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slow mo(nth)

May 2, 2022 by krisis

The speed limit in Wellington varies from 30 kilometers per hour to 100 kilometers per hour, depending on if you are on a residential street or a highway.

I spent all of March moving no faster than 8 KPH.

Not coincidentally, that was also the speed I had been moving in January and February, but for an entirely different reason: I ran over 80 kilometers the first 59 days of the year.

Image by Bernd Hildebrandt from Pixabay

When we lived in Philly proper over a decade ago I walked everywhere. Even home from work several days a week.  I never ran.

I walked everywhere and it felt like I was capable of everything. I walked and got promoted, walked and composed songs in my head, walked and wrote whole blog posts.

That’s why I went on my first five kilometer walk the first week in January while E and the kid were off camping. Not for some New Year’s Resolution. I walked because it was a lovely evening. I walked because I wanted to relocate that powerful creative space in my brain.

Walking was easy. Too easy. Not enough resistance for my body or my brain. Walking quickly turned to running, which quickly turned into the fastest I’d ever ran. Not fast for a real runner, but a high speed for me. Eight kilometers an hour.

For my brain it was slow motion. It was the most cumulative time I got to spend alone with my thoughts away from my family and the internet in a long time. I was getting faster and faster with every incremental 5K and the acceleration was starting to bleed into my home life.

I was ready for a big March full of projects.

Nothing in specific, mind you. It was more a general thrum of positive, productive energy waiting to be unleashed.

That was how I felt the morning of Monday, February 28th. It was a bright, sunny morning at the tail end of summer, and I was going to have some long-put-off minor dental work done at 9am. That doesn’t sound like a good time, but it was one of those things that I had worried over for so long that it felt like it had been permanently tattooed onto a checklist of looming anxieties tallied by my brain. Finally having it done was going to free up many brain circuits for my big March.

That was the morning I woke up to discover that the minor kid’s weekend cold had now spread to E, and that the two of them were in miserable shape. COVID cases were spiking in Wellington, and while the kid is a masking pro she had also plucked a loose tooth out of her mouth on Friday at school lunch just before this cold hit.

Did they have COVID? If they did, I probably shouldn’t go to the dentist to let them spelunk around in my oral cavity for several hours.

Ah, but here was the rub. New Zealand was rolling out Rapid Antigen Tests on March 1.

The next day.

But, due to the spike in cases, all of our ample two drive-up testing locations in the city were completely overwhelmed. They weren’t even doing the shove-the-q-tip-up-the-nose PCR tests anymore. They were just slinging some special pre-sale RATs into your car window and calling it a day.

That was the official testing recommendation of the NZ COVID hotline: getting some RATs slung at you. Otherwise, the official recommendation was to wait two days and then try to buy a RAT at retail. Except, not if you thought you might have COVID. In that case, just isolate.

That was okay. It was fine. I’m good in a crisis. It wasn’t any worse than a long-awaited dental procedure. I called the dentist to cancel on account of my potential COVID exposure, grabbed my phone, my wallet, and a mask, and leapt into the car wearing the same too-small t-shirt I had slept in. This didn’t need a big plan, a water bottle, or packing up my laptop. I’d drive up to the testing center, get some tests thrown in my window, and be back in an hour. Two, tops.

Had I over-thought, over-packed, and over-prepared, would things have gone any differently? Was I moving too fast in that moment? I had all of March to think about it, and I still can’t say for sure. [Read more…] about slow mo(nth)

Filed Under: essays

30 – Adele | the expectations game

November 22, 2021 by krisis

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

Filed Under: music, reviews

the influencer tax

November 21, 2021 by krisis

I have been thinking a lot about blogging lately. Mostly because of international taxes.

Taxes! Who would’ve thought that when I launched this endeavor 21 years ago that I would be tackling such hip and relatable topics such as international tax law.

When you move to a new country, you learn new things in phases. First the obvious things, like which side of the road to drive on and where to buy expensive cheese. Later, the cultural things, like songs that are more popular here than anywhere else or the sort of cheap improvised sandwiches people had for dinner as kids. And, still later, a bunch of dry, uninteresting things about international tax law.

That is what lead E and I to have a video meeting with a knowledgable but-also-hilarious tax professional last week.

(That’s really my ideal balance for any sort of professional advisor. Completely reliable, incredibly funny. Leave no stone unturned and put me at ease.)

As part of meeting with any tax professional, you are inevitably going to discuss all of your income, assets, and expenses. Which means in the middle of a lot of very serious talk about very adult topics, I had to broach the topic of blogging. Not just blogging, but blogging, comic books, YouTube-ing – my whole internet package.

Awesome Tax Person: “I see you have listed some items related to your website.”

Me: “Yes,”

ATP: “Do you sell a product or service?”

Me: “No.”

ATP: “Do you get paid to write?”

Me: “Not quite.”

ATP: “Hold on. Are you some sort of influencer?”

Me: [shaking my head vigorously in dissent]

E: [nodding her head in agreement and cackling]

ATP: “Oh, how interesting! The revenue department just put out a very interesting memo on internet influencers and I wasn’t sure if I’d need to reference it, but now I do!”

Dear readers, when I tell you that the Awesome Tax Person said this last part with obvious verve and glee you will understand why I enjoyed her so much. [Read more…] about the influencer tax

Filed Under: essays

Batman by Grant Morrison, Episode 06 – The Resurrection of Ra’s al Ghul | Crushing Comics Book Club

July 6, 2021 by krisis

Welcome back to our read of Grant Morrison’s run on Batman!

For this episode, Peter insisted we read Resurrection of Ra’s al Ghul IN FULL… and he was WRONG, y’all. If you were thinking maybe you didn’t get enough of a summary from the stunning Chris Burnham summary pages in the Grant Morrison Batman omnibus we are here so you can witness our suffering with this part recap, part mocking, and part lamentation on this lumpy uneventful event.

If you are reading digitally, here’s the correct order: Batman (1940) Annual 26, Robin (1993) Annual 7 (2nd story), Batman (1940) #670, Robin (1993) #168, Nightwing (1996) #138, Detective Comics (1937) #838, Batman (1940) #671, Robin (1993) #169, Nightwing (1996) #139, & Detective Comics (1937) #839.

For this epic (re)read, Harry is our expert – he loves Batman and Morrison, and he has read this run multiple times. Fariha is our intermediate – she has read plenty of Morrison and DC, but not this run in full and never any pre-90s Batman. And, Peter is now the novice – he’s read some of this run before, but otherwise this is his FIRST TIME reading ANY pre-New-52 Batman!

Tune in next week for Batman R.I.P. in DC Universe (2008) #0 and Batman (1940) #676-681.

Want to dive in to reading and collecting Batman and the rest of the DC Universe? Visit the Crushing Comics Guide to Collecting DC Comics or the Batman Collecting Guide & Reading Order (which includes a specific page for the Morrison era of Batman).

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Filed Under: Uncategorized

This Week in X at The Hellfire Gala, 30 June 2021 | Crushing Comics Podcast, Episode 0074

July 3, 2021 by krisis

It’s This Week in X for 30 June, 2021 – the final week of The Hellfire Gala!

Actually, there’s just one Hellfire Gala issue this week – the final issue of X-Factor (2020) #10 – plus, the penultimate chapter of Cable (2020) #11.

CONTENT WARNING: This issue contains overt themes of hate crimes, racially-motived violence, and sexual assault, which we begin discussing in specific at the 43-minute mark through 72m.

In X-Factor #10, we discuss the structure of this abrupt series finale, as well as its narrative, visual, & editorial flaws – from the passing moments in the party scene, to the resolution of Prodigy’s plot, to the major reveal in the final pages. Plus, thoughts on handling unexpected endings and if we care about that final reveal.

In Cable #11, we discuss the merits of Teen Cable (Table) vs. Old Man Cable (…OMable?), the Ride of the Summers Clan +2, and how satisfying it is when a story has room to reach its intended ending.

Spoiler warning – we discuss everything about X-Men up to and including comics from this week, as well as other current events in the Marvel Universe.

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Filed Under: Uncategorized

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