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For all that Lionheart is positioned in the shadow of The Kick Inside, it diverges from its predecessor in significant ways. The Kick Inside is more or less an art rock album — a much quirkier art rock album than something like The Wall or Low, but nonetheless in a tradition that houses Pink Floyd, Roxy Music, and Genesis. There are certainly strands of art rock in Lionheart (which are most prominent in “Wow,” “Hammer Horror,” and “Symphony in Blue,” all the singles), but it’s frayed at the edges and beginning to pull away from its obvious tradition. There’s an edge of darkness to Lionheart, which wasn’t as prominent in Bush’s debut. It’s almost a Gothic album with a healthy dose of the pastoral thrown in. There’s also a folk touch to it, with its increased use of acoustic instruments (down to the influence of Paddy Bush). Lionheart is lonely, and its singer is left in France to ruminate on cultural fragments of England.
One of the quietest songs on the album is “In the Warm Room,” also ...
|And she feeds you tea and oranges that come all the way from China|
Just a quick update on our Patreon fundraiser, we're just $28 a week from our final "help El actually be able to build savings instead of constantly bleeding out her Kickstarter money" goal of $700 a week. Thank you all so much for making this possible. I'm unbelievably excited to be going back to being a full-time writer. That said, this final threshold is important, so of you can help put us over this final line, please stop by the Patreon. Your support is extremely welcome. (Also, I've got Game of Thrones reviews for $2 patrons...)
It’s April 15th, 2017. Harry Styles is at number one with “Sign of the Times.” Lower in the charts, the remnants of the Sheeraning continue, along with Clean Bandit, Drake, and Martin Jensen. Since Sherlock, meanwhile… well, let’s start with UK news. It’s simpler. The UK triggered Article 50 and began the actual Brexit process, starting what was at the time a two year clock to departing the European Union. The new pound coin was released. And that’s basically it for major news. In the US, meanwhile… ...
This essay was brought to you by 17 backers on Patreon. Many thanks to the lovely people who give me some money to read my stuff every month. El's not the only person who needs a bit of help here. If you’d like to help a low-income queer writer trying to get herself on the ground, please consider backing me. I’m planning Q&A livestreams and essays which will be available exclusively on Patreon. In fact I’m doing a Q&A livestream tomorrow at 2 PM EST, so if you back me now you can tune in and ask me some questions. I’m in a difficult place financially, so any support would mean the world to me. You can find my Patreon here.
It's difficult to imagine Kate Bush heralding from any place except England. It’s certainly easy to understand why she’s popular in countries outside the U.K., but Bush is a uniquely English phenomenon. She came from pastoral England and often sings about British culture. Her work, especially on Lionheart, is full of allusions to English and Irish folklore, and she’s predominantly influenced by British music (glam rock was also a ...
This week, after many requests, Daniel and Jack take a look at cult-leader, ancap, blowhard, bullshit-artist, white-nationalist, misogynist, narcissist, and phoney-philosopher Stefan Molyneux.
As always, warning apply.
Martin Sellner background (ironically most of these links are in German):
Stefan Molyneux, cult leader:
FDR Liberated - blog and forum for people who have escaped SM's influence; collates lots of info on SM
Stefan's wife, therapist Christina Papadopoulos, reprimanded by Ontario College of Psychiatrists for "professional misconduct" after encouraging SM's fans to sever connections with their families (i.e. 'deFOO'). SM later lied about this to Joe Rogan.
Stefan Molyneux, racist:
The Patreon hit $600 this morning. Which means that I’m posting this after informing my boss that I’ll be stepping down at the end of the semester and not, as previously discussed, applying for a promotion. I’ve got four weeks to serve out because obviously I’m not going to be a complete asshole about this, but in less than a month I am going to be a full-time writer again.
Which… holy shit guys. When I set up that $200 a week goal, I thought it was a longshot. Not something we were going to blow through in thirty-six hours. I’m stunned and, uncharacteristically, at a loss for words. There are a lot of things I love about this job, but the feeling of support that you all give me is by far the thing that most often stuns me into a humbled and grateful silence.
That said, I noted in comments on my last post that I was not in any sort of immediate financial insecurity. This fact just changed. The Patreon is currently at $601, just a dollar a week above the threshold at which this adventure is affordable. Patreons go down over time. So while we’ve made ...
I want to start with an update to yesterday's appeal. When I made the appeal for boosting the Patreon by $200, I kind of doubted it could be done. Actually, not even kind of. It felt like the longest of long shots—a desperate appeal to avoid having to give up writing despite the fact that it obviously made the most sense for my financial security. Instead, we've blown past 2/3 of the goal in a single day. As I queue this up before dinner, we only have $61 to go, and what felt like an impossible dream is looking like it very well might happen. I am humbled and stunned and above all grateful to be so widely and deeply supported, and so, so thrilled that I really might get to continue on this mad ride. But we're not there yet, and if you clicked away yesterday because it felt like a pipe dream, well... it's not. But I still need your help. The Patreon link is right here. And with that said, let's get on to dragging Chris Chibnall.
Act I: The Woman Who Fell to Earth
The most impressive thing about Broadchurch is ...
Hey all. It's not the Broadchurch post. Sorry. That'll go up tomorrow. I need to use the big Monday post for something else this week. Because there's a chance that when the Capaldi era of TARDIS Eruditorum ends I'm going to retire as a blogger. I don't really want to do this, but there's some things that have to happen for me to be confident that I can avoid it. Most of them involve the Patreon going significantly higher than it currently is. Like, to around $600 a post. I'll explain the details below.
Three years ago, when Jill and I moved to Ithaca, she took a significant pay cut to do it, and in order to make the finances work I had to take up a part time job. I haven't made a big fuss out of this because I enjoy some measure of privacy, but it's been the big reason why my output over the last few years has been a bit sporadic. It's why I've struggled at getting new Eruditoroum volumes out (or indeed revisions of the old ones), writing new Last War in Albion, or really ...
In recent entries, we’ve addressed that Lionheart is a heavily recycled album. Pressed for time to read an album after months of promoting The Kick Inside, Bush did the sane thing and salvaged songs she’d already written. The result is largely to the album’s detriment, with the overall sound being a step backwards from The Kick Inside’s iconoclasm. Yet the overall retro feel makes Lionheart an interesting album in its own right, with a relative lack of confidence which in some ways makes it more compelling than its predecessor. Lionheart retreats often to the recesses of childhood and theater in the face of worldly adult duties. It’s an album constructed from a terror of being thrust onto the world stage and working in narrower confines than one was allowed in adolescence. Worse, it’s being asked to fall back to keep yourself afloat. Imagine if you had to submit your associate’s degree essays for an undergraduate program, and you have something akin to this album.
Resultingly, Lionheart is apprehensive and often lyrically tense. “In Search of Peter Pan,” an odd track loved more by Björk than the general public, is rife ...