Crushing Krisis

Comic Books, Drag Race, & Life in New Zealand

off-topics

the early bird gets the eggs

by

Today I woke up at 6:55am, laced up my running shoes, and walked to the supermarket because it was 6:55am and I was definitely not jogging at that hour.

Why? Because New Zealand has run out of eggs. We are officially in a national egg shortage. It’s an ovo-crisis!

I mean, New Zealand has some eggs. Personally, we’ve got about 23. But there are not enough eggs. Few enough eggs that it has become common over the past month to visit the grocery store to see an entire bank of egg shelves picked entirely clean, which didn’t even occur during the height of our lockdowns.

Image by Steve Buissinne from Pixabay

Yes, people are even buying that one last carton in the corner with the cracked egg in it.

Apparently one measures these things not in terms of eggs but in terms of laying hens. Literally, the chicken came first, in this scenario. I have learned from the prestigiously-titled Stuff that we currently have 3.5 million egg laying hens (a 68% hen-to-people ratio), but we ought to have 3.8m egg laying hens (a 74% hen-to-people ratio). Those hens (and their predecessors, I suppose) laid about 92 million eggs in the year ending in June 2022, down an apparently staggering amount from 101.2m in the prior egg-laying calendar year.

Long story short, today I learned you need three hens for every four people.

The thing is: it’s not like New Zealand just found a whole lot more people. Even if we count tourism, we don’t have as many people in our borders as we did back in 2019, and there hasn’t been any chicken-specific diseases (that I’ve heard about, anyhow – and, we do have a line into the chicken community).

How did New Zealand run out of eggs?

To the best of my understanding, we actually ran out of eggs 10 years ago and just didn’t realize it until last week. [Read more…] about the early bird gets the eggs

happy birthday to this

by

Today is the 22nd anniversary of Crushing Krisis.

This site began on 26 August, 2000, as a blogger.com-powered blog, hosted on Freespeech.org, launched in my final days living in a summer dorm room at Drexel University before moving into my first college apartment in West Philadelphia

I had no idea what I was doing and no plan.

I knew I loved to write and I wanted a home on the internet where my writing was the entire point.

I couldn’t have possibly imagined then who (and where) I would be 22 years later or that Crushing Krisis would still exist. [Read more…] about happy birthday to this

Crushing On: J. S. Bach’s Lute Suite in C minor, BWV 997 performed by Evangelina Mascardi

by

As a rule, I try not to let social network algorithms touch my life.

Why would you let the whims of an algorithm meant to keep you on a site change your priorities, dictate your schedule, or change your mood?

Yet, sometimes… sometimes you peek into the vast abyss of the algorithm by mistake and you see one tiny glimmer within it. Not a distraction. Not a waste of time. Not a cheap piece of disposable joy.

It is the glow of something extraordinary. Something life-altering on a deep, meaningful level that you will carry with you.

Here is Evangelina Mascardi playing J. S. Bach – Suite in C minor BWV 997 on a period-accurate 24-string Baroque lute entirely from memory, recorded a year ago. It was composed for (and typically performed upon) a Lautenwerk (lute-harpsichord) – a keyboard instrument.

(If you don’t have the patience to watch all 24 minutes, at least go watch the final movement. Just extraordinary.)

While watching this I had… I don’t know if I would call it an “epiphany,” but it was a moment of extreme calmness and presence within my own body. Not just a moment, though. Entire minutes. It is one of the most beautiful juxtapositions of composition and performance I’ve ever seen and heard in mylife.

Music Monday: “Wet Dream” – Wet Leg

by

Music keeps you young.

It sounds like one of those pithy phrases you might find on a decorative wall hanging into the home of a not-so-young person. (Full-disclosure: at this point I am a not-so-young person.)

I’ve always said that music is essential to me. It’s something that fundamentally makes me happy. The more I’m listening to music and playing my own, the more cheerful and productive I get in every area of life. One of the difficult parts of making the switch to a fully-remote life during the pandemic was a lack of commute – not because I like commuting, but because it is where I got my required one hour of music a day.

As music has come and gone from my daily routine in the past few years, I’ve realized that it’s not only my mood that changes when I have tunes in my ears or beneath my fingers. I feel like my actual age oscillates. New music makes me feel mentally and physically younger.

That might sound delusional, so allow me to explain by way of Wet Leg.

I’ll be honest, when I heard there was a hip new band named “Wet Leg,” I did not leap to listen to their music. Hip bands with clever names and ironic, punny songs come and go every year, each putting their own tweak on the current trends in pop production. After a few years of not connecting with them at all, I felt like hearing each successive entry just made me feel older. I just didn’t get what the youths were into, which made me decidedly not a youth.

Then, one day last in 2021, I happened to see the YouTube thumbnail for Wet Leg’s “Wet Dream” video, featuring lead singer and guitarist Rhian Teasdale dressed like an erstwhile modern day pilgrim wearing a pair of oversized lobster claws.

“Okay,” I thought, “it’s a hip band whose first song shares a word with their band name and is accompanied by an ironic video. I am going to hate this. Here we go.” [Read more…] about Music Monday: “Wet Dream” – Wet Leg

30 – Adele | the expectations game

by

As a music fan, consumer, and review, it’s hard for me to detach my reaction to a new album from the expectations game.

That’s especially true of fourth albums, like Adele’s 30.

Everyone loves an indelible debut record. When we love an artist’s first album, we fall in love with the songs, but we’re also deeply curious about their potential. What path will they take? How will their follow-up sound?

We applaud when an artist releases a strong second album. We are amazed when it is even better than the first. When we love an artist’s second album, we fall in love with the songs, but we’re beginning to measure a vector. They’ve moved in a direction, even if that direction is to provide more of the exact same. Will they continue to progress in that same way?

Third albums are tricky. That’s when things become interesting. Third albums are when we think we really know something about an artist. We have a reasonable sample size of songs. We have three points from which we can triangulate position and estimate future progress.We can say, “the artist usually does this or that.” We can decide if their progression has been linear or if it took a hard turn into unexpected territory.

That is why fourth albums are dangerous. They are the realm of proving or disproving all those things that we thought we understood. They have the potential take an artist’s progression from a line – or even a triangle – to some wild uneven quadrilateral that might even intersect with itself. They’re often the moment where an artist solidifies who they really are and who they will continue to be for many years to come.

I think most people navigate that musical map subtly. Unconsciously. The average listener has some expectations that might be fulfilled or shattered, but I don’t think they consider a fourth album to be particularly significant.

I’m not like that. I can’t turn off the part of my brain that dissects songwriting and production, and that draws out vectors of musical style and influences. I am graphing each release as a point on a musical map and drawing the vectors between them. I can’t help it.

Adele has had a textbook progression through these first three steps Memorable debut? Check. Explosive classic sophomore effort that raised her to worldwide acclaim? Check. Stylistically rangy third record that at once confirmed her strengths but pushed some of her boundaries. Check.

Now, 11 years after her debut but a whole 6 after her third record, we’re getting that fourth album. The dangerous one. It’s dangerous for Adele, but dangerous for me, too – because I feel the weight of all of those expectations.

I had to listen to it two different ways. First, just to hear the songs. Then, to hear them with the weight of all of that piled on top of them.

It was terrible both ways, which leaves me fearful of Adele’s future trajectory.

30 – Adele

Adele is the biggest blockbuster voice in popular music today, both in spectacle and in sales. That makes any album of hers a hotly anticipated release. 30, in particular, has been inflated even further. The first in six years! The first since she got divorced! Got thin! And it’s accompanied by a pair of pan-Atlantic concert specials! And an interview with Oprah!

I don’t know that the spectacle could get any bigger. It threatens to overshadow the features that made Adele so famous in the first place: her massive voice, her clear-eyed songwriting, and her biting sense of humor.

Adele is famous for using that massive voice to command attention on her emotional ballads just as well as she uses it to power surprising, genre-defying pop hits like “Chasing Pavements” and “Rolling in the Deep.” She has never lacked for strong material in either category. Her songwriting skills are as notable as her vocal power, even if her vocals sometimes overshadow them.

Now at a pinnacle of her popularity, 30 finds Adele coasting through a set of charmless songs without an earworm refrain to be found. Suddenly, she is putting the schmaltz at center stage rather than her songwriting acumen. I don’t begrudge her the sales, but I wish they came with a more enjoyable record. [Read more…] about 30 – Adele | the expectations game