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Review: Nicki Minaj, Pink Friday: Roman Reloaded – The Re-Up
The Re-Up is an indication that Minaj is learning from some of her past mistakes.
Nicki Minaj's sophomore effort, Pink Friday: Roman Reloaded, was an obvious attempt to sate both the singer-rapper's hip-hop and pop contingents, with hard-hitting collaborations with 2 Chainz and Rick Ross juxtaposed with Red One's garish brand of Eurotrash. That bloated, disjointed mess was, perhaps, the result of gripes from genre purists that Minaj's debut was too commercial, but the original Pink Friday was a competently crafted blend of rap and pop that, even when it skewed to one extreme or the other, did so with style and skill. Pink Friday: Roman Reloaded – The Re-Up appears to try to replicate that formula, and with predictably mixed results.
Though the new tracks aren't being released as a standalone EP a la Lady Gaga's The Fame Monster or Lana Del Rey's recent Paradise, The Re-Up at least attempts to remedy Roman Reloaded's initial mistakes, first and foremost by including—and releasing as a single—the previously recorded "Va Va Voom," the most obvious successor to Minaj's crossover hit "Super Bass." "The Boys" likewise mixes hard and soft, with Minaj's Daft Punk-inspired flow complemented by an acoustic guitar-accompanied chorus. The best example of the kind of genre tightrope Minaj is capable of walking so well, however, is "Freedom," which contrasts her trenchant rap verses with a silky pop hook atop an ambient drone and old-school hip-hop loop.
Unfortunately, The Re-Up also solidifies some of Minaj's biggest liabilities. Her alter ego, Roman Zolanski, thankfully makes himself scarce, but when Minaj declares, "Who do I want to work with? Nobody," on "Freedom," the sentiment is borne out by the lackluster slate of guests on hand: Ciara, Cassie, and Lil Wayne, whose appearance on "High School" marks his third overall on the Roman Reloaded project. Minaj still has a lazy habit of repeatedly rhyming words with the same exact words, and while today's rappers rarely seem to be taken to task for employing dated references simply to complete a couplet, Minaj's nods to Maury Povich on opener "Up in Flames" and Blossom on "I Endorse These Strippers" are less clever than inexcusably archaic. The Re-Up is an indication that Minaj is learning from some of her mistakes, but as long as she keeps comparing herself to Jesus, we probably shouldn't hold our breath.
Label: Cash Money Release Date: November 19, 2012 Buy: Amazon
Watch: Lady Gaga's "911" Music Video Is a Surreal Death Dream
The video, directed by Tarsem, finds the singer awakening in a desert surrounded by pomegranates and a broken bicycle.
When Lady Gaga's Chromatica saw its belated release in May, most of the attention was focused on its collaborative tracks with Ariana Grande, Blankpink, and Elton John. But the dramatic transition from the orchestral interlude "Chromatica II" into the synth-pop dance tune "911" soon went viral on TikTok, making the latter the most-streamed solo cut from the album aside from lead single "Stupid Love."
Enthusiasm for "911" seems to stem mostly from the transition, but the song itself, which is reminiscent of past Gaga singles "LoveGame" and "G.U.Y.," touches on the timely topics of mental health and pharmaceuticals. The music video, directed by Tarsem and inspired by Armenian director Sergei Parajanov's 1969 film The Color of Pomegranates, finds Gaga awakening in a desert surrounded by pomegranates and a broken bicycle. What follows is a surreal dreamscape featuring a bride adorned with a red cross symbol, a woman cradling a mummified body, and Gaga performing jerky choreography while dressed, of course, in a series of elaborate costumes.
The clip, which was shot at White Sands National Park in New Mexico, takes a turn for the heavy-handed when the music cuts out and Gaga begins to tearfully wail straight into the camera. It's quickly revealed that it was all a death dream, and the characters Gaga saw were, à la The Wizard of Oz, either victims or first responders to a fatal car accident that leaves Gaga on a stretcher and her produce scattered on the street.
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Review: Alicia Keys's Alicia Strikes a Careful Balance Between Hope and Despair
The album reveals the interconnectedness of the singer's view of both the world and herself.3.5
Like the most effective political pop, Alicia Keys's seventh album, Alicia, couches its socio-political observations in a personal context, unspooling to reveal the interconnectedness of its subject's view of both the world and herself. The album's de facto intro, "Truth Without Love," sets the tone with a vaguely political lament about how the truth has become "elusive." The focus then immediately pivots, on "Time Machine," from our post-truth society to self-reflection, or "fear of what's in the mirror," suggesting that we seek solace not in nostalgia for simpler times, but in a free mind.
At times, Keys's optimism about the state of the world feels naïve, like an echo from an era when "hope and change" felt attainable, as on the dreamy "Authors of Forever," with its persistent refrain of "it's alright." But that sense of displaced positivity is offset by the directness with which Keys sings about police violence on "Perfect Way to Die" and so-called "essential workers" on "Good Job," whose sense of hope is tinged by deep despair. That's when you realize Keys's optimism isn't just Pollyannaish, but the kind you muster when you simply don't know what else to do.
Still, those two closing tracks' spare arrangements of piano and vocal—though functionally effective at highlighting the lyrical content—feel too conservative for their chosen subject matter. And when Keys's signature piano is traded for acoustic guitar, as it is on a trio of back-to-back songs in the album's middle stretch, the result is neo-soul formlessness that, generously, could be described as "mood music." Keys's voice, at least, pairs nicely with that of Miguel on "Show Me Love" and Khalid on "So Done" (by contrast, it's much too similar in tone and timbre to Swedish singer Snoh Aalegra's on "You Save Me").
The most interesting of Alicia's copious collaborations are the ones that diverge from Keys's usual style. The dub-infused "Wasted Energy," featuring Tanzanian bongo flava artist Diamond Platnumz, inspires in Keys a blissed-out vocal performance reminiscent of Sade, and there's a matter-of-fact plainspokenness to her verses on "Me x 7"—"I should push this three o'clock to no o'clock 'cause I don't wanna disappear"—that complements Philly rapper Tierra Whack's eclectic flow.
Alicia is aptly titled, as it largely returns to fundamentals following the loosely experimental Here. Like that album, this one lacks the powerful hooks of Keys's earlier efforts, but she strikes a happy balance between the piano ballads that helped make her famous, the kick drum-driven R&B jams she so often gravitates toward, and her more recent inclination for less commercial fare. The Funkadelic-inspired "Time Machine" is simultaneously retro and futuristic, alternately sexy and darkly atmospheric, while "Underdog" and "Love Looks Better" update the "No One" template with an island vibe and swooning synths, respectively. That Alicia is at once her most accessible and forward-minded album in years seems fitting for an artist who, until recently, has made a career out of playing things straight down the middle.
Label: RCA Release Date: September 18, 2020 Buy: Amazon
Review: Cults's Host Explores the Seduction and Dissonance of Codependency
The album chronicles the euphoric highs and harrowing lows of a parasitic relationship.3.5
For nearly a decade, indie-pop band Cults has dealt in the mystique of contradiction. Brian Oblivion's lush, bewitching instrumentation and Madeline Follin's guileless vocals, sung in the style of a Phil Spector girl group, conjure the wish-fulfilling fantasy of teenage daydreams. The twist is that Follin's lyrics tend to recount the ruins of humanity, from alienation and hopelessness to temptation and amorality. With their fourth album, Host, the duo deploys the same tonal contradiction between music and messaging, this time chronicling the euphoric highs and harrowing lows of a parasitic relationship.
With the detail-oriented obsession of hardboiled detectives, Oblivion and Follin study a romance's toxic dynamic from multiple angles across the album's 12 tracks. Buoyed by histrionic, '60s pop-style violin stabs, "Trials" sees Follin fretting that her lover is so invasive and consuming that he watches her even in her dreams. But she doesn't play the damsel in distress, à la the Shangri-Las, for too long. She unflinchingly wrestles with the dark and twisted particulars of desire, as on the sweeping "Spit You Out," where she purges herself from her toxic partner: "Leech, held on, I spit you out/Cleaned you from my tongue."
Host is the first Cults album to be recorded primarily with live instruments, but the band's sound continues to be synth-driven. Showy horns give "8th Avenue" a bluesy hue, while "Monolithic" is bolstered by an imaginative, layered string arrangement. Oblivion's electronic kinetics, however, are responsible for heightening the songs' drama and suspense: "Working It Over" and "A Purgatory" both boast hooks that turn anthemic thanks to the application of dense, otherworldly synths. Producer Shane Stoneback resumes his role as the unofficial third member of the group, ensuring that Host, in spite of its dabbling in live instrumentation, springs from the same atmospheric vein as previous Cults albums.
The group toys with unexpected melody formulation throughout the album—a gamble that doesn't always pay off. On "Honest Love," Fullin whispers a bewildering, oscillating refrain that grates against the robotic backing vocal. The scattered melody on "No Risk" is similarly puzzling and makes the song's brief two-and-a-half minutes feel like an eternity. Although the band earns points for risk-taking, their flirtation with dissonance is less inventive than it is jarring, producing songs that amount to Frankenstein-like composites.
The album's real allure is rooted in Cults's representation of Stockholm syndrome, that sickeningly insidious pathology responsible for a host's attachment to its parasite. The intoxicating "Shoulders to Feet" depicts attachment to a toxic partner as an almost spiritual devotion. During the soaring refrain, Fullin sings, full of conviction: "Shoulders to my feet/You're everything I need." Just as cult leaders are said to exploit faith, so do parasites with their victims, instilling in them the belief that all is for the greater good. Whereas faith represents salvation for most, Host suggests that it can just as easily be one's undoing.
Label: Sinderlyn Release Date: September 18, 2020 Buy: Amazon
Review: Gus Dapperton's Orca Feels Like the Musical Equivalent of Mystery Meat
These restless songs flit between lapses of focused meditation and fretful apprehension.3
Gus Dapperton's most striking quality is his meticulous appearance, which consists of baggy, thrift-chic clothing, pristinely painted nails, and a sharp bowl cut. But like his scrupulous sense of style, the singer-songwriter's music has felt too faithful to the inoffensive "good vibes" of bedroom pop. Dapperton's 2019 debut, Where Polly People Go to Read, offered an attractive amalgamation of alternative pop and R&B but did little in the way of distinguishing him from his peers. Think of Dapperton as an edgier Rex Orange County or a less neo-soul-inclined Omar Apollo.
With his sophomore effort, Orca, Dapperton roughens up the edges of his music, trading in sleek synth-pop slow jams for unvarnished balladry and borrowing more heavily from indie rock. Gone are the tepid Casio keys and muted drum pads of Where Polly People Go to Read, replaced by feverish guitar and warm piano melodies. On his debut's more sensual cuts, Dapperton's crooning could veer into nasal; by comparison, he relies on a more emotive rasp here, a texture that pairs well with the album's downtempo rock. On "Grim," his guttural screams and thrashing guitar comprise a tortured call and response—a far cry from the icy aloofness with which he approached the torch songs on his last album.
As Dapperton analogizes on the Arcade Fire-esque "Bottle Opener," he intends to uncap formerly bottled-up feelings of loneliness and inadequacy. But his urge to probe these emotions to their depths is often obstructed by their cyclical nature and his misgivings about the future. "Medicine," which sounds like a draft out of Ben Gibbard's songbook, culminates with a collision of staccato piano and insistent acoustic guitar as Dapperton declares, "Every time they try to fix me up/I get addicted to the medicine." These restless songs flit between lapses of focused meditation and fretful apprehension. It makes sense, then, that they were crafted during short-lived moments of stillness in his life, stolen amid the highs and lows of the singer's hectic touring over the past couple of years.
Dapperton delivers his stickiest hook to date on "Post Humorous," a deceptively buoyant song about nihilism. Sun-soaked guitar strumming belies lyrics about losing touch with one of the few lifelines available to a pessimist: humor. Dapperton cloaks his messaging in cryptic imagery, casting self-destruction in a softer glow: "I repress the iridescence of a fire…I confess the incandescence of a dying light."
Most of the songs on the album, however, lack the gravitational pull of "Post Humorous," their spare, repetitive structures drifting aimlessly as if in free fall. Dapperton's sister provides sweet-sounding vocal accompaniment on "Antidote," but the song's reverb-drowned verses don't leave much of an impression and its one-word hook quickly grows tiresome. The chorus of "My Say So," sung by Dapperton and Australian artist Chela, follows a scattered xylophone melody note by note, giving the track a maddening sing-songy feel.
Orca's heartfelt ballads improve on Dapperton's numbed-out debut, but he faces the same quandary as many of his bedroom-pop cohorts: How do you avoid making nondescript, vaguely alternative songs like these sound like something more than the musical equivalent of mystery meat? Of course, there's an audience for the harmless niceties of bedroom pop—as evidenced by the viral success of BENEE's Dapperton-assisted "Supalonely," a frothy ode to self-deprecation. But just like a fleeting Tik Tok video, Orca may be enjoyable in the moment, but it doesn't have staying power.
Label: AWAL Release Date: September 18, 2020 Buy: Amazon
Every Song on Taylor Swift's Folklore Ranked
We've ranked all 17 songs from the singer-songwriter's watershed eighth album.
Over the course of the four releases preceding Folklore, Taylor Swift developed a model of pop album that was seemingly machine-calibrated to please just about everyone. For each fan-favorite deep cut ("All Too Well," "New Romantics") there was an equal and opposite radio hit ("22," "Shake It Off"). The conflict inherent in this structure came to a head on last year's Lover, which produced pop-centric, radio-friendly singles like "ME!" and "You Need to Calm Down," as well as the rootsier title track and the lilting "Afterglow."
Folklore, by contrast, finds Swift at her most masterful and consistent, which makes comparing its songs all the more challenging. None of these songs reach overtly for the theatrics or immediate pop appeal of earlier singles such as "Look What You Made Me Do." Instead, Swift foregrounds her narrative sensibility and her eye for detail, reminding us of—in case we somehow forgot—her voice-of-a-generation status. See below for our ranking of every song on the singer's watershed eighth album.
17. "Epiphany"
It's commendable that Swift would take a moment on an otherwise introspective album to pay tribute to essential workers and to remind her listeners to wear a mask. The conciseness with which she draws a parallel between medical professionals and soldiers is persuasive, but the device's neatness and sincerity can feel a bit simple. Still, on such a consistent album, last place isn't so much a slight as it is a credit to the rest of the album's songs.
16. "Cardigan"
For a song about a conventionally comfy piece of clothing, "Cardigan" is surprisingly slinky, its swaying melody and Swift's gasping vocals elaborating nicely on the dark pop of 2017's Reputation. The song's protracted central metaphor, fairy-tale imagery, and idealistic mentions of scars and tattoos risk being uncomplicatedly wide-eyed, but it's Swift's established style to employ childlike concepts with a sense of irony. "Cardigan" avoids becoming saccharine when Swift allows it to be sensual, possibly name-dropping one of Rihanna's steamiest singles ("Kiss It Better") to seal the whole thing with a kiss.
15. "Mad Woman"
Swift's most credible expressions of resentment are typically couched in a tangible conflict ("Mean") or balanced against self-examination ("Innocent"), but "Mad Woman" is a declaration of anger justified mostly by an interrogation of gender norms. Its lyrics about the weaponization of internalized misogyny signal that Swift has grown since she wrote "You Belong with Me" and "Better Than Revenge," but her best songs are even more nuanced and tangible than this.
14. "The Lakes"
Folklore's tender, self-referential bonus track reveals an important element of the album's ethos, namely that Swift aims to be remembered as a poet. She seeks to do so here through meta-poetics, naming writerly forms ("Is it romantic how all my elegies eulogize me?") and building puns around great writers' names ("I've come too far to watch some namedropping sleaze/Tell me what are my words worth"). The song might skew capital-R romantic ("A red rose grew up out of ice-frozen ground/With no one around to tweet it"), but it's an affectionately detailed testament to the fact that readers can become writers, and writers can become icons.
13. "This Is Me Trying"
This is one of a small handful of tracks on Folklore that feel less like distinct story beats and more like summations of the album's broader emotional arc. In fact, "This Is Me Trying" is a fitting coda to Swift's entire discography, mining both her vulnerability and her ability to do harm on a serene mid-album respite from the lyrical density of "Seven" and "August." The image of a salt-rusted Swift downing a shot of whiskey between ruminations on her very public youth is jarring next to her self-titled debut, but it feels like an honest comedown from Lover's shine.
12. "My Tears Ricochet"
Like "Mad Woman," "My Tears Ricochet" tells one of Folklore's most straightforwardly resentful stories, this time grounded narratively in the idea of a toxic lover showing up at their ex's funeral. Jack Antonoff's production touches are stirring: The sharp beats of strings on the chorus recall the bridges of early-2010s Swift songs, and the warm echo of Swift "screaming at the sky" on the bridge evokes the thrill of "He looks up, grinning like a devil."
11. "The 1"
As one of Folklore's peppiest tracks, "The 1" is a fitting opener and a smooth transition from Lover's effervescence. It tells us immediately that Swift's preoccupation with regret has lasted since Fearless and Speak Now, but she's got the age and experience to reassure her lover (and herself), that "it's all right now." Whereas heartbreak was fresh and monumental on "Fifteen," nowadays Swift's approach to love and dating is candid and mature—but wistful enough to avoid being blasé.
10. "Peace"
"Peace" is among Swift's most spacious and gorgeous songs, leaving the impression of pillow talk deepened by promises—or threats—of loyalty. While the song deflates somewhat from the predominance of lyrical clichés ("The devil's in the details, but you got a friend in me," "I'd swing with you for the fences/Sit with you in the trenches"), Swift delivers every word with intimate urgency. It's a fitting summation of the tension between the thrill of love and the knowledge that it's never truly promised, a conflict that's motivated much of Swift's music.
Every Britney Spears Album Ranked
We decided to reevaluate the singer's discography and discovered that her trajectory as an artist has been far from linear.
Over two decades into her career, Britney Spears is less likely to make headlines for her music than her personal and legal battles, which have resulted in the #FreeBritney movement. So it's easy to forget that, against all odds, the pop singer has amassed an impressive body of hits—from her iconic debut, "…Baby One More Time," to later earworms like "Till the World Ends" (see our list of Britney's best singles here).
With the exception of cult favorite Blackout, Britney has never been considered an "album artist." There's nothing more satisfying, though, than someone who forces us to recalibrate our expectations, and Britney did just that with 2016's Glory: By eschewing EDM and embracing subtler pop and R&B sounds, she made her most daring, mature album to date.
Earlier this year, fans launched another social media campaign, #JusticeForGlory, and the album was subsequently reissued, nearly four years after its initial release, with a new track, "Mood Ring," previously only available in Japan. We decided to reevaluate Britney's discography and discovered that, defying yet another expectation, her trajectory as an artist has been far from linear. See below for our ranking of all nine of Britney's studio albums.
9. Oops!…I Did It Again (2000)
"My loneliness ain't killin' me no more!" Britney belts on "Stronger," referencing a key phrase from her debut single, "…Baby One More Time." The track is, in retrospect, a standout among Max Martin's many teen-pop productions from the era, boasting an ABBA-esque hook, robust dance beat, and a menacing foghorn that announced a sexier, more sophisticated, and yes, stronger, Britney. But while the singer's sophomore effort, the cheekily titled Oops!…I Did It Again, doubled down on the Swedish producer's formula, it also magnified the worst of both teen-pop's ticks and Britney's vocal hiccups. A limp cover of the Rolling Stones's "(I Can't Get No) Satisfaction" makes Samantha Fox's 1987 rendition sound positively electric, while the molasses-slow "Where Are You Now" and the treacly closing ballad "Dear Diary" could rot the teeth right out of your skull. Sal Cinquemani
8. Britney Jean (2013)
Designed by committee, with up to six producers and nine songwriters per track, Britney Jean is sonically all over the place, stocked with a mix of the most garish presets from the EDM era and flaccid midtempo pop. The filtered synths featured throughout the album (courtesy of producers like will.i.am and David Guetta) are most forgivable on the catchy "Til It's Gone," which is as close as Britney Jean gets to earworms like Femme Fatale's "Till the World Ends" and "Hold It Against Me." Lead single "Work Bitch" is the aural equivalent of bath salts, a shrill and mechanical assault on the brain, while "Tik Tik Boom" is by far Britney Jean and company's most egregious lapse in judgment, with T.I. offering tripe like "She like the way I eat her/Beat her, beat her/Treat her like an animal, somebody call PETA." Uh, somebody call Tip's probation officer. Cinquemani
7. …Baby One More Time (1999)
When Britney burst onto the scene with "…Baby One More Time," her adenoidal, childlike vocals suggested an innocence belied by the image of the then-16-year-old on the album's cover, kneeling in a short denim skirt, her schoolgirl blouse unbuttoned, her head cocked to the side. Prior to 1998, teen pop had been an innocuous, perennial nuisance, but those big, pounding piano chords and processed squawks of "Oh, bay-ba, bay-ba," followed by the singer's full-throated delivery of the song's hook—"My loneliness is killing me!"—signaled the christening of the genre's very first Lolita. That the rest of …Baby One More Time plays like a glorified Kidz Bop album is neither surprising nor, frankly, inappropriate. The uptempo highlights—the hit "(You Drive Me) Crazy" and the house-influenced "Deep in My Heart"—feel lyrically and sonically chaste compared to the title track, while the ballads alternate between inane ("Email My Heart") and interminable ("From the Bottom of My Broken Heart"). Cinquemani
6. Britney (2001)
There's a learning curve in pop superstardom and Britney's development always seemed comparatively stunted, if only because she rush-released three albums in as many years—and all before the age of 20. The media generously, if inexplicably, dubbed Britney the next Madonna, but her interpretations of classics like "I Love Rock N' Roll," from 2001's Britney, lacked the irony and grit of a more seasoned and self-aware artist. The album, her best to date at the time, proved she owed much more to the likes of Paula Abdul and, especially, Janet Jackson than the Queen of Pop. The most successful songs here deviate from the Max Martin formula of Britney's early hits, including the saccharine disco bop "Anticipating" and the Neptunes-produced "I'm a Slave 4 U," whose skittering synths and heavy breathing served as a preview of what would become Britney's career m.o. Cinquemani
5. Femme Fatale (2011)
In my review of 2011's Femme Fatale, I lamented its lead single's "cheesy pickup lines" and "generic Eurotrash beats and dated trance synths." By the time the album dropped a couple of weeks later, though, "Hold It Against Me," in all its generic glory, had burrowed its way into my psyche like a brain-eating amoeba. Released at the height of the EDM explosion, Femme Fatale is, like that single, a gaudy, unrepentant attempt to cash in on a subgenre with a looming expiration date. So it's no surprise that some of the album's most enduring tracks pivot back toward Britney's earlier hits, including the bubbly "How I Roll" and "Trip to Your Heart," which finds frequent collaborators Bloodshy & Avant seamlessly applying their glitchy, pitch-incorrected synth-pop to the fad of the era. Cinquemani
4. Circus (2008)
With Circus, Britney dropped the richly self-referential posture she almost reluctantly adopted on Blackout in favor of a far more risky mode: self-actualization. Instead of wallowing in the great drama that was her train-wreck quarter-life crisis, Circus represents the rebirth of regression. It's a dozen-plus songs of blithe denial—one of which, "Radar," is curiously recycled from the earlier album—that seems to be saying, "Hey, I'm still young enough to eat hard candy without it being a sad anachronism. So let's get nekkid." Biographical details are suppressed in favor of shopping lists ("Lace and Leather"), while confessionals step aside and make way for lewd double-entendres ("If U Seek Amy"). Hell, actual lyrics are eschewed in favor of syllables. Because it's Britney, however, it all seems to work: Ridiculousness comes naturally, and her cooing break, "Ooh lolly, ooh papi," on "Mmm Papi" is the nexus of cock-hungriness. If the album is a psychological step backward, well, you can't say Britney doesn't sound at home in the womb. Eric Henderson
3. In the Zone (2003)
Britney's fourth album, In the Zone, found the former pop tart coming of age with a bold mix of dance and hip-hop beats, wiping clean the last traces of her bubblegum past. Britney's unabashed devotion to dance-pop is, perhaps, the one thing that truly links her to Madonna, who—lamentably—appears on the opening track "Me Against the Music." Britney beckons to an anonymous dance partner on "Breathe on Me," exploring the eroticism of restraint: "We don't need to touch/Just breathe on me." After a night at the club—and little actual physical contact—she passes out on the couch in the "Early Mornin'" (produced by Moby) and finds some self-gratification on the Middle Eastern-hued ode to masturbation "Touch of My Hand." Lest you start to believe that the girl who began her career by teasing her barely legal status is finally "in the zone," "Outrageous" finds her singing "my sex drive" and "my shopping spree" with the same dripping gusto. Cinquemani
2. Blackout (2007)
One thing latter-day Britney doesn't lack is self-awareness. "I'm Mrs. 'Extra! Extra! This just in!'/I'm Mrs. 'She's too big, now she's too thin'," she quips on "Piece of Me," the second single from her 2007 album Blackout. Listening to it now, it's easy to forget there was anything wrong in her starry world at the time. The album is remarkably cohesive, riding the Timbaland renaissance without the man himself (half the album was produced by Timbo cohort Danja). "Gimme More" and "Get Naked (I Got a Plan)" hold their own alongside the likes of Justin Timberlake's "SexyBack" and Nelly Furtado's "Promiscuous." But it's Bloodshy & Avant who hog the spotlight here, ponying up the beats on the glitchy "Piece of Me"—which sounds like robots hate-fucking—and the spunky, Kylie-esque "Toy Soldier." "No wonder there's panic in the industry. I mean, please," Britney sneers on the former. Was that a sly comment on our misplaced gaze? Cinquemani
1. Glory (2016)
From Glory's opening "Invitation" to its closer, "Coupure Electrique," it's no surprise that Britney stocks her latest album with expressions of uncontainable horniness. What is surprising is the degree to which her agency in the act is emphasized, and how sex here is rarely an act of exhibition. Songs like "Private Show" and "Do You Wanna Come Over?" yearn for a specific intimacy, a moving expression from an artist whose public relationship with sexuality once seemed disturbingly out of her control. The album's key lyric comes from the single "Slumber Party": "We use our bodies to make our own videos." Glory is an album-length reclamation of Britney's autonomy. Sam C. Mac
Review: With From King to God, Conway the Machine Reveals His Humanity
Though the rapper pontificates on his wealth and street cred, the album's biggest boast is his vulnerability.3.5
Hip-hop producer Daringer has been the principal architect behind Buffalo rap collective Griselda's sordid, soul sample-heavy world of coke-slanging and mafioso-style close shaves. But while his grim machinations positioned the crew as heirs to Mobb Deep and the Wu-Tang Clan, his minimal, hook-reluctant beats can at times feel repetitive and dreary. On From King to God, Griselda member Conway the Machine—the group's self-proclaimed lyrical heart—branches out from Daringer's grimy style, featuring the producer on only two of the album's 12 songs. From King to God introduces a dark, understated sheen to Conway's hard-as-nails boom-bap, while conserving all its original grit.
Griselda's verses are often peppered with high-pitched, maniacal laughter and adlibs that mimic the sound of a machine gun, and their lyrics trace the rappers' humble origins hustling on the streets of Buffalo. With From King to God, Conway returns to this familiar street sound but doesn't constrain himself to it. Throughout, the album's producers mold their sound to Conway's vision, not vice versa, their eerie synth lines and varied beats bolstering a sense of impending doom. Travis Scott collaborator Murda Beatz presides over "Anza," an antsy, tempo-hopping track, while "Fear of God" boasts production from Hit-Boy and a spine-chilling hook from Detroit's baby-voiced Dej Loaf.
Conway tag-teams with Griselda cohorts Westside Gunn and Benny the Butcher on "Spurs 3," brazenly defending his creative turf: "Ask the homie Wayno and 'em, they'll confess/Lotta albums are suddenly startin' to feel a lil' more Griselda-esque." The track belongs to a string of them that glorify Conway and the Griselda name. Yet Conway tackles more expansive matters, like on "Front Lines," where he envisions himself overtaking the Minneapolis police station that was set ablaze by protestors in the days after George Floyd's murder.
Though Conway pontificates on his wealth and street cred to figure himself as a god, From King to God's biggest boast is his vulnerability. Conway's signature drawl isn't a stylistic choice, but the result of Bell's palsy, a condition that paralyzed the right side of his face after a gunshot to the head in 2005. Mortality and loss haunt the album, which is interspersed with monologues from DJ Shay, a producer and mentor figure to Griselda who passed away just weeks ago. "Shit was just starting to get beautiful/I wrote this while getting dressed for your funeral," Conway reveals on "Forever Droppin Tears." On "Seen Everything but Jesus," he eulogizes lost friends and family, including Chine Gun, Benny the Butcher's half-brother.
Conway's flow is laidback and assured but occasionally seems too comfortable—too in the pocket of the beat. On "Lemon," he's outstripped by Method Man's elaborate multisyllabic rhyme scheme. But despite his moniker, penning bars straight from the heart is Conway's greatest strength. What the rapper lacks in flow experimentation and dexterous rhyme-craft, he makes up for with his knack for sincere storytelling.
Label: Griselda Release Date: September 11, 2020 Buy: Amazon
Review: The Flaming Lips's American Head Celebrates Humanity's Resilience
The album combines childlike whimsy with sober realizations of all the sadness in the world.4
Despite what the Flaming Lips's kaleidoscopic, neo-psychedelic musical fantasies might suggest, Wayne Coyne spent much of his life deliberately avoiding drugs after witnessing his older siblings—absent access to healthier countercultural outlets in '60s and '70s Oklahoma City—fry their brains. He apparently conquered that fear around 2012, when he began going through what, from the outside, looked a lot like a midlife crisis—separating from his longtime partner, partying with Miley Cyrus, and bragging about all the acid and molly he was doing. Over the next several years, his once comfortingly wide-eyed explorations of weighty philosophical themes turned distressingly bleak, while the Flaming Lips's timeless pop melodies and intricate orchestrations ceded to droney noise.
Refreshingly, then, the band's 16th album, American Head, builds on the return to form that last year's half-tossed-off King's Mouth promised. And all it took was Coyne getting back in touch with the part of himself that grew up terrified of his brothers not waking up from their next binge. So while there are copious drug references throughout the album—among the song titles are "At the Movies on Quaaludes," "Mother, I've Taken LSD," and "You n Me Sellin' Weed"—they're all characterized with a sense of awed, even fearful detachment. The album features some of the most personal, slice-of-life lyrics that the fancifully minded singer has ever written: Nearly every song can be traced to a real story about Coyne or his "older brothers and their drug-dealing biker friends," as he puts it in the album press notes.
Even the silly "Dinosaurs on the Mountain"—which boasts lyrics like "I wish the dinosaurs/Were still here now/It'd be fun to see them playing/On the mountains"—has roots in a specific childhood memory, of gazing up at the mountains from the back of a station wagon. "You n Me Sellin' Weed" directly references Coyne's experience as a teenage pot dealer, a phase that may have made him feel "like king of the world" but still left him wishing for "a spaceship coming for us/To take us away." The raw human element to these stories is underscored by Coyne's small, quavering alto, which—some Vocoder and pitch-shifting notwithstanding—is largely freed from the shrouds of the studio effects of recent releases.
This is the classic Flaming Lips formula: combining childlike whimsy with sober realizations of all the sadness in the world. The band's recent work has too often veered to one extreme (the dippy King's Mouth) or another (the utterly grim The Terror). And though the current incarnation of the Flaming Lips has been together since 2014, and thus responsible for these various digressions, the band has undertaken a sonic overhaul here that matches the emotional, sentimental tenor of Coyne and Steven Drozd's new compositions.
With a couple of exceptions—like the dark, driving "Assassins of Youth" and the psychedelic "You n Me Sellin' Weed"—there's essentially only one kind of song on American Head: the starry-eyed acoustic power ballad. The days when the band would alternate their sweeping, emotional ballads with fuzzed-out rockers and experimental pop songs may be gone, but this album's relatively clean mixes—populated with acoustic strumming, mellotrons, and melodic, Beatles-esque guitar lines—hearken explicitly and effectively back to the more meditative moments of the band's golden age in the early-to-mid '90s.
One exception is "Mother, Please Don't Be Sad," which belongs in the pantheon of classic Flaming Lips tearjerkers alongside "Do You Realize??" and "Waitin' for a Superman." The song is based on a story Coyne has told before, most memorably in the documentary Fearless Freaks. Decades ago, he was working as a fry cook at a Long John Silver's when armed gunmen burst into the restaurant to rob the register. While lying on the ground, assuming this was the end, his thoughts turned to his mother. "It's only me that's died tonight/There's so much you still have," he assures her on "Mother, Please Don't Be Sad." He reminds her to let the dogs out, to take comfort in the love of the still living. It's quintessential Coyne: a simultaneous reminder of humanity's fragility and a celebration of its resilience.
Label: Warner Release Date: September 11, 2020 Buy: Amazon
Review: Metallica's S&M2 Is at Once Rousing and Redundant
A collaboration between the band and the San Francisco Symphony, the live album plays on light and shade.3.5
It's been over 20 years since Metallica first collaborated with the San Francisco Symphony on their cheekily titled live album S&M. At the time, the pairing of a metal band with an orchestra was still something of a novel idea, and as mixed as its reception may have been, it arguably stands as one of the definitive symphonic rock albums of all time, alongside Deep Purple's Concerto for Group and Orchestra.
In the decades since S&M's release, the rock world has seen live symphonic offerings from Dream Theater, Kiss, the Scorpions, and Aerosmith, among others. As such, S&M2 feels, like many sequels, less essential than the original, but not just because the concept has run its course. Recorded during a concert in September of 2019, the album's setlist is similar to that of its predecessor, as are most of the orchestral arrangements. One can't help but wonder what string-laced versions of classics like "Harvester of Sorrow," "Creeping Death," "Welcome Home (Sanitarium)," and "Fade to Black" might have sounded like.
Taken on its own merits, though, S&M2 is a largely thrilling experience. As live performers, the band is as tight as ever here, and frontman James Hetfield's trademark grit-choked growl remains intact throughout the album, only occasionally veering into the tuneless yodel that marred many of the band's gigs in the late '90s and early 2000s.
Heavy metal has always been about more than just raw aggression, and Metallica's best work plays on light and shade, sturm und drang. Admittedly, the orchestral parts on some of these songs are less imaginative during the faster, thrashier sections, which occasionally resemble chase music in an action film. But when Metallica scales back, opting for ominous slow burn as opposed to full-throttle attack, the strings and horns wash into the foreground, enveloping the drums and guitars with electrifying countermelodies.
Most of the songs here that didn't appear on the first S&M are from the band's less impressive recent output, and though competently performed, they aren't necessarily the best suited to an orchestral backing, nor do they offer much in the way of interesting arrangements. Still, there are some surprises: a cover of early Soviet composer Alexander Mosolov's "The Iron Foundry"; an acoustic take on the otherwise pummeling deep cut "All Within My Hands"; and the ballad "The Unforgiven III," which finds Hetfield backed by the orchestra alone.
Perhaps most enthralling, and most emblematic of the set, is a solo spot by symphony bassist Scott Pingel, who performs the late Cliff Burton's solo piece "Anesthesia (Pulling Teeth)" in its entirety, replete with layers of electric distortion. Burton was a classical music aficionado, and was said to have introduced elements like harmony and sophistication into Metallica's early no-frills thrash. S&M2 puts that influence on full display.
Label: Blackened Recordings Release Date: August 28, 2020 Buy: Amazon
Every Lady Gaga Album Ranked
Even if the singer's creative trajectory has seemed erratic, her skill for crafting sublime pop is undeniable.
Despite throwing herself into jazz standards with Tony Bennett or belting Americana ballads with Bradley Cooper, Lady Gaga's heart belongs to pop music. Even if her creative trajectory has seemed erratic at times, zigging when it should have zagged, her skill for crafting sublime pop songs like "Poker Face," "Bad Romance," and "The Edge of Glory" is undeniable. From the singer's very first hit, "Just Dance," to the house-influenced throwbacks of her latest album, Chromatica, dance-pop in particular is a well Gaga has returned to again and again throughout her career.
Chromatica became Gaga's fifth #1 album on the Billboard chart (not including the A Star Is Born soundtrack), giving her a chart-topper in each of the last three decades. And last night, she took home five awards at the MTV Video Music Awards, making her one of the most decorated VMA winners ever, behind only Beyoncé and Madonna. To celebrate, we took a look back and ranked each of Gaga's seven studio albums. Alexa Camp
7. Cheek to Cheek (2014)
Despite her claims that she grew up listening to the jazz greats, Gaga comes off more as a dilettante than an aficionado on Cheek to Cheek, a collection of duets with veteran crooner Tony Bennett. On songs like the Cole Porter standard "Anything Goes" and the title track, Gaga sounds like what she thinks a jazz singer should sound like; her performances are affected, marred by shouting and clichéd phrasing. She lacks the vocal precision and enunciation that made her so-called idols the masters they were: Her timbre on a cover of eden ahbez's "Nature Boy" is wildly inconsistent, shifting from soft and almost pleasant to parodic and comical, often within just a few short bars. If not for the session musicians' top-notch work, including Joe Lovano's virtuosic tenor sax solos, much of Cheek to Cheek would sound like glorified karaoke. Camp
6. Artpop (2013)
"Artpop could be anything!" Lady Gaga declares on the title track to her third album, Artpop. This muddled creative vision can be heard in the music itself, which vies for versatility—from the dreary, trap-inspired "Jewels n' Drugs" to "G.U.Y.," "Mary Jane Holland," and "Gypsy," which are all carbon copies of better songs on her first two albums—but ends up revealing a lack of a coherent artistic vision. Silly, seemingly nonsensical lyrics like "Aphrodite lady seashell bikini garden panty" recall Gaga's early hits, but "Uranus!/Don't you know my ass is famous?" is no "I'm bluffin' with my muffin." Artpop's best song, "Do What You Want"—a duet with R. Kelly that has since been scrubbed from the album's digital editions—is a measured electro banger that smartly doubles as a love song and finds Gaga lashing out at critics while doing her best impression of Christina Aguilera. But Artpop was a strategic (mis)step backward, the sound of an artist scrambling to maintain, if not reclaim, her position among pop's elite. Camp
5. Chromatica (2020)
Gaga displays only a superficial understanding of the music she seeks to emulate on Chromatica. There's an effortlessness to Dua Lipa's recent Future Nostalgia and Jessie Ware's What's Your Pleasure? that puts Gaga's white-knuckled recreations of 1990s-era house-pop into stark relief. The vast majority of the songs clock in at under three minutes; the pure, if unwieldy, ambition of Born This Way is replaced by SEA-boosting tactics that, fair game or not, chip away at the album's few creative merits. Orchestral interludes similarly serve little purpose beyond breaking up the sonic monotony into a three-act structure. When strings begin to swirl around in the background of "Enigma," you can imagine the symphonic electro-pop album that might have been. Like 2013's Artpop, Chromatica isn't so much a collection of songs in search of a theme as it is a theme in search of an album. Cinquemani
4. The Fame (2008)
Though Lady Gaga was almost instantaneously coronated by the media as the latest in an exhausting parade of Madonna wannabes, her early visual style cribbed more from Grace Jones and Róisín Murphy, while her debut, The Fame, aped a cross-section of mid-aughts female artists. Lady Gaga was initially a vacant pop avatar, at turns channeling Britney Spears, Gwen Stefani, and Fergie but rarely giving us a glimpse of the real Stefani Germanotta. Throughout the album, she relies on nonsensical drivel—"Drive it, clean it Lysol, bleed it/Spend the last dough in your pocko!"—and displays nary an ounce of irony on tracks like "The Fame" and "Money Honey." The album's final single, "Paparazzi," hints at the more fully developed persona Gaga would soon go on to cultivate, but The Fame remains an empty artifact of its time, flaunting the crass commercialism that gripped the zeitgeist in the years leading up to the 2008 economic collapse. Cinquemani
3. Joanne (2016)
She may have eschewed the outlandish costumes for 2016's Joanne, but Lady Gaga merely replaced them with a different kind of pretense. "Young wild American/Lookin' to be somethin'/Out of school go-go'n/For a hundred or two," she sings on the opening track, "Diamond Heart." The problem with this rags-to-riches narrative is that her stint as a go-go dancer was, by her own account, more of an anthropological experiment than a means of survival. But while her reincarnation as an Americana troubadour, traveling from one sticky-floored dive bar to the next with her trusty guitar in hand, felt unearned, she does play the part convincingly enough on songs like "Sinner's Prayer" and the title track. And whether it's Josh Homme's snaky guitar licks on "John Wayne" or the backward loops and dreamy psychedelic flourishes of "Angel Down," Joanne's real stars are its guest musicians and producers, who help Gaga craft a sonically cohesive and otherwise convincing facsimile of roots-rock. Cinquemani
2. The Fame Monster (2009)
Originally conceived of as a bonus disc for the re-release of The Fame, this eight-song mini-album has earned its lofty place in Lady Gaga's canon. The Fame Monster wasn't a huge leap forward for her—several songs ape the sound of hits like "Just Dance" and "Poker Face"—but it did provide some fleeting glimpses of the artist behind the pretense. There's something instructive about the way Gaga rejects any and all intimacy with others throughout. "So Happy I Could Die" is ostensibly a love song, but the object of her affection is herself—looking at herself, drinking with herself, dancing with herself, touching herself. "Alejandro" finds the singer fending off a harem of Latin men, while she opts for the dance floor rather than answer a lover's calls on "Telephone." When she does finally let someone in (or near), it's a "bad romance," or he's a "monster." That the closest Gaga gets to another human being involves being tied up and bitten says it all. Cinquemani
1. Born This Way (2011)
A self-consciously, some might say Warholian, act of re-appropriation, Lady Gaga's Born This Way rises cannily and hilariously phoenix-like from its primordial soup of influences, which includes chunks of Cher, Madonna, David Bowie, Queen, Klaus Nomi, Billy Idol, even Dead or Alive. With its relentlessly throbbing beats ("Americano") and plethora of fierce breakdowns ("Scheibe," "Heavy Metal Lover"), this resuscitated vintage would be perfectly content as the soundtrack to fashion weeks and underground sex dungeons the world over, though really it's intended as a sincere ode to the bedazzled hearts of outsiders past and present, real and imagined. Ed Gonzalez


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Department of History
HH building, room 135
Tel 519 888-4567 x 35828
Fax 519 746-2658
The Department of History acknowledges that we are living and working on the traditional territory of the Attawandaron (also known as Neutral), Anishinaabe and Haudenosaunee peoples. The University of Waterloo is situated on the Haldimand Tract, the land promised to the Six Nations that includes six miles on each side of the Grand River. Learn more from the Faculty of Arts.

subset: commoncrawl


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Sword Art Online was easily one of the most popular anime of 2012. And while the West never got the first game, Sword Art Online: Infinity Moment, on the PSP, it will be getting the updated version of the game, Sword Art Online: Hollow Fragment, for the Vita later this year.
But how exactly does this game about being trapped inside a game work? Check out the video above to see it in action.
Sword Art Online: Hollow Fragment was released in Japan on April 23, 2014, for the PlayStation Vita. It will be released in North America this summer.
Kotaku East is your slice of Asian internet culture, bringing you the latest talking points from Japan, Korea, China and beyond. Tune in every morning from 4am to 8am.
To contact the author of this post, write to email@example.com or find him on Twitter @BiggestinJapan.


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Black Gel Krystal
This is a combination of our 3D and 4D plates. With the Crystal 4D clear acrylic letters as a base and the gloss black gel finish, they're given a 'floating plate' effect which looks amazing especially during the night. A simple car modification that'll make heads turn.
If there a certain style or design you require, you are more than welcome to contact us on social media either on
Instagram, Facebook or sending us an email.
If you are confused about the options or require any other further information then don't hesitate to contact us.
Number Plate Clinic are the best suppliers of 3D Resin Domed Gel and 4D Acrylic number plates. We only use the highest
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there any issues or you are confused about anything feel free to give us a call or contact us through social media.
Number Plate Clinic have been the best registration and number plate suppliers in 3D and 4D styles since the beginning and
are the best in the industry.


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#RSL Tweets of the Day (@RealSaltLake)
"I'm going to give what I can humanly give for CRC to make the World Cup" says #RSL FW @al_saborio ... http://m.mlssoccer.com/news/article/2013/03/20/rsls-alvaro-saborio-confident-win-vs-usmnt-friday …
Tues on @ESPN700 #RSL mgr @JasonKreis talked impact of int'l duty, gave injury update, history w/ DAL, etc ... http://espn.kall700sports.com/wp-content/uploads/2013/03/Jason-Kreis-3-19-13.mp3 …
Real Salt LakeSpyder @RSLSpyder
[MLS: MLS Insider] Captain of the ship: Clint Dempsey gets the armband for US World Cup qualifiers http://bit.ly/WVNYt4 #MLS #RSL
#RSL trainer has spoken with the Costa Rica. I'm told Alvaro Saborio has a bruised knee. Not as serious as first reported; could play Fri.
ESPN 700: Garth Lagerwey on "The Bill & Hans Show"
MLSsoccer.com: March to the Match Podcast – March 20
MLSsoccer.com: Between the Lines: The deadly disease of ball-watching
MLSsoccer.com: Anatomy of a Goal: Justin Morrow's overlapping goal
Real Salt Lake News & Notes
RealSaltLake.com: Report: Saborio doubtful for Friday's Costa Rica-US game
Pro Soccer Talk: Saborio injury could keep him out of WCQ against US
The Salt Lake Tribune: RSL's Saborio injures knee during Costa Rican training
Deseret News: Backup goalkeeper Josh Saunders will get first start in RSL uniform
Deseret News: RSL's Saborio suffers knee injury, may miss World Cup qualifier against USMNT
MLSsoccer.com: RSL's Alvaro Saborio confident in win vs. USMNT in Colorado
KSL.com: Handful of Real Salt Lake players to play on international stage Friday in USA-Costa Rica World Cup qualifier
For the Fans, By the Fans
RSL Soapbox: When last they met: Real Salt Lake v. FC Dallas, Aug. 2012
RSL Soapbox: MLS Fantasy Week Four: Plata top of the pack
RSL Soccer Talk: RSL 2013 Campaign – A look at 2013 stats
MLS, Other News & Notes
MLSsoccer.com: Michael Bradley calls USMNT whistle blowers shameful
MLSsoccer.com: Herculez Gomez says Sporting News article will inspire team to be better
MLSsoccer.com: Clint Dempsey becomes fifth person to wear captain's band in Klinsmann era
MLSsoccer.com: Take him or leave him, Union's Hackworth comfortable with Soumare-less club
MLSsoccer.com: Earthquakes' star Wondolowski claims outburst was nothing personal
Pro Soccer Talk: Carlos Bocanegra takes to Facebook in defense of Klinsmann
Pro Soccer Talk: Effects of heading the ball being studied
ESPN FC: Some U.S. Players losing faith in Klinsmann


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Thursday, November 26, 2020
"'I need you in jail'" – One man's administrative detention typical of continued Israeli abuses
PM collaborators
- October 13, 2016
Main News
] [
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At the beginning of 2016, Abdullah* had a normal life. He was happily married and his wife was expecting a child. After finishing university in Jordan, he found a decent job as an accountant in a school. He drove a silver scooter to work, and drank coffee with his friends in Jerusalem on his days off.
How quickly things can change. On March 20, after two years of grappling with Israeli bureaucracy, Abdullah had finally been given permission to visit the al-Aqsa mosque.
And on that very same day, he was arrested near his home in East Jerusalem. The police had been expecting him. "'Abdullah give me your ID'" he recalls the policemen shouting. The policeman, says Abdullah, then "claimed he was hitting him" and Abdullah was promptly arrested.
Abdullah was taken to a cell in Jerusalem, though the policeman seemed apologetic: "'I had to do this. But tomorrow you'll take your freedom,'" Abdullah was promised.
"But tomorrow I didn't 'take' anything," Abdullah scoffed.
The arresting police officer claimed to have CCTV evidence of Abdullah assaulting him. But this first accusation was quickly forgotten.
Instead, Abdullah explains, the authorities justified his detention based on a number of Facebook posts. "They used Facebook posts from four years ago; the most recent was two years ago," he told Palestine Monitor.
The Israeli military, which controls the
Israeli administrative detention programme
, claimed that these posts "incited violence."
Certainly, many of Abdullah's Facebook posts are political in nature. But Palestine Monitor could find no evidence that Abdullah promoted violence against Israeli soldiers or civilians. This is despite the requirement that administrative detention is only meant for those who
"harm public security."
Abdullah admits that he was arrested before, for stone throwing. But this was when he was just fifteen. As he says: "I was just a boy."
And in fact, the Facebook post that Israel considered most incriminating was an apolitical message where Abdullah showed solidarity with a friend already in prison. "[My friend] has said some violent things," conceded Abdullah. "But all I said was that I hoped he would 'be free soon.'"
Cases like this are typical. Israel claims that administrative detention is a "necessary security measure" and only done in special circumstances. But
rights groups
have noted that many Palestinians are detained "routinely"
on dubious grounds
In any event, as
reports, "detainees' past actions" are inadmissible in administrative detention cases, making Abdullah's old Facebook postings insufficient grounds to detain him.
For his part, Abdullah's treatment was especially infuriating because of what he claimed was revealed to him by an Israeli agent, from its internal security agency Shin Bet, during his initial interrogation.
"He said that the Facebook posts were irrelevant. He just 'needed me in jail.'" The agent then goaded Abdullah, he claims. "He said to me: 'you can tell your lawyer what I told you. But he will think you're a liar.'"
Soon, Abdullah found himself in the Nafha prison, in the southern Negev Desert. Prisoners were ten to a cell, and there were not enough fans. In the roasting Negev summer, this made the situation "very difficult."
Transferring Palestinians from the occupied territories to deep prisons inside Israel is common practice,
despite being illegal
under international law.
To make matters worse, Abdullah's wife had just given birth to their son, Nasir. But Abdullah had no idea if his family was safe: "I had to wait one month to see my wife and son." Thereafter, visits were limited to a monthly visit of "forty minutes."
Eventually, at the end of September, Abdullah was released and returned to his family. No explanation for his ordeal was given, though he was made to sign a form stating he would not celebrate his freedom with a party.
"I was happy" he says, showing a photo of Nasr. "He is named after my grandfather."
Abdullah's case is not unique. 692 Palestinians are were held in Israeli prisons as of April 2016,
reports B'tselem
And because administrative detention is
not subject to civilian judicial oversight
, Palestinians are
often rearrested
without explanation after being released.
So despite his newfound liberty, Abdullah does not "feel good." Israel can "put me in jail again for no reason," he explains. Abdullah pauses, takes a sip from his coffee. "I just want to live in peace with my family."
* For security reason his name have been changed
Back to Top
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How to Stay Safe Banking on Your Phone
Mobile banking continues to be popular among consumers as an easy way to conduct financial transactions, and criminals are taking advantage.
Continue Reading Below
"Half of consumers right now have a smartphone, and about half of those are using mobile banking," says Alphonse Pascual, senior analyst, security, risk and fraud at market research firm Javelin Strategy & Research. "Mobile banking does leave consumers open to having information stolen."
Security experts say mobile banking isn't as risky as banking from a PC because mobile phone app developers have learned from their PC predecessors and made their offerings more secure. Still, there are risks, and if users aren't careful, they risk compromising their personal information and hard-earned savings to scammers.
"One of the big risks is somehow a malicious hacker gets between you and the bank and intercepts your credentials and finds a way to transfer money," says Andrew Hoog, chief investigative officer at digital forensics and security company Via Forensics. "It doesn't matter if you logged in to check your bank account or to transfer data. Either way, it's a potential way for a hacker to get inside your account."
Offense is the Best Defense
Anti-virus software is the best way to protect a PC, but that's not an effective defense for mobile phones. Instead, security experts say users need to be selective of where they conduct their mobile banking.
Logging onto a banking website over a public Wi-Fi in a public area like a coffee shop, hotel or in an airport is a security risk as the network is vulnerable to anyone monitoring that hot spot to intercept the data being transferred to the bank. Hoog says it's much harder for scammers to seize information over the phone carrier's secure network or through a trusted hot spot.
Using a bank's app will also help protect financial data. "Half of mobile banking customers still use mobile browsers to access the bank but it's something we don't recommend," says Pascual. "The mobile browser is less secure than a well written mobile app."
But consumers should only download banking apps directly from the financial intuitions' website. Often criminals will create a look-alike fake apps to trick users into divulging their login and password.
Lost Phone Prevention
One of the biggest ways consumers fall victim to mobile banking fraud is when their phone is lost or stolen and scammers get access to all their information stored on the device.
To help mitigate compromised information in the event of a lost phone, avoid automatic logins and always require a password.
"Even if you don't save your log in information when you are done with a session, you should log out," says Pascual. "It leaves you open to the same risks."
Hoog also recommends users periodically inspect their devices to make sure they didn't install a bad app or that their phone isn't sending text messages unprompted. "Take a hard look at your device and computer at home to make sure there aren't issues," he says.


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many thanks
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Posted by: Evan Black
on: February 27, 2017
It's always fun to throw a variety of enemies at your players. Give these guys a try!
Very nice work Evan.
OMG! This is going into my home game! In fact, I'm gonna make a whole new side mission to incorporate it. Brilliant!
This is the sort of thing SWAG is about, finding hooks and inspiration for your campaigns! Featured!
You always do an amazing job and that is one hot looking fighter.


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TGI Fry-Day: Sobakoh's Agedashi Sobagaki
Explorations of the frying arts.
Sobakoh's Agedashi Sobagaki ($7), fried soba dumplings, are described as this on their menu: "fried soba gnocchi stuffed with ground chicken served with light sauce, ground Japanese radish and Japanese scallions on top." That description is enough to sign us up, but we silently feared for overly fried balls filled with dry, crumbling ground chicken. Our apprehensions were put to rest immediately upon seeing the dish. First, the presentation was inviting: the agedashi sobagaki came with three golden dumplings that looked almost healthy as they shouldered the white mound of ground radish and green scallions. They tasted something like savory timbit doughnuts—served piping hot with varying layers of cooked dough: the crispy exterior was slightly hardened, the next level was slightly more mushy, and the interior was soft and delectable thanks to the core scoop of juicy ground chicken. Guess Sobakoh's laborious practice of making their own buckwheat soba dough pays off, huh?
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Learn more about Gabriella, one of our committed members within PRestige Agency.
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Enjoy the time you have at Hofstra, apply yourself and pursue your passions!


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I Confess….I Missed Most of the Super Bowl
Confession is good for the soul they say (and just who in the bloody hell are they anyway?). So I have a confession. I missed a great deal of the Super Bowl on Sunday. While millions of fans and non fans were glued to their myriad of types of TVs. I was not one of them.
I was at a play instead.
Well, I was at one early in the afternoon anyway. When the Mrs. told me she was easily able to get tickets for a play my son and her would like to see, I told her of course you could. It's the day of the Super Bowl. The two of them, not being fans of the game whatsoever, didn't care.
Now sacrifice is a word that seems to have lost some meaning in 2010 when it comes to personal decisions. We all like to do what we want to do. Sometimes, however, we get to do what someone else wants to do. Today was my turn.
So off we go to the play, which was not bad (a musical adaptation on Mark Twain's or Samuel Clemens', take your pick, Life on the Mississippi…at least they kept it short and moving along which means I didn't snooze for once). Afterward, the family and I headed out in the light snow to the Legends in Kansas City, Kansas. Now my main purpose in going there was to dine at Dave & Busters. If I was giving up the game, at least I was going to use my 2 for 1 coupon and get my favorite dish there, the Mixed Grill. Nothing like steak, chicken, and ribs, even if it was in small quanities, to make up for my glorious and noble forgoing of the game.
Along the way, before our meal, the Mrs. and son needed to do some shopping. Seems somewhere between leaving home and the end of the play, a slight wardrobe malfunction occured with the my sons jeans. So a new pair was of the essence. Securing those at American Eagle (sorry, K-Mart just won't do in his school), I tagged along while they shopped for a bit. Occasionally even old dad found an item he liked. Of course the mall, a gem of a place built in fields near the Kansas Speedway, was quiet. Very quiet. Had to keep explaining to the family that most people were watching the pregame and game. Most people were not us I was told. Wisely, I kept quiet.
Finally, the shopping gets done, the meal is consumed, and we're off for home. I get in the door, swap the laundry, and sit down to see the last 12 minutes of the game. I get to see the Saints totally prove me wrong. I had written in an essay contest that the Saints 25th ranked defense would keep them from hoisting the Lombardi Trophy. Well, that was wrong. It was me, in retrospect, taking raw stats and not seeing more to them. Kudos to the Saints for winning the game. The Saints fans are long suffering and deserve the victory.
And what did I deserve for my valiant sacrifice, a trip to the gas station and grocery store after the game had ended. I bet no one in Louisiana had to do that after the game, unless it was to get more beer, pop, or food to celebrate with. I was getting hamburger, milk, veggies, and other staples for this week's meals.
At least I ended up polishing off a bag of Munchos and a Coke at the gas station for my reward. Just call it the key lime pie I didn't get for desert 2+ hours earlier. On the whole, it still was a poor substitute for smooth, creamy, tart, sugary goodness of pie.
And next year…..I'll have to do it all over again. For my family's happiness, I really don't mind, unless the Chiefs or Rams somehow get there. Then all bets are off and dad plops his rear in front of the TV. Screw the play if that happens. And I get my pie also, 2 pieces. Real big slices.
Then again………
Tags: colts, saints, Super Bowl


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Taranaki Wave Classic OCT 23-26 [New Zealand]
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Joined: 03 Apr 2000
Posts: 1438
Posted: Thu Oct 15, 2009 12:00 pm
Post subject: Taranaki Wave Classic OCT 23-26 [New Zealand]
Calling all who can make it--The Taranaki Windsurf Club has the following announcement [See Below] regarding the OCT 23-26 Wave event in Taranaki, New Zealand:
Were only a week out from this years Taranaki Wave Classic and it will categorically, without a doubt, be the biggest and best TWC yet! Our sponsors have given us huge support and some amazing prizes, especially our platinum sponsors: Carbon Art and Rodgers Dental. Make sure to bring all your windsurfing and surfing toys, and be ready for whatever awesome conditions the Taranaki coastline has in store.
Registration and entry packs will be at the Oakura Boardriders Club on Messenger Terrace from 910 am, and entry from now until then is $95 (bring cash or pay online). Briefing is at 10 am and well also draw the early bird spot prize thena brand new Gaastra wave sail! You will have to be at the event to pick up the sail if you win it. Youll also be able to check out the prizes donated by our great sponsors:
Carbon Art, Rodgers Dental, ZM FM, Go Pro, Gaastra, Naish, KA Sails, Seventh Wave Wetsuits, Stash-it, Spore*, Dirty Dog, NZ Boardstore, Deepfried, Zimmos, Port Taranaki, Oakura Beach Holiday Park, Butlers Reef, Oakura Village Café, Oakura Pharmacy and Snickerdoodles. Phew!
For those of you new (and not so new) to wave sailing we plan to run a couple of informal Q&A clinics when the wind is light, so you can get wavesailing technique tips from some of the top sailors. And if there is plenty of enthusiasm well also get a run down on the finer points of the forward loop. We want to see everyone pushing their limits and trying something new or huge, or better yet, new and huge! Well be looking for the biggest wipeout of the weekend and the best first-time-forwards.
Sunday night from 7:30 pm will be the TWC presentation, dinner and HUGE party at Oakura Boardriders Club, AND the giveaway of the Carbon Art waveboardthe perfect toy for lining up great waves anywhere. Check out
and if you havent already signed up you know you need to get on to it now!
Last edited by geohaye on Mon Nov 02, 2009 12:10 pm; edited 1 time in total
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Joined: 03 Apr 2000
Posts: 1438
Posted: Mon Oct 26, 2009 11:32 am
Post subject:
Update from the Taranaki Windsurf Club:
Friday 23 October - What a warm up.
Each year like clockwork the warm up day Friday produced some amazing down the line wavesailing. A clean logo to mast high swell rolling three hundred metres down the perfect reef break that is called Pungarahu.
Today provided a great chance for out of town competitors for the Taranaki Wave Classic 09 to get into the swing of riding the world class waves of Taranaki coastline. Pungarahu was producing the goods with riders getting upwards of 10 turns on each wave. I have not seen so many buzzing smiling people since last Taranaki Wave Classic. Quotes like "Best wave of my life", "Best ever" and "arrrrr I hate rocks".
The local guys were really showing their experience out on the break. James Dinnis the MC and judge for the competition was throwing huge turns and showing people what the judges like to see. Mike La Franchie, Paul Barron and Chris La Franchie were showing why they have been at the top of the TWC honours board in the last few years. They were displaying committed sailing and not holding back. Other outstanding sailors were Dirk Schmit, Charles Dinnis, Bikki, Alex (New Caledonia) and Garry McCorry.
Lucky there are a few spot prizes of sails because the unforgiving rocks laid claim to demolishing a fair bit of gear.
The forecast for the next couple days is looking less promising. We have good amounts of clean swell. Just the wind is quite light. Fingers crossed!!!!
Look at
for news stories and more photos.
Images thanks to Spore.
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Joined: 03 Apr 2000
Posts: 1438
Posted: Mon Nov 02, 2009 12:09 pm
Post subject:
Event update & Photos from Chris at the Taranaki Windsurf Club:
Another year and another Taranaki Wave Classic! This years event showcased the best conditions Taranaki can offer, with an insanely epic, mast high, down-the-line, Pungarehu extravaganza!
The warm-up for TWC09 began early on the Friday with a convoy of eager beaver Wellingtonians (led by Chris Brown) leaving our nations capital at 5 am. By 9 am they were at the holy grail of NZ wavesailing: Pungarehu. With the tide coming in the hordes hit the water and by 11 am there were around 15 20 sailors catching the mast high sets consistently rolling in to the beach. The wind picked up throughout the morning and by midday it was blowing 5.0 and small board weather. Perfect!
With solid surf and sailors ready to test themselves there was always going to be some carnage. A few sails came back to the beach in pieces (including two in consecutive waves from the New Caledonian brotherswho also must have made the longest trip to get here out of all the competitors. We saw some great wipeouts and a steady stream of sailors making their way back up from Crushersa long slow walk.
Saturday dawned sunny, warm and windless. We gathered at the Oakura Boardriders Club for briefing and goodie bags. Thanks to our platinum sponsors Carbon Art and Rodgers Dental the goodie bags were packed with loads of high energy nutrition (read sugar) for hardcore sailing. Competition never looked likely on the Saturday, so everyone adjourned to Weld Road to surf, laze about and check out the styley gear from sponsors: Carbonart, KA Sails, Gaastra and Naish. About 3 pm the bbq and Mikes beers were busted out, capping off a very pleasant afternoon as good as you could hope for without wind really!
Sunday found the TWC competitors heading to Kina Road in the hope of a northerly and out of range of our radio sponsor ZM. Thomas and a few other desperadoes dribbled around in some cross-on mush and almost everybody surfed in the fun conditions. Unfortunately decent wavesailing wasnt on the cards for the second day running. Only one thing to do really: party it up, get the hangover from hell and the wind would blow for sure.
The 90 odd competitors met back at Oakura Boardriders Club for some great food and a few brewskis in the evening. Well over $7000 worth of spot prized were handed out. Of course the prize of all prizes at any TWC is the Carbon Art waveboard. James Dinnis arrived complete with a board blank in tow; win the board and you could have whatever shape you desired! To great anticipation the winner was announced as Paul Sinclair from Invercargill. He looked pretty damn happy and gave James possibly the first ever so stoked I won the board hug.
The Monday and the traveling convoy made its way in dribs and drabs (depending on the state of hungover-ness) down to Kina Road. About 12:30 the wind picked up from the north and Thomas (who else ) got out there to show us it was definitely sailable with the swell providing waves up to about half mast. In the space of about 10 minutes the number of sailors on the water went up to about 30 and the contest was on!
An hour-and-a-half of frenetic wave riding (and sharing waves nicely) found finalists for each division and then the top guns went out on their own for the finals. Paul Barron took out the Open Mens division, with hot competition from Clayton Dougan (2nd) and Dirk Schmidt (3rd). Katrin Dau snagged 1st in the Open Womens, with Leeanne (2nd) and Rewa (3rd) closely following. In the Juniors Jebbe out pointed the rest of the field, with Andy Mabin in 2nd and Thomas Davies in 3rd.
For event reports pictures and video go to
1. Paul Barron
2. Clayton Dougan
3. Dirk Ritterhaus Schmidt
4. Chris (woo) Norris
5=. Chris Brown
5=. Constantine
7. Mike La Franchie
1. Katrin Dau
1. Jebbe Unthank
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Posts: 1438
Posted: Mon Nov 02, 2009 12:16 pm
Post subject:
more shots.
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Hugh Hendry simply gives a lesson to Joe Stiglitz who proves that he does not understand debt. Hendry suggests that the only way out is through debt default or debt forgiveness. Yes, he is 100% correct, everything else is simply debt shuffling, and yes, that would whack the banks. Just ignore the Spanish Ambassador, he has no clue and a very biased outlook. Stiglitz, however, has no excuse and clearly does not understand debt saturation.
Freedom's Vision is the right course of action, not only for the United States, but also Greece and most of the world. (ht JB)
Thursday: Unemployment Claims, ISM Services
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These 2 vids are my son after winning his soccer season. He played extremely hard and well and he wanted to tear it up afterwords...
Thrash It, Bash it, Break it, No Regrets!!!
Down to the ground with, Electric.
i really need to find somewhere to go, lol
Pede 4x4 vxl
Slash 2x4 vxl
Playing with my Stampede on a rocky section of an atv trail.
My youngest driving a stampede 4x4 having some fun.
Thrash It, Bash it, Break it, No Regrets!!!
Two things I need for this kind of thing !. Tripod 2. Better Camera.
Brushless RiPs Nitro Drips.
Hey Guys,
First post here. I figured I'd start with a bang. We are a small group of RC enthusiasts in Newfoundland, Canada. We did this small clip yesterday with one of the guys' Stampede 4x4 until a half shaft bit the dust.
Open to comments and constructive criticism on the video. I do photography/videography outside of my profession. Hope you like.
Best stampede bash video ever!
Stampede VXL, Stampede 4x4, Rustler VXL
I blame it all on speedpede09
Stampede 4x4 VXL setup:
Lowered body
MIP X-duty driveshafts front & rear
Swedish Edition 1/8 scale Big Bore
Battery expansion kit
RPM front & rear a-arms
RPM rear bearing carries
Proline badlands on RPM Revolver
GPM alu hex
Yeah Racing Blue alu motor mount
TRX ESC fan
Topcad motor heatsink with fan
TRX alu bearing adapter
TRX swaybar kit
***** 3s LIPO 5000mAh 20c
Imax B6AC
Checkuot my channel too: http://www.youtube.com/profile.php?do=editpassword/RustlerVXLRC?feature=mhee
O.S.21 Nitro Revo, Stampede 4x4, 2 Axial Honcho's
Here are my videos. I should have another up in a week or so. I just made some trails in the woods for some trail riding and crawling. Let me know what you think.
Thrash It, Bash it, Break it, No Regrets!!!
Another great video. Snow makes for some soft landing.
The green trim looks pretty nice to.
Some slow motion shots of my Stampede 4x4 VXL, together with a Summit
Last edited by Stampeter; 01-04-2013 at 02:12 AM. Reason: chenged youtube link
Some slow motion shots of my Stampede 4x4 VXL in the snow
A few minutes of driving fun:
Some good landing and some bad....not my best driving! I blame the cold....
02-16-2013 - Stampede 4x4 Run - Budget SPEED build - 1st Vid
02-16-2013 - Stampede 4x4 Run - Budget SPEED build - 2nd Vid
Fun Fun in the snow doing some jumps!
Some bashing with my stampede 4x4 and my buddy's HPI savage XL out at Fiesta Island in San Diego. All vids shot on gopro hero2
Last edited by Dadx2mj; 03-30-2013 at 10:29 AM. Reason: Language in Video
Testing out the newly waterproofed ET-3s/ET-2400 brushless system. Got some good hang time off of the 6 foot tall snow ramp at the end of my driveway. Geared 17/54 on 3s lipo with Trencher Tires.
Never trust an "Atom", they make up everything.
Check out a video of my Stampede with my new sony action cam mounted to the car for a little fun in an old rock quarry.
Hey guys, check it out.
Last edited by redrob69; 05-12-2013 at 09:44 PM.
Few jumps I did, first time hitting anything this big (and its not even that big).
Sent from my SGH-I747M using Tapatalk 2
Stampede and erevo tag team!
Just did a video after having this car a bit over a year now. Just some thoughts and tips.
Stampede 4x4 VXL Pro-Line Trencher
Did some major editing and titles, I think it is good enough to be a commercial for traxxas.
Here is a link to a vid of my stampede 4x4 bashing and doing some wheelies. Also my youtube channel name: Traxxastampede4x4 there i have more vids of my stampede and my other rc's as well.
The Traxxas Stampede 4X4 VXL has never looked so good! The RC fanatics at iJumpRC took this indestructible remote controlled truck out on an EPIC RC Adventure. Tumbling off cliffs, a high-speed dogfight with a Slash 4X4, sick GoPro Slomo and follow cam shots and of course massive RC Jumping. This is a MUST WATCH! If you like the video, please SUBSCRIBE, give it a THUMBS UP, Post it on a forum and SHARE IT WITH YOUR FRIENDS!
Doin' it for the RC Fans, Thanks for watching!
Wanna know more about iJumpRC? iJumpRC


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(- KT1, – KT2, – KT3, – KT4, – KT5, – KT6, – KT7, – KT8, – KT9, – KT10, – KT11, – KT12, – KT13, – KT14, – KT15, – KT16, – KT17, – KT18, – KT19, – KT20, – KT21, – KT22, – KT23, – KT24) Kingston upon Thames, Hampton Wick, Norbiton, Coombe, New Malden, Old Malden, Worcester Park, Surbiton, Berrylands, Tolworth, Long Ditton, Thames Ditton, Weston Green, East Molesey, Hampton Court Palace, Bushy Park, West Molesey, Chessington, Hook, Malden Rushett, Esher, Claygate, Hinchley Wood, Cobham, Stoke d'Abernon, Downside, Hatchford, Walton-on-Thames, Hersham, Whiteley Village, Weybridge, Oatlands, Saint George's Hill, Byfleet, West Byfleet, Addlestone, New Haw, Woodham, Chertsey, Ottershaw, Longcross, Lyne, Epsom, Ewell, Stoneleigh, Tattenham Corner, Headley, Langley Vale, West Ewell, Horton, Longmead, Tadworth, Kingswood, Lower Kingswood, Walton-on-the-Hill, Burgh Heath, Mogador, Box Hill, Ashtead, Leatherhead, Oxshott, Fetcham, Great Bookham, Little Bookham, West Horsley, East Horsley, Effingham, Guildford, Mole Valley


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