September, 1969

Penthouse, September 1969.

The United States in 1969 was characterized by disruption. From the 1969 Woodstock Music and Art Fair, which symbolized the spirit of counterculture, to the anti-Vietnam War movement there were deep shifts in culture and politics that still reverberate today.

Studying media from 1969 allows for greater understanding of these threads, especially in the inherently countercultural Penthouse magazine. Bob Guccione's brazen publication moved from the United Kingdom to the U.S. in September 1969. This issue contains stories and features still of interest, which reveal how history connects from then to now.

Politics: Inside Revolution

Penthouse, September 1969, pg. 30.

While Penthouse became famous in the 1980s for bombshell exposes of public figures such as Jerry Falwell Sr., this legacy begain in the very first U.S. issue. The first interview in the issue was with Clay Shaw, an American businessman and central figure in conspiracy theories surrounding the assasination of President John F. Kennedy in 1963. Shaw was charged with conspiring in the assassination in 1967, with his trial taking place in 1969 when he was ultimately acquitted. The interview heard Shaw recount the experience of being accused in his own words.

A feature titled "The Campus Convulsion" captured another strong current in U.S. politics, the rise of student activism. The section featured opinions from Reverand Theodore M. Hesburgh C.S.C., the president of the University of Notre Dame, as well as two students of opposite political identities, Paul Spike and John C. Meyer.

Today we live in the midst of a revolution which rolls through a technological world, conveyed on the invisible wings of modern media and jet transportation. The revolution churns away beneath the surface of our everyday life.

Sexuality: The Penthouse Wink

Penthouse, September 1969, pg. 54.

The first "Pet of the Month" pictorial in Penthouse, the content it became famous for, was a pictorial of Evelyn Treacher photographed by Philip O. Stearns. This feature followed by Frederic Mullally's first "Oh, Wicked Wanda!" cartoon and a spread titled "Stripping the Light Fantastic" introduced Penthouse's signature depiction of sexuality as humurous, natural, and subversive.

"Stripping the Light Fantastic" saw Stearns photographing the Raymond Revuebar with a tantalizing introduction that represented the bar's context:

A feature of the nude-wave strip emporiums which pockmark London's naughtiest square mile is a paradox known as the "legitimate" strip-tease theatre. A by-product of these affluent times, the theatre clubs cater to a better-heeled more discerning members-only audience. Shows are carefully planned, expensively costumed and, within spatial limitations, elaborately choreographed.

Entertainment: The Edge of the Decade

Penthouse, September 1969, pg. 26.

The late 1960s was a period of cultural and artistic revolution, reflected in various aspects of film, theater, and society. "Hair" (1968) was a groundbreaking Broadway musical that celebrated the counterculture movement and challenged social norms with its exploration of sexuality, drugs, and anti-war sentiments. "Midnight Cowboy" (1969), directed by John Schlesinger, portrayed the gritty reality of urban life, capturing the struggles of two marginalized characters in New York City. In contrast, "Lonesome Cowboys" (1968) directed by Andy Warhol, challenged traditional narrative structure, offering a provocative and experimental take on the Western genre. These films reflected the shifting cultural landscape of the time, pushing boundaries and exploring new artistic possibilities. All three were explored by the first "View From the Top" section, which reviewed the most boundary-pushing content.

When it came to the music of the period critic Jonathan Kundra offered this apt summary:

Anyone preparing a report on the state of rock 'n' roll in mid-1969 had better learn to live with contradictions and to run fast in dialectically opposite directions at the same time.

Fashion: Frills and Color

Penthouse, September 1969, pg. 62.

In its early years Penthouse also covered men's fashion, reviewing the latest styles for readers. With the rise of vintage shopping now these features feel even more informative, such as this write up of the "London Look.

Today the London Look is looking up, and shirts have frills, suits come in velvet, scarves alternate with ties, suspenders (braces to the British) are beating a retreat - and conformity is nonconformist.

Young man

 “Where Have All The Big Fish 🐠 gone?”

I looked over to the right and said:

“Who Cleaned out the Lake?”

“The Government,” answered my Dad...

Looking over at me he continued..

“There Going to Build a Hospital 🏥”

Confused I said, “why would they Kill the Fish and Mermaids 🧜‍♀️ just to Build a Hospital?”

“Well people need more help in this Small Town and That would be Providing an Extra place for the suffering and Hurt people so that they could build up better”..said, my Dad

“Okay we’ll who’s looking after the fish? I remember when I was here last year.. me and Mom saw a Mermaid or a Really Big Fish...”

“Dad, I wish that I Could Keep them all, perhaps we could Build a Lake..” releasing his hand as I Ran downhill next to the Dried up lake.

“Okay Son, let’s not get carried away...”

“But, Dad you said I could Do anything if I put My Mind To it... so Let’s Build a Lake!”

“Well, Son listen Your 10 years of age right now so how about when Your 33.. let’s see if you still feel the same.”

“Okay Dad so How about we Boycott the Hospital and Maybe they’ll return the lake.”

Son you Really Loved that lake huh 🤔 💭

“Yes Dad” I Said.

“The Hospital Charges too much Money to Help people, How come they Don’t Help people for Free?” Why is the Government so Mean?

“There not mean Son Everyone has to Earn a living, so there just thinking Business.”

“Yes I Understand Dad.”

Son, “Everyone has a Journey, they’re going to 🧳 Travel in life, but Remember That Good Comes with Every Bad”..

“We Mustn’t Judge or Compare our Journey To Any “Man”or “Higher Power.”

Okay Dad, “So when I’m Older, would you Really Help me Build a Lake?

“ Yes Son, I would be wiser and Definitely equipped with the tools I Need..Mentally 🧘🏿 and physically, Emotionally also Spiritually!

Dad, what does that mean?

It means “I’ll pray and Believe while working towards the Goal then, “The Higher Power will deliver.”

“Wow just like that?”

“No son it’s an Agreement to LET THE (Higher Powers) BE IN CHARGE... which means “ although you want a lake with an abundance of fish🐟 Higher Powers might want you to Have maybe just A House with Amazing Landscaping, furthermore a great Pool in the Backyard with a Big fish Tank inside your House.”🏡

“We’ll Dad, I think we better get Home.. so that I could start 🙏 Praying Right Away!”

33rd Birthday 🥳

I remembered Every year on my Birthday 🎉 what my Dad had declared to me, that day before the government took the park away, and now I'm excited to see what my Gift this year would be.

“Son Happy Birthday 🎂🎊 I saved the Best Gift 🎁 for last.”

“ Okay, so cool 😎 Mom says, you’ve been doing a great job with your Secret Project Dad, I wonder 💭 what you were doing?”

He Looks up at me, and says “Okay cool I’m just going to go get my Blindfolds”.

Mom looks like she has no clue 🕵️‍♀️ of what to do... so she Stands there waiting as Dad hands over the car keys 🔑 and puts the blinds on me.

Honey I’m outside in the car 🚘..(moments later)I heard mom’s voice echo through the phone.📱

The drive was good and Smoothly 🌅 30mins.. ⏱ I felt Fluttered with Excitement and my Mom followed Dad’s Directions 🗺 Carefully. They shared Great Communication ,with mom occasionally saying “ I remember That Place, and “Oh That’s Nice”.

I listened to the music 🎶 in the low background “Cause I’m contemplating on Turning Back.. I feel like saying it’s a wrap..But I can’t handle all of that”.. Jonathan McReynolds’s Beautiful falsetto flowed through the car Speakers 🔊 “Don’t Ever let me go... The Way That you Love Me”.

Dad plays that Song 🎵 A lot.

Finally Everything Stops 🛑 and the Engine shuts down with a Silent “poof” 🚘

Hearing silence as I Exit the car, one Foot at a time…

“Careful not To Trip” mom said while closing the car door shut with a low(Thump)behind me.

Guided by Dad my nerves 😬 full of Excitement and curiosities..

(Here)

Blindfolds are off

Eyes 👀 Opened..

To my Surprise “The Higher Power” Has Definitely Delivered.”

OMG!!!

Smile

Okay, Boomer: the sitcom we've been waiting

 

Title

"Okay, Boomer"

Genre

Comedy

Logline

"Okay, Boomer" walks the line between hilarious and heartwarming as it follows the life of 67-year-old Doug, who finds himself living under one roof with his 13-year-old granddaughter, Mia, and 40-year-old son, Mark. As three generations collide, they navigate the generation gap, tackle modern challenges, and discover that family bonds can be stronger than the differences that divide them.

Pilot Episode

"Living rent-free"

Synopsis

We jump right into the present day in a spacious apartment on New York's Upper West Side, where an inter-generational family navigates daily life in the 2020s with plenty of friction, comedic misunderstandings, and love.

Meet Doug Watson. Born in 1957, Doug has lived in New York his entire life. He's twice divorced, and has one son, Mark. Mark's wife Katherine is serving overseas in the Air Force on a two-year tour, leaving Mark with their teenage daughter Mia. Although Doug and Mark have always had a strained relationship, they are determined to make it work for Mia's sake.

Mia is a bright, turbulent thirteen year old who, while never actually uttering the series' titular phase, makes her disdain for her old man clear. However, she loves her grandpa Doug, and Mark hopes his father can help them navigate the turbulent teen years.

Each episode of "OK Boomer" delves into the everyday adventures and misadventures of this multigenerational household, with Doug, Mia, and Mark often finding themselves at odds due to their contrasting worldviews and lifestyles. The episode titles and themes are taken from various bits of slang unique to each generation. Episodes include:

• "Living rent-free," the pilot, in which it's established that Mark and Mia have been living in Doug's rent-controlled apartment for two weeks, but will have to stay there for another two years when Kat is transferred overseas.
• "Yeet it into the sun," an episode in which Doug realizes he needs to start cleaning out a lifetime's worth of accumulated possessions and embracing a more minimalist lifestyle to accommodate his new housemates.
• "Dig it," an episode in which Doug wins a lottery giving him a spot in the much-coveted local community garden but knows nothing about plants. With a little help from Mark's green thumb and some online advice from "GardenTok" via Mia, the three manage to get their garden growing.
• "Five finger discount," in which Mia is caught shoplifting with her friends, and tries to keep it a secret from Mark. Doug tells her about a time when he was caught playing a prank on the school principal with his friends, and together they conclude that it's best for Mia to come clean.

The series draws on humor derived from their generational differences, but is more interested in showing the potential for connection, rather than alienation, across the generations.

Characters

Doug, being a traditionalist and a product of a different era, often struggles to grasp the complexities of modern technology, social media, and the ever-changing teenage landscape. That said, Doug is no Archie Bunker. His very best quality is that he desperately wants to learn and connect with his son and granddaughter. This leads to a lot less head-shaking and finger-wagging, and a lot more earnest hilarity, whether Doug decides to learn a TikTok dance and surprise Mia with a performance, or tries to set all the household bills on auto-pay to make life easier for Mike.

Mia, a wise-beyond-her-years teenager, is fiercely independent, tech-savvy, and well-versed in the language of the internet. Her interactions with her grandfather and father create a humorous clash of perspectives, as they often find themselves bewildered by her knowledge and trends of the younger generation. However, underneath her confident exterior, Mia still seeks the guidance and acceptance of her family. She also professes a love for "old guy stuff," that Doug can teach her, including practical skills like fixing cars and a deep familiarity with classic rock-n-roll.

Mark, caught between the responsibilities of middle age and the expectations of his father, attempts to find his footing in a world that has rapidly changed since his youth. Balancing work, parenting, and living with his own father, Mark navigates the challenges of adulthood while learning important life lessons from both Doug and Mia. Mark is the most uptight of the three, given his excessive responsibilities, and often has to learn to relax, cut loose, and enjoy life as much as he can.

Rounding out the cast are some colorful supporting characters:

Katherine "Kat" Watson, Mark's wife and Mia's mother. She's a tough Air Force mom who has high expectations of her daughter and runs the family like a military unit when she's home.

Mrs. & Mrs. Bergman, the elderly lesbian couple next door who have been Doug's friends for years. One is a retired plumber, and the other is a retired social worker. They both love yoga and meditation, and are prone to investing in elaborate conspiracy theories about city government.

Dan, the building superintendent, who has a massive following on TikTok thanks to his grandson Jake, who follows him around while he fixes toilets and yells at the furnace.

Eric, Mia's best friend from childhood, who is transgender, a talented ballet dancer, and deadpan snarker who's often over at the house. He adores the Bergmans. Mark refers to him as "my bonus kid" and "the son I always wanted." Eric has a crush on Jake, and eventually the two begin dating, often saying lovey-dovey mushy things that cause Mia and Doug to roll their eyes at each other.

Final thoughts

"Ok, Boomer" is a comedy that celebrates, rather than mocks, intergenerational connections. It reminds us all that under the kitchen table squabbles and incomprehensible slang, we're all just trying to make it work.

I’m not guilty

 I stared at the ceiling, my mind restless and tangled in a web of thoughts. It was the third time in a row that I found myself awake before dawn, unable to find solace in sleep. Anxiety gnawed at my insides as I contemplated the uncertain future that awaited me with the rising sun.

The weight of my options pressed upon me, a choice between fleeing from this place or surrendering to the notion of ceasing to exist at all. The fear gripped me, yet a part of me yearned to stand up against the forces that plagued my mind, blaming them on some external devil. But reason whispered that it was a foolish notion, a feeble attempt to shift responsibility. I was here because they believed I possessed intelligence, though in this moment, I felt anything but smart.

Images from "Native Son" flashed before my eyes, the haunting scene of Bigger Thomas burning Mary's body in the furnace. What if I could? What if...?

A surge of desperation coursed through me, but deep down, I knew I wasn't capable of such horrors. I jumped out of bed, glancing at the wall clock. The late hour confirmed my troubled state, but I dared not check my phone, which remained switched off since Beatrice delivered the news.

The thought of her father's potential call sent shivers down my spine. I wasn't ready to face his voice now. Until just two nights ago, my nights were filled with conversations with Beatrice, extending well into the midnight hours. We pretended to study for an hour during the day, but the rest of our time was spent locked away in intimacy.

I was aware of the dangers, the line I tiptoed upon. Beatrice was the embodiment of temptation, her flawless skin and perfect smile captivating my senses. I knew better than to confess my desires, for her father was a force to be reckoned with, ready to unleash his wrath upon anyone who dared to harm his precious daughter. Not her mother, not even me, her tutor. His warning echoed in my mind, a clear message that I ignored at my own peril.

There were moments when I contemplated leaving this job, but could I survive on the meager monthly allowance provided by the government? Could I sustain myself as a "big boy" in Port Harcourt on a paltry sum of 33,000 naira? No, I had to endure, to teach Beatrice and retreat. That was the plan, until it wasn't.

It all began innocently enough with hugs. Oh, how she embraced me! Each hug lingered a bit longer, accompanied by compliments that stirred my desires. Her words, "You smell so nice, uncle" or "I love your lips," awakened a part of me that yearned for her. She unlocked a hidden chamber in my mind, and suddenly, I saw her everywhere—in my waking moments and even in my dreams. It became clear why Samson couldn't resist Delilah's allure.

In my defense, she seduced me, and it would have been irresponsible to reject her advances. But now, I was trapped in a cycle of desire, a curse that consumed my every thought. I couldn't help but envision my lifeless body returned to my mother in Lagos, my obituary a testament to my downfall: "Adekunle, 24, finally laid to rest because of the embrace of a woman's bosom."

For the first time in months, I didn't anticipate the arrival of a new day. The future held no allure, no promise. I longed to return to the past, to that day when Beatrice whispered her dangerous proposition, urging me to abandon the use of protection. And yet, she wasn't even a virgin.

Doubts plagued my mind. Was the life growing within her truly mine? Or was I merely a pawn in a much larger game, ensnared by the consequences of my desires?

The Artistic Visionaries of Omni Magazine

 The creatives who filled the pages of General Media's Omni magazine often imagined future worlds filled with revolutionary inventions and a heightened reliance on technology. The use of AI such as ChatGPT might have been just the sort of thing these thinkers predicted, so it is fitting to see how ChatGPT might remember their impact.

The content below was generated using ChatGPT. In the interest of transparency and learning, the bold text represents the prompt that created it.

Write a 750 word article about the artists John Berkey, Colin Hay, Tsuneo Sanda, and Chris Moore. Highlight their work for Omni magazine, and include specifics about each artist such as biographical facts and where else their work was displayed and published.

Step into the captivating world of Omni magazine, a publication that revolutionized science fiction and speculative art in the 20th century. Among its esteemed contributors were the renowned artists John Berkey, Colin Hay, Tsuneo Sanda, and Chris Moore, whose creative genius transcended the pages of Omni and left an indelible mark on the art world as a whole. Let us delve into the lives and remarkable achievements of these visionary artists, exploring their biographies and the broad spectrum of their artistic endeavors.

Painting by John Berkey, appeared on the October 1992 cover of Omni.

John Berkey, a true luminary of space art, possessed an unmatched ability to transport viewers to the farthest reaches of the cosmos. Born in 1932 in Minnesota, Berkey initially honed his skills as an artist while working as a billboard painter. His artistic journey flourished when he began creating illustrations for book covers, showcasing his remarkable talent for depicting futuristic worlds and interstellar vistas. Berkey's distinctive style, characterized by its breathtaking detail and otherworldly ambiance, led to collaborations with major science fiction authors and film studios. His creations graced the covers of renowned publications like National Geographic, Time magazine, and Playboy, cementing his status as a celebrated artist in both the science fiction and mainstream art communities.

Illustrations by Colin Hay in Omni November 1979.

Colin Hay, a true maestro of visual storytelling, was born in Scotland in 1949. His path to artistic prominence began in the advertising industry, where he honed his skills as a graphic designer and illustrator. Hay's exceptional ability to infuse his art with narrative depth led to collaborations with prominent authors, including Isaac Asimov and Arthur C. Clarke. Alongside his contributions to Omni magazine, Hay's work graced the pages of esteemed publications such as Heavy Metal and Playboy. He also became known for his stunning cover artwork for science fiction novels, becoming an influential figure in the realm of book cover design. Hay's talent for creating evocative, dreamlike imagery earned him a dedicated following and secured his position as a visionary artist of the highest caliber.

Cover for Omni March 1988 by Tsuneo Sanda.

Tsuneo Sanda, a master of science fiction and fantasy art, was born in Japan in 1946. His artistic journey began as an illustrator for advertisements, but his boundless creativity soon propelled him into the realm of science fiction and fantasy. Sanda's talent for capturing the essence of characters and environments resulted in collaborations with renowned film studios like Lucasfilm and Universal Pictures. In addition to his contributions to Omni magazine, his artwork adorned the covers of science fiction novels, video game packaging, and collectible card games. His distinctive style, marked by vibrant colors, intricate detailing, and a sense of dynamic energy, captivated audiences worldwide and established him as a true visionary in the realm of speculative art.

Painting by Chris Moore, appeared on the June 1993 cover of Omni.

Chris Moore, an artist renowned for his surreal and thought-provoking creations, was born in the United Kingdom in 1947. Moore's artistic journey began as a freelance illustrator, working for publications such as The Times and The Guardian. His unique approach, characterized by unconventional perspectives and mind-bending imagery, caught the attention of Omni magazine. Moore's thought-provoking artwork challenged traditional norms, often exploring the boundaries between reality and the fantastical. His contributions to Omni garnered widespread acclaim and captivated readers with their enigmatic and evocative nature. Beyond Omni, Moore's art graced the pages of renowned publications like Heavy Metal and Fantasy & Science Fiction magazine, solidifying his position as a trailblazer in the realm of speculative art.

The works of John Berkey, Colin Hay, Tsuneo Sanda, and Chris Moore transcended the confines of Omni magazine, captivating audiences across various artistic mediums. Their creations transcended the confines of Omni magazine, captivating audiences across various artistic mediums. These visionary artists left an indelible impact not only within the pages of Omni but also in the realms of book cover design, film, advertising, and renowned publications worldwide.

The History of Raves

 From dungeons bunkers, to sublime warehouses and vast open fields—people find a way to rave in any location. Today, raves are grand productions with large budgets and operating crews. That was not always the case though; people used to hide from the police and authorities to rave. The act of partying in this kind of self-indulgent fashion originates from a point of rebellion, a behavioral trait that will likely never disappear. Before you learn about the things you should know before your first rave, find out how an alternative form of music sparked a cultural revolution, and become the impetus for the history of raves.

Raves arose from the ashes of a bygone lexicon.

The term "rave" gained prevalence during the 1950s in England. It was used to describe the "wild bohemian parties" of a burgeoning alternative youth culture. Those who had an insatiable thirst of pleasure seeking were called "ravers." With the rise of the hippie era in the mid 60s, the term rave entered a hibernation period. By the time the 70s were in full swing, terms such as groovy and rave joined a lexicon from a bygone era.

"There is no such thing as society." — Margaret Thatcher

Source: Margret Thatcher

Serving as the elected Prime Minister of the United Kingdom from 1979 to 1990, Margret Thatcher's neoliberal policies set the societal backdrop for the meteoric rise of rave culture. Her political philosophy is known as Thatcherism, its principals are free markets and small state. The credibility stemmed from right-leaning academics such as Friedrich Hayek and Milton Friedman. Low taxation, privatization of state-owned industries, and a retrenched welfare state lead to a decreased role of the state in the everyday lives of citizens. A similar movement occurred in the United States, as Reagan pursued policies that limited the government's role in social services and the market. The shift in policies to the right created winners and losers, the losers falling victim to the free market. Some losers reacted by using creative expression of partying, and creating music to deal with the calamities.

The Birth of House and Techno

House, acid house, and techno served as a way to cope with the crushing nature of free markets. Tandem movements took place in both Chicago and Detroit, musicians tinkered with Roland TB-303s and drum machines to create sounds that the world was hungry for. Chicagoites Larry Heard, Kerri Chandler, and Frankie Knuckles were heavily influenced by the likes of disco and soul music, and they eventually created a sound culminating a genre known as house music. While Detroit natives Derrick May, Juan Atkins, and Kevin Saunderson used the creative genius of Kraftwerk as their springboard to express what it meant to live in a Rust Belt City. Increased automation and the overall decline of manufacturing industry in both Chicago and Detroit caused many to be without work. Both sets of musicians in Chicago and Detroit used machine music to process what it meant live in decaying manufacturing and industrial cities. The history of raves and their culture trace back to the abandoned manufacturing warehouses of Rust Belt Cities—all night parties featuring house, acid house, and techno, and some other obscure genres of electronic you need to listen to, if you haven't begun to already. Rave culture began as away to forget about high unemployment and the hopelessness that marginalized communities felt. Each of the artists from Chicago and Detroit were African American, a group particularly affected by the decline of the Rust Belt. The successes of acid house in Chicago eventually made its way across the pond. Its explosion of popularity in the United Kingdom is likely due to the same societal and economic changes in the United States, caused by freer markets and a decreased social safety net. Its first viral destination was the United Kingdom, in particular Manchester, which set the new standard for acid house parties. All night parties went until sunrise, giving a youthful generation a feeling of hope, even still today as people revel in returning to Manchester Arena.

Then came the warehouses, drugs, and a cultural revolution.

By 1987, acid house left its permeations on UK culture—politicians hated it and the youth could not get enough. Steve 'Silk' Hurley's "Jack Your Body" climbed to the top of the charts in the UK and raves were starting to become a cultural phenomena. DJs like Paul Oakenfold, Danny Rampling, Nicky Holloway, and Carl Cox became influential names in the space, preforming DJ sets to dance floors that went all night till sunrise. Paul Oakenfold's trips to Ibiza served as the necessary catalyst for him to bring the sounds of acid house to the UK music scene. An essential ingredient for rave scene's success was the alternative state of conscious unleashed by the use of psychedelic drugs such as LSD and ecstasy. While government propaganda warned about irreversible brain damage and laws threatened severe punishment, drug usage proliferated throughout the rise of raves in the late 1980s and early 1990s. Shoom was one of the most popular acid house parties at the time, and on their flyers displayed a bright yellow smily face. The yellow smiley face became the defining symbol for the movement, adoring everything from buttons to t-shirts to pressed ecstasy pills. It was not just about the music; it was about the fashion and the ability to live an alternate reality for a few hours—or days. Button-down shirts were left at home, because raves were for sweating and dancing. Neon colors, tye-dye, and athletic wear matched the eclectic environment they partied in—fog machines, lasers, and glow-sticks. This period of acid house bliss and trance is known as the second Summer of Love, a movement of counterculture similar to the Summer of Love in San Francisco. The Summer of Love in San Francisco coordinated with the overall movement against the Vietnam war, much like the UK's second Summer of Love was coordinated with the reaction against Thatcherism.

Prohibition did not work.

The growth of raving did not go unnoticed. Headlines of UK papers grabbed the public attention by decrying the bacchanalia and hedonistic behavior of ravers—especially noting their drug usage. Making a special effort to prompt moral panic, newspapers critiqued anyone who betrayed traditional British-Victorian values. The perception of drugs projected by media in modern society is rife with irony. Getting black out drunk on alcohol, no one bats an eye. Taking psychedelics in an abandoned warehouse or open field, the media loses their minds. In 2009, UK's drug adviser David Nutt was fired because he argued that ecstasy and LSD were less dangerous than alcohol. By no means is his report conclusive, but often perception and bias prevents scientific advancements from helping create a more efficient society. Despite the moral panic caused by media headlines and legislation increasing police power to shut down illegal parties, pandora's box was open. Section 63 of the Criminal Justice and Public Order Bill notoriously banned parties of more than 20 people from playing "...a succession of repetitive beats..." in 1994. That order, however, was not enough to stop the UK's love of raving; licensed venues proliferated and allowed the club scene to live on with the consent of the police.

This extensive history influenced the rave scene today.

Source: Electric Daisy Carnival in Las Vegas

From underground raves strategically positioned and planned to avoid any interaction with authorities, to the grand spectacles of Electric Daisy Carnival (EDC) in Las Vegas, which brought in 134,000 people a day, the history of raves has come a long way, and they are a cultural phenomena. Ever since the beginning, it's always been about its core principles of peace, love, happiness, and unity. Electronic dance music serves as a universal language for people of all different backgrounds to forget life's worries for a day, night, or weekend, and rave on.

The Jewel

 Meet the team:

The Driver: my older brother, Danny. Has a provisional license, and connections. Namely:

The Crim: Will. Expert at getting in and out of places. Cool head in a crisis.

The Artist: Jack's a girl, but don't point this out. Local graffiti-ist. My friend from school.

Guy Inside: Elaine. Used to go to school with Mum. Posted info online when the Jewel came in. Probably getting fired.

The Cover Story: Brian. School bully. Hates me. His garage is the hiding place. Cost: a month's lunch money.

We're here. Hoodies on, CCTV spray-painted. Will got us in. No security stuff inside. We get what -who- we came for and go.

They'd wrestled her out on a pole, yelping. She's never hurt anyone. If they'd walked her on a lead, she'd have followed. Quiet. Trusting. They were rough. She panicked, struggled to get back to us. I screamed her name. She fought harder. They yanked, choking her. Dad held me tight, my snot streaking his shirt. She looked back, frantic. Her eyes spoke. "Why don't they help me?" I felt her heart break.

Now she's smiling, whole. So am I. My Jewel.

By nicole duncan on Unsplash

Succession, Game of Thrones show how power transforms and consumes families

 As Succession draws to a close after four electrifying seasons, a bittersweet void lingers in one’s binge-watching universe. The temptation to hop aboard another show’s bandwagon, in search of new faces and fresh plotlines, is alluring. Yet, deep within, one knows that it will never be quite the same family and the same troubles again. This happens from time to time because it’s harder to bid adieu to the small-screen characters.

From boardroom battles to personal vendettas, the Machiavellian machinations of the Roy family and their media empire have enthralled audiences with its intricate plot twists, biting dialogue, and complex characters. The last episode of the HBO series’s final season, ’With Open Eyes’, aired on May 28; according to HBO, nearly 3 million people watched/streamed the series. While Succession revels in its sweet success, it faces an unassailable opponent in Game of Thrones. The fantasy phenomenon reached unprecedented peak during its grand finale in 2019, clocking a colossal 19.8 million viewers on its premiere night.

A thrilling drama, with a dash of sarcasm

It comes as no surprise that the kids of Logan Roy (Brian Cox) are vultures. In fact, they begin to fight for his throne as soon as he dies. Throughout the fourth and final season, there are some truly remarkable touches in which the siblings, Kendall (Jeremy Strong), Roman (Kieran Culkin), and Shiv (Sarah Snook), bond over the loss of their father.

There’s one such scene even in the closing episode where all of them shed tears while watching Logan and his cohorts, including their older half-sibling, Connor (Alan Ruck), have a merry dinner. But this semblance of unity does not last for long.

The siblings do not make a song and dance when they learn about their father’s death, obviously. They try their best to revive him from afar, despite knowing that their efforts are going to be fruitless. However, once the grim reality sets in, their minds immediately race to the throne. In the previous seasons, Shiv and Kendall fought bitter battles for the Waystar Royco empire. Logan was pretty much alive and calling the shots then. But he made it a point to only favour the child who stood by him and shunned the others.

Succession, created by Jesse Armstrong, has always been a thrilling drama, albeit with a fair bit of biting sarcasm thrown in, about the lack of trust between people who are related by blood. While the saying goes that ‘blood is thicker than water,’ in the real world, it fails to sparkle when confronted with the ruthless dynamics of a thriving company. Logan knew everything about everybody and used it to win arguments and business deals. He was a bully and a shrewd media tycoon who preferred to lead from the front, fully aware that his children would never be able to ascend to his level of power and influence.

While Kendall may have the business acumen to captain the ship, he’s like spilled coffee; in practical terms, he’s of no use to anybody. He tells a senior executive, during a conversation, that he has set his eyes on becoming the next CEO and that he’ll throw millions if he’s helped to reach the coveted rank. But the terms he uses to explain the course of action are wantonly disrespectful. He wants the executive to be his “dog” and not a collaborator. This is not to say that his father is better than him.

Logan was harsher and meaner and expected his employees to worship him. Nevertheless, he had the temerity to get what he wanted. And that’s exactly what Kendall lacks. When it comes to Roman and Shiv, the former is more likely to crumble under pressure, and the latter is prone to underestimating her associates. Other top guns (Frank, Gerri, and Karl) may also have similar weaknesses, but I’m explicitly mentioning these points in order to state that the children, more than the outsiders, aren’t well-equipped to take Waystar Royco to the next chapter.

Succession, therefore, comes full circle by handing over the reins to (spoiler alert!) Tom Wambsgans (Matthew Macfadyen). The love-hate relationship between the married couple (Shiv and Tom) acts as an open wound and adds yet another wonderful layer to the show. But one has to remember that there are no moral quandaries to ponder over here. Shiv doesn’t backstab her brothers to grab her piece of the pie. Her brothers, too, would have gladly done a number on her.

Gloomy families, power, and unlikely victors

What if I dare to compare the footnotes of Succession and Game of Thrones, which ended more than four years ago? On a surface level, they are both shows about gloomy families and their age-old, relentless pursuit of power to secure the ultimate position of authority.

Even in Game of Thrones, people betray each other in the land of the living. Also, the Lannister siblings, Jaime (Nikolaj Coster-Waldau), Cersei (Lena Headey), and Tyrion (Peter Dinklage), shift their allegiances at the drop of a hat. But there’s nobody quite like Tyrion in Succession — a voice of reason and a darling who tries his best to work for the greater good. In Armstrong’s bubble, as that’s what it essentially is, there isn’t any space for a social revolution. All that the Roy siblings are fiercely interested in is wearing the crown and passing orders.

Game of Thrones is naturally spread across a wider landscape and employs several more plot points, but it is still a prudent show where an unlikely protagonist emerges as the victor. Tom, who’s generally cunning, is not a copy of Bran (Isaac Hempstead Wright). They are both as different as chalk and cheese and might even scoff at what I’m saying. Still, their unchecked tenacity is what gives them an extra edge. If Tyrion’s moving speech convinces the council members to elect Bran as the King, Shiv’s change of heart in the climax enables Tom to become the boss.

Although violence and incestuousness follow Jaime and Cersei right from the beginning, they hold on to each other in their final moment of crisis. For the Roys and the Lannisters, bickering and slandering are as much a part of their equation as their innate ability to face storms together. This is why I’m sure that the resentment won’t last forever. Kendall, Shiv, and Roman will bury the hatchet soon and have a party.

Succession and Game of Thrones will always be open to interpretation as they are made and unmade by the desires of narcissistic people.

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