In the year of my birth…

The Merriam-Webster dictionary has a feature that allows you to look up by year the time words were first published. One curious thing I noticed is that there are huge numbers of words introduced in the 40s on, most of them technical and scientific words, but in more recent years the number of novel words is drying up. Why? I don’t know.

I did look up what words were introduced in the year I was born, and there were lots of them. But this series caught my attention.

I think it means that emotionally I am far more childish than my advanced years would imply.

Under fascism, there is a new flowering of arts and music

That’s the myth, anyway. Repressive governments will stir up a rising of protest music and street art and great poetry and literature so we’ll at least have that. But wouldn’t you know it, Donald John Trump is fucking that up, too.

I am surprised to learn that there is a Nazi death metal scene in Minneapolis. It’s small but growing, led by a local patent lawyer named Aaron Wayne Davis in his spare time, through a website called Behold Barbarity Records and Distro.

The site sold a customary catalog headlined by name bands like Slayer and King Diamond. But closer inspection reveals an exhaustive selection of more obscure titles, with album covers sprinkled with permutations of neo-Nazi symbols like swastikas and iron crosses.

Take Deathkey, whose 2010 album is called Behead the Semite. Then there’s Aryanwulf, whose songs include “Kill the Jews” and “At the Dawn of a New Aryan Empire.” There’s also the Raunchous Brothers, whose rhyming poetics include such passages as, “You’re of no use to me, you disgraceful fucking dyke, so I’ll shove you in the oven like the glorious Third Reich.”

There are plenty of similar lyrics quoted at the link, so I’ll spare you. I did learn how to write a Nazi death metal song, at least. It isn’t hard.

He describes the power of hate music: Drop the slogan “White people awake, save our great race” a couple times in a chorus, then quadruple it per song, and you have listeners nodding along to it with every step and stumble of their day.

OK, that’s the dark side. There has to be a light side to oppose it, right? There must be some musical genre that has arisen to oppose Nazi death metal. It’s like some core principle of the universe. And out of the darkness rises a gleaming bright beam of beauty and light.

It’s Insane Clown Posse and the Juggalos. On 16 September, there will simultaneously be two rallies on the mall in DC, one of white nationalists, another of juggalos. They are expected to clash.

I have learned that many Juggalos are radical leftists, and that the duo are not fans of our current administration.

Save for this one issue [the FBI has labeled Juggalos a “loosely organized hybrid gang”], ICP is not an explicitly political band, and there are some pro-Trump Juggalos. But the overlap between the Juggalo March and rabid Trumpies is likely to be minimal. Juggalos view their community as a loving family that accepts everyone just as they are, which is the opposite of what Nazi pricks—or, as they prefer to be known, “white nationalists”—advocate. And, in the unlikely venue of a Time magazine editorial on last year’s wave of creepy clown sightings, ICP’s Violent J had this to say about the clowns in Washington:

These clowns threaten the very fabric on which our nation was supposedly founded upon—and for some f—ing crazy-a– reason, they’re getting away with it. From keystone-cop clowns shooting unarmed citizens, to racist clowns burning down Islamic centers or clowns in the NSA spying on us through our cell phones and laptops, America has turned into something far more terrifying than Insane Clown Posse’s Dark Carnival.

So perhaps it shouldn’t be too much of a surprise that radical leftist Juggalos are mobilizing online in opposition to the Trump supporters who are giving clowns a bad name.

I guess I should have expected this, given the nature of their fanbase. But gosh, this could be interesting, come September. The Nazis ought to be worried; they’ll have sticks, but Juggalos have hatchets. Of course, the ICP can be neutralized if the Nazis think to deploy magnets.

The 2017 Hugo awards are out

The winners have been announced, and they are NK Jemisin, Seanan McGuire, Ursula Vernon, Amal El-Mohtar, Ursula K. LeGuin, and Marjorie Liu…hey, wait a minute, those are all lady names. Obviously, this must mean that women are genetically predisposed to write the best science fiction and fantasy. The evidence is right there! I’m sure the people who argue that existing sex differences in anything can’t possibly be caused by socio-cultural factors will agree because they hate that kind of stuff. They’re just going to have to acknowledge that women are biologically better writers.

Oh, there was the usual effort by the Sad/Rabid Puppies to get some of their nominees on the ballot, and they did have a few works they pushed — none of them won. Not even the transparent attempt to steal credit from good authors by naming them succeeded. They nominated, for instance, China Mieville, Neil Gaiman, and the movie Deadpool…they lost, too. I suspect there might be some weak negative effect, even, where attaching Vox Day’s recommendation to an otherwise good book causes some negative votes. Not that it matters; all the winners were rewarded fairly on their own merits.

One interesting twist: the Puppies, for some reason, really really hate Rachel Swirsky’s If you were a dinosaur, my love, which was nominated for a Hugo in a previous year. I like that story a lot, so I don’t quite get the hatred, but OK, they’re allowed…but this year they intentionally went looking for an opposing story, something with dinosaurs in it, so they could simultaneously sneer at both Swirsky and Chuck Tingle. They picked Alien Stripper Boned From Behind by the T-Rex, by Stix Hiscock. You can’t hold that against Hiscock, though.

Hiscock also said she didn’t know anything about Beale, and seemed to be unaware (before the interview) that he was responsible for Alien Stripper getting on the ballot. She was a little hurt that he would use her novelette as a way to mock the Hugos, especially since it doesn’t seem like he’s even read it. (It’s possible Beale picked it specifically because of the Rabid Puppies’ hatred of the award-winning novelette If You Were A Dinosaur, My Love.) “I guess I’ll cry a little, laugh a little. But I’ll be ok. Jokes are pretty hilarious sometimes,” Hiscock said.

Still, Hiscock said it’s an honor to be nominated, even though she probably won’t be able to attend the ceremonies in Helsinki because of the expense. And even though Beale might’ve gotten Alien Stripper on the ballot due to sheer pettiness, the bank error is definitely in Hiscock’s favor. Book sales of Alien Stripper Boned From Behind by the T-Rex are through the roof.

It didn’t win, even though the author is a woman, and we now know that women naturally have superior writing skills.

But I ordered a Kindle copy of Alien Stripper Boned From Behind by the T-Rex anyway. It was free. The author seems nice. Besides, I’ve already read all the winners.

TRUMP IS A PIG

Roger Waters was in fine form last night — nonstop passion and fury, with a side of spacey weirdness, just as I like it. A lot of the concert was a nostalgia ride, though: he opened with “Breathe”, and then “One of these days” and “Time”, all with a phenomenal light and video show. He hooked us good. Then he followed up with subversion. “Pigs (three different ones)” was shaped to focus entirely on Donald Trump, and it fit him perfectly despite having been written in 1976. I think Roger Waters is officially my grim prophet of anomie.

He also performed songs from his new album. I noticed that some in the audience were there only for the 30 year old songs and chose those moments to annoy the rest of us by getting up and going to the lobby for a $10 can of ‘cheap’ beer, but those were some of the most intense moments. Sure, the old songs still fit our current situation, but in the new ones he’s howling about the modern specifics; leaders with no fucking brains at all, war, refugees, indifference, accompanied by images of horror blown up into psychedelic abstractions.

The whole evening was beautiful and unsettling. It was art.

Roger Waters…Wednesday!

The day after tomorrow I’ll be sitting in the nosebleed seats for Roger Waters Us + Them tour. I love the guy’s music, and he’s got the right sensibility for the era, as reported for his Chicago event.

It’s also very political, and that’s something that should surprise absolutely nobody. Waters has never been a stranger to controversy, and his recent political views (especially those involving the Israel-Palestine conflict), have certainly been turning all the right and wrong heads across the world. But he sounds revitalized again, and if you couldn’t tell from all the rage and angst that radiates from his latest record, Is This the Life We Really Want?, then he makes that pretty clear with the Us + Them Tour. Unlike his recent reprisal of The Wall, which toured the world for the better part of the early 2010s, Waters sounds less like he’s dusting off older material and more like he’s rewriting them for a new era. And in a world that’s as savage and dour as ours right now, we’re also singing louder than ever.

Anyone else going?