, the riffs throughout which are so catchy, and the fact that the song just has so much packed into it, and honestly could've been the opening track over Antisaint. Each of these men really do hold a pentagram. 03. Saferwaters: Well it didn't take long to get to song #2 of the big 3 that I've been talking about. Ask any CheVelle fan that's been around long enough and they'll tell you that this is not only one of the band's best songs, but also one of the heaviest. At first, the song starts with a rush, as the previous two had, but then sort of breaks down, as if the mask it was wearing has come off. It eventually goes back on for the pre-chorus and chorus, but is removed for each main verse. Within this song, you can see the cracks formed and a change being made, as Pete himself has said the inspiration for this track was Joe's departure. I try not to quote lyrics during this, but I will say this, the chorus just feels like it describes Joe's situation for leaving the band against the "surge of waves" that held them together, this being fame, the fans, and the stardom; whilst Joe retreats to "saferwaters" which I would say would be his family, the reason he'd left. Beyond the meaning though, I'd say this song represents the fading gradients of Vena Sera's cover, almost like a part of CheVelle had faded away, to make room for the future, and all it'd bring. 04. Well Enough Alone: The first of VS's three singles (I Get It, The Fad), Well Enough Alone turns the tone of Vena Sera upto 11, and I've heard people theorize that this track was also about Joe, but I don't think that's the case. Mainly since Pete's said that this track was made before/during the time of TTOT, though the lyrics may suggest things, we may never really know, and that's kinda the beauty of songs like this, though I would put my big 3 of songs from VS as the singles instead of the three that were chosen. 05. Straight Jacket Fashion: And finally, we've arrived at number three. Much like Brainiac and Saferwaters, this track has it all. I think its actually a good blend of both of those songs, great music, great lyrics, but not too heavy on both. To me, this track represents the "eye" on Vena Sera's cover, not only having moments of calm before the storm of the song's climax, but also literally being an eye for the band, and the subject that the song focuses upon, using terms like "we" when CheVelle's analyzing themself, lasting for their versatility (being colorful); and terms like "you" and "you're" when talking about how the subject with his "straight jacket fashion" is overrated despite it, and spreads themself thin. Maybe I'm overlooking or overthinking things but this is how I see it. 06. The Fad: This song is exactly what it sounds like. Here the band is poking fun at the "popularity" scene, where you have to spend thousands to fit in, the funny part though is that not only does The Fad serve as a rip on those who live through this style, but it also kinda jabs at those who oppose it. Again, I wouldn't've made this a single but I can see why it is, definitely one of the most light-hearted of the album. 07. Humanoid: First off, I love the song's opening, and the riff as it goes along throughout. The song kind of feels like a darker Brainiac, blaming the subject and calling out actions as cowardly, asking why the prospect of today won't be faced, it even shows how Pete contemplates why certain things like apologies don't work, and exploring the thoughts of "what if they did". 08. Paint the Seconds: This is another song I really enjoy, it's pretty unique and has an overall good vibe, honestly, it feels shorter than it is, but the chorus is good, and I can sorta take out a meaning here when talking about blending in & entering another endless abyss. 09. Midnight to Midnight: Again, another song that I like, this one—like Paint the Seconds—feels like a good supporting song that just barely misses the mark of the big three. Though I couldn't say what's missing, it is a very good song, heck maybe even very great, but its missing something that the others have. Still, that shouldn't take anything away from it. 10. I Get It: The third single, and maybe, IMO, the best of the three. The message here is clear as day, and one that I relate to (I can pull relation out of many CheVelle songs but I try to keep relation out of these too, guess we're breaking all the rules today, huh?). The track is pretty much saying how one may look down on themselves and say they're living bad or suffering, and will create their own fantasies to live in and disregard what life really is, yet they don't look far enough to see those who really are suffering, the realists of our's. That's one thing I can say Pete does really well when writing, providing a voice for the voiceless. And the band's from Chicago too? (Is Pete secretly C.M. Punk???) 11. Saturdays: Alas, we've reached the finale of the main Vena Sera track list (There are 3 bonuses though!). I've said it before, and I'll say it again, the last track of a CheVelle album will almost always be a certified hit, and this one's no different. Nostalgia is a powerful thing, and here the message is that we've all grown up, and life has shifted away from the beauty it once was. And while we may not be able to relate to one another, it isn't something to alienate yourself over. After all, we all truly belong in the Saturdays of our youth. Bonus Tracks: So, we've got three bonus tracks here; Those being: In Debt to Earth, Sleep Walking Elite, and Delivery. First, In Debt to Earth is one that has a lot of passion in it. Pete's said that the song is an ode to the classic style of CheVelle, and he's not wrong, with its slow start and huge blowoff near the end. It's also about the environment and how we all need to face the fact that we're in debt to the Earth, and our debt is infinite. Sleep Walking Elite is a track that I always hear good things about, and I can see why, it's a great song. I read a quote from Sam that said the song was geared toward the environment of the album, being recording in Las Vegas and all. My take is that the song revolves around those who visit the strip, or other popular places at night, the high class are the sleep walking elite. Lastly, we have Delivery, a song that is a cover of the Compulsion song of the same name. I like its pacing, but overall don't have a strong opinion on it. Album Awards: (I'd send awards below, thanks for participating) okay so i'm gonna explain some of my choices below... Spotlight of the Album (SOTA): Brainiac/Saferwaters/Straight Jacket Fashion Was this a surprise? No. it's the three songs that I think are the best of the album, and I really couldn't pick one of the other, heck each song could also be a candidate for the OSA. However, I've already broken several rules today, so I'm gonna stick to just one. Only one song will win the OSA, I wonder which it'll be... Underdog of the Album (UdOTA): I Get It Road Trip Award (RTA): Big 3/Paint the Seconds/Midnight to Midnight The most ties we've had so far, I feel like all 5 songs work well, and really there's no wrong choice, this whole album could make up an entire road trip on its own. Closer of the Album (COTA): Saturdays And now, the moment we've all been waiting for.... Which of the Vena Sera Big 3 will win the One Song Award? The suspense is killing me..... The winner of Vena Sera's One Song Award is.... One Song Award (OSA): Well Enough Alone Shocker, I know, but hear me out. The OSA isn't given to the best song on the album, but rather the one that represents the album best. And I know what yall are thinking, "But DM, didn't you say the Big 3 all represent parts of the album", and you're 100% right. Here's the thing though, Well Enough Alone represents the album as a whole, outlining the turning point brought on by Joe's departure and the difference in sound we'd have following, it experiments with a new style like the rest of the album does, and—if the speculation that the song is about Joe leaving is true—how from now on, we're listening to a new CheVelle. The Wrap Up: This is one of my favorite albums CheVelle's made, and yet, when I do my ranking on the albums the band's released, this'll be one of the hardest to rank. There's so much good here that the issue comes from the amount of good there is, and the amount of great. Overall though, it's really a classic, a turning point from those released before, as well as the last few strings we have to grasp at from the first era of CheVelle. TL;DR: This album is on CheVelle's Mount Rushmore. Boy this was a long one, thanks so much for sticking around guys. I wanted to have this out way earlier but people keep bothering me nd wasting my time. But to that effect is life, the constant dragging hassle that never ends. Oh well, that's enough yapping from me, I'd love to hear your thoughts about Vena Sera in the comments below, and maybe some experiences you've had with the album. |
2024.05.11 16:56 IgorReacts Whatever happens tonight...
It's clear that this year is an absolute mess, but that's not the point of this community, we are here to solely focus on Baby Lasagna.
I created this community to share the news, memes, art and love for one of my favorite (it not THE favorite) Eurovision acts ever. I am really happy to see this community growing and that there is a lot of people sharing the same love for Baby Lasagna.
From reserve on Dora, to one of the biggest favorites to win Eurovision, this is a movie-worthy story. Many of us had no idea until couple of months ago who Marko Purišić is and now he is taking entire world by storm.
Aside from addictive catchy tunes, a huge work ethic and important topics packed in humorous lyrics, Marko seems like the nicest and coolest guy. He is a perfect role model and a proof that hard work does pay off. And as a rock/metal fan myself, aside from many other genres, it melts my heart to see children listening to his music and a heavy song captivating people in Croatia, Balkans and entire World.
Eurovision slogan is "United by Music". We have seen this year that might not be the case. But Marko united us. He united entire Croatia, and entire Balkan. It might come as a surprise to some that I am actually from Serbia. I have a lot of family in Croatia, my grandmother is Croatian, and I visit my family whenever I get the chance. And trust me, Baby Lasagna euphoria is huge here as well, just as it was for Konstrakta in Croatia two years ago. Maybe even bigger. We have seen wonderful scenes with Croatian, Serbian and Slovenian representatives this year, and I feel we really support each other which is a wonderful thing and the point of music, to unite.
Nobody knows what will happen tonight. I hope for the best possible result, as probably all of us, but it wouldn't come as a surprise if he doesn't win considering everything that is going on.
Whatever happens tonight... It's just the beginning! Marko released 3 songs so far and has an album coming out soon. He went from an unknown singesongwriter looking for a "regular" job, to a European megastar and someone whose videos have millions of views. He also grew as an artist and performer in front of our eyes.
I wish him the best of luck tonight. Victory would be deserved and an amazing ending to an amazing story. But even if it doesn't happen, I am sure the best is yet to come.
VOTE FOR NUMBER 23 TONIGHT, enjoy and have fun as much as possible watching tonight.
P.S. Sorry for a long ass post. MEOW! ❤️
submitted by IgorReacts to BabyLasagna [link] [comments]
I created this community to share the news, memes, art and love for one of my favorite (it not THE favorite) Eurovision acts ever. I am really happy to see this community growing and that there is a lot of people sharing the same love for Baby Lasagna.
From reserve on Dora, to one of the biggest favorites to win Eurovision, this is a movie-worthy story. Many of us had no idea until couple of months ago who Marko Purišić is and now he is taking entire world by storm.
Aside from addictive catchy tunes, a huge work ethic and important topics packed in humorous lyrics, Marko seems like the nicest and coolest guy. He is a perfect role model and a proof that hard work does pay off. And as a rock/metal fan myself, aside from many other genres, it melts my heart to see children listening to his music and a heavy song captivating people in Croatia, Balkans and entire World.
Eurovision slogan is "United by Music". We have seen this year that might not be the case. But Marko united us. He united entire Croatia, and entire Balkan. It might come as a surprise to some that I am actually from Serbia. I have a lot of family in Croatia, my grandmother is Croatian, and I visit my family whenever I get the chance. And trust me, Baby Lasagna euphoria is huge here as well, just as it was for Konstrakta in Croatia two years ago. Maybe even bigger. We have seen wonderful scenes with Croatian, Serbian and Slovenian representatives this year, and I feel we really support each other which is a wonderful thing and the point of music, to unite.
Nobody knows what will happen tonight. I hope for the best possible result, as probably all of us, but it wouldn't come as a surprise if he doesn't win considering everything that is going on.
Whatever happens tonight... It's just the beginning! Marko released 3 songs so far and has an album coming out soon. He went from an unknown singesongwriter looking for a "regular" job, to a European megastar and someone whose videos have millions of views. He also grew as an artist and performer in front of our eyes.
I wish him the best of luck tonight. Victory would be deserved and an amazing ending to an amazing story. But even if it doesn't happen, I am sure the best is yet to come.
VOTE FOR NUMBER 23 TONIGHT, enjoy and have fun as much as possible watching tonight.
P.S. Sorry for a long ass post. MEOW! ❤️
2024.05.10 10:39 Erwinblackthorn The Influence of the 80s
From vaporwave aesthetics to the endless amount of action-movie reboots, we can see a building trend of remembering the 80s as the current form of nostalgia bait. Being about 40 years ago, the 80s are the catalyst for most, if not all, media we see now. The internet began back then, CGI was being tested, global reach started to take hold, electric keyboards became a music staple, and video games had their first crash due to so much home console production. The 80s were a time of massive change that we don’t notice as a difference from the 00s, especially when it comes to things like film and music. Trying to imagine the difference in the metamodernism of 1980-2020 is like trying to see a difference in the art nouveau of 1880-1920.
Previously, I talked about how hipsters change trends every 10 years because of the way public schools work, but the overall change of society goes from generation to generation. The halfway point of a human life is about 30 years, which is about how long it takes for a person in their childhood to enter a “production” age of media influence. Something like Stranger Things needed the Duffer Brothers to enter their late 30s in order for their pastiche and play to be worthy of directing, because they are not able to make these massive projects in their teens or even early 20s. Like any other trend, there was a trailing of its existence in video games of the 90s, as well as movie sequels like Terminator 2, that kept things alive after the decade. Our pop music continues to carry on the electronic sounds that sprouted from the 80s, with the tabloids focused on the singers and their sex lives more than the quality of their music. Most importantly, the inclusion of anime and adult cartoons from back then continues to spread into western fashion as production transitions into a digital form that is easier to maintain than pen & paper.
It's not that the 80s never ended, but rather we never leave the shadow of such a dramatic shift in culture. The sheer amount of consumerism, brought on by globalism and the end of the Vietnam War, caused propaganda to enter a more hippy form of anti-war rhetoric. Ironically, the vast amount of action movies from these times were done in order to say how bad war was, with movies like Rambo: First Blood and Platoon done as a way to make it look yucky. Due to the inability to critique the war during the war(or even shortly after), movies like Star Wars and Aliens would present the Vietnam War in a fictional sci-fi setting, allowing themselves to slip by censorship and inspire future projects. The big guns of the 80s, like the M202 Flash (a quadruple-tube rocket launcher) or the M60, were staples of movie posters and standees that lured us into seeing these action star achievements.
Big names like Arnold Schwarzenegger and John-Claude Van damme became global phenomena due to their action roots requiring zero dialogue. Their inability to speak well allowed their body language to do all the talking, with slasher movies rising up like Jason did from the dead in Friday the 13th, for the same reasons. And like the slasher villain, their franchises wouldn't die, allowing home media to turn box office failures into cult classics. Along with the exploitation of war, and the senseless murder of horny teens, came an abundance of gory practical effects, now that the censors were more lenient on sex and violence. The Hays Code prevented clear exploitation of sex, drugs, and violence up until the late 60s; quickly changed by the death of the head of the MPAA to then put the liberal Jack Valenti in his place.
After the Grindhouse era of the 70s, the 80s was all about showing drug use, naked women, and body organs flying all over the place. One of the main contributors of this exploitation, Roger Corman, was the main mentor for most of the big directors during this sudden spark of everything taboo. Deemed “The Pope of Pop Cinema” and “The Spiritual Godfather of New Hollywood”, his influence created a new form of movie production that would spit in the face of old Hollywood by resorting to everything the censors hated. Morals, culture, nationalism, conservatism, modesty, all of these were to be mocked and made into satire as the world became smaller and more global. Besides the advent of New Hollywood were the movies influenced by the Italian crime genre of Poliziotteschi and the Hong Kong action films of the 70s, further increasing the focus on casual urban violence.
Consumerism increased dramatically as fake industries rose to the top. Toylines and video games, as well as children's entertainment, exploded during this decade. The focus on the youth, by selling them the latest trend, was aided by easier access to commercials and even the infomercial that was freed from restrictions in 1984. Innovating technology meant there were new gadgets for people to buy, with nerds becoming more present through our fascination with these new inventions. Video games and movies were easier to gain an audience of collectors, thanks to the advent of the VHS and cartridge.
The ones who grew up during this generation are now the main contributors to what toy companies call “the kidult market”, the adults who still buy toys meant for kids.
Home movies became more popular because of the camcorder, with indie films growing in popularity from the ease of production. While the modernist slogan was “make it new”, the metamodernist slogan was “make it snappy”. It didn’t matter if things were dumb or absurd, because pastiche and play made sure we could simply recognize it and find it entertaining through intertextuality. Rather than focusing on quality or culture, the 80s was a time of focusing on simply making things exist, no matter how silly the premise was. The studios put the captain hats on the directors, with these directors of New Hollywood walking straight out of Woodstock, with plenty of acid still in their bloodstreams.
Music became a different beast once it shifted its platform from radio to TV. The introduction of visual music videos caused musicians to become performative artists, with their fashion sense mimicked by their fans at a wider scale. To attract the audience through a performance, crazy clothes and hairstyles became the latest craze, changing the clean hairstyle of prior into a mousse filled mullet. Punk, goth, heavy metal; all of these were mirrored by the new romantics, glam, and synthwave that shared the same spots on MTV. This was the time when being rebellious and “original” was no different from being any other person, because the fashion was just a difference between leather jackets with studs or jean jackets with rhinestones.
TV dramatically changed to what we know now as “daytime television for mom” and “primetime for dad”. In fact, the first talk show run by a woman was none-other than the Oprah Winfrey Show, started in the 80s. This was done because studios knew that moms were at home, available after the kids left for school, and they could watch a show made for them while they did their aerobics. For broken homes in this period, the latchkey kid generation was forced to stay home after school as a safety procedure by the increase of mothers in the workforce, with single motherhood increasing from the increased access of welfare. Staying home, with little parental supervision, had a strange result of Gen X being raised by the idiot tube, comic books, and home consoles.
In that regard, not much has changed other than the addition of streaming and other online-related activities.
Feminism changed in the 80s by sparking the dreadful sex wars: a debate between whether or not feminism is supposed to be pro-porn or anti-porn. Yes, this was the main issue for feminists during the 80s, until the transition to third wave feminism in the 90s. During this period, media depicted women as valiant prostitutes or brave business women, wearing shoulder pads either way. The demand for equality caused a confusion when feminists couldn’t decide on whether or not sucking dick for money was considered “feminist”. Freedom was questioned and the result became the third-wave feminism that began to question whether or not there was a difference between men and women at all.
Both debates are still going.
Video games were still primitive, barely entering a coherent bit quality, with violent games like Mortal Kombat making concerned parents worried about what their kids are getting into. The arcade was the new amusement hall, allowing kids to throw quarters into “entertainment vending machines” that occupied their time. The mall wasn’t started in this decade, but it began to flourish as the main hotspot for teenage activity, thanks to the arcades and food courts. During the 80s, paper cups of the food court had an orange flower design, which was replaced with the more iconic Jazz design in the 90s. Yes, I was shocked when I learned that as well.
When we view this newfound addiction to the 80s, we are viewing the catalyst of why we are the way we are today. The sex and violence in media started around the 80s, the performative art of musicians expanded thanks to music videos, and everything we see online was pioneered by Gen X nerds who were high on crystal Pepsi and cocaine. With how little has changed, it’s no wonder the 80s are much loved and seen as “a time we remember but didn’t grow up in”. I don’t want this to be seen as a nightmarish journey down memory lane, but rather a reminder that the 80s are when postmodernism first sprouted into metamodernism and started what we suffer through today. Like everything else in mainstream media, the nostalgia bait is fake and forced.
I am not surprised that Gen X will claim their time was better, because that’s all they know. But consider the bits and pieces that inspired the 80s itself, from what occurred 30 years before it. Shows like Happy Days tried to cling to the charm of the greasers during the 50s, or how quirky musicals like Grease and Little Shop of Horror used pastiche to remind us of how wonderful the 50s were. Creature features of the 80s were mostly inspired by the alien invasion movies of the 50s that were used to symbolically spread anti-communist propaganda, accidentally carrying this sentiment into the 80s as the Iron Curtain collapsed. Like any other era, the good seems to out weight the bad, because the good is a channeling of what came before and what lasts forever.
Next time someone demands the 80s, secretly give them the 50s. As good as people try to make the 80s out to be, it is hard to argue against the massive influence of the 50s that caused many of our much loved properties to exist. Sure, Woke Hollywood is now turning those classics into flaming piles of shit as a way to destroy the Four Olds, but we can always revive what was from before. But whatever we do, we must not treat the 80s as the be all, end all. We must treat it as what it is: the origin point of why our media today is totally bogus.
submitted by Erwinblackthorn to TDLH [link] [comments]
Previously, I talked about how hipsters change trends every 10 years because of the way public schools work, but the overall change of society goes from generation to generation. The halfway point of a human life is about 30 years, which is about how long it takes for a person in their childhood to enter a “production” age of media influence. Something like Stranger Things needed the Duffer Brothers to enter their late 30s in order for their pastiche and play to be worthy of directing, because they are not able to make these massive projects in their teens or even early 20s. Like any other trend, there was a trailing of its existence in video games of the 90s, as well as movie sequels like Terminator 2, that kept things alive after the decade. Our pop music continues to carry on the electronic sounds that sprouted from the 80s, with the tabloids focused on the singers and their sex lives more than the quality of their music. Most importantly, the inclusion of anime and adult cartoons from back then continues to spread into western fashion as production transitions into a digital form that is easier to maintain than pen & paper.
It's not that the 80s never ended, but rather we never leave the shadow of such a dramatic shift in culture. The sheer amount of consumerism, brought on by globalism and the end of the Vietnam War, caused propaganda to enter a more hippy form of anti-war rhetoric. Ironically, the vast amount of action movies from these times were done in order to say how bad war was, with movies like Rambo: First Blood and Platoon done as a way to make it look yucky. Due to the inability to critique the war during the war(or even shortly after), movies like Star Wars and Aliens would present the Vietnam War in a fictional sci-fi setting, allowing themselves to slip by censorship and inspire future projects. The big guns of the 80s, like the M202 Flash (a quadruple-tube rocket launcher) or the M60, were staples of movie posters and standees that lured us into seeing these action star achievements.
Big names like Arnold Schwarzenegger and John-Claude Van damme became global phenomena due to their action roots requiring zero dialogue. Their inability to speak well allowed their body language to do all the talking, with slasher movies rising up like Jason did from the dead in Friday the 13th, for the same reasons. And like the slasher villain, their franchises wouldn't die, allowing home media to turn box office failures into cult classics. Along with the exploitation of war, and the senseless murder of horny teens, came an abundance of gory practical effects, now that the censors were more lenient on sex and violence. The Hays Code prevented clear exploitation of sex, drugs, and violence up until the late 60s; quickly changed by the death of the head of the MPAA to then put the liberal Jack Valenti in his place.
After the Grindhouse era of the 70s, the 80s was all about showing drug use, naked women, and body organs flying all over the place. One of the main contributors of this exploitation, Roger Corman, was the main mentor for most of the big directors during this sudden spark of everything taboo. Deemed “The Pope of Pop Cinema” and “The Spiritual Godfather of New Hollywood”, his influence created a new form of movie production that would spit in the face of old Hollywood by resorting to everything the censors hated. Morals, culture, nationalism, conservatism, modesty, all of these were to be mocked and made into satire as the world became smaller and more global. Besides the advent of New Hollywood were the movies influenced by the Italian crime genre of Poliziotteschi and the Hong Kong action films of the 70s, further increasing the focus on casual urban violence.
Consumerism increased dramatically as fake industries rose to the top. Toylines and video games, as well as children's entertainment, exploded during this decade. The focus on the youth, by selling them the latest trend, was aided by easier access to commercials and even the infomercial that was freed from restrictions in 1984. Innovating technology meant there were new gadgets for people to buy, with nerds becoming more present through our fascination with these new inventions. Video games and movies were easier to gain an audience of collectors, thanks to the advent of the VHS and cartridge.
The ones who grew up during this generation are now the main contributors to what toy companies call “the kidult market”, the adults who still buy toys meant for kids.
Home movies became more popular because of the camcorder, with indie films growing in popularity from the ease of production. While the modernist slogan was “make it new”, the metamodernist slogan was “make it snappy”. It didn’t matter if things were dumb or absurd, because pastiche and play made sure we could simply recognize it and find it entertaining through intertextuality. Rather than focusing on quality or culture, the 80s was a time of focusing on simply making things exist, no matter how silly the premise was. The studios put the captain hats on the directors, with these directors of New Hollywood walking straight out of Woodstock, with plenty of acid still in their bloodstreams.
Music became a different beast once it shifted its platform from radio to TV. The introduction of visual music videos caused musicians to become performative artists, with their fashion sense mimicked by their fans at a wider scale. To attract the audience through a performance, crazy clothes and hairstyles became the latest craze, changing the clean hairstyle of prior into a mousse filled mullet. Punk, goth, heavy metal; all of these were mirrored by the new romantics, glam, and synthwave that shared the same spots on MTV. This was the time when being rebellious and “original” was no different from being any other person, because the fashion was just a difference between leather jackets with studs or jean jackets with rhinestones.
TV dramatically changed to what we know now as “daytime television for mom” and “primetime for dad”. In fact, the first talk show run by a woman was none-other than the Oprah Winfrey Show, started in the 80s. This was done because studios knew that moms were at home, available after the kids left for school, and they could watch a show made for them while they did their aerobics. For broken homes in this period, the latchkey kid generation was forced to stay home after school as a safety procedure by the increase of mothers in the workforce, with single motherhood increasing from the increased access of welfare. Staying home, with little parental supervision, had a strange result of Gen X being raised by the idiot tube, comic books, and home consoles.
In that regard, not much has changed other than the addition of streaming and other online-related activities.
Feminism changed in the 80s by sparking the dreadful sex wars: a debate between whether or not feminism is supposed to be pro-porn or anti-porn. Yes, this was the main issue for feminists during the 80s, until the transition to third wave feminism in the 90s. During this period, media depicted women as valiant prostitutes or brave business women, wearing shoulder pads either way. The demand for equality caused a confusion when feminists couldn’t decide on whether or not sucking dick for money was considered “feminist”. Freedom was questioned and the result became the third-wave feminism that began to question whether or not there was a difference between men and women at all.
Both debates are still going.
Video games were still primitive, barely entering a coherent bit quality, with violent games like Mortal Kombat making concerned parents worried about what their kids are getting into. The arcade was the new amusement hall, allowing kids to throw quarters into “entertainment vending machines” that occupied their time. The mall wasn’t started in this decade, but it began to flourish as the main hotspot for teenage activity, thanks to the arcades and food courts. During the 80s, paper cups of the food court had an orange flower design, which was replaced with the more iconic Jazz design in the 90s. Yes, I was shocked when I learned that as well.
When we view this newfound addiction to the 80s, we are viewing the catalyst of why we are the way we are today. The sex and violence in media started around the 80s, the performative art of musicians expanded thanks to music videos, and everything we see online was pioneered by Gen X nerds who were high on crystal Pepsi and cocaine. With how little has changed, it’s no wonder the 80s are much loved and seen as “a time we remember but didn’t grow up in”. I don’t want this to be seen as a nightmarish journey down memory lane, but rather a reminder that the 80s are when postmodernism first sprouted into metamodernism and started what we suffer through today. Like everything else in mainstream media, the nostalgia bait is fake and forced.
I am not surprised that Gen X will claim their time was better, because that’s all they know. But consider the bits and pieces that inspired the 80s itself, from what occurred 30 years before it. Shows like Happy Days tried to cling to the charm of the greasers during the 50s, or how quirky musicals like Grease and Little Shop of Horror used pastiche to remind us of how wonderful the 50s were. Creature features of the 80s were mostly inspired by the alien invasion movies of the 50s that were used to symbolically spread anti-communist propaganda, accidentally carrying this sentiment into the 80s as the Iron Curtain collapsed. Like any other era, the good seems to out weight the bad, because the good is a channeling of what came before and what lasts forever.
Next time someone demands the 80s, secretly give them the 50s. As good as people try to make the 80s out to be, it is hard to argue against the massive influence of the 50s that caused many of our much loved properties to exist. Sure, Woke Hollywood is now turning those classics into flaming piles of shit as a way to destroy the Four Olds, but we can always revive what was from before. But whatever we do, we must not treat the 80s as the be all, end all. We must treat it as what it is: the origin point of why our media today is totally bogus.
2024.05.10 01:14 quentin_taranturtle Why were western writer specifically attracted to the communist party?
I recently read Richard Wright’s autobiography which dealt in part with his tumultuous time as a member of a U.S. communist group in the 1930’s. I also read a number of Orwell’s essays written shortly after the Spanish civil war in which he discusses the ideology. One thing Orwell brought up that I thought was interesting (partly quoted below) was the pervasive self-censorship by communist western writers during that time. Makes sense - nearly all US/UK communist parties were more or less emulating USSR standards.
Among the many issues Wright encountered while he was a member was the constant peer pressure to censor not just what he said in official writings (eg for their magazine), but also his own work. If any party member stepped out of line (or was even perceived to have - which was troublesome due to how much paranoia raged throughout the group) all sorts of bullying tactics were use. Such as expelling, threatening, shunning, attempting to get former members fired at their job, assaulting them on the streets, or worst of all being called a Trotsky-isk (it’s like being called a mix of Benedict Arnold, Hitler, and a 5 month old puppy that a spoiled child has grown bored of)
This censorship counters something I have noticed is more common in writers/artists than the average person - the desire for freedom of expression. what about the movement was appealing enough for writers to fight for something that denies this? (and perhaps huge portion of the entire literary canon)
But the core question is this: what caused writers / artists to be drawn to communism at higher rates than most other professions?
Most often when reading the work of those actively in favor, they talk earnestly of social and economic equality for all. But if that was truly their primary end goal, socialism alone seems more closely to align with it without the need for censorship. Furthermore, socialism was a moderately prevalent & established ideology at the turn of the 20th century (and had a number of notable writers gaining success releasing works with overarching socialist themes - eg Upton Sinclair & Jack London & Orwell). Was it just seen as old hat (too slow, ineffective) at that point? Or is the focus on the employed lower class just not personally applicable enough for an artist fortunate enough to survive on the profit of their art?
A while ago I read an essay by Chomsky in which he quoted a bit by either Marx or Engels indicating that the ideology has always hinted at a sort of aristocratic literati. Was this what really brought so many writers in (more than fixing economic inequality issues already addressed by socialism)? Sure, the revolution theoretically frees the workers & disposed of great economic inequality, but ( better yet) with our artistic skills we will be reserved a special place right at the foot of the ideological ruler’s throne! Who cares if it’s as jester or propagandist, we will still find ourselves comfortably sat near the table of power. not in the fields toiling, but amongst the intellectual elites. They can see through the propaganda.
(This brings to mind an article by a journalist stuck in an air conditioned hotel somewhere like Qatar with a bunch of other journalists during the Iraq war c. 2003. Every day they would come out to watch a news conference by a low ranking general who never appeared to know anything nor have any updates. The part that irked me was when the journalist wrote that every journalist in that room was rolling their eyes & joking about the bullshit waste of time… yet the journalists continued writing up & sending out the regurgitated bullshit en masse, acting like they were getting break news & the US people were being informed of it.
The journalists all know they’re being toyed with, so if those people who read the trickle down news conference updates and believed anything but the same - they were contemptuously stupid & deserve their own eye roll, no doubt.
Completely ignoring another option entirely - don’t carry on with the charade of being a government mouth piece… the press could print meaningful journalism or push real questions to the 1 star or call them out on the obfuscation [who else could? Only media allowed]. No, just an eye roll and jokes amongst themselves while they continue to perfectly fulfill their place as the apparatchiks, but at least they know it’s a farce.)
too pessimistic?
Orwell:
submitted by quentin_taranturtle to quentin_taranturtle [link] [comments]
Among the many issues Wright encountered while he was a member was the constant peer pressure to censor not just what he said in official writings (eg for their magazine), but also his own work. If any party member stepped out of line (or was even perceived to have - which was troublesome due to how much paranoia raged throughout the group) all sorts of bullying tactics were use. Such as expelling, threatening, shunning, attempting to get former members fired at their job, assaulting them on the streets, or worst of all being called a Trotsky-isk (it’s like being called a mix of Benedict Arnold, Hitler, and a 5 month old puppy that a spoiled child has grown bored of)
This censorship counters something I have noticed is more common in writers/artists than the average person - the desire for freedom of expression. what about the movement was appealing enough for writers to fight for something that denies this? (and perhaps huge portion of the entire literary canon)
But the core question is this: what caused writers / artists to be drawn to communism at higher rates than most other professions?
Most often when reading the work of those actively in favor, they talk earnestly of social and economic equality for all. But if that was truly their primary end goal, socialism alone seems more closely to align with it without the need for censorship. Furthermore, socialism was a moderately prevalent & established ideology at the turn of the 20th century (and had a number of notable writers gaining success releasing works with overarching socialist themes - eg Upton Sinclair & Jack London & Orwell). Was it just seen as old hat (too slow, ineffective) at that point? Or is the focus on the employed lower class just not personally applicable enough for an artist fortunate enough to survive on the profit of their art?
A while ago I read an essay by Chomsky in which he quoted a bit by either Marx or Engels indicating that the ideology has always hinted at a sort of aristocratic literati. Was this what really brought so many writers in (more than fixing economic inequality issues already addressed by socialism)? Sure, the revolution theoretically frees the workers & disposed of great economic inequality, but ( better yet) with our artistic skills we will be reserved a special place right at the foot of the ideological ruler’s throne! Who cares if it’s as jester or propagandist, we will still find ourselves comfortably sat near the table of power. not in the fields toiling, but amongst the intellectual elites. They can see through the propaganda.
(This brings to mind an article by a journalist stuck in an air conditioned hotel somewhere like Qatar with a bunch of other journalists during the Iraq war c. 2003. Every day they would come out to watch a news conference by a low ranking general who never appeared to know anything nor have any updates. The part that irked me was when the journalist wrote that every journalist in that room was rolling their eyes & joking about the bullshit waste of time… yet the journalists continued writing up & sending out the regurgitated bullshit en masse, acting like they were getting break news & the US people were being informed of it.
The journalists all know they’re being toyed with, so if those people who read the trickle down news conference updates and believed anything but the same - they were contemptuously stupid & deserve their own eye roll, no doubt.
Completely ignoring another option entirely - don’t carry on with the charade of being a government mouth piece… the press could print meaningful journalism or push real questions to the 1 star or call them out on the obfuscation [who else could? Only media allowed]. No, just an eye roll and jokes amongst themselves while they continue to perfectly fulfill their place as the apparatchiks, but at least they know it’s a farce.)
too pessimistic?
Orwell:
On the whole the literary history of the thirties seems to justify the opinion that a writer does well to keep out of politics. For any writer who accepts or partially accepts the discipline of a political party is sooner or later faced with the alternative: toe the line, or shut up. It is, of course, possible to toe the line and go on writing—after a fashion. […] Literature as we know it is an individual thing, demanding mental honesty and a minimum of censorship.
The atmosphere of orthodoxy is always damaging to prose, and above all it is completely ruinous to the novel, the most anarchical of all forms of literature. […] it is a product of the free mind, of the autonomous individual. No decade in the past hundred and fifty years has been so barren of imaginative prose as the nineteen-thirties. There have been good poems, good sociological works, brilliant pamphlets, but practically no fiction of any value at all. From 1933 onwards the mental climate was increasingly against it. Anyone sensitive enough to be touched by the Zeitgeist was also involved in politics. Not everyone, of course, was definitely in the political racket, but practically everyone was on its periphery and more or less mixed up in propaganda campaigns and squalid controversies. Communists and near-Communists had a disproportionately large influence in the literary reviews. It was a time of labels, slogans, and evasions. At the worst moments you were expected to lock yourself up in a constipating little cage of lies; at the best a sort of voluntary censorship ('Ought I to say this? Is it pro-Fascist?') was at work in nearly everyone's mind.
It is almost inconceivable that good novels should be written in such an atmosphere. 'Good novels are not written by by orthodoxy-sniffers, nor by people who are conscience-stricken about their own unorthodoxy. Good novels are written by people who are not frightened.
2024.05.09 17:18 RebeccaMinkoff You Can't Make This Sh*t Up! Weekly Newsletter: Leadership With Purpose
"In a world filled with division, I have faith in the unifying force of Pop Culture. Whether it's a catchy song, a trendy fashion design, a popular game, or a beloved fandom, the possibilities are endless. Surrounded by passionate colleagues who share our mission, my days fly by as we work together to spread the joy of what we do to the world. This is why I love my job - there truly is something for everyone, and we have the privilege of sharing it with others." - Michele Smith, The Museum of Pop Culture (MoPOP). Today's newsletter dives into her journey of becoming a CEO, read it here: https://www.linkedin.com/posts/rebeccaminkoff_in-a-world-filled-with-division-i-have-activity-7194354177697816576-IfEA?utm_source=share&utm_medium=member_desktop
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2024.05.09 13:00 graphicexpertiam The ROI of Good Design: Why Investing in Design Pays Off
The ROI of Good Design: Why Investing in PixsMagic Pays Off In today's competitive business landscape, a strong brand identity is no longer a luxury, it's a necessity. But what exactly makes a brand strong? It's more than just a catchy slogan or a trendy logo. A truly powerful brand is built on a foundation of good design – design that resonates with your target audience, communicates your message effectively, and ultimately drives business growth.
At PixsMagic, we understand the power of good design. We're not just about creating aesthetically pleasing visuals; we're about crafting strategic design solutions that deliver measurable results. But the value of design can sometimes be a tough sell. After all, how do you quantify the impact of a well-designed website or a captivating brochure?
The good news is, there's a wealth of data that proves the ROI (Return On Investment) of good design is undeniable. Here are just a few ways investing in PixsMagic's design expertise can pay off for your business:
1. Increased Brand Awareness and Recognition:
First impressions matter. A well-designed logo, website, and marketing materials are the cornerstones of a strong brand identity. They create a consistent visual language that makes your brand instantly recognizable and memorable. Studies by Siegel+Gale have shown that companies with strong brand consistency achieve a 33% higher return on stock than those without. PixsMagic can help you develop a cohesive brand identity that sets you apart from the competition and stays etched in your customers' minds.
2. Enhanced Customer Experience:
Good design isn't just about aesthetics; it's about usability. A well-designed website or app should be intuitive and user-friendly, guiding visitors seamlessly towards the desired action, whether it's making a purchase, signing up for a newsletter, or contacting your business. In a study by Forrester, companies that prioritize user experience (UX) design report a 100% increase in customer satisfaction ratings. PixsMagic's design team can create user-centric experiences that keep your customers engaged and coming back for more.
3. Improved Conversion Rates:
Strong visuals can significantly impact your conversion rates. High-quality product images, compelling calls to action, and clear navigation on your website can all contribute to a higher percentage of visitors converting into paying customers. Studies by Website Optimization Company found that websites with high-quality visuals can increase conversion rates by up to 86%. PixsMagic's design expertise can help you optimize your marketing materials and website to convert more leads into sales.
4. Increased Brand Loyalty:
Customers are more likely to be loyal to brands they connect with on an emotional level. Good design can evoke positive emotions and create a sense of trust with your audience. When customers appreciate the look and feel of your brand, they're more likely to become repeat customers and brand advocates. A study by The Design Council found that businesses that invest in design outperform their competitors by up to 200% in terms of brand loyalty. PixsMagic can help you create a brand that resonates with your target audience and fosters lasting customer relationships.
5. Reduced Marketing Costs:
A well-designed marketing campaign can be far more effective than a poorly designed one. Eye-catching visuals and clear messaging can grab attention, cut through the clutter, and deliver your message more effectively. This can lead to a reduction in the amount of money you need to spend on marketing campaigns to achieve your desired results. In a study by the American Marketing Association, companies with strong design principles reported a 22% reduction in marketing costs. PixsMagic can help you create marketing materials that stretch your budget further and deliver a higher return on your investment.
Measuring the ROI of Design
While the benefits of good design are clear, quantifying its impact can sometimes be challenging. However, there are a number of metrics you can track to measure the ROI of your design investments. Here are a few key areas to focus on:
Website traffic and conversion rates: Track how changes to your website design impact the number of visitors and the percentage of those visitors who take a desired action. Lead generation: Monitor how your marketing materials influence the number of leads you generate. Sales figures: Track how design changes to your marketing materials or product packaging affect your sales figures. Customer feedback: Conduct surveys or gather customer reviews to see how they perceive your brand and its visual identity. By tracking these metrics, you can gain valuable insights into the effectiveness of your design investments and make data-driven decisions to optimize your brand image for maximum return.
Investing in PixsMagic's Design Expertise
At PixsMagic, we believe that good design is an investment, not an expense. Our team of experienced designers can help you create a brand identity that is not only visually appealing but also strategically designed to achieve your business goals. We work closely
submitted by graphicexpertiam to u/graphicexpertiam [link] [comments]
At PixsMagic, we understand the power of good design. We're not just about creating aesthetically pleasing visuals; we're about crafting strategic design solutions that deliver measurable results. But the value of design can sometimes be a tough sell. After all, how do you quantify the impact of a well-designed website or a captivating brochure?
The good news is, there's a wealth of data that proves the ROI (Return On Investment) of good design is undeniable. Here are just a few ways investing in PixsMagic's design expertise can pay off for your business:
1. Increased Brand Awareness and Recognition:
First impressions matter. A well-designed logo, website, and marketing materials are the cornerstones of a strong brand identity. They create a consistent visual language that makes your brand instantly recognizable and memorable. Studies by Siegel+Gale have shown that companies with strong brand consistency achieve a 33% higher return on stock than those without. PixsMagic can help you develop a cohesive brand identity that sets you apart from the competition and stays etched in your customers' minds.
2. Enhanced Customer Experience:
Good design isn't just about aesthetics; it's about usability. A well-designed website or app should be intuitive and user-friendly, guiding visitors seamlessly towards the desired action, whether it's making a purchase, signing up for a newsletter, or contacting your business. In a study by Forrester, companies that prioritize user experience (UX) design report a 100% increase in customer satisfaction ratings. PixsMagic's design team can create user-centric experiences that keep your customers engaged and coming back for more.
3. Improved Conversion Rates:
Strong visuals can significantly impact your conversion rates. High-quality product images, compelling calls to action, and clear navigation on your website can all contribute to a higher percentage of visitors converting into paying customers. Studies by Website Optimization Company found that websites with high-quality visuals can increase conversion rates by up to 86%. PixsMagic's design expertise can help you optimize your marketing materials and website to convert more leads into sales.
4. Increased Brand Loyalty:
Customers are more likely to be loyal to brands they connect with on an emotional level. Good design can evoke positive emotions and create a sense of trust with your audience. When customers appreciate the look and feel of your brand, they're more likely to become repeat customers and brand advocates. A study by The Design Council found that businesses that invest in design outperform their competitors by up to 200% in terms of brand loyalty. PixsMagic can help you create a brand that resonates with your target audience and fosters lasting customer relationships.
5. Reduced Marketing Costs:
A well-designed marketing campaign can be far more effective than a poorly designed one. Eye-catching visuals and clear messaging can grab attention, cut through the clutter, and deliver your message more effectively. This can lead to a reduction in the amount of money you need to spend on marketing campaigns to achieve your desired results. In a study by the American Marketing Association, companies with strong design principles reported a 22% reduction in marketing costs. PixsMagic can help you create marketing materials that stretch your budget further and deliver a higher return on your investment.
Measuring the ROI of Design
While the benefits of good design are clear, quantifying its impact can sometimes be challenging. However, there are a number of metrics you can track to measure the ROI of your design investments. Here are a few key areas to focus on:
Website traffic and conversion rates: Track how changes to your website design impact the number of visitors and the percentage of those visitors who take a desired action. Lead generation: Monitor how your marketing materials influence the number of leads you generate. Sales figures: Track how design changes to your marketing materials or product packaging affect your sales figures. Customer feedback: Conduct surveys or gather customer reviews to see how they perceive your brand and its visual identity. By tracking these metrics, you can gain valuable insights into the effectiveness of your design investments and make data-driven decisions to optimize your brand image for maximum return.
Investing in PixsMagic's Design Expertise
At PixsMagic, we believe that good design is an investment, not an expense. Our team of experienced designers can help you create a brand identity that is not only visually appealing but also strategically designed to achieve your business goals. We work closely
2024.05.09 08:23 MirkWorks Adventures in the Orgasmatron: How the Sexual Revolution Came to America by Christopher Turner (Intro)
Introduction
In 1909, Sigmund Freud was invited to give a series of lectures at Clark University in Worcester, Massachusetts. On the way there from Vienna his cabin steward was reading The Psychopathology of Everyday Life, an event Freud claimed was the first indication he ever had that he was going to be famous. In the United States, the philosopher and psychologist William James and many other leading American intellectuals turned out to hear Freud talk, giving psychoanalysis official recognition, as Freud saw it, for the first time. He later wrote about what the Clark lectures meant to him: “In Europe I felt as though I was despised; but over there I found myself received by the foremost men as an equal. As I stepped onto the platform at Worcester to deliver my Five Lectures upon Psychoanalysis it seemed like the realization of some incredible daydream: psychoanalysis was no longer a production of delusion, it had become a valuable part of reality.”
Little did Freud know how his intellectual discoveries would transform America, which he dismissed as an “anti-paradise” or a “gigantic mistake.” Though he feared that Americans would enthusiastically “embrace and ruin psychoanalysis” by popularizing it and watering it down, he already suspected that his theories would in some way shake the country to the core. While watching the waving crowds from the deck of his ship as it docked in New York, turned to his fellow analyst Carl Gustav Jung and said, “Don’t they know we’re bringing them the plague?”
Well before the hedonism of the 1920s, a Freud-inspired revolution in sexual morals had begun. Greenwich Village bohemians, such as the writers Max Eastman and Floyd Dell, the anarchist Emma Goldman, who had been “deeply impressed by the lucidity” of Freud’s 1909 lectures, and Mabel Dodge, who ran an avant-garde salon in her apartment on Fifth Avenue, adapted psychoanalysis to create their own free-love philosophy. In the radical journal The Masses, Floyd Dell warned that “sexual emotions would not be repressed without morbid consequences.” Eastman, one of America’s first analysands, wrote a book comparing Freud and Marx: “Weren’t all forms of repression evil?” he asked rhetorically. Dell’s left-leaning analyst, a Shakespeare scholar called Dr. Samuel A. Tannenbaum who treated many of Greenwich Village artists, argued that it was healthier for young men to frequent prostitutes than to practice abstinence or masturbation.
Together they fashioned a cult of the orgasm - Mabel Dodge even went so far as to call her dog Climax. However, as Dell later admitted, their experiment was an isolated one, like that of the Oneida Community in the nineteenth century and a handful of other “obscure but pervasive sexual cults.” It was only after the Second World War that the idea of sexual liberation would permeate the culture at large.
When Wilhelm Reich, the most brilliant of the second generation of psychoanalysts who had been Freud’s pupils, arrived in New York in late August 1939, exactly thirty years after his mentor and only a few days before the outbreak of war, he was optimistic that his ideas about fusing sex and politics would be better received there than they had been in fascist Europe. Despite its veneer of Puritanism, America was a country already much preoccupied with sex - as Alfred Kinsey’s renowned investigations, which he began that same year, were to show. Reich could be said to have instigated “the sexual revolution”; a Marxist analyst, he coined the phrase in the 1930s in order to illustrate his belief that a true political revolution would only be possible once sexual repression was overthrown, the one obstacle Reich felt had scuppered the efforts of the Bolsheviks. “A sexual revolution is already in progress,” he declared, “and no power on earth will stop it.”
Reich was a sexual evangelist who held that the satisfactory orgasm made the difference between sickness and health. “There is only one thing wrong with neurotic patients,” he concluded in The Function of the Orgasm (1927): “the lack of full and repeated sexual satisfaction” (the italics are his). The orgasm was the panacea to cure all ills, he thought, including the fascism that had forced him to leave Europe. Reich sought to reconcile psychoanalysis and Marxism, thereby giving Freudianism an optimistic gloss, arguing that repression, which Freud came to believe was an inherent part of the human condition, could be shed. This would lead to what his critics dismissed as a “genital utopia” (they mocked him as “the prophet of bigger and better orgasms”). His ideas became influential in Europe, which Henry Miller, finding a new sense of purpose through sex, characterized as “the Land of Fuck.” Reich was a figurehead of the vocal sex reform movement in Vienna and Berlin before the Anschluss, after which the Nazis, who deemed it part of a Jewish conspiracy to undermine the continent, crushed it. His books were burned in Germany along with those of the German sexologist Magnus Hirschfeld and Freud.
Soon after he arrived in the United States, Reich invented the orgone energy accumulator, a wooden cupboard about the size of a telephone booth, lined with metal and insulated with steel wool - a box in which, it might be said, his ideas came almost prepackaged. Reich considered his orgone energy accumulator an almost magical device that could improve its users’ “orgastic potency” and by extension their general, and above all mental, health. He claimed that it could charge up the body with the life force that circulated in the atmosphere (a force which he christened “orgone energy”) - mysterious currents that in concentrated form could not only help dissolve repressions but also treat cancer, radiation sickness, and a host of minor ailments. As he saw it, the box’s organic material absorbed orgone energy, and the metal lining stopped it from escaping, so the box acted as a greenhouse; and, supposedly, there was a noticeable rise in temperature in the box.
Reich persuaded Albert Einstein to investigate the machine, whose workings seemed to contradict all known principles of physics, but after two weeks of tests Einstein refuted Reich’s claims. Nevertheless, the orgone box became fashionable in America in the 1940s and 1950s, when Reich rose to fame as the leader of the new sexual movement that seemed to be sweeping the country. Orgone boxes were used by such countercultural figures as Norman Mailer, J. D. Salinger, Paul Goodman, Allen Ginsberg, Jack Kerouac, and William Burroughs - who claimed to have had a spontaneous orgasm in his. At the height of his James Bond fame, Sean Connery swore by the device, and Woody Allen parodied it in the movie Sleeper, giving it the immortal nickname “Orgasmatron.” Bohemians celebrated the orgone box as a liberation machine, the wardrobe that would lead to utopia, while to conservatives it was Pandora’s Box, out of which escaped the Freudian plague - the corrupting influence of anarchism and promiscuous sex.
Because of his radical past, Reich was placed under surveillance almost as soon as he arrived in the United States (his FBI file is 789 pages long). In 1947, after Harper’s Magazine introduced Reich to Americans as the leader of “a new cult of sex and anarchy,” the Food and Drug Administration began investigating him for making fraudulent claims about the orgone accumulator, and in 1954 a court ruled that he must stop leasing and selling his machine. When he broke the injunction he was sentenced to two years in prison. The remaining accumulators, along with thousands of copies of the journals and eleven books Rich self-published in America (including copies of The Sexual Revolution), which were thought to constitute “false advertising” for them, were incinerated.
In the ideological confusion of the postwar period, when the world was trying to get its head around what came to be called the Holocaust and intellectuals disillusioned with communism were abandoning the security of their earlier political positions, Reich’s ideas landed on fertile ground. With his tantalizing suggestion that sexual emancipation would lead to positive social change, Reich seemed to capture the mood of this convulsive moment. People sat in the orgone box hoping to dissolve the toxic dangers of conformity, which, as Reich had eloquently suggested as early as 1933, bred fascism. The literary critic Alfred Kazin wrote in his journal, “Everybody of my generation had his orgone box…his search for fulfillment. There was, God knows, no break with convention, there was just a freeing of oneself from all those parental attachments and thou shalt nots.”
In his essay “The New Lost Generation,” James Baldwin described how that generation crystallized around Reich’s thinking in the later 1940s and early 1950s:
It was a time of the most terrifying personal anarchy. If one gave a party, it was virtually certain that someone, quite possibly oneself, would have a crying jag or have to be restrained from murder or suicide. It was a time of experimentation, with sex, with marijuana, with minor infringements of the law. It seems to me that life was beginning to tell us who we were, and what life was - news no one has ever wanted to hear: and we fought back by clinging to our vision of ourselves as innocent, of love perhaps imperfect but reciprocal and enduring. And we did not know that the price of this was experience. We had been raised to believe in formulas.
In retrospect, the discovery of the orgasm - or, rather, of the orgone box - seems the least mad of the formulas that came to hand. It seemed to me….that people turned from the idea of the world being made better through politics to the idea of the world being made better through psychic and sexual health like sinners coming down the aisle at a revival meeting. And I doubted that their conversion was any more to be trusted than that. The converts, indeed, moved in a certain euphoric aura of well-being. Which would not last…There are no formulas for the improvement of the private, or any other, life - certainly not the formula of more and better orgasms. (Who decides?) The people I had been raised among had orgasms all the time, and still chopped each other with razors on Saturday nights.
“There was, God knows, no break with convention”; “the least mad of the formulas that came to hand” - both Kazin and Baldwin saw their bewildered peers breaking out of one ideological prison only to find themselves in another. Theirs was a generation teetering on a new kind of brink - full of optimism about the possibility of change, they were unsuspecting accomplices in the authorship of more insidious forms of control.
I first learned about Reich’s orgone energy accumulator in 1993 when I visited Summerhill, the “free” school in Suffolk, England, founded in 1921 by A. S. Neill. I was an anthropology student at Cambridge University and, when I asked whether I could stay for a while as a participant-observer, I was offered a large tepee as a place to sleep. I like the idea of living in it: a wigwam seemed a suitable home for a backyard anthropologist. However, everything at Summerhill - where lessons are voluntary and the pupils invent their own laws - is put to a vote, and the children decided they wanted to keep the tepee for themselves. So for that summer I lived in a bed-and-breakfast in Leiston. All the other guests worked for the nuclear power station Sizewell B: every piece of crockery and all the towels and cutlery were stamped with the nuclear power station’s logo. The owner of the B&B had been given a free pullover after a random Geiger counter inspection had determined that his own, hung out on the clothesline, harbored dangerously elevated levels of radiation.
A.S. Neill met Reich in Oslo in 1936 and soon afterward became his analysand, fitting in a dozen sessions with him one a return trip. Reich had by that time been expelled from the International Psychoanalytic Association (he had once been considered Freud’s heir apparent, but his attempts to reconcile psychoanalysis and Marxism ended up alienating practitioners of both), and pioneered a new form of analysis called “vegetotherapy,” a repudiation of the talking cure. Reich’s third wife, Ilse, described it as “doing away with the psychoanalytic taboo of never touching a patient,” and replacing it with “a physical attack by the therapist.” Reich would relax the patient’s taut muscles with deep breathing exercises and painful massage, until he or she broke down in involuntary convulsions, which Reich called the “orgasm reflex.”
Though his school had already been running for fifteen years, Neill found in Reich’s work its ideological justification, and he once referred to himself as Reich’s “John the Baptist.” His many books are littered with references to Reich’s concepts of “character-armor” and “self-regulation.” For his part Reich saw Neill’s project as a practical test of his ideas, and he sent his own son, Peter, to Summerhill for a while. He once threatened to give up his research and come and teach at the school, but Neill laughed and declined his offer, saying that Reich would frighten the children. Neill did, however, ask him to be the legal guardian of his daughter, Zoe. Reich invited Neill to start an orgonomic infant research center at his research institute in Maine and encouraged him to replace his Summerhill staff with people schooled in Reichian practice. Neill rejected both suggestions, but continued to read aloud from Reich’s books at staff meetings.
Reich and Neill shared a belief in the redemptive power of unconstricted development in children. For Reich this had an urgent political significance: he thought that only when children were raised free would it be possible to lay the foundations of a utopia. Neill thought that a radical reform of the education system was an essential preliminary to the creation of a better world. Both men believed that children were inherently good: it was an authoritarian, sexually repressive upbringing that corrupted them. Summerhill was designed to offer children a sanctuary from the moral contamination of the world, where they could live out their desires without the fear of punishment and play without the pressure of indoctrination: “We set out to make a school in which we would allow children freedom to be themselves,” Neill wrote. “In order to do this we had to renounce all discipline, all direction, all suggestion, all moral training, all religious instruction.” The school’s motto continues to be “Giving children back their childhood.”
By the summer of 1944, Neill had begun to practice Reich’s analytic technique on his pupils at Summerhill. “I have given up teaching and am doing only veg.-ther. analysis,” he wrote to Reich. “The more I see the results with adolescents the more I consider that bloody man Reich a great man…Marvelous how patients weep so easily when lying on their backs. Some do so in the first hour. Why?” One former student remembers being instructed to lie down and “breathe deeply, as though you’re having sexual intercourse,” while Neill prodded her stomach (she was too young to know what sex was, so she just panted). “The repressed ones have stomachs like wooden boards,” Neill wrote to Reich of his pupils’ resistance, “but children begin to loosen up very quickly, and at once begin to be hateful and savage.”
The philosopher Bertrand Russell, like Neill, preached the benefits of an unconstrained childhood and campaign for new sexual mores. Neill said that Russell’s On Education (1926) was the only book on the topic he’d read without uttering an expletive. Russell spent a week at Summerhill in 1927 before opening a school of his own, Beacon Hill, based on similar principles. He was soon disillusioned, however, and left the school after five years. The children in his care, Russell wrote, were “sinister,” “cruel,” “destructive.” The effect of giving them their freedom “was to establish a reign of terror, in which the strong kept the weak trembling and miserable.” Russell’s own children, for whom Beacon Hill was partly created (it had only twelve pupils), were, like their father, traumatized by their time at the school. “I learned to get along inside a shell,” Kate Russell said, “fending off physical and emotional assaults from others and trusting nobody.” But for Neill, the monstrous behavior of children was a stage long the path to liberation: if they were “hateful and savage” it was only because they were sloughing off the final carapace of their repressions.
The accumulator that Reich gave Neill arrived in England on the Queen Elizabeth in April 1947, along with a smaller “shooter” box with a protruding funnel for directing orgone energy rays at infections and wounds. “I sit in the Accumulator every night reading,” Neill wrote appreciatively, “re-reading the Function of the O. while I sit in the box.” Neill soon became convinced of the machine’s effectiveness: “We used the small Accu on a girl of 15 with a boil on her leg,” he said. “It cleared up in three days, and we are to have her in the big box next term.” The effects apparently defied scientific explanation: “When Lucy had a new lump on her face under the operation scar, she applied the small Accu and it went in a fortnight,” Neill marveled. He bombarded Reich with questions: Was it safe to keep an accumulator in one’s bedroom? Did you have to be naked inside it? Would it be effective in the damp English climate? How long could his daughter safely sit in the box?
Neill’s daughter, Zoe Readhead, has run Summerhill since 1985. Neill was sixty-four when his only child was born; when she was two, Picture Post ran a story saying that of all the children in Britain, she had the best chance of being free. “I remember the orgone accumulator vividly,” she told me. “It was quite chilly in there because of the zinc.” As a child Readhead was prescribed half an hour a day in the device; she recalls the red plastic cushion she sat on and the funnel or “shooter” she was encouraged to position over her ear to try to cure a recurrent earache. She also remembers that as she grew up Neill lost interest in the machine (he thought he’d been mistaken in putting an extra layer of asbestos around it), and moved it to a corner of the garage.
By the time Reich died, in 1957, he and Neill were no longer communicating. In December 1954 Neill wrote, “It gave me a great shock to find you believing in visits from other planets. No, I said, it can’t be true; Reich is a scientist and unless he sees a flying saucer he won’t accept it as reality. I can’t understand it.” Reich, whose sanity had long been an open question (Sandor Rado, who analyzed Reich for a few months in 1931, said that he was “schizophrenic in the most serious way”), had started to suffer from paranoid delusions about the world being under attack by UFOs. The armor-clad orgone box was always something of a protective shield, illustrative of Reich’s sense of being besieged, but he now built a “cloudbuster,” an orgone gun that was designed not only to influence the weather - diverting hurricanes and making it rain in the desert - but to be the first line of defense against an alien invasion. It was a kind of orgone box turned inside out, so that it could work its therapeutic magic on the cosmos.
Reich initiated the break with Neill; his young son, Peter, who was spending the summer at Summerhill, told Neill that the American planes passing over the school had been sent to protect him, or so his father said. Neill replied that this was nonsense (there was a large U.S. air base nearby), and when Reich heard of Neill’s response he wrote to his remaining supporters that Neill was no longer to be trusted. In the American edition of Neill’s Summerhill: A Radical Approach to Childhood, published in 1960, all references to Reich were deleted because the publisher considered him too controversial. (The book sold two million copies in the United States.) But Neill never turned his back entirely on his friend’s philosophy, and long after Rich’s death he persuaded Zoe to go to Norway to have vegetotherapy with another of Reich’s disciples, Ola Raknes.
Reich died of a heart attack in Lewisburg Federal Penitentiary in 1957, eight months after being sentenced. If Reich’s claims were no more than ridiculous quackery, as the FDA doctors who refuted them suggested, and if he was just a paranoid schizophrenic, as one court psychiatrist concluded, then why did the U.S. government consider him such a danger? What was happening in America that led Reich to become an emblem of such a deep fear?
The critic Louis Menand described Arthur Koestler, with whom Reich shared a Communist cell in Berlin, as “a slightly mad dreidel that spun out of Central Europe and across the history of a bloody century.” Reich’s story traces a similarly erratic path, and looking back at his era can help to shed new light on it. Through the history of Reich’s box it’s possible to unpack the story of how sex became political in the twentieth century, and how it encountered Hitler, Stalin, and McCarthy along the way. Reich created the modern cult of the orgasm and, influentially, held that ecstasy was a point of resistance, immune to political control. Of course, the birth control pill - licensed by the FDA in 1957 (the year Reich died) for treating women with menstrual disorders - ultimately provided the technological breakthrough that facilitated the sexual liberation of the following decade. But Reich, perhaps more than any other sexual philosopher, had already given the erotic enthusiasm of the 1960s an intellectual justification, and laid the theoretical foundations for that era.
His ideas rallied a new generation of dissenters, and his orgone box, however unlikely an idea it may now seem, became a symbol of the sexual revolution. In January 1964, Time magazine declared that “Dr. Wilhelm Reich may have been a prophet. For now it sometimes seems that all America is one big Orgone Box”:
In 1968 student revolutionaries graffitied Reichian slogans on the walls of the Sorbonne, and in Berlin they hurled copies of Reich’s book The Mass Psychology of Fascism at police. At the University of Frankfurt 68er (as they were called in German) were advised, “Read Reich and act accordingly!” According to the historian Dagmar Herzog, “No other intellectual so inspired the student movement in its early days, and to a degree unmatched either in the United States or other Western European nation.” In the 1970s, feminists such as Shulamith Firestone, Germaine Greer, and Juliet Mitchell continued to promote Reich’s work with enthusiasm.
However, even in his lifetime, Reich came to believe that the sexual revolution had gone awry. Indeed, his ideals seemed to run aground in the decade of free love, which saw erotic liberation co-opted and absorbed into what the historian of psychoanalysis Eli Zaretsky calls a “sexualised dreamworld of mass consumption.” Herbert Marcuse, another emigre who became the hero of a younger generation, provided the most rigorous critique of the darker side of liberation. After his initial enthusiasm for a world characterized by “polymorphous perversity,” Marcuse became cynical about it, and he ended his career with a series of brilliant analyses of ways in which the establishment adapted all these liberated ideas (the “intellectual Muzak” of the time) into an existing system of production and consumption. Reich had propagated an expressive vision of the self, but his sexualized politics of the body soon dissolved into mere narcissism as consumers sought to express themselves through their possessions. In the process, as Marcuse was early in detecting, sex and radical politics became unstuck.
It is a testament to the popularity Reich once had that his name is still remembered at all - so many of his colleagues have been forgotten. But he is now known more for his mad invention rather than for the sexual radicalism that box contained. Reich’s eccentric device might be seen as a prism through which to look at the conflicts and controversies of that era. Why did a generation seek to shed its sexual repressions by climbing into a closet? And why were others so threatened by it? What does it tell us about the ironies of the sexual revolution that the symbol of liberation was a box?
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In 1909, Sigmund Freud was invited to give a series of lectures at Clark University in Worcester, Massachusetts. On the way there from Vienna his cabin steward was reading The Psychopathology of Everyday Life, an event Freud claimed was the first indication he ever had that he was going to be famous. In the United States, the philosopher and psychologist William James and many other leading American intellectuals turned out to hear Freud talk, giving psychoanalysis official recognition, as Freud saw it, for the first time. He later wrote about what the Clark lectures meant to him: “In Europe I felt as though I was despised; but over there I found myself received by the foremost men as an equal. As I stepped onto the platform at Worcester to deliver my Five Lectures upon Psychoanalysis it seemed like the realization of some incredible daydream: psychoanalysis was no longer a production of delusion, it had become a valuable part of reality.”
Little did Freud know how his intellectual discoveries would transform America, which he dismissed as an “anti-paradise” or a “gigantic mistake.” Though he feared that Americans would enthusiastically “embrace and ruin psychoanalysis” by popularizing it and watering it down, he already suspected that his theories would in some way shake the country to the core. While watching the waving crowds from the deck of his ship as it docked in New York, turned to his fellow analyst Carl Gustav Jung and said, “Don’t they know we’re bringing them the plague?”
Well before the hedonism of the 1920s, a Freud-inspired revolution in sexual morals had begun. Greenwich Village bohemians, such as the writers Max Eastman and Floyd Dell, the anarchist Emma Goldman, who had been “deeply impressed by the lucidity” of Freud’s 1909 lectures, and Mabel Dodge, who ran an avant-garde salon in her apartment on Fifth Avenue, adapted psychoanalysis to create their own free-love philosophy. In the radical journal The Masses, Floyd Dell warned that “sexual emotions would not be repressed without morbid consequences.” Eastman, one of America’s first analysands, wrote a book comparing Freud and Marx: “Weren’t all forms of repression evil?” he asked rhetorically. Dell’s left-leaning analyst, a Shakespeare scholar called Dr. Samuel A. Tannenbaum who treated many of Greenwich Village artists, argued that it was healthier for young men to frequent prostitutes than to practice abstinence or masturbation.
Together they fashioned a cult of the orgasm - Mabel Dodge even went so far as to call her dog Climax. However, as Dell later admitted, their experiment was an isolated one, like that of the Oneida Community in the nineteenth century and a handful of other “obscure but pervasive sexual cults.” It was only after the Second World War that the idea of sexual liberation would permeate the culture at large.
When Wilhelm Reich, the most brilliant of the second generation of psychoanalysts who had been Freud’s pupils, arrived in New York in late August 1939, exactly thirty years after his mentor and only a few days before the outbreak of war, he was optimistic that his ideas about fusing sex and politics would be better received there than they had been in fascist Europe. Despite its veneer of Puritanism, America was a country already much preoccupied with sex
Reich was a sexual evangelist who held that the satisfactory orgasm made the difference between sickness and health. “There is only one thing wrong with neurotic patients,” he concluded in The Function of the Orgasm (1927): “the lack of full and repeated sexual satisfaction” (the italics are his). The orgasm was the panacea to cure all ills, he thought, including the fascism that had forced him to leave Europe. Reich sought to reconcile psychoanalysis and Marxism, thereby giving Freudianism an optimistic gloss, arguing that repression, which Freud came to believe was an inherent part of the human condition, could be shed. This would lead to what his critics dismissed as a “genital utopia” (they mocked him as “the prophet of bigger and better orgasms”). His ideas became influential in Europe, which Henry Miller, finding a new sense of purpose through sex, characterized as “the Land of Fuck.” Reich was a figurehead of the vocal sex reform movement in Vienna and Berlin before the Anschluss, after which the Nazis, who deemed it part of a Jewish conspiracy to undermine the continent, crushed it. His books were burned in Germany along with those of the German sexologist Magnus Hirschfeld and Freud.
Soon after he arrived in the United States, Reich invented the orgone energy accumulator, a wooden cupboard about the size of a telephone booth, lined with metal and insulated with steel wool - a box in which, it might be said, his ideas came almost prepackaged. Reich considered his orgone energy accumulator an almost magical device that could improve its users’ “orgastic potency” and by extension their general, and above all mental, health. He claimed that it could charge up the body with the life force that circulated in the atmosphere (a force which he christened “orgone energy”) - mysterious currents that in concentrated form could not only help dissolve repressions but also treat cancer, radiation sickness, and a host of minor ailments. As he saw it, the box’s organic material absorbed orgone energy, and the metal lining stopped it from escaping, so the box acted as a greenhouse; and, supposedly, there was a noticeable rise in temperature in the box.
Reich persuaded Albert Einstein to investigate the machine, whose workings seemed to contradict all known principles of physics, but after two weeks of tests Einstein refuted Reich’s claims. Nevertheless, the orgone box became fashionable in America in the 1940s and 1950s, when Reich rose to fame as the leader of the new sexual movement that seemed to be sweeping the country. Orgone boxes were used by such countercultural figures as Norman Mailer, J. D. Salinger, Paul Goodman, Allen Ginsberg, Jack Kerouac, and William Burroughs - who claimed to have had a spontaneous orgasm in his. At the height of his James Bond fame, Sean Connery swore by the device, and Woody Allen parodied it in the movie Sleeper, giving it the immortal nickname “Orgasmatron.” Bohemians celebrated the orgone box as a liberation machine, the wardrobe that would lead to utopia, while to conservatives it was Pandora’s Box, out of which escaped the Freudian plague - the corrupting influence of anarchism and promiscuous sex.
Because of his radical past, Reich was placed under surveillance almost as soon as he arrived in the United States (his FBI file is 789 pages long). In 1947, after Harper’s Magazine introduced Reich to Americans as the leader of “a new cult of sex and anarchy,” the Food and Drug Administration began investigating him for making fraudulent claims about the orgone accumulator, and in 1954 a court ruled that he must stop leasing and selling his machine. When he broke the injunction he was sentenced to two years in prison. The remaining accumulators, along with thousands of copies of the journals and eleven books Rich self-published in America (including copies of The Sexual Revolution), which were thought to constitute “false advertising” for them, were incinerated.
In the ideological confusion of the postwar period, when the world was trying to get its head around what came to be called the Holocaust and intellectuals disillusioned with communism were abandoning the security of their earlier political positions, Reich’s ideas landed on fertile ground. With his tantalizing suggestion that sexual emancipation would lead to positive social change, Reich seemed to capture the mood of this convulsive moment. People sat in the orgone box hoping to dissolve the toxic dangers of conformity, which, as Reich had eloquently suggested as early as 1933, bred fascism. The literary critic Alfred Kazin wrote in his journal, “Everybody of my generation had his orgone box…his search for fulfillment. There was, God knows, no break with convention, there was just a freeing of oneself from all those parental attachments and thou shalt nots.”
In his essay “The New Lost Generation,” James Baldwin described how that generation crystallized around Reich’s thinking in the later 1940s and early 1950s:
It was a time of the most terrifying personal anarchy. If one gave a party, it was virtually certain that someone, quite possibly oneself, would have a crying jag or have to be restrained from murder or suicide. It was a time of experimentation, with sex, with marijuana, with minor infringements of the law. It seems to me that life was beginning to tell us who we were, and what life was - news no one has ever wanted to hear: and we fought back by clinging to our vision of ourselves as innocent, of love perhaps imperfect but reciprocal and enduring. And we did not know that the price of this was experience. We had been raised to believe in formulas.
In retrospect, the discovery of the orgasm - or, rather, of the orgone box - seems the least mad of the formulas that came to hand. It seemed to me….that people turned from the idea of the world being made better through politics to the idea of the world being made better through psychic and sexual health like sinners coming down the aisle at a revival meeting. And I doubted that their conversion was any more to be trusted than that. The converts, indeed, moved in a certain euphoric aura of well-being. Which would not last…There are no formulas for the improvement of the private, or any other, life - certainly not the formula of more and better orgasms. (Who decides?) The people I had been raised among had orgasms all the time, and still chopped each other with razors on Saturday nights.
“There was, God knows, no break with convention”; “the least mad of the formulas that came to hand” - both Kazin and Baldwin saw their bewildered peers breaking out of one ideological prison only to find themselves in another. Theirs was a generation teetering on a new kind of brink - full of optimism about the possibility of change, they were unsuspecting accomplices in the authorship of more insidious forms of control.
I first learned about Reich’s orgone energy accumulator in 1993 when I visited Summerhill, the “free” school in Suffolk, England, founded in 1921 by A. S. Neill. I was an anthropology student at Cambridge University and, when I asked whether I could stay for a while as a participant-observer, I was offered a large tepee as a place to sleep. I like the idea of living in it: a wigwam seemed a suitable home for a backyard anthropologist. However, everything at Summerhill - where lessons are voluntary and the pupils invent their own laws - is put to a vote, and the children decided they wanted to keep the tepee for themselves. So for that summer I lived in a bed-and-breakfast in Leiston. All the other guests worked for the nuclear power station Sizewell B: every piece of crockery and all the towels and cutlery were stamped with the nuclear power station’s logo. The owner of the B&B had been given a free pullover after a random Geiger counter inspection had determined that his own, hung out on the clothesline, harbored dangerously elevated levels of radiation.
A.S. Neill met Reich in Oslo in 1936 and soon afterward became his analysand, fitting in a dozen sessions with him one a return trip. Reich had by that time been expelled from the International Psychoanalytic Association (he had once been considered Freud’s heir apparent, but his attempts to reconcile psychoanalysis and Marxism ended up alienating practitioners of both), and pioneered a new form of analysis called “vegetotherapy,” a repudiation of the talking cure. Reich’s third wife, Ilse, described it as “doing away with the psychoanalytic taboo of never touching a patient,” and replacing it with “a physical attack by the therapist.” Reich would relax the patient’s taut muscles with deep breathing exercises and painful massage, until he or she broke down in involuntary convulsions, which Reich called the “orgasm reflex.”
Though his school had already been running for fifteen years, Neill found in Reich’s work its ideological justification, and he once referred to himself as Reich’s “John the Baptist.” His many books are littered with references to Reich’s concepts of “character-armor” and “self-regulation.” For his part Reich saw Neill’s project as a practical test of his ideas, and he sent his own son, Peter, to Summerhill for a while. He once threatened to give up his research and come and teach at the school, but Neill laughed and declined his offer, saying that Reich would frighten the children. Neill did, however, ask him to be the legal guardian of his daughter, Zoe. Reich invited Neill to start an orgonomic infant research center at his research institute in Maine and encouraged him to replace his Summerhill staff with people schooled in Reichian practice. Neill rejected both suggestions, but continued to read aloud from Reich’s books at staff meetings.
Reich and Neill shared a belief in the redemptive power of unconstricted development in children. For Reich this had an urgent political significance: he thought that only when children were raised free would it be possible to lay the foundations of a utopia. Neill thought that a radical reform of the education system was an essential preliminary to the creation of a better world. Both men believed that children were inherently good: it was an authoritarian, sexually repressive upbringing that corrupted them. Summerhill was designed to offer children a sanctuary from the moral contamination of the world, where they could live out their desires without the fear of punishment and play without the pressure of indoctrination: “We set out to make a school in which we would allow children freedom to be themselves,” Neill wrote. “In order to do this we had to renounce all discipline, all direction, all suggestion, all moral training, all religious instruction.” The school’s motto continues to be “Giving children back their childhood.”
By the summer of 1944, Neill had begun to practice Reich’s analytic technique on his pupils at Summerhill. “I have given up teaching and am doing only veg.-ther. analysis,” he wrote to Reich. “The more I see the results with adolescents the more I consider that bloody man Reich a great man…Marvelous how patients weep so easily when lying on their backs. Some do so in the first hour. Why?” One former student remembers being instructed to lie down and “breathe deeply, as though you’re having sexual intercourse,” while Neill prodded her stomach (she was too young to know what sex was, so she just panted). “The repressed ones have stomachs like wooden boards,” Neill wrote to Reich of his pupils’ resistance, “but children begin to loosen up very quickly, and at once begin to be hateful and savage.”
The philosopher Bertrand Russell, like Neill, preached the benefits of an unconstrained childhood and campaign for new sexual mores. Neill said that Russell’s On Education (1926) was the only book on the topic he’d read without uttering an expletive. Russell spent a week at Summerhill in 1927 before opening a school of his own, Beacon Hill, based on similar principles. He was soon disillusioned, however, and left the school after five years. The children in his care, Russell wrote, were “sinister,” “cruel,” “destructive.” The effect of giving them their freedom “was to establish a reign of terror, in which the strong kept the weak trembling and miserable.” Russell’s own children, for whom Beacon Hill was partly created (it had only twelve pupils), were, like their father, traumatized by their time at the school. “I learned to get along inside a shell,” Kate Russell said, “fending off physical and emotional assaults from others and trusting nobody.” But for Neill, the monstrous behavior of children was a stage long the path to liberation: if they were “hateful and savage” it was only because they were sloughing off the final carapace of their repressions.
The accumulator that Reich gave Neill arrived in England on the Queen Elizabeth in April 1947, along with a smaller “shooter” box with a protruding funnel for directing orgone energy rays at infections and wounds. “I sit in the Accumulator every night reading,” Neill wrote appreciatively, “re-reading the Function of the O. while I sit in the box.” Neill soon became convinced of the machine’s effectiveness: “We used the small Accu on a girl of 15 with a boil on her leg,” he said. “It cleared up in three days, and we are to have her in the big box next term.” The effects apparently defied scientific explanation: “When Lucy had a new lump on her face under the operation scar, she applied the small Accu and it went in a fortnight,” Neill marveled. He bombarded Reich with questions: Was it safe to keep an accumulator in one’s bedroom? Did you have to be naked inside it? Would it be effective in the damp English climate? How long could his daughter safely sit in the box?
Neill’s daughter, Zoe Readhead, has run Summerhill since 1985. Neill was sixty-four when his only child was born; when she was two, Picture Post ran a story saying that of all the children in Britain, she had the best chance of being free. “I remember the orgone accumulator vividly,” she told me. “It was quite chilly in there because of the zinc.” As a child Readhead was prescribed half an hour a day in the device; she recalls the red plastic cushion she sat on and the funnel or “shooter” she was encouraged to position over her ear to try to cure a recurrent earache. She also remembers that as she grew up Neill lost interest in the machine (he thought he’d been mistaken in putting an extra layer of asbestos around it), and moved it to a corner of the garage.
By the time Reich died, in 1957, he and Neill were no longer communicating. In December 1954 Neill wrote, “It gave me a great shock to find you believing in visits from other planets. No, I said, it can’t be true; Reich is a scientist and unless he sees a flying saucer he won’t accept it as reality. I can’t understand it.” Reich, whose sanity had long been an open question (Sandor Rado, who analyzed Reich for a few months in 1931, said that he was “schizophrenic in the most serious way”), had started to suffer from paranoid delusions about the world being under attack by UFOs. The armor-clad orgone box was always something of a protective shield, illustrative of Reich’s sense of being besieged, but he now built a “cloudbuster,” an orgone gun that was designed not only to influence the weather - diverting hurricanes and making it rain in the desert - but to be the first line of defense against an alien invasion. It was a kind of orgone box turned inside out, so that it could work its therapeutic magic on the cosmos.
Reich initiated the break with Neill; his young son, Peter, who was spending the summer at Summerhill, told Neill that the American planes passing over the school had been sent to protect him, or so his father said. Neill replied that this was nonsense (there was a large U.S. air base nearby), and when Reich heard of Neill’s response he wrote to his remaining supporters that Neill was no longer to be trusted. In the American edition of Neill’s Summerhill: A Radical Approach to Childhood, published in 1960, all references to Reich were deleted because the publisher considered him too controversial. (The book sold two million copies in the United States.) But Neill never turned his back entirely on his friend’s philosophy, and long after Rich’s death he persuaded Zoe to go to Norway to have vegetotherapy with another of Reich’s disciples, Ola Raknes.
Reich died of a heart attack in Lewisburg Federal Penitentiary in 1957, eight months after being sentenced. If Reich’s claims were no more than ridiculous quackery, as the FDA doctors who refuted them suggested, and if he was just a paranoid schizophrenic, as one court psychiatrist concluded, then why did the U.S. government consider him such a danger? What was happening in America that led Reich to become an emblem of such a deep fear?
The critic Louis Menand described Arthur Koestler, with whom Reich shared a Communist cell in Berlin, as “a slightly mad dreidel that spun out of Central Europe and across the history of a bloody century.” Reich’s story traces a similarly erratic path, and looking back at his era can help to shed new light on it. Through the history of Reich’s box it’s possible to unpack the story of how sex became political in the twentieth century, and how it encountered Hitler, Stalin, and McCarthy along the way
His ideas rallied a new generation of dissenters, and his orgone box, however unlikely an idea it may now seem, became a symbol of the sexual revolution. In January 1964, Time magazine declared that “Dr. Wilhelm Reich may have been a prophet. For now it sometimes seems that all America is one big Orgone Box”:
- With today’s model, it is no longer necessary to sit in cramped quarters for a specific time. Improved and enlarged to encompass the continent, the big machine works on its subjects continuously, day and night. From innumerable screens and stages, posters and pages, it flashes the larger-than-life-sized images of sex. From countless racks and shelves, it pushes the books which a few years ago were considered pornography. From myriad loudspeakers, it broadcasts the words and rhythms of pop-music erotic. And constantly, over the intellectual Muzak, comes the message that sex will save you and libido make you free.
In 1968 student revolutionaries graffitied Reichian slogans on the walls of the Sorbonne, and in Berlin they hurled copies of Reich’s book The Mass Psychology of Fascism at police. At the University of Frankfurt 68er (as they were called in German) were advised, “Read Reich and act accordingly!” According to the historian Dagmar Herzog, “No other intellectual so inspired the student movement in its early days, and to a degree unmatched either in the United States or other Western European nation.” In the 1970s, feminists such as Shulamith Firestone, Germaine Greer, and Juliet Mitchell continued to promote Reich’s work with enthusiasm.
However, even in his lifetime, Reich came to believe that the sexual revolution had gone awry. Indeed, his ideals seemed to run aground in the decade of free love, which saw erotic liberation co-opted and absorbed into what the historian of psychoanalysis Eli Zaretsky calls a “sexualised dreamworld of mass consumption.” Herbert Marcuse, another emigre who became the hero of a younger generation, provided the most rigorous critique of the darker side of liberation. After his initial enthusiasm for a world characterized by “polymorphous perversity,” Marcuse became cynical about it, and he ended his career with a series of brilliant analyses of ways in which the establishment adapted all these liberated ideas (the “intellectual Muzak” of the time) into an existing system of production and consumption. Reich had propagated an expressive vision of the self, but his sexualized politics of the body soon dissolved into mere narcissism as consumers sought to express themselves through their possessions. In the process, as Marcuse was early in detecting, sex and radical politics became unstuck.
It is a testament to the popularity Reich once had that his name is still remembered at all - so many of his colleagues have been forgotten. But he is now known more for his mad invention rather than for the sexual radicalism that box contained. Reich’s eccentric device might be seen as a prism through which to look at the conflicts and controversies of that era. Why did a generation seek to shed its sexual repressions by climbing into a closet? And why were others so threatened by it? What does it tell us about the ironies of the sexual revolution that the symbol of liberation was a box?
2024.05.09 04:04 SlipNo3048 Album Thoughts: Hana Vu, “Romanticism” Released on May 3rd, 2024
I’ve been listening to Hana Vu ever since she released the first single of the album, “Care,” on February 14th and Spotify delivered it to my home screen as a suggestion. I’m very happy that the algorithm knew me well that day, because I’ve been really interested in her music ever since. “Care” really grew on me nicely, the lyrics are so damn heavy (I thought “What is care, anyway?” was a great question and something I’ve never heard before), but they don’t necessarily make you sad. They’re paired with a happy melody, but then also the heavy acoustic guitar that seems to descend deeper and deeper in the chord progression. Overall, the listener is hit with sounds that evoke different emotions, and the final verse just keeps going, has a great change of pace at “So don’t pick up the phone, I just talk to fill the air,” and makes for a powerful ending to the song.
I was also pretty intrigued by the fact that her top songs, at the time, had under 500k listens. Thought that was kind of low for an artist to be suggested to you on your home page. I was excited to listen to what else she had. So thank you to Spotify for that one.
The Singles:
Anyways, I checked out a couple of her past songs in her top five on Spotify and wasn’t huge on them (Admittedly, I didn’t put a great deal of time into her discography, so if I’m missing out on some of her songs from 2018-2022, please slap me in the face with some suggestions). But I kept listening to Care, and loved “Hammer” when it was released. The upbeat acoustic guitar chord progression, catchy rhythm, and buildup into the chorus are fantastic. I began to sense that long pre-choruses into absolutely sticking the landing with the belting choruses was going to be a theme for her. “And I call the doctor…” all the way to “And it’s hard to say what the trouble is, I run away ‘til it’s all behind…” was pretty addicting to listen to for a while when I first heard this song. Overall, I think it’s excellent, maybe the best song on the album. It seems a little simpler than many of the others, really easy to listen to.
Vu released “22” on April 17th, and this one was really cool instrumentally. Similar to Hammer, it’s more stripped down in the first half of the song, letting her less distorted voice ring out a bit more and carry the song. The instrumental transition halfway through after “I don’t want to be anything, anything…” really struck me. I can’t tell if there’s a really saturated/distorted guitar in there or some kind of synth? (Do I hear some Flaming Lips-type of influence here?) Anyone who can tell, please feel free to weigh in. But god damn is it a powerful sound. I thought it was really unique. Then, finishing the song with the catchy, fun-to-repeat and easy to remember, “I’m just getting old, I’m just 22, I just want to hold on to you,” was all it needed. After hearing 22, I described her sound/genre as Emo Rock. That may ruffle some feathers with some people because “emo” has a pretty negative connotation, and it may not be true of her completely, but the three singles on this album scream Emo Rock to me. Maybe “Alternative Emo Rock,” if you want just for good measure. Her very deep, moaning, loathing voice, combined with the heavy instrumentals. She’s charmingly dark. Makes you root for her. Put it this way, for any Growlers fans out there reading this, The Growlers have “Beach Goth,” and Hanna Vu has “Emo Rock.” They’re completely different sounds, but the genres feel like distant cousins.
The Rest:
I love the transition from “Look Alive” to “Hammer.” A very futuristic, dramatic sound to the comforting basic rhythm of Hammer. A very “bright lights” sound to it. Like she’s getting ready to take on something much bigger than her, and it makes you curious to hear the rest of the songs. Then you transition to the very simple, more upbeat, almost rhythm from the acoustic guitar at the beginning of Hammer that is almost comforting after hearing a Look Alive. Like Look Alive is the night time and Hammer is the sun rising. A very cool way to kickoff an album and makes you appreciate an album that tells a story not only through the lyrics, but through the sound as well.
“Alone” is one of the faster-paced songs on the album, set by the quick downstrokes on electric guitar right away. And there’s a lot going on with the instrumentals, similarly to 22. Again, not quite sure what Vu (and her band/producer Jackson Phillips) is using to get that really heavy electric sound beyond a guitar and keyboard, but they’ve made a really powerful sound altogether. The chorus is loud, as Vu wallows the lyric “alooone” with the ascending instrumentals. On the first listen to the album all the way through, Alone stood out to me the most. Not much else to say on this one, just a banger about not wanting to be alone.
“How it goes,” is a prettier song in comparison to the others. Light acoustic guitar backing it the whole way through. Vu’s voice is amplified over the instrumental more, and it feels like a song about desperation not to lose someone, then eventually accepting it as just “how it goes.” Really cool song lyrically and a nice change of pace, but keeps her style of a really satisfying buildup throughout.
“Dreams,” is the brief positivity interlude of this album. After the first six songs seem to be about a number of sad things, including but not limited to: being neglected/feeling invisible, loss, the sadness of growing up, loneliness, etc., this song is filled with very directly optimistic, ecstatic lyrics. “All dark times, they have their end,” and the chorus ending with “And love doesn’t fade away, and everyone stays the same, and oh, it doesn’t hurt to be alive.” Another set of creative lyrics carrying the song, this time in a different emotional direction, surrounded by a less busy electric instrumental backing. And I thought she sounded a little like Sylvan Esso in the beginning? Call me crazy.
Back to the futuristic sound with “Find me Under Wilted Trees.” Very dramatic song, produces a sinister sound and feeling. The lyrics “I’ve fallen on hard times, can you lay with me?” are repeated a lot.
“Airplane” evokes some panic in the chorus: “Change the song, I think I’ve heard it before and I don’t feel the same when it’s over,” is a very relatable lyric. A great way of describing how music and lyrics can mean so many different things to you at different times in your life. Also, I hear a little bit of a Bloc Party-type sound in the main guitar riff that carries the first verse (most similar to Modern Love, specifically). The crushing of Vu’s voice with all the (auto-tune?) effects after the second first and before the final chorus was unexpected, but wasn’t a turnoff, necessarily. It was just an interesting move to go almost fully electronically-produced vocal.
“Play” is another relatable one that seems to be about an unhealthy relationship. She shows some more depth with her voice here in the high-pitched, smooth chorus. Really clever lyric: “All I play is you, and every game I lose,” along with “Love me ‘til your ugly to me baby,” amongst others.
“I Draw a Heart” is another lighter one. Very soothing and sad. “Don’t stay to sing me happy birthday, it’s just like the last one, I won’t be going home with you.” Crushingly sad. I also love the lyric, “I love you like the last day of school.” Definitely a heartbreak song, I would say.
The album closes with “Love,” and it feels like an album ender. It feels like a goodbye. “I don’t want to talk, I have nothing to say” in the first verse. The instrumentals pick up after a quiet opening with a heavy, thunderous, drum beat at the center of the sound, and it’s an epic road to the finish line from there. Another steady buildup that doesn’t force you to be too patient before getting to the parts of the song that make you bang your head and tap your foot, but doesn’t give you instant gratification either. And the lyrics made me think that this album is about the “symptoms of love.” She says, “Well I guess this is love, I don't know what to say, I don’t know how to stop.” She’s realizing that this is love, all these things that I’m feeling are a part of love. Love can create a lot of the themes that I think she hits in this album: fear of loneliness, loss, neglect, desperation, panic, happiness, brutal sadness, etc. I guess this makes sense with the album name “Romanticism.” Anyways, what a fantastic way to wrap up this album in emphatic and uplifting fashion.
Like I said, I started listening to Hana Vu from “Care” on, and have really enjoyed her since. This album was great, and really impressive from an artist with a seemingly small following (so far). Every song was different from the other, but was still uniquely her style and sound that, if it wasn’t well-rounded and established before, sure is now. A lot of emotion in the album for sure, it’s heavy, and that can be a turn-on for some people and a turn-off for others. But regardless, the lyrics are very relatable in some songs, and the instrumentals are awesome. And as I said before, she’s charmingly dark. Her sadness doesn’t scare you into being sad too, necessarily. I found the album to be pretty uplifting.
I am really curious to see Hana Vu live. I wonder what her band looks like, what instruments/tech/effects are being used, and what she sounds like as a singer live especially. If anyone has seen her perform or sees her on this tour (looks like it starts in July), I’d love to hear about it. Anyways, if you listened to this album, let me know your comparison in how you heard it. Tell me I’m dead wrong, tell me I’m right. Tell me I’m slightly off. Tell me something about Hana Vu and I’ll be happy.
submitted by SlipNo3048 to u/SlipNo3048 [link] [comments]
I was also pretty intrigued by the fact that her top songs, at the time, had under 500k listens. Thought that was kind of low for an artist to be suggested to you on your home page. I was excited to listen to what else she had. So thank you to Spotify for that one.
The Singles:
Anyways, I checked out a couple of her past songs in her top five on Spotify and wasn’t huge on them (Admittedly, I didn’t put a great deal of time into her discography, so if I’m missing out on some of her songs from 2018-2022, please slap me in the face with some suggestions). But I kept listening to Care, and loved “Hammer” when it was released. The upbeat acoustic guitar chord progression, catchy rhythm, and buildup into the chorus are fantastic. I began to sense that long pre-choruses into absolutely sticking the landing with the belting choruses was going to be a theme for her. “And I call the doctor…” all the way to “And it’s hard to say what the trouble is, I run away ‘til it’s all behind…” was pretty addicting to listen to for a while when I first heard this song. Overall, I think it’s excellent, maybe the best song on the album. It seems a little simpler than many of the others, really easy to listen to.
Vu released “22” on April 17th, and this one was really cool instrumentally. Similar to Hammer, it’s more stripped down in the first half of the song, letting her less distorted voice ring out a bit more and carry the song. The instrumental transition halfway through after “I don’t want to be anything, anything…” really struck me. I can’t tell if there’s a really saturated/distorted guitar in there or some kind of synth? (Do I hear some Flaming Lips-type of influence here?) Anyone who can tell, please feel free to weigh in. But god damn is it a powerful sound. I thought it was really unique. Then, finishing the song with the catchy, fun-to-repeat and easy to remember, “I’m just getting old, I’m just 22, I just want to hold on to you,” was all it needed. After hearing 22, I described her sound/genre as Emo Rock. That may ruffle some feathers with some people because “emo” has a pretty negative connotation, and it may not be true of her completely, but the three singles on this album scream Emo Rock to me. Maybe “Alternative Emo Rock,” if you want just for good measure. Her very deep, moaning, loathing voice, combined with the heavy instrumentals. She’s charmingly dark. Makes you root for her. Put it this way, for any Growlers fans out there reading this, The Growlers have “Beach Goth,” and Hanna Vu has “Emo Rock.” They’re completely different sounds, but the genres feel like distant cousins.
The Rest:
I love the transition from “Look Alive” to “Hammer.” A very futuristic, dramatic sound to the comforting basic rhythm of Hammer. A very “bright lights” sound to it. Like she’s getting ready to take on something much bigger than her, and it makes you curious to hear the rest of the songs. Then you transition to the very simple, more upbeat, almost rhythm from the acoustic guitar at the beginning of Hammer that is almost comforting after hearing a Look Alive. Like Look Alive is the night time and Hammer is the sun rising. A very cool way to kickoff an album and makes you appreciate an album that tells a story not only through the lyrics, but through the sound as well.
“Alone” is one of the faster-paced songs on the album, set by the quick downstrokes on electric guitar right away. And there’s a lot going on with the instrumentals, similarly to 22. Again, not quite sure what Vu (and her band/producer Jackson Phillips) is using to get that really heavy electric sound beyond a guitar and keyboard, but they’ve made a really powerful sound altogether. The chorus is loud, as Vu wallows the lyric “alooone” with the ascending instrumentals. On the first listen to the album all the way through, Alone stood out to me the most. Not much else to say on this one, just a banger about not wanting to be alone.
“How it goes,” is a prettier song in comparison to the others. Light acoustic guitar backing it the whole way through. Vu’s voice is amplified over the instrumental more, and it feels like a song about desperation not to lose someone, then eventually accepting it as just “how it goes.” Really cool song lyrically and a nice change of pace, but keeps her style of a really satisfying buildup throughout.
“Dreams,” is the brief positivity interlude of this album. After the first six songs seem to be about a number of sad things, including but not limited to: being neglected/feeling invisible, loss, the sadness of growing up, loneliness, etc., this song is filled with very directly optimistic, ecstatic lyrics. “All dark times, they have their end,” and the chorus ending with “And love doesn’t fade away, and everyone stays the same, and oh, it doesn’t hurt to be alive.” Another set of creative lyrics carrying the song, this time in a different emotional direction, surrounded by a less busy electric instrumental backing. And I thought she sounded a little like Sylvan Esso in the beginning? Call me crazy.
Back to the futuristic sound with “Find me Under Wilted Trees.” Very dramatic song, produces a sinister sound and feeling. The lyrics “I’ve fallen on hard times, can you lay with me?” are repeated a lot.
“Airplane” evokes some panic in the chorus: “Change the song, I think I’ve heard it before and I don’t feel the same when it’s over,” is a very relatable lyric. A great way of describing how music and lyrics can mean so many different things to you at different times in your life. Also, I hear a little bit of a Bloc Party-type sound in the main guitar riff that carries the first verse (most similar to Modern Love, specifically). The crushing of Vu’s voice with all the (auto-tune?) effects after the second first and before the final chorus was unexpected, but wasn’t a turnoff, necessarily. It was just an interesting move to go almost fully electronically-produced vocal.
“Play” is another relatable one that seems to be about an unhealthy relationship. She shows some more depth with her voice here in the high-pitched, smooth chorus. Really clever lyric: “All I play is you, and every game I lose,” along with “Love me ‘til your ugly to me baby,” amongst others.
“I Draw a Heart” is another lighter one. Very soothing and sad. “Don’t stay to sing me happy birthday, it’s just like the last one, I won’t be going home with you.” Crushingly sad. I also love the lyric, “I love you like the last day of school.” Definitely a heartbreak song, I would say.
The album closes with “Love,” and it feels like an album ender. It feels like a goodbye. “I don’t want to talk, I have nothing to say” in the first verse. The instrumentals pick up after a quiet opening with a heavy, thunderous, drum beat at the center of the sound, and it’s an epic road to the finish line from there. Another steady buildup that doesn’t force you to be too patient before getting to the parts of the song that make you bang your head and tap your foot, but doesn’t give you instant gratification either. And the lyrics made me think that this album is about the “symptoms of love.” She says, “Well I guess this is love, I don't know what to say, I don’t know how to stop.” She’s realizing that this is love, all these things that I’m feeling are a part of love. Love can create a lot of the themes that I think she hits in this album: fear of loneliness, loss, neglect, desperation, panic, happiness, brutal sadness, etc. I guess this makes sense with the album name “Romanticism.” Anyways, what a fantastic way to wrap up this album in emphatic and uplifting fashion.
Like I said, I started listening to Hana Vu from “Care” on, and have really enjoyed her since. This album was great, and really impressive from an artist with a seemingly small following (so far). Every song was different from the other, but was still uniquely her style and sound that, if it wasn’t well-rounded and established before, sure is now. A lot of emotion in the album for sure, it’s heavy, and that can be a turn-on for some people and a turn-off for others. But regardless, the lyrics are very relatable in some songs, and the instrumentals are awesome. And as I said before, she’s charmingly dark. Her sadness doesn’t scare you into being sad too, necessarily. I found the album to be pretty uplifting.
I am really curious to see Hana Vu live. I wonder what her band looks like, what instruments/tech/effects are being used, and what she sounds like as a singer live especially. If anyone has seen her perform or sees her on this tour (looks like it starts in July), I’d love to hear about it. Anyways, if you listened to this album, let me know your comparison in how you heard it. Tell me I’m dead wrong, tell me I’m right. Tell me I’m slightly off. Tell me something about Hana Vu and I’ll be happy.
2024.05.09 01:53 TheBravadoBoy According to 300+ Jewish students of Columbia University the ongoing horrors of bourgeois nationalist war are a fundamental part of Jewish identity
Segment of a signed message posted to reddit. Anyone else seeing the residue of old school 19th century style antisemitism here?
submitted by TheBravadoBoy to Ultraleft [link] [comments]
2024.05.08 20:55 istarisaints In Our Name: A Message from Jewish Students at Columbia University
Aside:
The first post from a different user was removed for being spam. Then my post was removed "pending moderator approval", I messaged the mods and they told me my previous post was removed since "Links to Google docs are often used to unmask and dox users by scraping their Gmail account ids. This is a security issue. Post whatever you want as a link to the open web, or not at all."
Obviously nothing is more doxing than the Gmail account ids (despite the Jewish students literally signing their names below), so I have posted the letter directly here instead. I removed the 322 signatures as well since that is dox-like as well.
I expect nothing but rational and civil discourse in the comments below.
To the Columbia Community:
Over the past six months, many have spoken in our name. Some are well-meaning alumni or non-affiliates who show up to wave the Israeli flag outside Columbia’s gates. Some are politicians looking to use our experiences to foment America’s culture war. Most notably, some are our Jewish peers who tokenize themselves by claiming to represent “real Jewish values,” and attempt to delegitimize our lived experiences of antisemitism. We are here, writing to you as Jewish students at Columbia University, who are connected to our community and deeply engaged with our culture and history. We would like to speak in our name.
Many of us sit next to you in class. We are your lab partners, your study buddies, your peers, and your friends. We partake in the same student government, clubs, Greek life, volunteer organizations, and sports teams as you.
Most of us did not choose to be political activists. We do not bang on drums and chant catchy slogans. We are average students, just trying to make it through finals much like the rest of you. Those who demonize us under the cloak of anti-Zionism forced us into our activism and forced us to publicly defend our Jewish identities.
We proudly believe in the Jewish People’s right to self-determination in our historic homeland as a fundamental tenet of our Jewish identity. Contrary to what many have tried to sell you – no, Judaism cannot be separated from Israel. Zionism is, simply put, the manifestation of that belief.
Our religious texts are replete with references to Israel, Zion, and Jerusalem. The land of Israel is filled with archaeological remnants of a Jewish presence spanning centuries. Yet, despite generations of living in exile and diaspora across the globe, the Jewish People never ceased dreaming of returning to our homeland — Judea, the very place from which we derive our name, “Jews.” Indeed just a couple of days ago, we all closed our Passover seders with the proclamation, “Next Year in Jerusalem!”
Many of us are not religiously observant, yet Zionism remains a pillar of our Jewish identities. We have been kicked out of Russia, Libya, Ethiopia, Yemen, Afghanistan, Poland, Egypt, Algeria, Germany, Iran, and the list goes on. We connect to Israel not only as our ancestral homeland but as the only place in the modern world where Jews can safely take ownership of their own destiny. Our experiences at Columbia in the last six months are a poignant reminder of just that.
We were raised on stories from our grandparents of concentration camps, gas chambers, and ethnic cleansing. The essence of Hitler’s antisemitism was the very fact that we were “not European” enough, that as Jews we were threats to the “superior” Aryan race. This ideology ultimately left six million of our own in ashes.
The evil irony of today’s antisemitism is a twisted reversal of our Holocaust legacy; protestors on campus have dehumanized us, imposing upon us the characterization of the “white colonizer.” We have been told that we are “the oppressors of all brown people” and that “the Holocaust wasn’t special.” Students at Columbia have chanted “we don’t want no Zionists here,” alongside “death to the Zionist State” and to “go back to Poland,” where our relatives lie in mass graves.
This sick distortion illuminates the nature of antisemitism: In every generation, the Jewish People are blamed and scapegoated as responsible for the societal evil of the time. In Iran and in the Arab world, we were ethnically cleansed for our presumed ties to the “Zionist entity.” In Russia, we endured state-sponsored violence and were ultimately massacred for being capitalists. In Europe, we were the victims of genocide because we were communists and not European enough. And today, we face the accusation of being too European, painted as society’s worst evils – colonizers and oppressors. We are targeted for our belief that Israel, our ancestral and religious homeland, has a right to exist. We are targeted by those who misuse the word Zionist as a sanitized slur for Jew, synonymous with racist, oppressive, or genocidal. We know all too well that antisemitism is shapeshifting.
We are proud of Israel. The only democracy in the Middle East, Israel is home to millions of Mizrachi Jews (Jews of Middle Eastern descent), Ashkenazi Jews (Jews of Central and Eastern European descent), and Ethiopian Jews, as well as millions of Arab Israelis, over one million Muslims, and hundreds of thousands of Christians and Druze. Israel is nothing short of a miracle for the Jewish People and for the Middle East more broadly.
Our love for Israel does not necessitate blind political conformity. It’s quite the opposite. For many of us, it is our deep love for and commitment to Israel that pushes us to object when its government acts in ways we find problematic. Israeli political disagreement is an inherently Zionist activity; look no further than the protests against Netanyahu’s judicial reforms – from New York to Tel Aviv – to understand what it means to fight for the Israel we imagine. All it takes are a couple of coffee chats with us to realize that our visions for Israel differ dramatically from one another. Yet we all come from a place of love and an aspiration for a better future for Israelis and Palestinians alike.
If the last six months on campus have taught us anything, it is that a large and vocal population of the Columbia community does not understand the meaning of Zionism, and subsequently does not understand the essence of the Jewish People. Yet despite the fact that we have been calling out the antisemitism we’ve been experiencing for months, our concerns have been brushed off and invalidated. So here we are to remind you:
We sounded the alarm on October 12 when many protested against Israel while our friends’ and families’ dead bodies were still warm.
We recoiled when people screamed “resist by any means necessary,” telling us we are “all inbred” and that we “have no culture.”
We shuddered when an “activist” held up a sign telling Jewish students they were Hamas’s next targets, and we shook our heads in disbelief when Sidechat users told us we were lying.
We ultimately were not surprised when a leader of the CUAD encampment said publicly and proudly that “Zionists don’t deserve to live” and that we’re lucky they are “not just going out and murdering Zionists.”
We felt helpless when we watched students and faculty physically block Jewish students from entering parts of the campus we share, or even when they turned their faces away in silence. This silence is familiar. We will never forget.
One thing is for sure. We will not stop standing up for ourselves. We are proud to be Jews, and we are proud to be Zionists.
We came to Columbia because we wanted to expand our minds and engage in complex conversations. While campus may be riddled with hateful rhetoric and simplistic binaries now, it is never too late to start repairing the fractures and begin developing meaningful relationships across political and religious divides. Our tradition tells us, “Love peace and pursue peace.” We hope you will join us in earnestly pursuing peace, truth, and empathy. Together we can repair our campus.
Signed:
322 Jewish students
submitted by istarisaints to columbia [link] [comments]
The first post from a different user was removed for being spam. Then my post was removed "pending moderator approval", I messaged the mods and they told me my previous post was removed since "Links to Google docs are often used to unmask and dox users by scraping their Gmail account ids. This is a security issue. Post whatever you want as a link to the open web, or not at all."
Obviously nothing is more doxing than the Gmail account ids (despite the Jewish students literally signing their names below), so I have posted the letter directly here instead. I removed the 322 signatures as well since that is dox-like as well.
I expect nothing but rational and civil discourse in the comments below.
To the Columbia Community:
Over the past six months, many have spoken in our name. Some are well-meaning alumni or non-affiliates who show up to wave the Israeli flag outside Columbia’s gates. Some are politicians looking to use our experiences to foment America’s culture war. Most notably, some are our Jewish peers who tokenize themselves by claiming to represent “real Jewish values,” and attempt to delegitimize our lived experiences of antisemitism. We are here, writing to you as Jewish students at Columbia University, who are connected to our community and deeply engaged with our culture and history. We would like to speak in our name.
Many of us sit next to you in class. We are your lab partners, your study buddies, your peers, and your friends. We partake in the same student government, clubs, Greek life, volunteer organizations, and sports teams as you.
Most of us did not choose to be political activists. We do not bang on drums and chant catchy slogans. We are average students, just trying to make it through finals much like the rest of you. Those who demonize us under the cloak of anti-Zionism forced us into our activism and forced us to publicly defend our Jewish identities.
We proudly believe in the Jewish People’s right to self-determination in our historic homeland as a fundamental tenet of our Jewish identity. Contrary to what many have tried to sell you – no, Judaism cannot be separated from Israel. Zionism is, simply put, the manifestation of that belief.
Our religious texts are replete with references to Israel, Zion, and Jerusalem. The land of Israel is filled with archaeological remnants of a Jewish presence spanning centuries. Yet, despite generations of living in exile and diaspora across the globe, the Jewish People never ceased dreaming of returning to our homeland — Judea, the very place from which we derive our name, “Jews.” Indeed just a couple of days ago, we all closed our Passover seders with the proclamation, “Next Year in Jerusalem!”
Many of us are not religiously observant, yet Zionism remains a pillar of our Jewish identities. We have been kicked out of Russia, Libya, Ethiopia, Yemen, Afghanistan, Poland, Egypt, Algeria, Germany, Iran, and the list goes on. We connect to Israel not only as our ancestral homeland but as the only place in the modern world where Jews can safely take ownership of their own destiny. Our experiences at Columbia in the last six months are a poignant reminder of just that.
We were raised on stories from our grandparents of concentration camps, gas chambers, and ethnic cleansing. The essence of Hitler’s antisemitism was the very fact that we were “not European” enough, that as Jews we were threats to the “superior” Aryan race. This ideology ultimately left six million of our own in ashes.
The evil irony of today’s antisemitism is a twisted reversal of our Holocaust legacy; protestors on campus have dehumanized us, imposing upon us the characterization of the “white colonizer.” We have been told that we are “the oppressors of all brown people” and that “the Holocaust wasn’t special.” Students at Columbia have chanted “we don’t want no Zionists here,” alongside “death to the Zionist State” and to “go back to Poland,” where our relatives lie in mass graves.
This sick distortion illuminates the nature of antisemitism: In every generation, the Jewish People are blamed and scapegoated as responsible for the societal evil of the time. In Iran and in the Arab world, we were ethnically cleansed for our presumed ties to the “Zionist entity.” In Russia, we endured state-sponsored violence and were ultimately massacred for being capitalists. In Europe, we were the victims of genocide because we were communists and not European enough. And today, we face the accusation of being too European, painted as society’s worst evils – colonizers and oppressors. We are targeted for our belief that Israel, our ancestral and religious homeland, has a right to exist. We are targeted by those who misuse the word Zionist as a sanitized slur for Jew, synonymous with racist, oppressive, or genocidal. We know all too well that antisemitism is shapeshifting.
We are proud of Israel. The only democracy in the Middle East, Israel is home to millions of Mizrachi Jews (Jews of Middle Eastern descent), Ashkenazi Jews (Jews of Central and Eastern European descent), and Ethiopian Jews, as well as millions of Arab Israelis, over one million Muslims, and hundreds of thousands of Christians and Druze. Israel is nothing short of a miracle for the Jewish People and for the Middle East more broadly.
Our love for Israel does not necessitate blind political conformity. It’s quite the opposite. For many of us, it is our deep love for and commitment to Israel that pushes us to object when its government acts in ways we find problematic. Israeli political disagreement is an inherently Zionist activity; look no further than the protests against Netanyahu’s judicial reforms – from New York to Tel Aviv – to understand what it means to fight for the Israel we imagine. All it takes are a couple of coffee chats with us to realize that our visions for Israel differ dramatically from one another. Yet we all come from a place of love and an aspiration for a better future for Israelis and Palestinians alike.
If the last six months on campus have taught us anything, it is that a large and vocal population of the Columbia community does not understand the meaning of Zionism, and subsequently does not understand the essence of the Jewish People. Yet despite the fact that we have been calling out the antisemitism we’ve been experiencing for months, our concerns have been brushed off and invalidated. So here we are to remind you:
We sounded the alarm on October 12 when many protested against Israel while our friends’ and families’ dead bodies were still warm.
We recoiled when people screamed “resist by any means necessary,” telling us we are “all inbred” and that we “have no culture.”
We shuddered when an “activist” held up a sign telling Jewish students they were Hamas’s next targets, and we shook our heads in disbelief when Sidechat users told us we were lying.
We ultimately were not surprised when a leader of the CUAD encampment said publicly and proudly that “Zionists don’t deserve to live” and that we’re lucky they are “not just going out and murdering Zionists.”
We felt helpless when we watched students and faculty physically block Jewish students from entering parts of the campus we share, or even when they turned their faces away in silence. This silence is familiar. We will never forget.
One thing is for sure. We will not stop standing up for ourselves. We are proud to be Jews, and we are proud to be Zionists.
We came to Columbia because we wanted to expand our minds and engage in complex conversations. While campus may be riddled with hateful rhetoric and simplistic binaries now, it is never too late to start repairing the fractures and begin developing meaningful relationships across political and religious divides. Our tradition tells us, “Love peace and pursue peace.” We hope you will join us in earnestly pursuing peace, truth, and empathy. Together we can repair our campus.
Signed:
322 Jewish students
2024.05.08 18:26 NotSoSaneExile In Our Name: A Message from Jewish Students at Columbia University
Link to letter here: https://docs.google.com/document1/d/e/2PACX-1vRQgyDhIjZupO2H-2rIDXLy_zkf76RoM-_ZIYsOfn9FkI7TETgRtOfXK9VobMvGh6iEZfDPgALXJTCpub
Text:
To the Columbia Community:
Over the past six months, many have spoken in our name. Some are well-meaning alumni or non-affiliates who show up to wave the Israeli flag outside Columbia’s gates. Some are politicians looking to use our experiences to foment America’s culture war. Most notably, some are our Jewish peers who tokenize themselves by claiming to represent “real Jewish values,” and attempt to delegitimize our lived experiences of antisemitism. We are here, writing to you as Jewish students at Columbia University, who are connected to our community and deeply engaged with our culture and history. We would like to speak in our name.
Many of us sit next to you in class. We are your lab partners, your study buddies, your peers, and your friends. We partake in the same student government, clubs, Greek life, volunteer organizations, and sports teams as you.
Most of us did not choose to be political activists. We do not bang on drums and chant catchy slogans. We are average students, just trying to make it through finals much like the rest of you. Those who demonize us under the cloak of anti-Zionism forced us into our activism and forced us to publicly defend our Jewish identities.
We proudly believe in the Jewish People’s right to self-determination in our historic homeland as a fundamental tenet of our Jewish identity. Contrary to what many have tried to sell you – no, Judaism cannot be separated from Israel. Zionism is, simply put, the manifestation of that belief.
Our religious texts are replete with references to Israel, Zion, and Jerusalem. The land of Israel is filled with archaeological remnants of a Jewish presence spanning centuries. Yet, despite generations of living in exile and diaspora across the globe, the Jewish People never ceased dreaming of returning to our homeland — Judea, the very place from which we derive our name, “Jews.” Indeed just a couple of days ago, we all closed our Passover seders with the proclamation, “Next Year in Jerusalem!”
Many of us are not religiously observant, yet Zionism remains a pillar of our Jewish identities. We have been kicked out of Russia, Libya, Ethiopia, Yemen, Afghanistan, Poland, Egypt, Algeria, Germany, Iran, and the list goes on. We connect to Israel not only as our ancestral homeland but as the only place in the modern world where Jews can safely take ownership of their own destiny. Our experiences at Columbia in the last six months are a poignant reminder of just that.
We were raised on stories from our grandparents of concentration camps, gas chambers, and ethnic cleansing. The essence of Hitler’s antisemitism was the very fact that we were “not European” enough, that as Jews we were threats to the “superior” Aryan race. This ideology ultimately left six million of our own in ashes.
The evil irony of today’s antisemitism is a twisted reversal of our Holocaust legacy; protestors on campus have dehumanized us, imposing upon us the characterization of the “white colonizer.” We have been told that we are “the oppressors of all brown people” and that “the Holocaust wasn’t special.” Students at Columbia have chanted “we don’t want no Zionists here,” alongside “death to the Zionist State” and to “go back to Poland,” where our relatives lie in mass graves.
This sick distortion illuminates the nature of antisemitism: In every generation, the Jewish People are blamed and scapegoated as responsible for the societal evil of the time. In Iran and in the Arab world, we were ethnically cleansed for our presumed ties to the “Zionist entity.” In Russia, we endured state-sponsored violence and were ultimately massacred for being capitalists. In Europe, we were the victims of genocide because we were communists and not European enough. And today, we face the accusation of being too European, painted as society’s worst evils – colonizers and oppressors. We are targeted for our belief that Israel, our ancestral and religious homeland, has a right to exist. We are targeted by those who misuse the word Zionist as a sanitized slur for Jew, synonymous with racist, oppressive, or genocidal. We know all too well that antisemitism is shapeshifting.
We are proud of Israel. The only democracy in the Middle East, Israel is home to millions of Mizrachi Jews (Jews of Middle Eastern descent), Ashkenazi Jews (Jews of Central and Eastern European descent), and Ethiopian Jews, as well as millions of Arab Israelis, over one million Muslims, and hundreds of thousands of Christians and Druze. Israel is nothing short of a miracle for the Jewish People and for the Middle East more broadly.
Our love for Israel does not necessitate blind political conformity. It’s quite the opposite. For many of us, it is our deep love for and commitment to Israel that pushes us to object when its government acts in ways we find problematic. Israeli political disagreement is an inherently Zionist activity; look no further than the protests against Netanyahu’s judicial reforms – from New York to Tel Aviv – to understand what it means to fight for the Israel we imagine. All it takes are a couple of coffee chats with us to realize that our visions for Israel differ dramatically from one another. Yet we all come from a place of love and an aspiration for a better future for Israelis and Palestinians alike.
If the last six months on campus have taught us anything, it is that a large and vocal population of the Columbia community does not understand the meaning of Zionism, and subsequently does not understand the essence of the Jewish People. Yet despite the fact that we have been calling out the antisemitism we’ve been experiencing for months, our concerns have been brushed off and invalidated. So here we are to remind you:
We sounded the alarm on October 12 when many protested against Israel while our friends’ and families’ dead bodies were still warm.
We recoiled when people screamed “resist by any means necessary,” telling us we are “all inbred” and that we “have no culture.”
We shuddered when an “activist” held up a sign telling Jewish students they were Hamas’s next targets, and we shook our heads in disbelief when Sidechat users told us we were lying.
We ultimately were not surprised when a leader of the CUAD encampment said publicly and proudly that “Zionists don’t deserve to live” and that we’re lucky they are “not just going out and murdering Zionists.”
We felt helpless when we watched students and faculty physically block Jewish students from entering parts of the campus we share, or even when they turned their faces away in silence. This silence is familiar. We will never forget.
One thing is for sure. We will not stop standing up for ourselves. We are proud to be Jews, and we are proud to be Zionists.
We came to Columbia because we wanted to expand our minds and engage in complex conversations. While campus may be riddled with hateful rhetoric and simplistic binaries now, it is never too late to start repairing the fractures and begin developing meaningful relationships across political and religious divides. Our tradition tells us, “Love peace and pursue peace.” We hope you will join us in earnestly pursuing peace, truth, and empathy. Together we can repair our campus.
submitted by NotSoSaneExile to Destiny [link] [comments]
Text:
To the Columbia Community:
Over the past six months, many have spoken in our name. Some are well-meaning alumni or non-affiliates who show up to wave the Israeli flag outside Columbia’s gates. Some are politicians looking to use our experiences to foment America’s culture war. Most notably, some are our Jewish peers who tokenize themselves by claiming to represent “real Jewish values,” and attempt to delegitimize our lived experiences of antisemitism. We are here, writing to you as Jewish students at Columbia University, who are connected to our community and deeply engaged with our culture and history. We would like to speak in our name.
Many of us sit next to you in class. We are your lab partners, your study buddies, your peers, and your friends. We partake in the same student government, clubs, Greek life, volunteer organizations, and sports teams as you.
Most of us did not choose to be political activists. We do not bang on drums and chant catchy slogans. We are average students, just trying to make it through finals much like the rest of you. Those who demonize us under the cloak of anti-Zionism forced us into our activism and forced us to publicly defend our Jewish identities.
We proudly believe in the Jewish People’s right to self-determination in our historic homeland as a fundamental tenet of our Jewish identity. Contrary to what many have tried to sell you – no, Judaism cannot be separated from Israel. Zionism is, simply put, the manifestation of that belief.
Our religious texts are replete with references to Israel, Zion, and Jerusalem. The land of Israel is filled with archaeological remnants of a Jewish presence spanning centuries. Yet, despite generations of living in exile and diaspora across the globe, the Jewish People never ceased dreaming of returning to our homeland — Judea, the very place from which we derive our name, “Jews.” Indeed just a couple of days ago, we all closed our Passover seders with the proclamation, “Next Year in Jerusalem!”
Many of us are not religiously observant, yet Zionism remains a pillar of our Jewish identities. We have been kicked out of Russia, Libya, Ethiopia, Yemen, Afghanistan, Poland, Egypt, Algeria, Germany, Iran, and the list goes on. We connect to Israel not only as our ancestral homeland but as the only place in the modern world where Jews can safely take ownership of their own destiny. Our experiences at Columbia in the last six months are a poignant reminder of just that.
We were raised on stories from our grandparents of concentration camps, gas chambers, and ethnic cleansing. The essence of Hitler’s antisemitism was the very fact that we were “not European” enough, that as Jews we were threats to the “superior” Aryan race. This ideology ultimately left six million of our own in ashes.
The evil irony of today’s antisemitism is a twisted reversal of our Holocaust legacy; protestors on campus have dehumanized us, imposing upon us the characterization of the “white colonizer.” We have been told that we are “the oppressors of all brown people” and that “the Holocaust wasn’t special.” Students at Columbia have chanted “we don’t want no Zionists here,” alongside “death to the Zionist State” and to “go back to Poland,” where our relatives lie in mass graves.
This sick distortion illuminates the nature of antisemitism: In every generation, the Jewish People are blamed and scapegoated as responsible for the societal evil of the time. In Iran and in the Arab world, we were ethnically cleansed for our presumed ties to the “Zionist entity.” In Russia, we endured state-sponsored violence and were ultimately massacred for being capitalists. In Europe, we were the victims of genocide because we were communists and not European enough. And today, we face the accusation of being too European, painted as society’s worst evils – colonizers and oppressors. We are targeted for our belief that Israel, our ancestral and religious homeland, has a right to exist. We are targeted by those who misuse the word Zionist as a sanitized slur for Jew, synonymous with racist, oppressive, or genocidal. We know all too well that antisemitism is shapeshifting.
We are proud of Israel. The only democracy in the Middle East, Israel is home to millions of Mizrachi Jews (Jews of Middle Eastern descent), Ashkenazi Jews (Jews of Central and Eastern European descent), and Ethiopian Jews, as well as millions of Arab Israelis, over one million Muslims, and hundreds of thousands of Christians and Druze. Israel is nothing short of a miracle for the Jewish People and for the Middle East more broadly.
Our love for Israel does not necessitate blind political conformity. It’s quite the opposite. For many of us, it is our deep love for and commitment to Israel that pushes us to object when its government acts in ways we find problematic. Israeli political disagreement is an inherently Zionist activity; look no further than the protests against Netanyahu’s judicial reforms – from New York to Tel Aviv – to understand what it means to fight for the Israel we imagine. All it takes are a couple of coffee chats with us to realize that our visions for Israel differ dramatically from one another. Yet we all come from a place of love and an aspiration for a better future for Israelis and Palestinians alike.
If the last six months on campus have taught us anything, it is that a large and vocal population of the Columbia community does not understand the meaning of Zionism, and subsequently does not understand the essence of the Jewish People. Yet despite the fact that we have been calling out the antisemitism we’ve been experiencing for months, our concerns have been brushed off and invalidated. So here we are to remind you:
We sounded the alarm on October 12 when many protested against Israel while our friends’ and families’ dead bodies were still warm.
We recoiled when people screamed “resist by any means necessary,” telling us we are “all inbred” and that we “have no culture.”
We shuddered when an “activist” held up a sign telling Jewish students they were Hamas’s next targets, and we shook our heads in disbelief when Sidechat users told us we were lying.
We ultimately were not surprised when a leader of the CUAD encampment said publicly and proudly that “Zionists don’t deserve to live” and that we’re lucky they are “not just going out and murdering Zionists.”
We felt helpless when we watched students and faculty physically block Jewish students from entering parts of the campus we share, or even when they turned their faces away in silence. This silence is familiar. We will never forget.
One thing is for sure. We will not stop standing up for ourselves. We are proud to be Jews, and we are proud to be Zionists.
We came to Columbia because we wanted to expand our minds and engage in complex conversations. While campus may be riddled with hateful rhetoric and simplistic binaries now, it is never too late to start repairing the fractures and begin developing meaningful relationships across political and religious divides. Our tradition tells us, “Love peace and pursue peace.” We hope you will join us in earnestly pursuing peace, truth, and empathy. Together we can repair our campus.
2024.05.08 17:32 House_of_Lij Lij's Drag Race Recasted: CVSTW EP1 "Bonjour, Hi!" Lip-Sync
The "Bonjour, Hi" Girl Groups Challenge results are in!
DURING THE EPISODE...
Angeria Paris VanMichaels, Elektra Shock, and Plastique Tiara are declared safe and exit the stage, leaving the tops and bottoms of the week to hear their critiques...
Adore Delano receives positive critiques from the judges. The judges proudly say she brought it this week, demolishing the challenge with her singing. She was dying for the win since she didn't get it in her original season, so she put her full vocals into it and created a lot of clever rhyming schemes. Brooke comments that after her original season, she expected more of an overall glow-up with her fashion. This look is cute, but they do think that it lacks styling. She's more of a punk queen, and while they appreciate the all-black ensemble, it needs a bit more polishing--such as with the gown's neckline.
Eva Le Queen receives negative critiques from the judges. Brad says that it wasn't that she did poorly; it was just that so many safe queens took advantage of their verses. Their verses told you everything about them, what they would do, what they ate for breakfast, etc. However, they felt her verse could have been more memorable. However, they do commend her for this runway that showed her namesake. The fact that she broke the mirror on stage and crawled through it was genius, showing this drag recreation of the iconic Disney character, definitely leaving them wanting to see more.
Lala Ri receives positive critiques from the judges. Lala did so, especially this week when her verse was utterly stuck in their heads. It was so infectious and catchy that they couldn't get it out, even copying some of her moves that she did in her performance. Everything she did this week came together in a fantastic verse and performance, every aspect refined to perfection that was impossible. Even her runway, for not being the best look on the stage, is still gaggy, and she came out in this beautiful Cinderella-themed garment.
Monét X Change receives positive critiques from the judges. Traci says that, yet again, she did a fantastic job in leading her team. From synchronizing their looks to having them all do amazingly in their choreography, every aspect was fitting of someone who wasn't even the team leader but stepped up to the plate. Her verse was also fantastic and incredibly catchy. It showed off her personality the most among the girls, especially with her having a truly fitting runway of a winner. Her look this week is gorgeous & is a fantastic tribute to her home in New York, blending royalty with the streets.
Shannel receives negative critiques from the judges. Brooke says that since this is the first time they're being introduced to one another, she should've spent more time refining her performance. She looked absolutely gorgeous and had her choreography down, but she didn't feel anything more. Her verse reiterated the same point over and over with no end, feeling like there was nothing more to her than looks, which isn't the way to go, especially when introducing herself to the world. This Medusa Queen runway is gorgeous but soured after her verse of just being pretty.
Yuri Guaii receives negative critiques from the judges. The judges say that they could see that Yuri was trying her absolute hardest this week. She had a verse that, although it was practically fighting against the beat, you could see that she was still trying her hardest to keep up. She was putting her pedal to the medal with the chores, but ultimately, her efforts didn't work out for her because everyone was simply in another league above her. This fantastical "Demon Queen" look shows she's prepared for the competition, but they question whether her skill sets are ready.
Lala Ri, Monét X Change, Condragulations! You are the Top Two All Stars of the week!
Shannel, Yuri Guaii...I'm sorry, My Dears, but you are both up for elimination...
Lala and Monét make their lipstick choices and walk back to the stage where the other Queens are waiting for them...
TOP2: Lala Ri / Monét X Change
HIGH: Adore Delano
SAFE: Angeria Paris VanMichaels / Elektra Shock / Plastique Tiara
LOW: Eva Le Queen
BTM2: Shannel / Yuri Guaii
The Top Two Queens will Lip-Sync for their Legacy to "Brand New Bitch" by Anjulie. This is your chance to impress me, win the challenge prize, and gain the power to give one of the Bottom Queens the chop. Good Luck and Don't Fuck It Up!
POLL / Track Record
submitted by House_of_Lij to RPDRfantasyseason [link] [comments]
DURING THE EPISODE...
- Plastique Tiara Monét X Change enter the werkroom respectively, gagging to see each other since they were both on the UK queens tour. They bond over that they're both here, with Plastique saying that she considers Monét a massive threat since she has already finished second in a Drag Race season. Monét Shadily says Plastique has much to prove because she came to win boots!
- Yuri Guaii enters the werkroom, with Monét gagging and laughing at her entrance because she wasn't expecting a slayful Canadian queen. She's very much glowed up with her look, with Plastique saying in a confessional that they will be battling for the "Fashion Queen" title. However, she is slightly awkward in conversation with both of them, just wanting to get on her feet because she's a Drag Race superfan & loves both of them.
- Eva Le Queen is the next to enter alongside Shannel, both gagging with their extravagant drag entrance looks. The girls gag at their entrance, with Eva laughing in a confessional because she didn't watch Shannel's franchise. Yuri runs to Eva and hugs her, the both of them being best friends since Season 1. Shannel says in a confessional that the girls can underestimate her and say she's from an unknown franchise, but she'll always come out on top.
- Elektra does a split from the back of the runway, jumping down for her entrance and gagging everyone with her entrance because they weren't expecting such a drag race legend. They gag as she struts down the runway, stomping and pumping as Monét gags in a confessional, saying she finally got some good looks in her repertoire. Shannel shades Elektra's look, already having some beef from when the real "Down Under Queen" dissed her online.
- Lala Ri enters next, and the girls all stand up in their chairs, with Elektra cheering very loudly and Shannel rolling her eyes in the confessional. Yuri says she's starstruck as Lala struts down with a severe glow-up from her last season. She and Elektra cheer as they run toward one another, hugging and shading one another, with Plastique saying that they certainly do talk a lot with one another.
- Adore Delano enters in a more pedestrian punk look, which Monét comments on in her confessional, but they gag as she struts down since she had said she wasn't going to do All Stars. So, all cheer with the ultimate gag as she walks in, asking her why she chose to do All Stars now, simply saying that she knew that Canada needed to be represented by an actual winner.
- Angeria Paris Vanmichaels enters last, greeted by a resounding chorus of shock from all the girls. Many confess to questioning why she's here. She stands there and soaks in the shock in this extravagant pageant look before opening her dress bottom, stepping out of it and strutting toward them, cracking many jokes and saying the same thing as Adore, shading her before they step out and hug each other; Adore saying in a confessional that Angeria is her best friend.
- In the workroom, the girls all do their photoshoot and laugh as Adore comes back soaked in maple syrup, with Plastique running to grab her digital camera. They're all laughing and kiking as they set up their werkstations, with Lala, Elektra & Monét taking spots next to one another and calling themselves the lip-sync assassin corner. Yuri stumbles around the werkroom trying to find her place before talking with Adore about them being the only alternative queens here, having a lot of things to prove, and feeling underestimated already.
- Shannel talks with Angeria, calling themselves the pretty queens before Eva joins them. They all join together and generally are in the same corner. They talk about how their franchises are so underrated and how this is so much bigger than them, representing an entire country. It's the Drag Olympics.
- After the mini-challenge results are announced, Shannel is peeved that she didn't win because she thought she would've had one of the best photoshoots. Plastique picks Lala, saying that it's the obvious choice because of her talents from her last season; she isn't stupid, keep your friends close & your competition closer. Yuri picks Monét, her mind following the same pattern. Angeria picks Eva, feeling she should keep their cute little corner alliance together.
- Then, Plastique picks Elektra, knowing that she wants to create the most substantial group possible. Yuri does the same and picks Adore, enjoying a group of queens who can sing rather than being straight rappers since she thinks that works better with the tracks. Angeria picks Shannel, which she's somewhat shocked about since she expected herself to be picked first over Eva.
- The groups are all doing well so far, with Monét and Lala taking on choreography roles in their groups, respectively. Yuri struggles with some choreography, but she's trying her hardest. Eva states that she can't do intense moves, which their groups accept and modify the choreography accordingly. Recording verses also goes well, with the girls gagging at Plastique's seeming so slow.
── ࣪˖ ࣪ ⊹ ࣪ ˖ 🇨🇦 ࣪˖ ࣪ ⊹ ࣪ ˖──
ON THE MAINSTAGE...Angeria Paris VanMichaels, Elektra Shock, and Plastique Tiara are declared safe and exit the stage, leaving the tops and bottoms of the week to hear their critiques...
Adore Delano receives positive critiques from the judges. The judges proudly say she brought it this week, demolishing the challenge with her singing. She was dying for the win since she didn't get it in her original season, so she put her full vocals into it and created a lot of clever rhyming schemes. Brooke comments that after her original season, she expected more of an overall glow-up with her fashion. This look is cute, but they do think that it lacks styling. She's more of a punk queen, and while they appreciate the all-black ensemble, it needs a bit more polishing--such as with the gown's neckline.
Eva Le Queen receives negative critiques from the judges. Brad says that it wasn't that she did poorly; it was just that so many safe queens took advantage of their verses. Their verses told you everything about them, what they would do, what they ate for breakfast, etc. However, they felt her verse could have been more memorable. However, they do commend her for this runway that showed her namesake. The fact that she broke the mirror on stage and crawled through it was genius, showing this drag recreation of the iconic Disney character, definitely leaving them wanting to see more.
Lala Ri receives positive critiques from the judges. Lala did so, especially this week when her verse was utterly stuck in their heads. It was so infectious and catchy that they couldn't get it out, even copying some of her moves that she did in her performance. Everything she did this week came together in a fantastic verse and performance, every aspect refined to perfection that was impossible. Even her runway, for not being the best look on the stage, is still gaggy, and she came out in this beautiful Cinderella-themed garment.
Monét X Change receives positive critiques from the judges. Traci says that, yet again, she did a fantastic job in leading her team. From synchronizing their looks to having them all do amazingly in their choreography, every aspect was fitting of someone who wasn't even the team leader but stepped up to the plate. Her verse was also fantastic and incredibly catchy. It showed off her personality the most among the girls, especially with her having a truly fitting runway of a winner. Her look this week is gorgeous & is a fantastic tribute to her home in New York, blending royalty with the streets.
Shannel receives negative critiques from the judges. Brooke says that since this is the first time they're being introduced to one another, she should've spent more time refining her performance. She looked absolutely gorgeous and had her choreography down, but she didn't feel anything more. Her verse reiterated the same point over and over with no end, feeling like there was nothing more to her than looks, which isn't the way to go, especially when introducing herself to the world. This Medusa Queen runway is gorgeous but soured after her verse of just being pretty.
Yuri Guaii receives negative critiques from the judges. The judges say that they could see that Yuri was trying her absolute hardest this week. She had a verse that, although it was practically fighting against the beat, you could see that she was still trying her hardest to keep up. She was putting her pedal to the medal with the chores, but ultimately, her efforts didn't work out for her because everyone was simply in another league above her. This fantastical "Demon Queen" look shows she's prepared for the competition, but they question whether her skill sets are ready.
Lala Ri, Monét X Change, Condragulations! You are the Top Two All Stars of the week!
Shannel, Yuri Guaii...I'm sorry, My Dears, but you are both up for elimination...
── ࣪˖ ࣪ ⊹ ࣪ ˖ 🇨🇦 ࣪˖ ࣪ ⊹ ࣪ ˖──
DURING UNTUCKED...- All the safe girls cheer about being safe, with Angeria saying that she thought Elektra might've been in danger of being at the bottom because of her runway. Plastique agrees, and Elektra understands, saying that this look had a designer problem, but the rest of her runways are season-ready, with Angeria cheering for her. They're both happy she's here, saying that at first, they felt awkward to see a winner here, but Plastique says that she's more than proved that she has something to prove after winning only one challenge.
- Shannel is extremely bitter about being at the bottom, throwing her sister Eva under the bus and saying she feels like she should've been at the bottom over Her. Eva is crying in relief that she isn't at the bottom, and after that, she turns quickly to Shannel and shuts her down, saying that only one of them is from an unknown franchise and sitting at the bottom right now. Adore says they both shouldn't be fighting because they were already the lowest queens of the week.
- Monét and Lala cheer about being in the top two, walking over to one another and promising to have each other's back, forming the "It's Chocolate" alliance. The winners both call someone over, with Yuri crying about being in the bottom two, saying she doesn't want to go home this early. Monét empathizes with her yet asks her if it would be better to send her home if she's not mentally ready for the competition, with Lala saying that she has more obvious threats over Yuri.
- Shannel goes over to both of the queens and pleads her case, sneaking a comment toward Lala's look, with Lala quickly clocking her. She cuts it up well with Monét, saying that she doesn't know who she'll pick yet because she was initially sure, and now, after talking with Shannel and approaching her with an alliance, she isn't quite sure.
── ࣪˖ ࣪ ⊹ ࣪ ˖ 🇨🇦 ࣪˖ ࣪ ⊹ ࣪ ˖──
AFTER DELIBERATION...Lala and Monét make their lipstick choices and walk back to the stage where the other Queens are waiting for them...
TOP2: Lala Ri / Monét X Change
HIGH: Adore Delano
SAFE: Angeria Paris VanMichaels / Elektra Shock / Plastique Tiara
LOW: Eva Le Queen
BTM2: Shannel / Yuri Guaii
The Top Two Queens will Lip-Sync for their Legacy to "Brand New Bitch" by Anjulie. This is your chance to impress me, win the challenge prize, and gain the power to give one of the Bottom Queens the chop. Good Luck and Don't Fuck It Up!
POLL / Track Record
2024.05.08 07:04 Minute-Term-2108 Unlock Exclusive Temu Coupon Code: Shop Smart, Save Big!
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submitted by Minute-Term-2108 to TemuCodeExchange [link] [comments]
Grab Your Exclusive Temu Discount Now! Ready to dive into the savings spree? Sign up on Temu with my link, fill your cart with wonders, and apply your exclusive new user discount at checkout. It's that simple. But hurry – deals this good don't last forever. Until next time, keep saving and stay stylish! Happy shopping! Don't forget to use your discount and share the love with your friends!
2024.05.07 23:44 accountforAITA How Do You Rank the Tracks Released so Far in the Drake/Kendrick War From Worst To Best? [UPDATED EDITION]
My Personal Ranking of Every Track Released In the Beef
14.The Tiny Potshot Tracks (Various Artists) - Future, Weeknd, Rocky, etc. all did zero damage to Drake with any of their verses and it looked corny as shit for them to try and get involved. Literally provide nothing to the beef but hurting their own side. Butt out.
Final Grade: NO GRADE
13.Seven Minute Drill - What hasn’t been said about this track already? I didn’t like it when it came out but I like it even less after the apology. J. Cole starts off with a mediocre beat and goes on to throw warning shots that essentially amount to ‘I think TPAB is overrated and ‘Kendrick doesn’t really drop very often’. I get that he was trying to frame it as him checking Kendrick and throwing warning shots, but this beef had been presented as mostly warning shots and every other warning track was better. This was the equivalent of being pushed, trying to swing back and tripping over your own feet before apologizing for even trying. I agree when Cole called it the lamest shit he ever did. While in hindsight his apology was smart, I think we would have all preferred he never released this track in the first place. Still tuned in for the Fall Off tho.
Final Grade: D-
11.The Heart Part 6 - This might end up my longest review of the list by far because it has a lot to unpack. I’m going to be honest, this song does have some genuine positives that unburdened by their flaws would likely see it around a high B or a low A. Drake for one sticks to his guns and doubles down on the Dave Free shit which (aside from the negatives I’ll talk about later) is a smart move since it puts the accusations regarding Whitney back in the mix and him pressing Kendrick for proof makes him look more credible by comparison. He also has some pretty nice bars in there like the whole “Whitney when I hit you back it’ll be a lot safer” and the A minor B sharp scheme as a response to Not Like Us. He also demonstrates that he’s willing to go even lower than he’d demonstrated in prior raps by making Kendrick’s “molestation” the punchline of a series of bars. I’m personally more impressed by his malice than disapproving. They’d both crossed the line a while back and willing to go dark is a positive IMO. But now comes the laundry list of issues with this record. They can be broken down into two major sections: 1. CREDIBILITY: Throughout the feud, a lot of very serious accusations have been made on both sides and most of them don’t seem to have much if any proof behind them. Proof may or may not come out in good time but until then they exist in a weird flux state of being not firmly true nor false. After all there’s no way to truly disprove the more serious accusations regarding pedophilia and domestic violence. The problem here is that Drake makes a laundry list of claims on this record that aren’t just unsubstantiated but noticeably shaky or even able to be debunked via publicly available information. The fake mole would make him look like an idiot if true because he let Kendrick overshadow Family Matters and if he’d simply provided the receipts after Meet the Grahams or just the DMs he would have likely won the beef right then and there. He waited days and let videos and posts with tens of millions of views circulate calling him a pedophile when he could have avoided it all. Also the song he mentioned on Mr. Morale has Kendrick state plainly that he WASN’T molested so that angle falls flat. Finally saying that being very rich or famous means you can’t be a pedo is funny considering almost every well known serial sex pest is one or both. 2. CONCEDING: Drake essentially says he’s done with the beef during this song and also doesn’t bring a lot of energy. It’s a big shift from the days of Push Ups and Taylor Made where he was begging Kendrick to drop and baiting him constantly over social media. It doesn’t look like he’s the bigger person, it makes him look exhausted and worn out. He was already in a position where most of the internet was saying he’d been destroyed so it doesn’t come across as him bowing out. Him taking a vacation could not have been timed worse. In conclusion a song with a lot of promised that’s the most flawed on the list.
Final Grade: D+
10.6:16 in LA - Same concept as Taylor Made Freestyle. A needling track made purely to antagonize Drake into making a response. I liked the beat on this but the first half is pretty filler filled and the jabs about Drake’s camp while strong are not too biting or even shocking considering how large Drake’s crew is. Not much to say here. Also whoever told Kendrick to sing here should feel bad about their decision making skills.
Final Grade: C
9.Taylor Made Freestyle - I’m not going to be one of those losers pretending this isn’t hard because it used AI. Nah this isn’t very hard because it doesn’t really do much. I get why of course. It’s a bait track to try and coax a response from Kendrick. The use of AI is certainly disrespectful and the angle is interesting but it doesn’t really say anything outrageous or even all that disrespectful towards Kendrick himself. It’s not a total abomination, but it falls noticeably flat compared to the dedicated disses and even compared to some of the one verse attacks that we’ll get into later. It gets the edge over 6:16 in LA for how much it pissed off Kendrick.
Final Grade: C+
8.Like That - Might be a little low for some people but we’re judging these as diss tracks more than as records (though there definitely is a bit of that involved too hence why this is even at five). As a pure song, this is easily top three and maybe even top 1 on the list. But the disses only come from Kendrick’s verse and Cole catches essentially nothing. The big 3/big me moment will be iconic for years to come and there were two pretty hard bars towards Drake with the Pet Cemetery line and the Prince Outlived Mike Jack. It also gets huge props for being the track that kicked off the official Drake Kendrick beef. But there’s one track that really kicked off the 2024 diss trend that nobody here wants to talk about…
Final Grade: B-
7.HISS - For whatever reason people don’t want to give Meg her credit here considering she released the first major diss of the year. She really gets in her bag here and comes out with so many different shots at so many different people. I think some people completely forget that she actually dedicated more bars to Drake here than she ever did Nicki. She actually brought up the whole surgery shit before anyone else and even gave the blue print for the higher ranked Euphoria’s ‘Drake’s an accent faking bad bitch’ angle. I can’t rank the track any higher in this specific list since it only comes at any of the beef participants for like four bars but this track is really underrated and managed to hit a lot of people decently hard.
Final Grade: B-
6.Champagne Moments - There are definitely people that are going to put this lower in their lists but personally I loved it. It’s not nearly as far behind the next two spots for me as it might be for some other people. I’ve never been the biggest Ross fan but the way he raps over this luxurious beat makes it feel like he’s beating Drake’s ass in a five star hotel. He definitely did focus a little too heavily on Drake’s race, but honestly it was super funny hearing the repeated “white boy’s” on the track. And while the track itself was ok, that outro was genuinely amazing and one of the most hilarious things I’ve heard in a long time. Plus there genuinely were some hard lines on the actual track.
Final Grade: B
5.Push Ups - Now THIS, this right here is how you respond to a diss track. Drake managed to shut down every single jab on Like That in masterful fashion before going on to expose Kendrick being allegedly extorted by his label, and clown him for being a midget. All the while he managed to throw shots at Future, Weeknd, freaking Jah Morant and most notably Metro over a song that is going to get played in the club with a fun refrain. Loved the energy here from Drake. My only criticisms of the track are ones he couldn’t exactly control for. Those being that he whule he neutralized a lot of Kendrick’s stuff he didn’t actually add much besides the extortion stuff with Top (which rings pretty hollow coming from Drake). I mean Drake didn’t really have time with how many people he had to address after all and the lines about his height were still pretty funny. Still a great diss track considering what he had to do during, but as you can probably tell by the spot I gave it, it wasn’t the best either artist could offer.
Final Grade: B+
4.Euphoria - Let me get the criticism out of the way first. Kendrick didn’t really say anything insane before the Melly line and the track covers publicly discussed topics. But holy crap this was a strong track. Everything from that Melly bar onwards was nasty. I don’t think I went four bars without a strong reaction from then on. Every topic that had been talked about previously was perfected by Kendrick here. From the way he tackled his identity issues to him being a snake he managed to phrase everything in a variety of vicious ways. Hell he even managed to flip the fact that he said nothing new into a body blow about Drake as a father. I also feel like the replay value critique is overblown if not altogether false. While I’m not going to be bumping this as much as a Like That or a HISS or even a Push Ups, there are definitely a good amount of pretty nice quotables and that second beat is super fun. (And about a week later it’s still top 2 on Apple Music and Spotify so it’s definitely got replay value). Plus for me I’ve been catching more bars on follow up listens to the point that I like it a lot more on my last listen then I did on my first. It’s also in retrospect a very accurate prediction of how Drake was going to try and play the rest of their beef from there.
Final Grade: A-
3.Family Matters - This track was amazing. This was essentially Push Ups but better in every facet. We start off with the best from the end of Push Ups and Drake gets to singing which I don’t like very much, but he is a self proclaimed singing nigga so it makes sense. He hits Kendrick from some NASTY angles. He portrays Kendrick as an insecure, colorist, midget, cuck. He also makes the very serious accusation of Kendrick being an abusive fiancé and trying to drive he and his family apart. Had me looking side eyed at Dave Free myself (Or should I say Dave Freeeeeeeeeeeeeeeeeeeee). All of this over three fire ass beats with a pretty nice music video. Drake said this was his red button and as far as red buttons go, this was a very strong one. It’s only even this low because there are a few stand out problems with the record. First, the whole thing about him being ashamed to be seen with Enoch thing seems odd considering Kendrick just generally doesn’t get photographed a lot in public and the fact that he was on the cover of MMATBS. Also Enoch and Adonis being the same shade is pretty disingenuous to anyone with eyes. Another issue is actually the same thing I praised Push Ups for a little, and that’s addressing a bunch of other people during the track instead of going straight at Kendrick. Because here it feels forced and more like an excuse to seem like he’s being jumped by the industry. While his responses here are solid, most of these people took shots at him before Push Ups and other than Ross haven’t said anything since. I still rate this higher than Euphoria because instead of having a good minute and a half of mid, this had about two minutes of strong but misdirected content.
Final Grade: A-
2.Not Like Us - Usually I’m not big on a song being a banger as a plus, but here it really is what makes Not Like Us rank so highly. Because it firstly thoroughly dispels a major criticism throughout the entire beef being that Kendrick’s songs have less replayability than Drake’s. And secondly, because unlike every track other than Push Ups (Drop and Give Me 50, Metro Shut Your Hoe Ass Up and Make Some Drums Nigga) and to a lesser extent Euphoria (We Don’t Wanna Hear You Say Nigga No Mooooooorrrrreeee), the quotables and refrains are all disses directed towards Drake. And there are more of them than any other song on this list. (Freaky Ass Nigga he the 69 God, Say OV-HOE, Say Drake….I hear you like them young, A Minoooooorrrrrrr etc.) It already has seen play during an MLB game and during the NBA playoffs as of recent. It’s the biggest hip hop debut in Spotify history as well. Super catchy and unlike Push Ups or Like That, it’s very focused on one person and hitting them with the most damaging accusation you can. Even better, this song is hilarious throughout while also containing a really good verse reframing Drake’s relationship with Atlanta rappers. It manages to both be a really good diss and arguably the best pure song on this list.
Final Grade: A
1.Meet the Grahams - Genuinely what the fuck. This might be the most vile, malicious, damaging track I’ve ever heard. Now obviously the validity of the claims in the track is very much up in the air. I definitely have my doubts regarding lil miss Adonia being real at the very least. But honestly just taking the first and last verses alone would have me put this at number one. Kendrick is evil as shit for making this but it’s a piece of art. It was a systematic character assassination that for a lot of people ended the beef. This will never be played in a club. It probably won’t be played by anyone more than once in most cases. It’s uncomfortable, dark, and menacing in a way the lower ranked THE HEART PART 6 attempts to be but fails at. He talks about Drake’s (alleged) drug addiction, sex addiction, gambling addiction, poor parenting, insecurities regarding his body, insecurities regarding his culture and masculinity, inauthenticity, insecurities regarding his parents etc. without even getting into the pedophilia/fake child stuff. I don’t think we’ll ever get a track this cruel and poignant for a very long time. This is a classic.
Final Grade: A+
submitted by accountforAITA to hiphop101 [link] [comments]
14.The Tiny Potshot Tracks (Various Artists) - Future, Weeknd, Rocky, etc. all did zero damage to Drake with any of their verses and it looked corny as shit for them to try and get involved. Literally provide nothing to the beef but hurting their own side. Butt out.
Final Grade: NO GRADE
13.Seven Minute Drill - What hasn’t been said about this track already? I didn’t like it when it came out but I like it even less after the apology. J. Cole starts off with a mediocre beat and goes on to throw warning shots that essentially amount to ‘I think TPAB is overrated and ‘Kendrick doesn’t really drop very often’. I get that he was trying to frame it as him checking Kendrick and throwing warning shots, but this beef had been presented as mostly warning shots and every other warning track was better. This was the equivalent of being pushed, trying to swing back and tripping over your own feet before apologizing for even trying. I agree when Cole called it the lamest shit he ever did. While in hindsight his apology was smart, I think we would have all preferred he never released this track in the first place. Still tuned in for the Fall Off tho.
Final Grade: D-
- Like That (Kanye Remix) - This track was ass. Kanye being a self important loser and inserting himself into the beef to do nothing but go ‘Look at Me!’ while saying nothing of substance is trash but it was pretty expected from me at least. He doesn’t even have a Drake line in the entire song other than saying that HE DOESN’T HAVE A DRAKE LINE! (And the Lucian bar) Maybe I’m just colored by everything that happened after Seven Minute Drill, but I rank this slightly higher just because that one shitty throwaway line about Cole music drying up pussies is funnier than anything on 7MD, and the fact that the beat was honestly amazing. Some of Metro’s best work.
11.The Heart Part 6 - This might end up my longest review of the list by far because it has a lot to unpack. I’m going to be honest, this song does have some genuine positives that unburdened by their flaws would likely see it around a high B or a low A. Drake for one sticks to his guns and doubles down on the Dave Free shit which (aside from the negatives I’ll talk about later) is a smart move since it puts the accusations regarding Whitney back in the mix and him pressing Kendrick for proof makes him look more credible by comparison. He also has some pretty nice bars in there like the whole “Whitney when I hit you back it’ll be a lot safer” and the A minor B sharp scheme as a response to Not Like Us. He also demonstrates that he’s willing to go even lower than he’d demonstrated in prior raps by making Kendrick’s “molestation” the punchline of a series of bars. I’m personally more impressed by his malice than disapproving. They’d both crossed the line a while back and willing to go dark is a positive IMO. But now comes the laundry list of issues with this record. They can be broken down into two major sections: 1. CREDIBILITY: Throughout the feud, a lot of very serious accusations have been made on both sides and most of them don’t seem to have much if any proof behind them. Proof may or may not come out in good time but until then they exist in a weird flux state of being not firmly true nor false. After all there’s no way to truly disprove the more serious accusations regarding pedophilia and domestic violence. The problem here is that Drake makes a laundry list of claims on this record that aren’t just unsubstantiated but noticeably shaky or even able to be debunked via publicly available information. The fake mole would make him look like an idiot if true because he let Kendrick overshadow Family Matters and if he’d simply provided the receipts after Meet the Grahams or just the DMs he would have likely won the beef right then and there. He waited days and let videos and posts with tens of millions of views circulate calling him a pedophile when he could have avoided it all. Also the song he mentioned on Mr. Morale has Kendrick state plainly that he WASN’T molested so that angle falls flat. Finally saying that being very rich or famous means you can’t be a pedo is funny considering almost every well known serial sex pest is one or both. 2. CONCEDING: Drake essentially says he’s done with the beef during this song and also doesn’t bring a lot of energy. It’s a big shift from the days of Push Ups and Taylor Made where he was begging Kendrick to drop and baiting him constantly over social media. It doesn’t look like he’s the bigger person, it makes him look exhausted and worn out. He was already in a position where most of the internet was saying he’d been destroyed so it doesn’t come across as him bowing out. Him taking a vacation could not have been timed worse. In conclusion a song with a lot of promised that’s the most flawed on the list.
Final Grade: D+
10.6:16 in LA - Same concept as Taylor Made Freestyle. A needling track made purely to antagonize Drake into making a response. I liked the beat on this but the first half is pretty filler filled and the jabs about Drake’s camp while strong are not too biting or even shocking considering how large Drake’s crew is. Not much to say here. Also whoever told Kendrick to sing here should feel bad about their decision making skills.
Final Grade: C
9.Taylor Made Freestyle - I’m not going to be one of those losers pretending this isn’t hard because it used AI. Nah this isn’t very hard because it doesn’t really do much. I get why of course. It’s a bait track to try and coax a response from Kendrick. The use of AI is certainly disrespectful and the angle is interesting but it doesn’t really say anything outrageous or even all that disrespectful towards Kendrick himself. It’s not a total abomination, but it falls noticeably flat compared to the dedicated disses and even compared to some of the one verse attacks that we’ll get into later. It gets the edge over 6:16 in LA for how much it pissed off Kendrick.
Final Grade: C+
8.Like That - Might be a little low for some people but we’re judging these as diss tracks more than as records (though there definitely is a bit of that involved too hence why this is even at five). As a pure song, this is easily top three and maybe even top 1 on the list. But the disses only come from Kendrick’s verse and Cole catches essentially nothing. The big 3/big me moment will be iconic for years to come and there were two pretty hard bars towards Drake with the Pet Cemetery line and the Prince Outlived Mike Jack. It also gets huge props for being the track that kicked off the official Drake Kendrick beef. But there’s one track that really kicked off the 2024 diss trend that nobody here wants to talk about…
Final Grade: B-
7.HISS - For whatever reason people don’t want to give Meg her credit here considering she released the first major diss of the year. She really gets in her bag here and comes out with so many different shots at so many different people. I think some people completely forget that she actually dedicated more bars to Drake here than she ever did Nicki. She actually brought up the whole surgery shit before anyone else and even gave the blue print for the higher ranked Euphoria’s ‘Drake’s an accent faking bad bitch’ angle. I can’t rank the track any higher in this specific list since it only comes at any of the beef participants for like four bars but this track is really underrated and managed to hit a lot of people decently hard.
Final Grade: B-
6.Champagne Moments - There are definitely people that are going to put this lower in their lists but personally I loved it. It’s not nearly as far behind the next two spots for me as it might be for some other people. I’ve never been the biggest Ross fan but the way he raps over this luxurious beat makes it feel like he’s beating Drake’s ass in a five star hotel. He definitely did focus a little too heavily on Drake’s race, but honestly it was super funny hearing the repeated “white boy’s” on the track. And while the track itself was ok, that outro was genuinely amazing and one of the most hilarious things I’ve heard in a long time. Plus there genuinely were some hard lines on the actual track.
Final Grade: B
5.Push Ups - Now THIS, this right here is how you respond to a diss track. Drake managed to shut down every single jab on Like That in masterful fashion before going on to expose Kendrick being allegedly extorted by his label, and clown him for being a midget. All the while he managed to throw shots at Future, Weeknd, freaking Jah Morant and most notably Metro over a song that is going to get played in the club with a fun refrain. Loved the energy here from Drake. My only criticisms of the track are ones he couldn’t exactly control for. Those being that he whule he neutralized a lot of Kendrick’s stuff he didn’t actually add much besides the extortion stuff with Top (which rings pretty hollow coming from Drake). I mean Drake didn’t really have time with how many people he had to address after all and the lines about his height were still pretty funny. Still a great diss track considering what he had to do during, but as you can probably tell by the spot I gave it, it wasn’t the best either artist could offer.
Final Grade: B+
4.Euphoria - Let me get the criticism out of the way first. Kendrick didn’t really say anything insane before the Melly line and the track covers publicly discussed topics. But holy crap this was a strong track. Everything from that Melly bar onwards was nasty. I don’t think I went four bars without a strong reaction from then on. Every topic that had been talked about previously was perfected by Kendrick here. From the way he tackled his identity issues to him being a snake he managed to phrase everything in a variety of vicious ways. Hell he even managed to flip the fact that he said nothing new into a body blow about Drake as a father. I also feel like the replay value critique is overblown if not altogether false. While I’m not going to be bumping this as much as a Like That or a HISS or even a Push Ups, there are definitely a good amount of pretty nice quotables and that second beat is super fun. (And about a week later it’s still top 2 on Apple Music and Spotify so it’s definitely got replay value). Plus for me I’ve been catching more bars on follow up listens to the point that I like it a lot more on my last listen then I did on my first. It’s also in retrospect a very accurate prediction of how Drake was going to try and play the rest of their beef from there.
Final Grade: A-
3.Family Matters - This track was amazing. This was essentially Push Ups but better in every facet. We start off with the best from the end of Push Ups and Drake gets to singing which I don’t like very much, but he is a self proclaimed singing nigga so it makes sense. He hits Kendrick from some NASTY angles. He portrays Kendrick as an insecure, colorist, midget, cuck. He also makes the very serious accusation of Kendrick being an abusive fiancé and trying to drive he and his family apart. Had me looking side eyed at Dave Free myself (Or should I say Dave Freeeeeeeeeeeeeeeeeeeee). All of this over three fire ass beats with a pretty nice music video. Drake said this was his red button and as far as red buttons go, this was a very strong one. It’s only even this low because there are a few stand out problems with the record. First, the whole thing about him being ashamed to be seen with Enoch thing seems odd considering Kendrick just generally doesn’t get photographed a lot in public and the fact that he was on the cover of MMATBS. Also Enoch and Adonis being the same shade is pretty disingenuous to anyone with eyes. Another issue is actually the same thing I praised Push Ups for a little, and that’s addressing a bunch of other people during the track instead of going straight at Kendrick. Because here it feels forced and more like an excuse to seem like he’s being jumped by the industry. While his responses here are solid, most of these people took shots at him before Push Ups and other than Ross haven’t said anything since. I still rate this higher than Euphoria because instead of having a good minute and a half of mid, this had about two minutes of strong but misdirected content.
Final Grade: A-
2.Not Like Us - Usually I’m not big on a song being a banger as a plus, but here it really is what makes Not Like Us rank so highly. Because it firstly thoroughly dispels a major criticism throughout the entire beef being that Kendrick’s songs have less replayability than Drake’s. And secondly, because unlike every track other than Push Ups (Drop and Give Me 50, Metro Shut Your Hoe Ass Up and Make Some Drums Nigga) and to a lesser extent Euphoria (We Don’t Wanna Hear You Say Nigga No Mooooooorrrrreeee), the quotables and refrains are all disses directed towards Drake. And there are more of them than any other song on this list. (Freaky Ass Nigga he the 69 God, Say OV-HOE, Say Drake….I hear you like them young, A Minoooooorrrrrrr etc.) It already has seen play during an MLB game and during the NBA playoffs as of recent. It’s the biggest hip hop debut in Spotify history as well. Super catchy and unlike Push Ups or Like That, it’s very focused on one person and hitting them with the most damaging accusation you can. Even better, this song is hilarious throughout while also containing a really good verse reframing Drake’s relationship with Atlanta rappers. It manages to both be a really good diss and arguably the best pure song on this list.
Final Grade: A
1.Meet the Grahams - Genuinely what the fuck. This might be the most vile, malicious, damaging track I’ve ever heard. Now obviously the validity of the claims in the track is very much up in the air. I definitely have my doubts regarding lil miss Adonia being real at the very least. But honestly just taking the first and last verses alone would have me put this at number one. Kendrick is evil as shit for making this but it’s a piece of art. It was a systematic character assassination that for a lot of people ended the beef. This will never be played in a club. It probably won’t be played by anyone more than once in most cases. It’s uncomfortable, dark, and menacing in a way the lower ranked THE HEART PART 6 attempts to be but fails at. He talks about Drake’s (alleged) drug addiction, sex addiction, gambling addiction, poor parenting, insecurities regarding his body, insecurities regarding his culture and masculinity, inauthenticity, insecurities regarding his parents etc. without even getting into the pedophilia/fake child stuff. I don’t think we’ll ever get a track this cruel and poignant for a very long time. This is a classic.
Final Grade: A+
2024.05.07 16:30 orosadigital 🌟 Captivating or Invasive? Unmasking the Enigmatic World of Advertising! 🌟
Title: Advertisements: Captivating or Invasive? Let's Discuss!
🌟 Hey there fellow Redditors! 🌟
✨ I hope you're all feeling that mid-week buzz of excitement because today, we're diving into the incredible world of advertising! 🎉 Now, I know what you might be thinking, "Advertising? Ugh, not again!" But hold your horses, because I promise you, this discussion is going to be an exciting one that might just change the way you view those persuasive messages. So, buckle up, prepare for some thought-provoking insights, and let's collectively explore the fascinating landscape of advertisements! 💥
💫 In this day and age, it's hard to escape the omnipresence of advertising. It's rays of bright neon lights luring you in from every corner of the street; it's a catchy jingle stuck in your head for days on end, and it's the social media feeds littered with sponsored content. Some people might argue that ads invade our lives, forcing products and services down our throats, but what if we took a step back and examined them through a different lens? Let's embark on this journey together and consider both sides of the coin. 💭
🌍 On one hand, advertisements serve as a gateway to new products and experiences. By introducing us to different brands, they offer insights into innovative creations that improve our lives in various ways. Picture this: A billboard promotes a sustainable clothing brand, catching your eye and encouraging you to explore fashion options that align with your values. Suddenly, you've switched to eco-friendly clothing and are making a positive impact on the planet. Fascinating, isn't it?
💥 Plus, advertising fuels artistic expression! Advertisements are masterpieces conceived by creative minds to evoke emotions, inspire, and challenge societal norms. Sometimes, they're visual treats, worthy of appreciation and conversation. Just remember the iconic Apple "1984" Super Bowl commercial – a work of art that shifted the paradigm of advertising. Whether humorous, heartfelt, or mysterious, ads can create cultural moments and conversations that shape our shared experiences.
🚫 However, let's not shy away from acknowledging the concerns many have about invasive advertising. Being continuously bombarded by ads every step of the way can seem overwhelming, impeding our personal space, and encroaching on our browsing experiences. It's like having an annoying insect buzzing around your face, continuously begging for your attention. Surely, we have the right to feel agitated.
🌟 So, with all this buzzing excitement and annoyance, what can we do about it? Can we coexist with advertising in a way that respects our boundaries while appreciating its positive aspects? Here are a few discussion points to ponder upon:
submitted by orosadigital to Orosadigital [link] [comments]
🌟 Hey there fellow Redditors! 🌟
✨ I hope you're all feeling that mid-week buzz of excitement because today, we're diving into the incredible world of advertising! 🎉 Now, I know what you might be thinking, "Advertising? Ugh, not again!" But hold your horses, because I promise you, this discussion is going to be an exciting one that might just change the way you view those persuasive messages. So, buckle up, prepare for some thought-provoking insights, and let's collectively explore the fascinating landscape of advertisements! 💥
💫 In this day and age, it's hard to escape the omnipresence of advertising. It's rays of bright neon lights luring you in from every corner of the street; it's a catchy jingle stuck in your head for days on end, and it's the social media feeds littered with sponsored content. Some people might argue that ads invade our lives, forcing products and services down our throats, but what if we took a step back and examined them through a different lens? Let's embark on this journey together and consider both sides of the coin. 💭
🌍 On one hand, advertisements serve as a gateway to new products and experiences. By introducing us to different brands, they offer insights into innovative creations that improve our lives in various ways. Picture this: A billboard promotes a sustainable clothing brand, catching your eye and encouraging you to explore fashion options that align with your values. Suddenly, you've switched to eco-friendly clothing and are making a positive impact on the planet. Fascinating, isn't it?
💥 Plus, advertising fuels artistic expression! Advertisements are masterpieces conceived by creative minds to evoke emotions, inspire, and challenge societal norms. Sometimes, they're visual treats, worthy of appreciation and conversation. Just remember the iconic Apple "1984" Super Bowl commercial – a work of art that shifted the paradigm of advertising. Whether humorous, heartfelt, or mysterious, ads can create cultural moments and conversations that shape our shared experiences.
🚫 However, let's not shy away from acknowledging the concerns many have about invasive advertising. Being continuously bombarded by ads every step of the way can seem overwhelming, impeding our personal space, and encroaching on our browsing experiences. It's like having an annoying insect buzzing around your face, continuously begging for your attention. Surely, we have the right to feel agitated.
🌟 So, with all this buzzing excitement and annoyance, what can we do about it? Can we coexist with advertising in a way that respects our boundaries while appreciating its positive aspects? Here are a few discussion points to ponder upon:
- How can advertisers strike a delicate balance between captivating and invasive?
- Are specific advertising mediums crossing a line, and should certain regulations be set in place?
- How do we, as consumers, become more mindful and critical of the messages we encounter?
- Are there ways to elevate advertising to truly convey meaningful stories that resonate with individuals?
- Should advancements in AI and personalization complement advertising or raise ethical concerns?
2024.05.07 10:18 ArunaRana Empower Your Brand with Our AI Slogan Generator Tool
Introduction: In today's competitive marketplace, it's crucial for businesses to establish a strong brand identity that resonates with their target audience. And one of the key elements of a successful brand is a catchy slogan that captures the essence of what the brand stands for. But coming up with a memorable slogan can be a challenging task, requiring creativity, market research, and a deep understanding of your brand's values. That's where our AI Slogan Generator tool comes in. With its advanced algorithms and innovative approach, our tool empowers your brand to create impactful slogans that leave a lasting impression on your customers. Harnessing the Power of Artificial Intelligence: Our AI Slogan Generator tool leverages the power of artificial intelligence to analyze your brand's core values, target audience, and industry trends. By inputting relevant information about your brand, the tool generates a wide range of slogan options that align with your unique brand identity. This eliminates the guesswork and time-consuming process of brainstorming, allowing you to focus on other aspects of your business. Tailored Slogans for Your Brand: Our AI Slogan Generator tool doesn't just churn out generic slogans. It tailors each slogan specifically to your brand, ensuring that it captures your brand's personality and resonates with your target audience. Whether you're looking for a slogan that exudes professionalism, evokes emotion, or showcases your brand's innovative spirit, our tool has got you covered. With its vast database of words, phrases, and industry-specific terminology, it creates slogans that are both impactful and unique to your brand. Save Time and Resources: Creating a compelling slogan often requires significant time and resources, especially if you're working with a marketing agency or hiring a professional copywriter. Our AI Slogan Generator tool eliminates these costs, allowing you to generate multiple slogan options within minutes. It's a cost-effective solution that empowers businesses of all sizes to create engaging slogans without breaking the bank. Unleash Your Creativity: While our AI Slogan Generator tool is designed to streamline the slogan creation process, it also encourages you to unleash your creativity. The tool provides a starting point, but you have the freedom to tweak, modify, and fine-tune the generated slogans to perfectly align with your brand's vision. This collaborative approach ensures that you have complete control over the final slogan, while still benefiting from the tool's data-driven suggestions. Conclusion: Your brand's slogan is the verbal representation of your business, and it plays a vital role in shaping your customers' perception. With our AI Slogan Generator tool, you can empower your brand to create memorable, impactful slogans that resonate with your target audience. By harnessing the power of artificial intelligence, you save time, resources, and unlock a world of creative possibilities. Don't settle for a mediocre slogan when you can elevate your brand with our AI Slogan Generator tool. Empower your brand today and leave a lasting impression on your customers.
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