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The last drama post I did about Kuma Miko seemed to have gotten some praise, but some wished to see a Hobby Drama post that had consequences outside “people got angry over it”. So without any further delay, here’s a story about a studio that’s close to my heart, one that I’ve backed twice and seen die twice.
Note: This is a fairly lengthy drama, so forgive me if I’m not able to provide all of my sources. Most of the front half of this comes from this video, which chronicles the first half of Lab Zero entirely in Russian.
From Ahad to Mike Z
Let’s start in the beginning. Alex Ahad is a freelance illustrator who, in between other work, had created character designs for a prospective fighting game. Mike Zaimont is a professional fighting game player best known for games like BlazBlue and Marvel Vs. Capcom, but since 1999 had been coding a custom engine in his free time, which he hoped could be used for a fighting game. The two met in 2008, and the two quickly realized that with each other’s help, their dream could come true. In 2010, the two joined the newly developed game studio Reverge Labs. Joining their team was Mariel “Kinuko” Cartwright, a friend of Ahad’s and daughter of a Disney animator who helped animate games such as Scott Pilgrim vs. The World and Shantae; Peter Bartholow, who acted as CEO of Reverge as well as their PR arm; and an assortment of other animators and designers. Their goal: a fighting game in the style of Marvel vs. Capcom 2 with hand-drawn animation that they called Skullgirls.
After obtaining publishers in Autumn Games and Konami (at the time of development the Microsoft required indie devs to have a retail publisher in order to bring their games to Xbox Live Arcade), the team got to work on Skullgirls. Initial impressions were favorful - people liked Ahad’s unique character designs, the fluid animation, and the solid engine Mike Z built - but upon release, there were some concerns. The time and money needed to develop each character meant a starting roster of only eight characters, a far cry from other fighting games (the original MvC had 15 characters in 1998), and due to the team trying to get the game out, there was no in-game move list. Some were also concerned that the cast, consisting entirely of women, was too fanservice-filled, although Bartholow said that the characters were just attractive women who could fight as opposed to characters using their sexuality in battle (Ahad said that sex wasn’t his main focus, he just wanted to have monster girls fight each other). The team at Reverge Labs stressed that they would continue to update the game, with plans to add DLC if the game sold well enough. Good thing nothing could go wro-
Everything goes wrong
Alongside publishing Skullgirls, Autumn Games and Konami had previously published a karaoke game called Def Jam RapStar. Unfortunately, around March 2012, the time Skullgirls released, both parties were at the end of several lawsuits made against them - one argued that Autumn and Konami did not get the rights to some of the songs used in the game, while another claimed that the game was funded with a bank loan which Autumn Games was unable to pay back. The result of these costly lawsuits was that Autumn was unable to pay Reverge the money made from Skullgirls - this led to the entire Reverge team being laid off around July, and the future of the game in the air.
And so, the team decided on a whim to reconvene as a new development studio, Lab Zero Games. At a fundraiser for breast cancer research which included a fighting game tournament, Mike Z revealed the first DLC fighter and promised that new information about her and the team would be posted soon. This would turn out to be an Indiegogo fundraising campaign that asked for $150,000 to develop the first DLC fighter, with more characters promised if people backed enough.
In the end, $829,829 was raised in the campaign, enough to fund five DLC characters, a bevy of stages and voice packs, and other features. It was quickly becoming a cult classic.
The Skullgirls Curse
And so work on Skullgirls DLC was underway. However, a variety of events happened to befall Lab Zero during development, some causing controversy and others just annoying the team. Some dubbed this “The Skullgirls Curse”. So let’s go over some of them:

Paypal Woes: During the Indiegogo DLC campaign, Lab Zero announced that Ahad had created around 30 prospective designs for DLC characters, and that there would be a vote to see which characters would be the two “mystery characters” teased in the Indiegogo campaign. As you would guess, this caused the Skullgirls fanbase to get heated, to the point where some stressed that they would ask Indiegogo for their money back if their character didn’t win. PayPal, who managed the funds for this campaign, was concerned about these threats and put nearly all of the money on hold. Bartholow tried to negotiate with PayPal, and was eventually able to get the funding - once PayPal was given a hefty sum as collateral.
Bad Juju - If you notice on the list of prospective DLC characters, one character is Juju, a character who was designed by Ahad from a fan’s suggestion on a Whiteboard Wednesday art stream. Ahad seemed to like the idea of the character, and kept building her up until she became a legit character in the game. The original fan made a joke on Facebook that he’d like to be compensated for the design, which led Lab Zero to negotiate obtaining the character rights from him. They eventually worked out a contract that would give them the rights to the character, but only if the original fan didn’t reveal it until Lab Zero announced it themselves. The fan then posted about it on the Skullgirls forum the very next day, breaking the NDA immediately and making it so that Lab Zero couldn’t use the character at all.
Don’t be (Red) Cross with me: One of the characters included in the base game of Skullgirls is Valentine. As you can tell, the two biggest features of her character are her being a nurse and a ninja - as such, her costume is decorated with red crosses. This was upsetting to the real Red Cross, which fights hard to prevent its trademark from being associated with violence - as such, when they came to the Skullgirls publisher demanding a change, all red crosses in the game had to be changed to magenta.
#FucKonami: In November 2013, due to Konami barely helping at all with the publishing process for Skullgirls (they refused to greenlight any patch or DLC until Lab Zero tested it itself on their own time and money, they didn’t help with Microsoft’s certification process for Xbox, etc), Lab Zero dissolved their publishing agreement. This led to a massive snafu where, due to the dissolution, the original Skullgirls was taken down on consoles, and Lab Zero had to scramble to get a new publisher on the consoles side and then reupload the game as Skullgirls: Encore. It was a tangled web of issues which the above YouTube video relays, but required certification from both console storefronts and even the Japan storefront, as their publisher there was also coincidentally being dissolved at the same time without Lab Zero knowing.
EVO 2014: During one of the largest fighting game tournaments of 2014, Skullgirls was promised a space for airing their tournament stream by controller distributor Madcatz. Lab Zero and Autumn provided a pot for the tourney, and everything was smooth sailing - until a multitude of delays made it so that the entire time Skullgirls had for streaming was replaced with Tekken tournaments. By the time these issues were fixed, only the final four matches were able to be shown.
What’s the worst kind of ship? Censor-SHIP!: In April 2015, one of the patches of Skullgirls altered the animation of some characters, which according to Lab Zero themselves was because of their own artistic values (while they admitted that panty shots in a fighting game comprised entirely of girls is unavoidable, they didn’t want to go out of their way to show them). As you might expect, this led to a massive onslaught of negative Steam reviews and caustic tweets from people who abhor censorship of any kind. Funnily enough, this brigade started around October, six months after the changes were made, and only via word of mouth - people didn’t even notice there was a change until someone told them about it.
Backer characters: As part of their Indiegogo campaign, some of the highest-paying backers could have their original characters put in the background of some custom stages. Lab Zero warned these backers that these stages would be a casino and a ballroom, respectively, so their OCs should ideally be designed with a formal flair. Some backers did follow this unspoken rule - ZONE, a notoriously NSFW Flash animator who helped work on the DLC characters, made a perfectly formal look for his mascot Zone-tan. As for the others, well...
SonicFox: This isn’t included in the compilation video mentioned above as this occurred way after all the initial Skullgirls drama. Basically, SonicFox is a five-time EVO champion and one of the best Skullgirls players in the world. In May 2020, after Skullgirls was mostly complete, they were given a cameo in Skullgirls’ training stage. Of note is that SonicFox is black, non-binary, and a furry, and the character added to the game was their fursona, who has a trans rights flag in the inside of their jacket you can only see for like one frame. People reacted as you would expect. Also, one of the original backers requested to change their character as they were now transitioning, which didn’t get as much flak, so that’s nice I guess.

So as you can see, Skullgirls had a menagerie of problems and issues during its dev time. However, their Skullgirls curse seemed to have faded away, as they had a new game in store.
If I was Indivisible
Indivisible was a new project of Lab Zero, announced in 2015 as Skullgirls DLC production was nearing an end. Billed as a platformer RPG similar to games like Valkyrie Profile, it would tell the story of Ajna, a young girl whose town is stricken by tragedy and she finds out that she’s a portion of the god of creation, who has grown discontent with the world and wishes to remake it anew. Its Indiegogo campaign focused on Incarnations, party members who came from a variety of cultures, religions, and demographics not usually represented in popular culture. And as you can see by the fact that it got over two million dollars in funding, people were excited to see what Lab Zero could do. They even got enough funding to get Studio Trigger, of anime fame, to create the opening for the game.
Of course, it wouldn’t be Lab Zero without the occasional issue here and there. As shown above, some Incarnations were changed or scrapped during development, which irked some who backed because of that character specifically (not naming any names, but look in the incarnation list and see if you notice any). Backer characters were included again, and although there were more places to add them so they didn’t look out of place, you still had the occasional few that did. Critics liked the art and presentation of the game, but disliked some gameplay issues: the second half of the game became a cakewalk once you progressed far enough, it was a bit of a pain to go from one end of the map to another, especially for side quests, and a bunch of party members simply weren’t complete. Most egregiously of all, the Nintendo Switch version of the game was ported by a different company and released before Lab Zero was even aware of it - which forced them to scramble again to patch it up so it was on par with other consoles.
Still, it was a better situation they were in than when Skullgirls started. They had a legit publisher in 505 Games, people were satisfied with the base game, and Mike Z mentioned how the base game would continue to be refined with gameplay changes, small additions, and guest incarnations from other indie games. NBC even announced that Indivisible would be adapted into a television program for their Peacock streaming service. Things were looking up for Lab Zero.
Everything goes wrong... AGAIN
During the production of Indivisible, Alex Ahad was let go by Lab Zero. Not much is mentioned about it except that he was growing increasingly hostile, making it difficult to work with him, and his art was not meeting the standards for the game. He left, tried to sue Lab Zero, and eventually agreed to a sizable settlement. Mariel became the lead artistic director in his stead, and the art team had to be rearranged to compensate.
Now, as Lab Zero was preparing to transition from being employee-owned, Mike Z was made the temporary head of the studio. In June of 2020, Mike Z did an “I can’t breathe” joke during a Skullgirls livestream just days after George Floyd’s death - he later apologized for this, claiming he was trying to bring attention to the issue. Soon, more people provided proof that Mike Z has had a history of sexual harassment. Kinuko chimes in as well, noting that while she tolerated inappropriate behavior for years, when she talked to Mike Z about it, he blamed her for his actions. She talked with others in the team, who came to the conclusion that Zaimont had treated all of them like this. Some Lab Zero employees resigned on their own, while others pushed for Zaimont to resign. However, as Mike was still head of the studio, he dissolved the studio board and laid off the rest of the staff.
So where does that leave everyone?

Ahad is still doing art on his own, and gets by with commissions and his Patreon.
Kinuko, as well as the majority of Lab Zero, created a new studio called Future Club, which has promised to create new titles with the same art style they refined from Skullgirls and Indivisible.
Autumn Games still own the rights to Skullgirls, and with the help of some former Lab Zero devs, created a mobile version of the game. It’s surprisingly not bad, although it’s of course stuffed with microtransactions. However, they’ve apparently made enough to fund a completely new character for the game for both the mobile and console/PC versions.
After everything with Mike Z, 505 games put out a statement which signaled the end of all development of the game, leaving it unfinished. Mike Z has been suspended from Skullgirls streams and the like, making his future in the gaming world unclear.

There’s probably something I’ve missed in all of this, but yep. I backed them twice, both for Skullgirls and Indivisible. I don’t regret it, and I’m looking forward to whatever Future Club does, but I won’t lie - I’ll always miss what could have been.

For my yearly New Vegas playthrough I decided to play Dead Money in Very Hard + Hardcore

An Average players Honest Review on each Gamemode

This is my opinion on every gamemode. Obviously it is just my opinion so keep that in mine, but I have played enough of every gamemode to give a pretty honest feedback on every one. I am a player of 6 years, have 4 golden heroes, 5000 MMR Battleground, 12 wins in arena and been rank 1 many times in diamond. So I do have experience on alot of these gamemodes:

Standard:
Pros:
1: It has alot of different decks constantly changing the Meta: I feel like standard feels really fresh compared to some of the other gamemodes. Most classes are playable and each expansion and rotation has an impact on the meta game (unless the expansion is really bad). In year of the phoenix I think most classes have had a chance to shine at least once which means it has been good to play around with different decks and climb the ladder with different heroes.
2: It has balances patches frequently: Another positive is compared to most gamemodes it does have frequent balance patches. It a card or a class gets too overpowered they do balance it within a week or two which is reasonable quick.
3: You do not have to play around everything: Even if cards are generated randomly, it feels like there is less to play around than lets say wild. It is nice to have an idea of what kind of things your opponent could discover or get randomly, even if sometimes it can be hard.
Cons:
1: It only takes one card to warp the meta game: Just look at Bogspine knuckles as an example, That one cards wrapped the meta and now cheese paladin with High Abbess Alura has taken it's place. Having one card more powerful than the other's can lead to one class dominating for large periods of time.
2: It can get stale: Even with the balance patches, Standard has periods which do feel pretty dull half way through expansion cycles as there is less to play around with.

Wild:
Pro:
1: You can play with ALL Your cards: You are not limited to only playing with the newest cards and can enjoy your full collection. If you play wild you may even choose not to craft whole new expansions and only focus on a few cards to slot into your already wild decks, which means you can save gold for other things!
2: A lot more decks to play and try: You can explore more in wild as you have more decks to try out. Wild allows you to try all kinds of decks and combinations with new and old cards for each class.
3: The Combo and Meme potential: Just look at all the different combos and memes you can try in wild! turning your opponent into Ragnaros to kill them, Shooting infinitive fireballs, Using shutterwock with Armor vendor to hold your opponent hostage. Alot of cool and crazy interactions to try.
4: More Hero cards: I am a bit bias, but I like hero cards. It is nice to have more of them in wild like the Death knights to try. I do think they do warp meta games a bit and would probs not work as well in standard, but fun to try them all in wild.
Cons:
1: The Mana cheat is unreal! The Mana cheat in wild Can be brutal. Cheating our huge minions in big priest, Zero mana secrets in mage, Having 5/5 worth of stats on turn 1 in aggro decks and zero mana spells. Wild can be a scary place if you do not know how to counter them.
2: Broken classes stay broken: Getting a balance change in wild is very rare. So the top classes like Darkglare warlock, Secret Mage and Raza priest will ALWAYS be the best classes.
3: You can't play your favorite old decks and win: I think iksar's tweet about "Wild being the place you can play your favorite old decks" is simple not really true. Yes you can play them, but your chance to winning is significantly lower.
4: You can't play around everything: With over twice the amount of cards in wild, It makes is much harder to play around everything, decks like casino mage can lead to games where you are playing against 20 random mage spells which can feel a bit crazy (in a bad way)!

Battlegrounds:
Pros:
1: It is super fun and each game feels different: It feels like a fun gamemode to play as most games do end up playing out different depending on which hero you choose! I enjoy all the different play styles and builds you can make.
2: Has many mini expansions throughout the year: Battlegrounds have many mini expansion and new minions and heroes being added, which does help keep it really fresh.
3: Your decisions can matter: I think battleground has very interesting decision making opportunities like which minions you want to attack first and what minions to buy. This helps make the game feel fresh as each game is a bit different.
Cons:
1: No rewards/cosmetics: One of the biggest cons is the game mode feels like you don't really achieve anything. You do not get card backs or golden battleground heroes which feels like after playing all you can get to really show is either an achievement you have to work for or MMR. I think adding a card back or something could be a good idea in a future update.

Duels:
Pros:
1: It is a dungeon run: Another bias point, but I love dungeon runs and having a gamemode where you can play a dungeon run against other people is pretty cool.
2: Lots of treasures to play around with: I enjoy the fact you can build a starting deck around a treasure and hero power. It seems a bit more personalized than a normal dungeon run as you can build it instead of having a starting deck made by blizzard.
3: A free mode to enjoy: The casual mode is a good touch. Being able to test out decks and treasures before committing any gold or tavern tickets is a good thing.
Cons:
1: It is behind a paywall: If you want the actual crazy treasures and hero powers you have to buy tons of packs to get cards which I feel is a bit rubbish for a gamemode.
2: Some heroes, Passives and treasures feel oppressive: The zombie passive is an example of how mental some passives can be. I think some classes just shine more in the gamemode than others.
Arena:
I forgot this was a mode and have not played it in 2 years so can't say anything apart from IT NEEDS A HUGE CHANGE as it feels like playing curvestone.
What do you think of my review?

Galactic Economics 2: Trustworthy

RoyalRoad
First
Next
Jen and Sarah spent the next week doing research. The Internet was filled with contradictory information about monetary theory and economics, and neither of them really had the background to evaluate the arguments that everyone was having.
However, Sarah reminded them both, they didn't need to look at a perfect system, just one that worked. So, they started digging through Wikipedia articles and online textbooks on the history of money and how they came to be.
"Hey, did you know they used to use salt as currency?" Sarah asked as she skimmed through a particularly fascinating documentary about Middle Age East African economies.
"Is this some kind of joke about mining salt?"
"No, it's real, look. And apparently the word salary is from the Latin word salarium for money used to buy salt," Sarah continued fascinated.
Of course, they couldn't use something as simple as salt to represent money. In fact, they couldn't use any commodity either.
Over the last week, one of the alien traders caught wind that gold was extremely valuable on Earth, so they'd brought them in by the ton load. Gold was still useful for electronics and some dentistry, but the price of gold, mostly propped up by its value in rarity, crashed hard.
The problem with currency in galactic trading, as Sarah discovered, was that there wasn't a single commodity that was equally rare in every system.
No, whatever alternative they come up to the laughably outdated barter system had to be built on something far more rare and valuable than gold.
Something that even the most powerful human empires in history have struggled to collect.
It had to be built on trust.
"That's the system most modern currencies are based on," Sarah claimed, "you only accept dollars for work because you trust that you're going to be able to wake up tomorrow and spend it on… everything you need."
"Hmm well, we can't just ask them to take US dollars," Jen giggled. This would be so much easier if that weren't true.
"Why not?" Sarah asked, playing the devil's advocate.
"Well… well, like you said, they won't trust it! I certainly wouldn't if I were a trader! Furthermore, who knows? Maybe they have a printer in their ship that can duplicate money! Maybe we should ask them for that next time we bring Zarko some pears," Jen said, thinking out loud.
"I doubt it. The government keeps a lot of secrets about how they make Dollars , and I don't want the Secret Service knocking on my door," Sarah said. Until this week, she hadn't known that this was one of the lesser known duties of the USSS. Now that she knew it, it made the thought of attracting their attention even less palatable, "you're right. What about digital casino tokens? We can produce something that translates to Dollars and have our own system that tracks it all."
"Sure, that's not too hard to make. We would have a centralized money supply, where we don't trust each end point…" Jen continued on the brainstorm, thinking in terms of the technical system, "ok, so say we make SarahBucks, and peg its value to the US Dollar. One pound of pears would be worth 1.5 SarahBucks, one pound of sirloin steak is 6.99 SarahBucks at Safeway. That still doesn't explain how we'll get people to use it."
"I'm not sure. I need to think about this more," Sarah yawned, tired. "And I hate that name."
They agreed that they were stuck, and that SarahBucks was absolutely a terrible name.
Livermore Spaceport, Earth
A month after the spaceport opening, Sarah noticed that it had become less of a tourist attraction. There were far fewer people standing around gawking at the aliens, and a lot more companies trucking their best-selling products into the spaceport for trade.
After their abuse of Jen's cousin's employee pass got discovered by the spaceport authorities, Sarah and Jen had started placing their own bids on getting into the spaceport through the official channels. Thanks to their existing connections with the managers at the spaceport and a growing bank account of value, they could still get in to continue their lucrative trade for magical alien goods.
A bit of a rich-get-richer type of situation.
The flavor of the month were these Bohor magical air filter machines that aggressively scrubbed the air of… anything you want them to.
The Bohor planet is basically the planetary equivalent of a toxic dump.
Sure, it had biomes; it wasn't a Star Wars sci-fi planet where the entire planet is either a desert or an ice-cold tundra or a forest. But the entire planet had been polluted so heavily by its occupants that it lowered the life expectancy by half before the Bohors found a solution:
They simply filtered their entire atmosphere through air filter machines and then buried the toxins and garbage they got out of it in a very deep landfill, somewhere where very few people lived. Pretty much the kind of solution you'd expect out of a species that created the original problem in the first place.
Zikzik, the alien that was the same species as Zarko, overheard a human asking about their rocket fuel and climate change, and brought in a cargo hold of them.
It was a massive hit.
Earth's climate change problem wasn't nearly as bad as Bohor, but it was relatively simple to program these machines to suck carbon out of its atmosphere and… bury them in a landfill.
At first, few of the human traders bought them, thinking that it was going to be at least a while before the problem became big enough that big governments were going to come to them to try to address the issue, but they had it all wrong.
Soon as word got out this was an option, big companies and philanthropists started lining up at their doors. As it turned out, literally sucking the carbon dioxide out of the air was easier and cheaper than modifying many of their industrial practices to actually be environmentally green. They didn't need to run more efficient factories to claim to be carbon-neutral; just pump as much carbon into the air in exchange for undoing that by sucking it out of the atmosphere after!
Some bean counters at a think tank in DC predicted that a few more shipments of these air filters will fix Earth's climate problems by themselves in about a decade, so every trader had a waiting list of corporations with PR problems willing to buy them.
Sarah and Jen had a couple vehicle manufacturing companies on their list who were trying to get Bohor air filters to use in lobbying for looser emission standards for their dirty gasoline cars.
Today, there were traders on all the landing pads, and they were all carrying air filters. Zarko's ship was there, and he was loading fruits into his spaceship with an alien looking forklift. Sarah and Jen approached his ship and noticed the truck driver standing there.
"Hey Benny, tempting the poor aliens with cherries this time?" Sarah waved good, grinning and looking at his cargo.
Technically, Benny is a competitor, or at least he drives for a competitor. The massive fruit conglomeration he worked for, Chuckita, had not neglected to notice the massive business opportunity sitting right here as many others have, and are now delivering straight to the aliens in exchange for massive profit margins.
But Benny was a good guy. One time Jen and Sarah were having some trouble finding a buyer for a bunch of legally dubious alien psychedelics. Benny was in his late 50s, not that great with the Internet either, so he'd introduced them to whom he referred to as "my money launderer". Aka, his 22-year-old son, Benny Jr, who had a habit of buying weed and other less than legal items off the deep web. Benny Jr had found a buyer for them within minutes and even generously offered to handle the deal for them to spare them the risk of meeting some psycho hopped up on an alien high in a dark alley somewhere.
"Heh! One of the bat aliens loves sweets but has a low tolerance for sour, so they treat cherries as some kind of an odd challenge fad. They eat a random cherry, and it's either so incredibly sweet they start drooling out of the mouths, or it's a sour one, and they freak out," Benny replied, in a low voice as if he were trying to keep it a big secret. "Zarko showed me a video, and it's the most hilarious thing I've ever seen".
"I think I've seen that one, have you seen the one where they drink wine?" Sarah chuckled at the memory. Alien videos have been a big hit on YouTube. Some human merchants were trading fruit for aliens to take videos of the galaxy. Which they monetized, of course.
"No," Benny's ears perked up. Chuckita doesn't make wine, but if selling wine to aliens was going to be a thing, they were a big supplier of grapes… "Is it gonna be a thing?"
"Well guess what we brought today?" Jen also grinning from ear to ear, and holding up a big carton of low-quality box wine.
"Awww seems like I'm always one step behind you guys," Benny moaned in exaggeration, "I tried to get my money launderer to tell me what aliens would want but all he does is play video games on the Internet, kids these days."
Luckily, Zarko chose this moment to step out to spare them from more good-humored ribbing from the boomer. "Ah Sarah and Jen, you brought the grape wine this time!"
"Yup," Sarah beamed, "and I see you've run out of air filters to trade again!"
"Sadly yes," Zarko tilted his head in shame, "my ship is overdue for a cargo space upgrade, but I haven't found a port that would do it for fruit yet. Next time?"
"Alright! Alright! We'll leave our special wine with you, but you better get us some extra good filters next time!" Jen scolded mockingly. Zarko has gotten a lot more comfortable doling out IOUs since the first time.
"Of course. Only the best for you two," Zarko said with a greasy human smile imitation that almost made Sarah laugh out loud. It reminded her of a ridiculous cartoon sloth.
"By the way," Sarah asked casually, "how much is a spaceship worth on your planet?"
Zarko sobered up his expression and looked at her curiously. It was a question that other humans had asked before. To him, it was a good sign. This meant that they all dreamt of the stars. But he didn't expect such a question from someone as seemingly practical as Sarah. She had a lot of fruit, sure, but fruit doesn't build spaceships.
After thinking for a while, he replied honestly, "ships aren't traded for one single item. My family traded for the parts to build mine for generations."
He pointed at his spaceship.
Zarko proudly explained, "this is the work of eighteen generations of trading. My family was one of the richest on Zeep-zep. For thirteen generations, they traded for each of the parts on this beauty. Then, for the last five, my ancestors traded excess food from the tenant farmers on their land to expert craftsbeings that could put it together."
"Wait, eighteen generations?" Jen gasped. Eighteen generations ago, her family were probably peasants on a farm in Korea or something…
"Yes," Zarko said, looking at them with a little of pity. "After getting the spaceship, my family has traded in it for twelve generations, through civil wars and disasters."
He did some math on his hands, and said, "that's about four hundred of your years. That's why it's very unlikely that you will never go to space."
Looking at the stunned expression on their faces, he tried to lighten the mood. Zarko said mischievously, "unless you're willing to part with some more of your fruit, in which case I'll let you sit in the back seat for a whole route!"
"Hold on, back up, I'm still stuck on the multiple generations part," Sarah said seriously. "You're saying you're flying on a spaceship that started to be built thirty generations ago? That's… about a millennia for us."
"Yes," Zarko answered, "and that's why only thirteen families on my planet have had the privilege of owning one in our long history. No offense, but that's why I think no human will ever own their own spacecraft for at least fifteen more generations."
Something is wrong here, Sarah thought. The budget for NASA's FTL spacecraft was in the hundreds of millions. Yes, for a fruit farmer, that would be many generations of work if all their descendants worked in the same industry. But there were over three thousand billionaires on Earth, not including the tens of thousands of corporations that had assets or market value over a billion. And the prices for the spacecraft would surely go down as time went on…
For a planet like Zarko's to only have thirteen spaceships over generations of their development…
As they were walking away, Benny asked, "have you guys noticed something weird about the way these aliens do business?"
"Yes." "God yes." They said in unison.
"We've been thinking about it for a while, but these guys not having money is a major problemo," Sarah said, looking around surreptitiously, "Zarko and Zikzik keep talking about not being able to find someone who can upgrade their hulls for fruit. And sometimes they come with nothing good, and we're supposed to just drive our fruits all the way back!"
"And if you think about it, if they were human ships, think about truckers who don't own their trucks. We'd have loans or something to deal with the cargo space problems, and they'd be paid for by profits in a few trips," Jen added.
"The numbers he gave us for spacecraft ownership seem insane," Sarah agreed. "Your company could probably afford to order one right now, not to mention hundreds of others. They must all be dirt poor!"
Benny seemed relieved that he wasn't the only one who was thinking this, "exactly! I'm thinking we just introduce them to the concept of Benjamins and solve all their problems and ours. Would certainly make the return trip a lot easier for me if I didn't have to drive all the way to Berkeley for junior to launder all this crap!"
"We thought of that too," Sarah said as Benny pretended to groan again, "but we couldn't figure out how to get them to take money with no intrinsic value."
"Oh that shouldn't be too hard," Benny said, who's clearly already thought through this problem in his head, "we play a little game called good cop, bad cop."
"Good cop bad cop?"
"Sure, it's a mind game the cops play, where they put you in a room-"
"Yeah we know what it is, but how does that help us?" Sarah said impatiently, an idea tugging on her subconscious.
"Well you see," Benny clearly smugly enjoying this moment where he's thought of something that the duo did not, "you two come with an empty truck next time, and you tell Zarko that you'll give him a wad of clean crisp cash, fresh from the bank, for some of his air filters. And when he asks you why he'd take the cash, you just tell him that he can give it to me in exchange for some of my fruits."
"What does that have anything to do with good cop bad cop?!" Jen asked.
"That has nothing to do with good cop bad cop," Sarah chimed in, but the idea was beginning to form in her head, "but it's a good start. We don't want to deal in cash. It's too risky. It could get the feds onto us and there's a bunch of laws around it that I'm not sure about."
"But what we can do is have an internal money system for traders pegged to the US Dollar!" Jen completed.
"Yup, so when Zarko comes back next time, we tell him he has an account with the Bank of Benny, we give him a fancy looking card that has his bank account number and give him a pin code, and we deposit a certain amount of BennyBucks into his account for giving us air filters. Then when you come around, Zarko gives you his card and pin, and gives you BennyBucks for your fruit," Sarah finished.
"Aha. And then I come to you two, say, I would like to convert BennyBucks in my Bank of Benny account to good old American dollars," Benny extrapolated, completing that final step.
"Yeah! We'll just wire you the money and everyone gets theirs," Sarah exclaimed, happy they've finally thought through the loop and gotten someone on board.
"BennyBucks is a terrible name though," Jen said, calming everyone down a little, "and why are we getting so excited over the basic concept of currency? And why haven't aliens figured this out? Maybe it's against some kind of space trading code."
"Who knows? Maybe we just try it on Zarko and see if it works out," Benny said, a glint in his eyes, "and then we expand, galaxy-tically."
"Galactic credits!" Sarah exclaimed, "that's what we'll call it."
They agreed that it was the least worst name that they'd come up with so far. It was boring, but when it came to finances, maybe boring and cliché was a good choice after all.
"Explain again. I am trying to understand," Zarko said two days later as he offloads the air filters he'd promised.
"C'mon dude, for the fifth time," Sarah exasperated, "it's not that hard. We give you a bank account card and have you set up a secret number…"
Jen had spent the last two days coding up a storm. Technically, a simple debit system wasn't that hard, but she had to make a website interface that Benny could go up to and enter his account, Zarko's card information and amount, then let Zarko type in his code…etc. She'd mused that it would have been easier to just do this all in a cloud-based spreadsheet, but that wouldn't scale up if they had more customers.
Sarah had the account cards laminated and designed a logo: the letters GC, for Galactic Credit, and a stylized version of a Milky Way in the background. Part of the value in a trustworthy system is to look official, and you can't get much more official than laminated cards.
"Yes, I understand that part," Zarko said, clearly displaying his frustration on his facial expression as well, "but I don't understand why Benny would give me his fruit for just entering a number."
"Because we have an agreement with him that he'll take it in exchange for fruit!" Sarah was sure this was the umpteenth time she had to explain this, but clearly Zarko was not getting it.
"Is it similar to a debt?" Zarko said suspiciously, as if debt was this dark magic that the humans were performing on him, "I have never heard of this kind of debt before."
"Yes, it's a debt, of sorts," Jen cut in. The last time he had asked this exact question, they'd said no, and that led to fifty other questions and explanations that went nowhere, so nothing could go worse if they said yes-
"Ok. I don't understand," Zarko did his sloth version of a sigh, it was cute, but at the same time frustrating for Sarah and Jen, "But I can try it. I know you two are not trying to trick me. Do I get my fruits before I take off?"
"Yes! You go to Benny-" Sarah started.
"Yes! And that's it. Benny gives you his fruit," Jen cut her off, knowing that this was about to launch into yet another long, long line of questions they just can't deal with right now.
Sarah set up a new account for Zarko, asked him for a 6 digit base ten pin code (thank god Zarko was a ten digit species) which he promptly memorized, and hoping that Jen's prototype website wouldn't fail, showed him how they were "giving" Zarko 40,000 Galactic Credits for 8 Bohor air filter machines into his account ("No, you can't have my iPad. It's on your account card now. Show this to Benny later.")
"Well that worked out great," Benny said as he watched them wire him the $25,000 for his truck shipment of fruit. Though his costs were in the low thousands, he could have easily fleeced Zarko for his full 40k. But they all agreed that wasn't the point, which was to get Zarko to see the benefits of using a currency system abstracted from goods and services.
"Dude, you weren't there," Sarah complained, "I don't understand why he had such a hard time understanding money. Money equals goods. Bing bang boom. It's like these guys don't have the capability for abstract thinking."
"No they definitely do. You can't build spaceships without abstract math and science," Jen said, "but he clearly had a deathly aversion to using money. I think it's tied to some taboo to debt somehow. All the other species must have it because none of the aliens we've met have even mentioned anything close to a real economy."
"Whatever it is," Benny sighed happily, "I'm just happy I didn't have to go home with my truck full of weird alien toys."
"Yup. The next step is to get all the human traders to take credits. At least they'll have no problems understanding the benefits."
Sarah made some calls to the trader licensing office at the spaceport. There she found a manager willing to part with phone numbers and contact information for the other human traders, for an "information fee" of course, and started making calls to the other human traders.
It wasn't easy. Some traders were representatives of bigger food companies, and didn't have all the flexibility to make these kinds of decisions. And others no doubt were thinking of copying their system for their own profit. But they all saw the benefits of a unified network of currency debiting because they've been suffering the same problems that Sarah, Jen, and Benny had been.
Over the next few days, all the human traders agreed to take galactic credit from the aliens, which they knew they could exchange for cash with Sarah and Jen.
"We are officially in business."
In economics, there's a distinction made between different kinds of money. There's commodity money, usually gold or silver. There's representative money, which is currency backed by commodities like gold or silver. And then there's fiat money, which is not backed by any intrinsic value, but rather by government decree, hence fiat.
Galactic Credits fall into some kind of weird hybrid category between representative and fiat money. They're backed by the Dollar, which is fiat money, but also which makes them representative money. This means that the people issuing them, in this case Jen and Sarah, are not supposed to create them without also having a corresponding US Dollar in their bank account.
Of course, Sarah and Jen hadn't signed an ironclad contract with the other human traders that they're always guaranteed to take their galactic credits and exchange for money, so technically that meant that one day Sarah could simply "deposit" a large number of credits in her account and buy all the goods she wanted from Zarko, or potentially the other traders.
That would, however, be slaughtering the golden goose for the meat.
After all, they didn't want to sell fruit or Bohor air filters.
They wanted to sell the concept of money.
"Why would I take this over fruit?" Zikzik sniffed. He was known as a sharp one by all the human traders. If there's any new alien fad coming down the pipeline, chances are Zikzik is the first one to touchdown with a cargo hold full of it.
Unlike many of the other traders, he was fairly consistent in his dealings. This much fruit is for this much air filters. He knows his price, and he lets you know it too. Everyone suspected he kept careful records of all his selling and buying somewhere in his ship, but he's never brought them out. Maybe he just had a sharp memory.
"It's very consistent," Sarah insisted, trying to appeal to his affinity for a stable and predictable exchange, "one pound of fruit today is the same as one pound of fruit tomorrow, and you can deal in fractions."
Completely ignoring that most fruits are seasonal, and price changes, and inflation, she thought, let's start here.
"Fractions, you say?" Zikzik seemed thoughtful, or maybe he's just scratching an itch on his snout, Sarah could never tell with these aliens.
"Yes, fractions," said Jen detecting the slightest bit of opening, "you can trade your air filters for credit. Then you can trade maybe three quarters of your credits to fill your cargo with fruit. The next time you come down here to Earth, you would only need to bring half the amount of air filters as the first trip, combined with the credits you have left, you can leave with a full cargo load anyway!"
Is that how that math goes, Sarah thought, but didn't cut in, as Zikzik seems to be nodding, an oddly universal gesture for affirmation.
"Five eighths of the credits," Zikzik argued, "The air filters are harder to get now because the Bohor are running low, and they need time to make more."
Bargaining! There we go! That's what we're talking about! Sarah almost pumped her fists in the air and gave him a high five, not a great idea given how sharp his claws are as she found out when trying to shake his hands a couple of weeks ago.
"Ok, you would still have to negotiate that amount with each human trader," Sarah replied adding, "but they all deal in Galactic Credits."
They signed him up for an account, gave him a card, and set up his pin code. It had only taken half an hour to get Zikzik on board, which was significantly faster than the hours they'd taken to explain this to Zarko, despite them being the same species. Was it xenocist that she'd assume it was going to take just as long, Sarah wondered.
Looking at the line of traders, she sighed. This was going to be a long day.
Luckily, Zikzik accepting the credits made for great advertising. He was known for being a sharp trader, so if he doesn't think it's a scam, it must not be, right?
Sarah and Jen managed to get two other traders that day onto credits, and one more who was dipping his proverbial toes into the water.
It was a good day.
Jen had been working hard. The Galactic Credits website was now on its 16th major iteration. She'd beefed up the security on it, to make sure none of the other human traders got any funny ideas. Backups became more automatic and frequent, and there was now a rollback and dispute mechanism, not that it was being used yet.
Sarah had also been working hard. She'd been sitting in meetings all day with legal, finances, and now they had a small army of people who were ready to help out if they got into trouble there. Galactic Credits is now officially a tax paying LLC incorporated in the great state of Delaware.
Benny Jr, who had just finished college, had come in as well. He was no good at talking to clients, but he's what the duo would refer to as "street smart". Occasionally, the alien traders would bring in some exotic or ahem, dubiously sourced items, and he would know exactly where to convert that into cold hard cash. On the spreadsheets, his dealings were adding up to a nice fat padding on the margins for Galactic Credits, which to this point, hasn't been making any money other than in the fruit and air filters exchange business.
They were now working out of a rented office in downtown Livermore, with a very nice view of a brick-lined pub that offers numerous craft beers and the old railroad that runs through the heart of town.
Ironically, there's a Bank of America branch across the street, not far from the office itself, the company that had invented the BankAmericard and started the credit card revolution, seemingly oblivious to this new competitor moving into town, literally and figuratively.
They had many brilliant finance experts who were working on something, surely, but established financial institutions are not always great at moving fast and adapting to changing technology. There were many regulations to worry about, and the stakes were a lot higher.
There's something very quaint about the town itself. Some people didn't consider it part of the Bay Area metro area itself, but with the latest BART expansion station they recently built, that's been less and less true.
Now, it was literally the town where the train tracks ended. And where the final frontier began.
For the people in the office, it's also where they dreamt about a new financial revolution in the galaxy.
Some people have critiqued this chapter on the grounds that established financial institutions would have thought of this idea on day one. I appreciate the feedback, but that is a rosy view of the velocity at corporations in my opinion. I've personally worked in some of these companies, and if someone brought up this idea, it would probably have taken at least a month to get the idea through various risk audits and legal reviews.
In terms of technology, much of banking still operates on software that predates the modern Internet. This is one of the reasons why fin-tech startups have been able to beat them on time-to-market, despite massive institutional or financial disadvantages. It's why companies like PayPal, Square, Stripe, Venmo… etc could compete with the incumbents with the development of the Internet.
Sure, an intern in engineering or tools would have a semi-working prototype by week three, but the first line of code would be pushed to production by… month three. A much more likely scenario: some startup beats them to the punch, exactly as it happens here, and the large company offers their founders or investors an obscene amount of money to buy them out.
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Stokes's Bristol Nightclub incident in detail (From: The Comeback Summer by Geoff Lemon)

IF YOU’RE LOOKING for a place where misadventure could begin, you can’t go past Mbargo. The nightclub’s streetfront is painted a purple so bright you’ll see it in your dreams. Strings of giant sequins shimmer in the breeze. Its phonically inventive name is spelt in silver letters that climb its three-storey terrace facade. Inside are strips of burning neon, a few booths, floorboards so marinated in drink that they have an ingredients list. Bristol is a student city on England’s south coast crowded with music and nightlife and street art. This is Banksy’s home town, and the tourism board suggests in rather strong terms that ‘you would be a fool not to see his amazing work firsthand’. The same organisation describes Mbargo as ‘intimate’, which is fair for a place where you can catch an STI standing up. Students cram into its modest dimensions while people with names like DJ Klaud battle for billing with £1.50 drink deals over seven sloppy nights a week. To get a sense of the story about to come, consider that it’s the kind of place open until two o’clock on a Monday morning, and that at two o’clock on a Monday morning, Ben Stokes still thought it had closed too early.
The Ashes of 2017–18 had disciplinary bookends. It was after that series that Australia’s two leaders went off the rails in South Africa. It was a few weeks before that Ashes tour that England’s biggest star windmilled his way into his own disaster.
In the early hours of 25 September 2017, Stokes and teammate Alex Hales were barred from re-entering Mbargo after a night out on the piss. A Sunday thrashing of an abject West Indies in an ignored series at the fag-end of the season apparently required ample celebration. After arguing with the bouncer and hanging about at the door for a while, they wandered off to find a casino in the hope of more drinking. They’d barely made it around the corner before getting in the middle of a conflict between four locals. As is said on the internet, it escalated quickly.
The 26 September reporting was bloodless. Withholding names, police stated that a man ‘was arrested on suspicion of causing actual bodily harm’ while another went to hospital with facial injuries. England’s director of cricket Andrew Strauss separately confirmed that Stokes was the arrestee, adding that he had been released without charge and that Hales had gamely offered to ‘help police with their enquiries’. Administrators had a good chance of hiding behind that investigation, and the next day Stokes was named in the upcoming Ashes squad as expected. But that night the video emerged.
Bristol student Max Wilson had shot it on his phone, then offered it to The Sun. What he thought was playing hardball was actually lowball: his opening price of £3000 was snapped up by a tabloid that would have paid ten times that. The Sun went on to make a mint by syndicating the rights worldwide. From a window above the fray, the vision showed six men on the street below performing the muddled choreography of a melee. One was right at the centre of it. One was waving a bottle, one dipped in and out, one tried to calm it. Two others floated around the edges. The central figure was unmistakable: red hair burning even in the streetlight as he launched into a series of blows against two of the men, falling to grapple with them on the ground, then following both across the street, swinging punches the whole way. Hales trailed behind, repeatedly and impotently shouting ‘Stokes! Stop! Stokes! Enough!’ The ECB could fudge issues that existed only in thickets of legalese, but not those captured in moving colour. Stokes was stood down from the next West Indies match, then suspended indefinitely. It emerged that he had broken his hand during the fight, something he’d done twice before while punching objects in dressing rooms.
The response in Australia was fierce: Stokes was a thug, a lowlife, a selection that would disgrace England. It was not entirely coincidental that a ban for England’s best player would be handy for the Aussie team, but there was also a cultural split. In England, plenty of people still minimise pub fights as lads letting off steam. In Australia, heavy media coverage as a succession of young men were killed had inverted that tolerance. The discourse now saw any punch as potentially deadly and accordingly reckless. This was more poignant in a cricket context given that David Hookes, the dashing Test batsman and state coach, was killed in 2004 by a pub bouncer’s fist.
The PR situation was bad for Stokes as details emerged of the injuries to the men he’d hit, and that one was a young war veteran and father. Stokes wasn’t officially removed from the Ashes squad through October but stayed behind when his teammates left, hoping for police to dismiss the matter in time for a late dash to Australia. His annual contract was renewed on the due date in case that came to pass. Then 29 October brought a twist in the tale.
‘Ben Stokes praised by gay couple after defending them from homophobic thugs,’ ran the headline. Kai Barry and Billy O’Connell had emerged. Not entirely out of nowhere: while Stokes had made no public comment, this story in his defence had initially been leaked to TV host Piers Morgan after the fight, as soon as the video appeared. Police body-camera footage played in court would later show that Stokes had given the same story to the arresting officer on the night. But no-one knew the identities of the fifth and sixth men in the video, and police appeals had turned up nothing.
It was The Sun again with the breakthrough. Kai and Billy were perfect for a readership not keen on nuance. ‘We couldn’t believe it when we found out they were famous cricketers. I just thought Ben and Alex were quite hot, fit guys,’ said Kai, who was memorably described as a ‘former House of Fraser sales assistant’. The paper had the pair do a full photo shoot: layering the fake tan, showing off chest waxes, mixing Ralph Lauren and Louis Vuitton into a range of outfits. Their best shot had them standing back to back, heads turned to the camera, in a mirror-image Zoolander moment.
Suddenly The Sun was the England team’s best friend. ‘Their claims could lead to the all-rounder being cleared over the punch-up and freed to play in the First Test in Australia next month,’ it gushed, then gave a tasting platter of quotes: ‘We were so grateful to Ben for stepping in to help. He was a real hero.’ ‘If Ben hadn’t intervened it could have been a lot worse for us.’ ‘We could’ve been in real trouble. Ben was a real gentleman.’ Would it be known forever as Kai and Billy’s Ashes? No. While the Bristol boys provided spin for Stokes’ reputation they didn’t influence the police. With charges still pending there was little choice – not given Strauss had previously sacked Kevin Pietersen for being annoying. Stokes remained suspended through the Ashes and a one-day series in Australia, and lost the vice-captaincy. It was January 2018 before the Crown Prosecution Service laid a charge.
That charge surprisingly came in as affray, a crime that can carry prison time but is classified as ‘a breach of the peace as a result of disorderly conduct’. The men he had punched, Ryan Ali and Ryan Hale, faced the same count, charged as equal participants in a fight rather than Stokes being charged with assaulting them. Alex Hales was not charged, despite being seen in the video to aim several kicks when Ryan Ali was lying on the ground. Given the underwhelming standing of the offence, Stokes was cleared by the ECB to tour New Zealand, and kept playing until his trial in August 2018, which he missed a Test to attend. None of the three defendants would be convicted.
The reasoning behind the charges was never released and was attributed vaguely to ‘CPS lawyers’. The service gave the case to Alison Morgan, a prosecutor of a class known as Treasury Counsel who usually handle serious criminal matters. Morgan had a scheduling clash and never ended up court for the case, but in 2018 and 2019 she would go on to win damages and admissions of libel from The Daily Mail, The Times and The Daily Telegraph variously for incorrectly reporting that she had been responsible for the inadequate and inconsistent charging decisions.
Morgan’s successor on the case was Nicholas Corsellis QC, who on the first day of trial was permitted by the CPS to request two assault charges be added against Stokes. ‘Upon further review,’ claimed a CPS statement, ‘we considered that additional assault charges would also be appropriate.’ This was patent nonsense from the service that eight months earlier had chosen the lesser charge. Any lawyer knows that no judge will allow new charges once a trial has begun, because the defence hasn’t had time to prepare. But such a request could deflect criticism of the prosecution service by technically making the judge the one who disallows the charge.
Working through the story from the trial and the tape is complicated. You had a Ryan and a Ryan, a Hale and a Hales, a Billy and a Barry and a Ben. You had several versions of events as to who knew whom, who was drinking with whom, who had insulted whom and who had merely engaged in ‘banter’, a word that in modern Britain has to do an unconscionable amount of lifting. The reporting had constantly mixed up the Ryans as to who had which injury, who was in hospital, who had played which part in the fight, and whose mum had which stern words to say about it.
Let’s agree that from now Ryan Ali is Ryan One, the firefighter who ended up with a fractured eye socket and a cracked tooth. Ryan Two can be Ryan Hale, the soldier who scored concussion and facial lacerations. Mr Barry and Mr O’Connell are best known per The Sun as Kai and Billy. In scorecard parlance we’ll leave the cricketers as Stokes and Hales.
Amid the confusion, Stokes and his lawyers built his case in a straightforward way. The UK legal definition of affray is ‘if a person threatens or uses unlawful violence or force towards another person, which causes another person of reasonable firmness present at the scene to fear for their safety’. That means it doesn’t account for violence that harms a target, but violence that might frighten a theoretical bystander. The wiggle room for Stokes was with ‘unlawful’, because the charge excuses violence in defending oneself or others.
This interpretation hinged on the beginning of the video, where Ryan One waves a beer bottle about and takes a swing at Kai. The version from Stokes was that he was minding his own business walking down the street when he heard homophobic abuse. He intervened verbally and was threatened verbally by Ryan One – something that Ryan One denied but that couldn’t be proved or disproved. In fear for his safety Stokes had to nullify that threat by bashing Ryan One before it went the other way. He registered Ryan Two in his peripheral vision as another possible threat, and again had only one recourse.
Stokes also had to convince the jury to disregard testimony from Mbargo’s bouncer that he had been looking for a fight. A solid lump of a man, Andrew Cunningham had not enjoyed his patron’s attempts to get back into the club after the bouncer declined an offer of a bribe. ‘He got a bit verbally abusive towards myself. He mentioned my gold teeth and he said I looked like a cunt and I replied, “Thank you very much.” He just looked at me and told me my tattoos were shit and to look at my job.’ Cunningham described these words as coming in ‘a spiteful tone, quite an angry tone’, and said that Stokes still seemed angry as he walked away.
These were details the doorman had nothing to gain by inventing, but each of them Stokes denied. By his own accounting he had drunk a beer at the game and three pints at his hotel, then ‘potentially had some Jägerbombs’ along with half a dozen vodkas at the club. He insisted that after all of this he was not drunk.
If I may take a moment here to call upon the wisdom of experience – a person who cannot definitively say whether they have had any Jägerbombs has definitely had some Jägerbombs. A Jägerbomb is an experience that does not pass one by. Further to that, a person who says they have ‘potentially’ done something has definitely done that thing and doesn’t want to admit it. A person who has had between 15 and 24 standard drinks in one evening is shitfaced. A person who tries to bribe a bouncer £300 – three hundred quid! – to get into Mbargo – Mbargo! – is beyond shitfaced.
If Stokes admitted that he was drunk then the prosecution could say he was out of control. He claimed clear recall of assessing a threat, feeling fear and deciding to protect himself with force. He confidently denied details from the bouncer’s testimony, like using the word ‘cunt’ or mentioning gold teeth. Yet on other details he claimed a ‘significant memory blackout’. He didn’t remember the punch that saw Ryan One taken away by ambulance. He didn’t remember what the Ryans had said to Kai and Billy, only that those words were homophobic. With no head injury, as one of the few people who hadn’t been hit, he had supposedly suffered this memory loss despite being sober.
The version from Kai and Billy was compatible but vague: they had been walking along, they ‘heard … shouts’ of abuse from an unspecified source, then Stokes ‘stepped in’ and thus they avoided possible harm. They claimed to have been bought a drink by Stokes at Mbargo, although CCTV showed them meeting outside. The overall implication from both accounts was that the cricketers had been pals with Kai and Billy, while the Ryans as per The Sun’s headline were a roving band of thugs.
The reality though is that the Ryans were the ones hanging out with Kai and Billy at Mbargo. Police discussed CCTV from inside the club in questioning and at trial. On that footage the four Bristolians bought drinks for one another, danced together, and Kai was noted to have variously touched Ryan Two’s crotch and Ryan One’s buttock. Ryan One told police that all of this was taken lightheartedly and wasn’t a problem. Indeed, when the Ryans called it a night the other two left with them.
This much is clear from footage out the front of Mbargo, which shows Kai and Billy exit the club and start talking with a subdued Hales and a demonstrative Stokes, who are stuck outside. The vision was played in court to determine whether Stokes was antagonistic towards Kai and Billy, as he appears to impersonate them and to throw a lit cigarette their way. More interesting is that after a few minutes the Ryans emerge, and all six actors in the fight video briefly form a prequel in the one frame.
Ryan Two pats Billy on the chest in friendly fashion with his right hand before clapping him on the back with his left. He moves past and does the same to Kai before leaving the shot. Ryan One stops to speak to Kai. They lean in for a moment, talking, then Kai turns and they walk out of frame together. Billy hangs around for a few seconds at the door and then looks after them and races to catch up. Stokes and Hales remain outside the club to remonstrate further with the bouncers. Whatever discord develops around the corner is between four men who left amicably together minutes earlier.
There’s no way to know what caused that friction. If Ryan One did use homophobic slurs, he might have been drunkenly obnoxious for no reason. He might have had an insecure macho response to some extra flirtation. He might have thought unkindness was funny – ‘banter’ once again. Or he might have said something that was misunderstood, as both Ryans insisted in court that they had not used nor had the impulse to use any abusive language.
What clearly didn’t happen was an attack by bigots on random passers-by. This kind of crime is regular enough that an audience understands the horror of it, and this is what was evoked by the public accounts of Stokes, Billy and Kai. All we know is that there was some verbal dispute among the Bristol locals, and that Stokes came along behind them and put himself in the middle of it. Ryan One responded to the interference aggressively and away they went. There are plenty of reasons to look sideways at the idea that Stokes was a saviour. Foremost, neither Kai nor Billy was called upon as witnesses in court. You’d think it would be ideal to have Stokes’ story backed up by those who benefited from his selflessness. But his defence team had developed the impression that the pair had shown a changeable recall of events amid a hard-partying lifestyle, and would be dismantled by the prosecution on the stand.
That raises the question of whether The Sun coached their quotes for the 2017 interview. Despite missing court, Kai and Billy clearly enjoyed the attention. In 2018 after the trial they did a follow-up spread in the same paper about how poor Ben had been mistreated. They got a television spot on Good Morning Britain and glowed about his heroism. In 2019 The Sun wheeled them out once more to say that Stokes should get a knighthood. In 2017 they had ‘never watched cricket’ but by 2019 were supposedly volunteering sentences like, ‘He saved us, now he’s saved the Ashes.’ Whether they were paid for these appearances is not known, but the chance to be famous for a day can be lure enough.
If you find this cynical, consider that on the night in question, the Bristol boys were so deeply moved and thankful for Ben’s intervention that they left him to be arrested and never attempted to find out who he was. Seconds after the video ended, an off-duty policeman reached the scene. You might think that someone grateful to a saviour would speak on his behalf. Instead, said Kai, ‘it all got a bit scary so we walked off. It was too much for me and we went to Quigley’s takeaway for chicken burgers and cheesy chips.’ They didn’t give their hero a thought for over a month while police issued multiple appeals for witnesses.
As for Stokes, he told his arresting officer that ‘his friends’ had been attacked. After three minutes of chat outside a nightclub, these friends were so dear to him that he has never contacted them again: not after the newspaper piece, not after the verdict. He didn’t want to see how they were or thank them for their support. He didn’t mention them by name in his solicitor’s statement after the trial.
The Stokes defence rested on Ryan One’s bottle, which he had carried out of Mbargo to finish a beer, not to use in a Sharks versus Jets amateur production. But once he turned it over to hold it by the neck it became a weapon. Intent and interpretation can change the material nature of things. Part of Stokes’ justification in court was that the bottle implied that the two Ryans might have ‘other weapons’ hidden away. You can understand how a jury could decide that created doubt.
Not being convicted, though, doesn’t give the contents of the video a big green tick. It does not, as his lawyer claimed, vindicate Stokes. Looking in detail, Ryan One is belligerent but his movements telegraph a bluff. Hales is the person he’s gesturing at, but they’re several metres apart when Ryan One cocks his arm ostentatiously, showing off the bottle rather than bracing to swing. He skips forward but Hales skips back and Ryan One doesn’t follow. Kai stretches out an arm to impede Ryan One, who has a drunken stumble, nearly eats pavement, then staggers towards Kai and hits him in the back. That hand is still holding the bottle, but his strike is a side-arm cuff on a soft part of the body. It’s all pretty tame.
This is where Stokes gets involved. Having moved across to protect Hales, he now takes three large steps to run around Kai and booms his first punch at Ryan One. They fall to the ground and the bottle clinks away. Stokes gets to his feet to punch down at the fallen man, while Hales arrives to kick him ineffectively then runs off across the street for some unknown reason. Ice-cream van? Stokes is soon back in the grapple having his shirt pulled up to show off his Durham tan. Ryan Two steps in for the first time to pull Stokes away, prompting a couple more random punches at this new target, then Stokes trips backwards over Ryan One and sprawls in the street. Hales chooses this moment to return and aim some solid kicks at the head of the man on the ground. Nothing so far is a triumph of moral philosophy or the pugilistic arts. But if it all stopped here, perhaps you could say it was somewhere approaching fair. Ryan One has behaved like a turnip and it’s not an entirely unjust world that would give him a whack across the chops. The antagonists have disentangled, Stokes has some distance, it’s time to dust off and go home. Ryan Two steps forward for this purpose with his palm raised in conciliatory style and says, ‘Settle down, stop.’
So Stokes punches him.
It’s roughly his fifth punch overall, and he really winds up into this one. He misses so hard that he stumbles away into the shadows of the shop awnings along the road.
Hales starts shouting for him to stop. Ryan Two backs into the street, still holding his palm up. Stokes closes on him from about five metres away, six large steps, to where Ryan Two is standing on his own. Stokes pushes him a couple of times, as Ryan Two keeps trying to placate him and saying ‘Stop.’ Stokes throws his sixth punch, largely missing as his target ducks.
Ryan Two keeps pulling away and reversing, into the middle of the street now. Stokes follows him, grabbing his sleeve to drag him back. By this point Ryan One has found his feet and walked around behind his friend. Both of them are in the same line of sight for Stokes, and both are backing away. Stokes aims his seventh and his eighth punches, which Ryan Two tries to deflect, as Hales walks up behind Stokes to grab him.
Stokes yanks away from his friend and switches to Ryan One instead, taking seven paces to grab him before throwing his ninth punch of the night. He grabs again; Ryan One blocks that arm and pushes himself back away from Stokes. Ryan Two again intercedes, putting himself between the two with his palms up and his arm extended.
Stokes throws his tenth punch, a right-hander at the face of Ryan Two, then shoves him backwards. Ryan Two backs away once more, four paces. Stokes follows, steadies, lines up, then launches his strongest punch yet, his eleventh, a proper right hook from a solid base, one that cracks across the man’s head and gives him concussion. Ryan Two ends up flat on his back in the middle of the street, his hands still outstretched for a moment in useless protest until they twitch and drop to the blacktop.
Stokes isn’t done. He once more shoves away the restraining Hales and follows Ryan One, who keeps backing away saying, ‘Alright, alright, alright.’ Five more paces from Stokes before another blow at the man’s head. Kai and Billy are now standing over the poleaxed Ryan Two. The video ends, but seconds later Stokes will punch Ryan One hard enough to knock him out too, before off-duty cop Andrew Spure arrives on the scene to bring down the curtain. When the body-camera footage kicks in some minutes later, Stokes is in handcuffs but Ryan One is still laid out in the street. Ryan Two has regained consciousness, folded his shirt under his friend’s head and is asking police for an ambulance.
‘At this point, I felt vulnerable and frightened. I was concerned for myself and others.’ This was how Stokes described that sequence to the court. An elite athlete with years of gym work and training to snap a bat through the line of a ball with astounding power and precision, swinging fists as hard as he can at men with none of those advantages. Punching so hard that he breaks his hand, and repeatedly shoving away a friend so he can punch some more. Frightened and threatened by two targets shouting ‘Get back!’ and ‘Stop!’
The off-duty officer testified that Stokes ‘seemed to be the main aggressor or was progressing forward trying to get to’ Ryan One, who was ‘trying to back away or get away from the situation’. The student who filmed the video can be heard on the tape at one stage exclaiming ‘Fuck!’ and testified that it was because ‘I felt a little bit sorry about the lad that had been punched and it looked like he had his hands up’. That tallied with the prosecutor’s depiction of ‘a sustained episode of significant violence that left onlookers shocked at what was taking place’.
The defendant stuck to his strategy. ‘No, my sole focus was to protect myself.’ All up, in the 33 seconds of footage after he falls over, Stokes takes 35 steps forward to keep hitting two men who keep trying to get away. Not once is he hit back.
After the verdict, Stokes’ solicitor positioned him as the victim. It had been ‘an eleven-month ordeal for Ben … The jury’s decision fairly reflects the truth of what happened that night … He was minding his own business … It was only when others came under threat that Ben became physically engaged. The steps that he took were solely aimed at ensuring the safety of himself and the others present …’ The statement was impossibly self-righteous and self-absorbed.
If there was anyone to feel sorry for it was Ryan Hale, the second of our two Ryans. He’s the one who emerged from the club with a friendly arm around the shoulder for Kai and Billy. He’s the one who interposed himself to end the fight, then kept putting himself back in the firing line, trying to calm an intimidating stranger while dodging blows. For his show of restraint he got laid out regardless, concussed in the street, then was issued a criminal charge equal to that of the man who hit him, and described in national media as a violent bigot in an untested story to support that man’s defence.
Lawyers for Ryan Two made a more convincing post-trial statement, noting that Kai and Billy, ‘neither of whom were relied upon by the prosecution or the defence team for Mr Stokes, have taken the opportunity to speak with various media outlets about the alleged homophobic abuse that they received in the early hours of September 25. Mr Hale has passionately denied this allegation throughout the course of this case,’ it continued.
‘It is upsetting to Mr Hale that although he was acquitted, the accusation that he was the author of such abuse remains. Both Mr Hale and Mr Ali were knocked unconscious by Mr Stokes, and although Mr Stokes has been acquitted of an affray, Mr Hale struggles with the reasons why the Crown Prosecution Service did not treat him as a victim of an unlawful assault.’Good question. Avon and Somerset police were the investigating force, and they were frustrated by the decision. Ryan Two was filmed clearly not hurting anyone, but police were instructed by the CPS to proceed with a charge. Hales (the cricketer) was filmed fighting but ‘a decision was made at a senior level of the CPS’ not to proceed. Police expected Stokes to be charged with assault but the CPS declined. It doesn’t take a wild cynic to think that placing the same lukewarm charge on three men for vastly divergent behaviour might ensure that none would be convicted, even as the trial would maintain the pretence that a defendant of influential standing had not been given a free pass.
A couple of years down the line, the original interview with Kai and Billy has disappeared. All traces have been scrubbed from The Sun website, its social media history, and even from the Wayback Machine internet archive. Given its headline of ‘homophobic thugs’ and text that names Ryan Two but not Ryan One, the libel liability isn’t hard to spot. Later interviews with Kai and Billy take the passive voice – they ‘suffered homophobic slurs outside a Bristol nightclub’.
The article that was once claimed to exonerate brave Ben Stokes now links only to a missing content page, with a picture of a dropped ice-cream cone and the phrase ‘legal removal’ inserted into the web URL. In terms of consequences, Stokes missed one tour. When he resumed his career in January 2018, the Australians hadn’t yet ruined theirs. Their year-long bans looked much more stringent. But the Stokes case dragged on in other ways. With no criminal liability, the Australians confessed promptly enough for the sporting world to give them the full length of the lash. Their situation was ugly but there was closure. Stokes got stuck in legal stasis, unable to be fully backed or condemned. Instead his issue was always present, a browser full of open tabs that the ECB swore they would read any day now.
Through 2018 Stokes was back but he wasn’t back, in the sunglasses and finger-guns sense. In his return one-day series he nearly cost England a match with 39 from 73 balls in Wellington. His first Test hit was a duck as England got rolled in Auckland for 58. At Trent Bridge while Stokes was injured, England posted a world record 481 against Australia. With Stokes three weeks later at the same ground they made 268. He crawled to 50 from 103, the second-slowest any Englishman had reached that milestone in 20 years. That span covered Alastair Cook’s whole career. It was apologetic batting, acting out responsibility via the scorecard. Stokes was creeping back into the team like he’d been kicked out in a blazing row and was hoping to tip-toe to the sofa.
It was December 2018 before the ECB disciplinary committee ruled on him and Hales. In a ‘remarkable coincidence’, wrote Simon Heffer in The Telegraph, ‘the punishment both players faced in terms of bans from playing at international level was covered by the amount of games they had already missed when dropped by England’s selectors, in the furore that followed the incident’. The verdict compounded the omissions around the case by not addressing the violence at its heart. Nor did Stokes, apologising only ‘to my team-mates, coaches and support staff’, and then ‘to England supporters and to the public for bringing the game into disrepute’.
The implicit next step was to rebuild that reputation. It might have been easier had his court defence not meant that he wasn’t game to admit any fault at all. It might have been easier if he or his advisers had been willing to change tack once the trial was done. Imagine a world where Stokes had stood outside court and apologised for overreacting, for the injuries he’d caused, and for the time and energy he had sucked out of other people’s lives. That would have been a show of responsibility beyond a scorecard. When the time came around to assess forgiveness, it might have meant forgiveness was deserved.

Album Of The Year #15: Joji - Nectar

Artist: Joji
Album: Nectar
Label: 88Rising
Release Date: September 25, 2020
Listen:
Spotify
Apple Music
YouTube Music
Deezer
Soundcloud
Background
Not many artists have had a come-up as interesting and eccentric as George Kusunoki Miller, a former YouTube comedian/edgelord turned moody R&B singer. George first got his taste of internet fame as FilthyFrank, a character he described as everything a person should not be, he played the notorious persona on YouTube for over 6 years and eventually had to retire it due to him losing passion for it and suffering from stress induced seizures, which playing the character often caused.
Throughout his time as FilthyFrank however he began experimenting with music, mostly of the satirical kind at the start, his first tracks were under the FilthyFrank persona, the first one being Who's The Sucker, a dumb track where he somehow manages to rhyme "nicer" with "vagina", go figure.
A few years later, alongside the satirical rap, Joji began to make what he would consider as serious music, and this is where the timeline gets a bit messy, as he put out multiple tracks under multiple different aliases and the lines got blurred pretty fast, so I won't focus on aliases too much, but rather on the music he put out, around this era he released the therapeutical Medicine, the slow and melancholy We Fall Again, and Dumplings, which was Joji's best attempt at a trap banger.
In 2015, he birthed the Joji alias, released two singles on Soundcloud under that name, and announced a project called Chloe Burbank Vol. 1, the project was later scrapped and is probably sitting on Joji's hard drive, unfinished, however, the two singles he put out, thom and you suck charlie, were the tracks that put him in the spotlight, not to mention that to this day, there are some of his fans that believe these 2 tracks are his best and will not be topped, but that's a discussion for another day.
Following the overwhelmingly positive reception, Joji began to put out more tracks and singles, both under the aforementioned alias and Pink Guy, which was a character that blossomed into a satirical rap project, but I won't be covering that too much, and will focus on what he did as Joji instead, most tracks Joji put out were met with positive reception, some of the tracks, such as worldstar money, ended up on his debut EP as well.
Sometime around early 2016, Joji ended up signing with 88rising, a label focused on building the bridge between east and west, he explained in an interview that he was initially a consultant for the duo behind the record label, however, once the duo noticed his music and how well it was received, they asked him to jump on board and he instantly took the chance, getting signed alongside the likes of Rich Brian and Higher Brothers.
The label immediately undertook Joji and began distributing his catalog on their YouTube channel and helped him release more music, which was a couple of singles in the earlier half of 2017, and his debut EP in the latter half, the EP, known as "In Tongues", was met with mixed reception from fans and critics alike, with some describing it as his most concise body of work so far that is oozing potential, and others describing it as a bleak project that fails to set Joji apart from the sea of artists on the same wavelength as himself.
Following the release of the EP, Joji began working on his debut album, known as BALLADS 1, the album's first single, YEAH RIGHT, was released on the 8th of May, the track was first believed to be a standalone loosie as it was released 5 months before the album itself, however it ended up being on the album and was confirmed as the one of the singles alongside SLOW DANCING IN THE DARK, CAN'T GET OVER YOU, which features a production credit from non other than Clams Casino, and TEST DRIVE.
The album was well received, and was praised for containing a wider variety of sounds than its predecessor, it felt like a natural progression for Joji's sound and was a step forward towards a more mainstream approach whilst not sacrificing any of the rawness that Joji's older stuff had, which seemed to be what most fans were expecting from him.
Moving forward Joji stayed mostly silent throughout 2019, appearing on the second 88Rising collaboration album, which was negatively received due to it's lack of creativity and sub-par performances from most label signees, he also appeared on Rich Brian's sophomore album, The Sailor, and released which is now known to be as the first single from Nectar, Sanctuary, a synth based poppy track that previewed a vocally improved and more confident version of Joji.
What was assumed to be a loosie turned out to be the beginning of an album rollout, as half a year later Joji released Run, setting a new standard for himself both instrumentally and vocally, and a couple of months later he released Gimme Love, a double sided track with a fun, catchy beginning and a melancholy ballad driven ending, the last single, Daylight, was released on the 8th of August, the instrumental was produced by Diplo and the track itself sounded like Joji's attempt to break into the mainstream.
Without warning, he also released two tracks that he classified as "NOT SONG", the first being Pretty Boy, which actually ended up on the album with a Lil Yachty feature, and the second being FTC, which sadly did not end up on the album, both tracks had videos and it seemed to me at first that the purpose of both tracks was to serve the lore that Joji has built around the album, which I will be touching up on in this write-up.
A day before the album's release, he put out Gimme Cum, an enigmatic track with a mysterious message.
Nectar itself was pushed back from it's original July release date due to the pandemic and Black Lives Matter protests, the album however was released on the 25th of September.
Album Lore
If there's one thing George is no stranger to, it would definitely be worldbuilding, as he has proven time and time again that he has a knack for it, especially with his FilthyFrank YouTube channel, where he managed to create characters, locations, and an entire universe out of a few satirical characters, his lore was adored by many and even though visually he never wrapped up the story he did release a book that served as closure for the FilthyFrank lore.
This album's lore is not as straight forward however, and there are multiple theories doing the rounds on the internet, personally I will go by what sounded most convincing to me in terms of timeline and storyline, however do feel free to expand on what I've said or correct me, George has left multiple things left open to interpretation therefore I would not be surprised if there were multiple different meanings to the same thing.
Our story begins in the music video for Gimme Love, where we see a young Joji who appears to be a small time engineer that is eager to climb through the ranks of the company he is working for, as he rises however he appears to become more stressed out and agitated at all times, lashing out at his coworkers and breaking down consistently, throughout the music video we can see that the more he progresses, the more roadblocks he runs into, which causes his behavior to become more psychotic and manic, as the shots move forward we see him accept awards, lead his very own research team, run failed experiments on his coworkers that causes them to bleed, and eventually receive military covert status, which did not come without sacrifices, as we see him smile less and less throughout the video.
In the second half of the video, we see Joji steal the rocket he helped build by locking out his crew members, and launch himself into space, disappointing everyone he worked with and stabbing them in the back he appears to be quite happy however, eventually his mood flips as he is faced with two choices, engage or eject, the following shot does not allow us to see which one he picked as we are facing his back, all we see is Joji making the choice and gearing up for what's to come.
The lines get blurred around this spot and many people have different theories as to which video is the right one chronologically, personally I believe Daylight comes next, and my theory is Joji is having some sort of fever dream featuring his previous coworkers, most notably the older people who went through layers of plastic surgery, who appear in the music video for FTC, where they are seen wearing badges that features the same organization Joji worked for, throughout the video they are seen rummaging through the wreckage caused by Joji, clearly looking for something specific, which ends up being the award Joji won.
Back to Daylight, Joji appears to be some sort of intern working for the director and the actors, towards the end of the music video we can see Joji waking up from the aforementioned fever dream, clearly in a daze, as the shot widens we see that he is alone, in a barren wasteland, with nothing around him except for a tent and what appears to be a device used for communication, he plants a few seeds in the soil and sits by the device, hoping for a sign of life.
Next comes Run, where we are once again met with Joji having a nightmare, the entire video symbolizes being trapped in a place you don't want to be in, as Joji appears to be in a never ending limousine with people he has no interest in whatsoever, towards the end of the nightmare we actually see Joji running across a massive wasteland, the same wasteland we saw him in at the end of the Daylight music video, throughout the video, we see Joji become consumed by the soil itself, which I would assume is a representation of his fears back then, seeing as he was alone and had little to no hope of being saved whatsoever.
Joji wakes up from this nightmare and appears to be in some kind of spaceship, if the videos were released chronologically, we would be completely lost at this point, lucky for us, we already know what the spaceship is, as we see a picture of the Sanctuary crew in the final shots of the Run music video, I'm gonna go out on a limb here and say that the crew is the ones that saved him from death and picked him up from the mess that he placed himself in, hence the name Sanctuary, which means refuge or safety from pursuit, persecution, or other danger
The crew itself is seen in action in the music video for Sanctuary, where Joji appears to be fighting and defeating some sort of one-eyed alien supervillain at the start, however, once he is defeated, both Joji and the crew themselves become aimless, as they are living monotonously without a goal, thankfully(???), one of the crew members sees this and decides to take matters into his own hands, by surgically removing his own eye, which portrays his transformation into the new supervillain, and following this up by killing a crewmember and escaping on his own, once again giving the spaceship it's own purpose.
Unfortunately the music videos that were put out after the release of the album appear to be too subtle for me to think they are connected in any way, shape or form, there are many theories of course but I can't help but feel like that most of them are a reach.
The most plausible explanation for this lore that I can think of is that the whole escaping from earth on his own, landing in a barren wasteland, trying to plant seeds in it, and eventually being picked up by a group(88Rising, wink wink) is a metaphor for his transition from FilthyFrank to Joji, the barren wasteland stands for how hopeless he felt at the time and the seeds symbolize the loosies he was slowly dropping before ditching his channel to become an R&B superstar, which if true, solidifies the idea that George was done with FilthyFrank long before he actually left the channel itself.
Regardless, I thought the lore was very enjoyable and it was nice to see Joji back in one of his elements at least, most fans would have been disappointed in me if I had not touched up on it a bit seeing as it was a huge part of the albums release and they are intertwined in some sort of way.
Review

When it's lovely I believe in anything What does love mean When the end is rolling in

It is important for me to preface this review with the fact that this Joji album is not like anything we've ever heard from him before, this is not the one man army, garageband using, sample meshing Joji that we knew in the past, this is Joji with an entire team behind his artistic vision, a whole group of people working with him to help him push his sound to the next level, and unfortunately, while the quality of the music has clearly went up, when so many people have their own input on something eventually the lines get blurred and the album loses its artistic direction and cohesion, which is one of my only complaints with this album, and I'm glad I got it out of the way first.
Artistic direction and cohesion aside, this album contains some of Joji's highest highs to date, especially the singles, that's not to say that there aren't some deep cuts on here that shine as well, but once you listen to the album in it's entirety you quickly understand why the singles were chosen as singles, especially when you consider how sonically different they are from the non-singles.
Sanctuary, the album's first single, is a sweet, poppy and synthy track that features a high pitched and melodic Joji, some of the track's lyrics are somewhat abstract but they are quite visually descriptive and that's always a plus in my book, the instrumental itself is quite spacey and has a nice retro vibe to it, already a huge step forward from what we've already heard from George, the track's climax reaches towards the end and gives us a beautiful bridge,with Joji crooning about wanting to be held by a significant other.

I fell for your magic, I tasted your skin And though this is tragic, at least I found the end I witnessed your madness, you shed light on my sins And if we share in this sadness, then where have you been?

Run is one of the more cinematic cuts on this album, the track is truly a double edged sword because although it's one of Joji's best, it has set an extremely high standard for both Joji and the album, leaving fans such as myself worried about whether or not he will ever reach a similar high, the production is clean, Joji's vocal lines are as dynamic as ever, the guitar melody is infectious, the lyrics are better than anything Joji has ever written and he is putting his heart and soul into every word, the electric guitar solo at the end is also something worth mentioning, which sits perfectly right in front of Joji's distant and wide vocals, ending the track on a strong note.

Look into your heart and let me know Do things turn black and gray as they go? When I'm far too gone, can you show me love? Give me love

Gimme Love

The lyrics above come from the album's third single, a 2 sided track that starts as a bouncy, percussive, fast paced, and catchy song, with Joji chanting and pleading to be given love, softly singing about being surrounded by apathetic people, after the second chorus the entire song comes to a halt in order to make room for a mellow guitar and Joji's harmonies, which are absolutely stunning if I may add, the track, much like many other tracks on here, ends on a cinematic strong note with a string section and a grandiose piano.
The final single, Daylight, is no doubt unexplored territory for Joji, the instrumental, which was produced by Diplo, starts off slow and minimalistic, with a simple yet groovy bassline, and reaches its apex on the chorus, when it suddenly becomes extremely lush, heavy, and thick, the track is most definitely a solid attempt at modern day and mainstream pop music, clearly made with the intention of receiving radio play.
All of the singles show up in the first leg of the album, which is absolutely phenomenal, the opener track, Ew, starts off light and easy, with a somber and distant arpeggiated piano backed with Joji's soft vocals, who's singing about heartbreak and the loss of many relationships, sounding as bitter as ever lyrically, the chorus includes a grand string section and a chord progression that is fully panned to the right and sitting all the way behind the mix, and surprise surprise, the track itself ends on a cinematic strong note, much like many of the other tracks on here.

I've got no aim, a million rounds, is nothing real? A hundred pounds of heavy steel, it feels so loud Tied to my chest, it feels so loud I'll take a peek to across the peaks This grass is neat and I'm quite unique But I'd like to be, but I'd like to be

MODUS

Up next comes MODUS, a moody track that has an intro similar to the opener track but later on has Joji melodic rapping to a murky trap instrumental, with Joji of course sounding better than ever, lyrically speaking, many of the themes on this album are similar, Joji is mostly singing about relationships, heartbreak, and the need for a significant other, the lyrics themselves give the album a nocturnal, bitter, hopeless vibe, which is what we've come to expect from Joji's music nowadays.
The third track, Tick Tock, is a plucky banger of an instrumental that has Joji rapping over it with pitched up vocals on the chorus which is something that's a little bit reminiscent of his older, more amateur work, the vocal layering on the verse is also something worth mentioning, really showcases Joji's dynamic range and how much he improved as a whole, the track is nothing groundbreaking in terms of what we've heard so far and remains lowkey for the most part but is without a doubt one of my favorites on this project.

On Nectar, one of the yet-to-be-announced tracks was produced when the artist was only sixteen years old. “I’m excited to see if it sticks out or not to the listeners.” he reveals.

Joji Interview with Schön! Magazine.

While not officially announced by Joji himself, it is safe to say that Upgrade is the aforementioned track, a small interlude that seats itself in the earlier part of the album, the track starts with a grandiose piano, which is quite unnecessary if you ask me, because once we have it out of the way all we get is a very obviously barebones instrumental made from a different time, the telltale sign being non other than the ukulele that we have seen in George's earlier work.
It upsets me that Joji has not made this fact much more known because this track has been consistently the subject of criticism by critics and fans alike, but at the same time I understand, because at the end of the day George left that track in there for the die hard fans, not the critics.
Up until this point there is no doubt that Joji has played it safe, sure the album is much more grand and cinematic than its predecessor, but there's no denying that the signature sound is still there, we still get the hazy and moody slow bangers, if Nectar was only the first half then Joji might have had a strong album in his catalog, maybe even a classic, but I understand him wanting to expand and experiment with other sounds in order to grow as an artist.
The midsection gets a little bit tricky, as Joji begins to get out of his comfort zone and the album features start appearing, to me it sounds like Joji did not know how he could keep the listener interested in the second half of this album and decided to opt in for a bunch of features as a quick fix, some work out fine, some better than others.

Handsome young man, never pull up on time Lookin' in the mirror, lookin' good should be a crime, crime All this pain I'll never let show (No) My real thoughts, you'll never know (No)

Lil Yachty on Pretty Boy

I never really listened to Lil Yachty that much aside from the obvious hits he had over the course of his career, but he clearly shined on this track as the feature, for starters, the track is very light-hearted, definitely one of the more lofi tracks on this album, the highlight for me without a doubt is the bridge, which sounds like something straight out of Pink Season, George was clearly having genuine fun with it, some even speculate that most of the bridge was made using samples from his earlier work as Pink Guy.
High Hopes, which features Omar Apollo, is one of the more lowkey cuts in here as well, the percussion on the instrumental and the detuned guitar on here remind me of some of Joji's stuff from BALLADS 1, unfortunately however the track doesn't stand out much, at least not as much as Afterthought with BENEE, another track where Joji's melodies and vocals shine through once again, and BENEE's feature definitely adds some character to the track, at least enough to the point where the feature made some sense
On Normal People, Joji recruits childhood friend rei brown, in an attempt to capture lightning again after their first collaboration, Once In A While. Unfortunately lightning didn't strike twice here for me and the track felt quite lackluster and uninteresting, especially for such an anticipated track and when compared to their first song, many of the tracks and collaborations on the second part of the album really felt like Joji just trying to recapture the magic of his earlier work, and while some of those attempts did work at the end of the day it does feel like a cheap cop out.

Oh, understand, girl, I'm out of sight To the other side, I don't want no stripes Got my insides loud like motorcycles Girl, don't notice it, I don't notice it

NITROUS

Another example of Joji attempting to recapture magic is NITROUS, which marks Joji's second time collaborating with Clams Casino, the track is very reminiscent of their first track together, both Joji and Clams Casino however killed it, the track's instrumental is very murky and nocturnal, much alike most of the album, but that doesn't stop Joji's delivery, which is very fun-loving and upbeat.

By the way you move, I know you want me to Tell you all the rules, I know I'm searching too Give me all your clues and things to guide me through The end of the world, the end of the world

Mr. Hollywood

Produced by the one and only Kenneth Instrumentals, Mr. Hollywood is one of the more heartfelt and personal tracks on this album, Joji is singing about his evergrowing popularity and how it will never affect what is important for him, which in this case is the girl he's singing about, like many other tracks on this album, you will often hear something that will remind you of Joji's older work, in this case it is the ad-libs on the chorus, which are very reminiscent of his ad-libs on BESIDJU, regardless the song has at least a bit of substance which makes it one of the more commendable tracks.
The final run of this album is where Joji flips the script here, there are a few tracks that have questionable artistic decisions, such as Reanimator, with non other than Yves Tumor, the track serves as an instrumental interlude before the final two tracks, however with a feature such as Yves Tumor I honestly expected much more than what we got, and what we got is basically a 3 minute track, with the first minute and a half being nothing than a drone-y, synthy instrumental, and the second half being quite a lackluster performance by Joji and his guest, much like some of the other tracks on the album, it seems like it received a similar treatment, where the track was initially unfinished and still half-baked, and rather than attempting to finish the track they opted for an easy way out, which in this case was making more than half of the track an instrumental and then calling it an interlude just to be safe.

"that weeknd synthpop track sure is doing huge numbers, maybe i should also make a synthpop track as well"

Joji, probably.

I would be down to argue that if Blinding Lights by The Weeknd had not existed, 777 wouldn't have existed either, Joji's constant attempts at breaking into the mainstream and commercializing his sound have always left a bad taste in my mouth as it felt like it came from a place where authenticity is lacking, nevertheless I find it bizarre to make a track that is very similar to one of the most successful tracks of the year and not attempt to push it at all, that's not to say that 777 on it's own is not a good track, however there's no denying that the sound selection on the instrumental, some of the flows, and the chorus itself hold blaring similarities to The Weeknd's track, I understand why he would make such a track however and find it admirable at the very least.
Thankfully, the album ends on a strong note, the final two tracks are both beautiful even though they're worlds apart, Like You Do, is a quintessential love ballad from Joji, a stripped down instrumental with beautiful piano chords and a laid back vibe, Joji is singing about his current partner and how what they have might not work out, even though he feels like they're perfect for one another, the closing track, Your Man is a massive change in tempo, with an upbeat, electronic, deep house-esque instrumental, we hear a Joji that is optimistic, which is a nice change of pace, especially considering how bitter most of his albums and projects have been up to date.

Since I met you All the gloomy days just seem to shine a little more brightly Consider what we've got 'Cause I can never take you for granted

Like You Do

Conclusion
There's no denying that some tracks on here sound like a bastardized version of Joji's signature sound. Joji is trying his best to commercialize his sound without sacrificing the rawer elements of it, which unfortunately results in a jumble of sounds. This album is not free of criticisms as there are many issues in here that need to be worked on, it's much less cohesive than its predecessor and at times sounds like a bunch of rough ideas put together in order to create the world's most average musical equivalent of a photo collage, but if we were to just set all of that aside and just look at this album for what it is, then there's definitely something in here for everyone. George might have not made a classic, and he certainly hasn't found his sound yet, but this album is an indicator that he's on to something, and once again I am already anxious to hear what he has in store next.
Talking Points

What did you think of this album? Is it a good follow-up to BALLADS 1?
Do you think Joji works better alone or when he has a team behind him?
Do you think Joji will yet again set another high standard for himself next project?
What are your predictions for Joji's sound in the future?
Now that he's more keen on having features, who do you think would compliment Joji's sound the most?
Favorite tracks?

What a know-nothing retarded skeptic such as myself is learning from the GME "Squeeze"

New fan here. Watched 12 Bond films over the past two months. Here are my thoughts.

/r/politics mods selectively ban or delete content negative to Republicans and enlightened centrists

The ban abuse happens every now and again where someone will report my post because it's negative to Republicans or Democrats. Recently I was banned for posting proof the Republican party has been enabling and promoting racism for over half a century. My comments were unique and I included citations to backup my points. Last fall /politics mods outright deleted a comment of mine which showed that Joe Biden has too cozy of a relationship with Republicans, campaigned for them during Trump's term, and whitewashed how horrible they are. The mods also let people harass me as much as they want and will only ban people after I've been banned and pointed out their double standard.
That said since my sources piss them off so much and they've had a long history of abusing their power, I've included my list of go-to useful info for y'all to use when necessary. There's a bit of something for everyone.
Republicans Stealing Elections
Ohio's Odd Numbers (Via Vanity Fair, 2005)
How a Supreme Court Decision Curtailed the Right to Vote in Wisconsin (Via NYT, 2020)
Clapper: Intelligence community ‘cast doubt on the legitimacy' of Trump's victory (Via The Hill, 2017)
Georgia election server showed signs of tampering, expert says (Via NBC News, 2020)
New court filing: Documents were deleted from (WI) GOP redistricting computers (Via Milwaukee Journal-Sentinel, 2013)

But after the ruling, the plaintiffs identified documents - 55 so far - that should have been turned over to them but never were. Last month the court ordered the state to turn over the computers so the plaintiffs could forensically examine them because the judges found "some form of 'fraud, misrepresentation, or misconduct' likely occurred."

NRA Was 'Foreign Asset' To Russia Ahead of 2016, New Senate Report Reveals (Via NPR, 2019)
Gloves come off after Obama rips Supreme Court ruling (Via CNN, 2010)

"With all due deference to separation of powers, last week the Supreme Court reversed a century of law that I believe will open the floodgates for special interests -- including foreign corporations -- to spend without limit in our elections," Obama told a packed House of Representatives chamber Wednesday night.
"I don't think American elections should be bankrolled by America's most powerful interests, or worse, by foreign entities. They should be decided by the American people. And I'd urge Democrats and Republicans to pass a bill that helps to correct some of these problems."

Recent ban for these citations
Report: Aide says Nixon's war on drugs targeted blacks, hippies (Via CNN, 2016)
Reagan Called Africans ‘Monkeys’ in Call With Nixon, Tape Reveals (Via NYT, 2019)

You start out in 1954 by saying, “Nigger, nigger, nigger.” By 1968 you can’t say “nigger”—that hurts you, backfires. So you say stuff like, uh, forced busing, states’ rights, and all that stuff, and you’re getting so abstract. Now, you’re talking about cutting taxes, and all these things you’re talking about are totally economic things and a byproduct of them is, blacks get hurt worse than whites.… “We want to cut this,” is much more abstract than even the busing thing, uh, and a hell of a lot more abstract than “Nigger, nigger.” --Lee Atwater, former RNC Chairman, adviser to Reagan and HW Bush Administrations, close acquaintance to Karl Rove

“I’ll tell you what’s at the bottom of it (racist vote manipulation),” he said. “If you can convince the lowest white man he’s better than the best colored man, he won’t notice you’re picking his pocket. Hell, give him somebody to look down on, and he’ll empty his pockets for you.” --Lyndon B. Johnson (Via Snopes)

Facebook teams with rightwing Daily Caller in factchecking program (Via The Guardian, 2019)

"With all due deference to separation of powers, last week the Supreme Court reversed a century of law that I believe will open the floodgates for special interests -- including foreign corporations -- to spend without limit in our elections," Obama told a packed House of Representatives chamber Wednesday night.
"I don't think American elections should be bankrolled by America's most powerful interests, or worse, by foreign entities. They should be decided by the American people. And I'd urge Democrats and Republicans to pass a bill that helps to correct some of these problems."
Alito, part of the court's conservative majority, could be seen apparently frowning and quietly mouthing the words "not true." Via CNN, 2010

In the case of a trucker’s life vs. his cargo, Judge Neil Gorsuch ruled for the cargo (Via Denver Post, 2017)
This is the Biden info which was outright deleted from a post on /politics last fall during the 2020 election.
Former Vice President Joe Biden said he’s concerned about what would happen if Republicans get "clobbered" in next year’s election, suggesting such an outcome would be harmful to bipartisanship. (Via The Hill, 2019)
Joe Biden Says 'I Actually Like Dick Cheney' in 2015 Video, Prompting Widespread Liberal Backlash (Via NewsWeek, 2019)
Former vice president Dick Cheney to appear at fundraiser for Trump and RNC (Via WaPo, 2019)
Biden responds to criticism over calling Pence 'a decent guy' (Via The Hill, 2019)
Joe Biden's Paid Speech Buoyed the G.O.P. in Midwest Battleground (Via NYT, 2019)
Biden World shell-shocked amid Hyde furor (Via The Hill, 2019)
Biden Reverses Position, Rejects Hyde Amendment, Cites Attacks On Abortion Access (Via NPR, 2019)

Just earlier in the week, Biden's campaign affirmed the candidate's support for the ban, setting off criticism from abortion rights supporters, who called on Biden to reverse his long-held position.

Biden says marijuana may be a ‘gateway drug.' Like most of his generation, he’s not ready to legalize it. (Via WaPo, 2019)
Pelosi: Bush Impeachment `Off the Table’ (Via NYT, 2006)
George W. Bush has been advocating for Kavanaugh with wavering senators (Via PBS, 2018)
Barrett declines to say whether a president can unilaterally delay election
Amy Coney Barrett ruled using the n-word does not make a work environment hostile
Amy Coney Barrett served as a ‘handmaid’ in Christian group People of Praise
Amy Coney Barrett fails to fully disclose some past anti-abortion activism
Barrett declines to say whether a president can unilaterally delay election

Atwood says that the groups like this served as primary inspiration for The Handmaid's Tale — and it's not hard to see why. In numerous interviews, Atwood alluded to the group but did not call them out by name. In an interview for the New York Times Book Review in 1986, she said, “There is a sect now, a Catholic charismatic spinoff sect, which calls the women handmaids.” Members of People of Praise are assigned accountability advisers. For men, they are called a “head;” for women, a “handmaid.” That is until the popularity of the book and subsequent television series grew and the group changed the title to “woman leader.”

Book reveals Trump effort to persuade Justice Kennedy to step aside for Kavanaugh (Via The Guardian, 2020)

Long before Trump ran for the White House, Justice Kennedy’s son, Justin, worked as an investment banker at Deutsche. Enrich describes how he developed a relationship with Trump, his daughter Ivanka and son-in-law Jared Kushner, helping to finance real-estate deals no other bank would touch because of Trump’s record of failing to pay his debts to lenders, contractors and business partners.
...
Justin Kennedy was part of the US branch of Deutsche Bank from 1998 to 2009. Drawn to Trump’s risk-taking and glamour, he became a Trump confidant, sitting with the real estate impresario at the US Open tennis or in Manhattan nightclubs, and chaperoning huge loans to finance Trump’s real estate spending sprees.
Kennedy, who ran the bank’s commercial real-estate team, continued to lend to Trump even though Deutsche clients had suffered severe losses when Trump’s casino business collapsed and he declared bankruptcy.

Wall Street Democratic donors warn the party: We’ll sit out, or back Trump, if you nominate Elizabeth Warren (Via CNBC, 2019)
Jeff Zucker’s singular role in promoting Donald Trump’s rise (Via WaPo, 2016)

“It may not be good for America, but it’s damn good for CBS,” Leslie Moonves, chairman of CBS, said of the Trump phenomenon in March, according to the Hollywood Reporter.

I must make two honest confessions to you, my Christian and Jewish brothers. First, I must confess that over the past few years I have been gravely disappointed with the white moderate. I have almost reached the regrettable conclusion that the Negro's great stumbling block in his stride toward freedom is not the White Citizen's Counciler or the Ku Klux Klanner, but the white moderate, who is more devoted to "order" than to justice; who prefers a negative peace which is the absence of tension to a positive peace which is the presence of justice; who constantly says: "I agree with you in the goal you seek, but I cannot agree with your methods of direct action"; who paternalistically believes he can set the timetable for another man's freedom; who lives by a mythical concept of time and who constantly advises the Negro to wait for a "more convenient season." Shallow understanding from people of good will is more frustrating than absolute misunderstanding from people of ill will. Lukewarm acceptance is much more bewildering than outright rejection.
"Letter from a Birmingham Jail, MLK Jr."

Paul Ryan Keeps It All in the Family (Via New Yorker, 2017)

In the transcript published by the Post, (Kevin) McCarthy speculates that the Russians hacked the Democratic National Committee’s computers and, in the process, discovered whatever opposition-research materials the Democrats had gathered on Trump.
“There’s two people I think Putin pays: Rohrabacher and Trump,” (Kevin) McCarthy said, according to Entous, a superb reporter who heard a tape recording of the colloquy. “Swear to God.”
In the Post piece, McCarthy’s remark is met with laughter, and Ryan cautions his colleagues, “This is an off the record . . . No leaks! . . . All right?”

A Russian bank gave Marine Le Pen’s party a loan. Then weird things began happening. (Via WaPo, 2018)
Russia's propaganda machine discovers 2020 Democratic candidate Tulsi Gabbard (Via NBC News, 2019)
Tulsi Gabbard Drops a Big Hint About Running a Spoiler Campaign for Trump (Via New Yorker, 2019)
Russian web trolls boo Biden, often boost Gabbard, report finds (Via NBC News, 2019)
Opinion: Tulsi Gabbard may not be a Russian asset. But she sure talks like one (Via LA Times, 2019)
Tulsi Gabbard Is Being Used by the Russians, and to a Former US Double Agent, the Evidence Is Clear (Via Newsweek, 2019)
Here’s Exactly How Much Russian Media Loves Tulsi Gabbard — and Hates Biden (Via Vice News, 2019)

Massachusetts to let arcades reopen next week, Gov. Charlie Baker says

The USA PATRIOT Act: The Story of an Impulsive Bill that Eviscerated America's Civil Liberties

The USA PATRIOT Act provides a textbook example of how the United States federal government expands its power. An emergency happens, legitimate or otherwise. The media, playing its dutiful role as goad for greater government oversight, demands "something must be done." Government power is massively expanded, with little regard for whether or not what is being done is efficacious, to say nothing of the overall impact on our nation's civil liberties.
No goals are posted, because if targets are hit, this would necessitate the ending or scaling back of the program. Instead, the program becomes normalized. There are no questions asked about whether the program is accomplishing what it set out to do. It is now simply a part of American life and there is no going back.
The American public largely accepts the USA PATRIOT Act as a part of civic life as immutable, perhaps even more so than the Bill of Rights. However, this act – passed in the dead of night, with little to no oversight, in a panic after the biggest attack on American soil since Pearl Harbor – is not only novel, it is also fundamentally opposed to virtually every principle on which the United States of America was founded. It might not be going anywhere anytime soon, but patriots, liberty lovers and defenders of Constitutional government should nonetheless familiarize themselves with the onerous provisions of this law, which is nothing short of a full-throttle attack on the American republic.

What’s Even in the USA PATRIOT Act?

What is in the USA PATRIOT Act? In the Michael Moore film Fahrenheit 9/11, then Rep. John Conyers cracked wise about how no one had actually read the Act and how this was in fact par for the course with America's laws. Thus, before delving into the deeper issues surrounding the PATRIOT Act, it is worth discussing what the Act actually says. Here’s a brief look at the 10 Titles in the PATRIOT Act:

Title I: Enhancing Domestic Security Against Terrorism: This provision dramatically expands the powers of the President, the military and the intelligence community whenever the specter of "terrorism" is invoked. Bizarrely, it contains a provision condemining discrimination against Arabs, Muslims and South Asians, which seems to have very little to do with protecting Americans from terrorism.
Title II: Enhanced Surveillance Procedures: Title II contains the meat of the Act with regard to massive, industrial-scale surveillance on the American public. Beyond the simple spying on Americans and their communications, Title II increases the ability of federal intelligence agencies to share your private communications with one another.
Title III: International Money Laundering Abatement and Financial Anti-Terrorism Act: Not simply a section of the USA PATRIOT Act, Title III is an Act of Congress in its own right. You might have noticed how much more difficult it is to open a bank account or send a wire transfer after 9/11. You can blame this provision, which shredded banking privacy rights in the United States.
Title IV: Protecting the Border: Other than expanding the number of federal employees (of course), the provision of the USA PATRIOT Act charged with protecting America's borders does little other than point toward paths for future action and study. It is worth noting that the weakest provision of the Act is the only one explicitly authorized by the Constitution -- protecting the border.
Title V: Removing Obstacles to Investigating Terrorism: Title V authorizes bounties for the apprehension of alleged terrorists, broadens government power to conduct DNA analysis, allows for greater data sharing between law enforcement agencies and, perhaps most disturbingly, requires private telecommunication carriers to comply with government requests for electronic communication records whenever requested by the FBI. It also expands the power of the Secret Service to investigate computer fraud.
Title VI: Providing for Victims of Terrorism, Public Safety Officers and Their Families: Perhaps the most innocuous portion of the USA PATRIOT Act, Title VI provides for a victims' fund for victims of terrorism and their families.
Title VII: Increased Information Sharing for Critical Infrastructure Protection: The subtitle of this section of the Act is a rather wordy way of saying that the United States federal government is allowing for law enforcement agencies to share information across jurisdictional boundaries in an easier fashion than was previously legal. To that end, the Bureau of Justice Assistance was given a $50,000,000 budget for 2002 and a whopping $100,000,000 budget for fiscal year 2003.
Title VIII: Strengthening the Criminal Laws Against Terrorism: Title VIII is where the rubber meets the road: What exactly is terrorism, according to the federal government? Unfortunately, this Title does little to clarify what terrorism is, instead focusing on declaring a number of actions (such as attacks on transit) as “terrorism,” regardless of intent.
Title IX: Improved Intelligence: The section subtitled “improved intelligence” largely expands the powers and responsibilities of the Director of Central Intelligence.
Title X: Miscellaneous: When the federal government titles a segment of a law “miscellaneous,” you know it’s going to include everything and the kitchen sink. And so it does: The definition of electronic surveillance, additional funds for the DEA in South and Central Asia, research on biometric scanning systems, a limitation on hazmat licensure and infrastructure protections are all addressed in Title X, which is a catchall for everything the federal government forgot to address in the first nine sections of the law.

Most of the provisions of the USA PATRIOT Act were set to sunset four years after the bill was passed into law. However, the law was extended first by President George W. Bush and then by President Barack H. Obama. The latter is particularly scandalous given that, at least in part, a rejection of the surveillance culture that permeated the Bush Administration was responsible for the election of Obama in 2008.

Passing the USA PATRIOT Act

Next, it’s important to remember the environment in which the USA PATRIOT Act was passed: Post-9/11. It is not the slightest bit of exaggeration to label the environment in which the PATRIOT Act was passed as “hysterical,” nor is “compliant” a misnomer for the Congress of the time. Opposition to the Act was slim and intensive review of one of the most sweeping Acts of Congress in American history was nonexistent.
All told, Congress took a whopping six weeks drafting, revising, reviewing and passing the PATRIOT Act. That’s less time than Congress typically spends on totally uncontroversial and routine bills that don’t gut the Fourth Amendment. The final vote found only 66 opponents in the House and one (Wisconsin Democrat Russ Feingold) in the Senate. The entire passage of the PATRIOT Act, from start to finish, took place behind closed doors. There were no committee reports or hearings for opponents to testify, nor did anyone bother to read the bill.
“Uniting and Strengthening America by Providing Appropriate Tools Required to Intercept and Obstruct Terrorism” is the bloated and overwrought full name of the bill, crafted by a 23-year-old Congressional staffer named Chris Cylke. This ridiculous name puts the focus not on the surveillance aspects or the erosion of basic civil liberties enshrined in Western society since the Magna Carta, but on patriotism. At the time of its creation, the messaging was very clear: Real patriots support massive intrusions on civil rights. As President George W. Bush said at the time, “Either you are with us, or you are with the terrorists.” This sentiment very much seemed to apply to American citizens.
While the argument that if you have nothing to hide you shouldn’t fear investigation is anathema in a Constitutional republic with regard to citizens, it should be standard operating procedure when it comes to our organs of government. If we cannot expect transparency from the United States Congress – elected officials charged with representing the will of the people and protecting the Constitution – then we certainly can’t expect it anywhere else.

The Unfortunate Growth of the USA PATRIOT Act

It’s no surprise to those in the liberty movement that given an inch, the government (in particular the military-intelligence community) took a mile. Even the nebulous definition of “terrorism,” largely centered around a long litany of acts rather than the motivation behind them, has expanded to include receiving military training from a proscribed organization (without actually committing any terrorist acts or even acts of violence of any stripe) as well as “narcoterrorism” – the latter particularly convenient, as the United States government continues its losing “War on Drugs.”
Indeed, in many ways, the War on (Some) Drugs was the template for the War on Terror. Both wars have no defined enemy, no defined terms of victory. Instead, they are waged against a nebulous concept, while enjoying bipartisan support for their ever-expanding budgets. What’s more, it didn’t take long for the Feds to start using the USA PATRIOT Act for things it was never intended for, including prosecuting the War on Drugs.
Perhaps the silliest application of the USA PATRIOT Act is the prosecution of Adam McGaughey. McGaughey maintained a fansite for the television series Stargate SG-1. The Feds charged him with copyright infringement and computer fraud. In the course of their investigation, the FBI leveraged the PATRIOT Act to get financial records from his website’s ISP. This was made possible by the USA PATRIOT Act amending the Computer Fraud and Abuse Act, allowing for search and seizure of ISP records.
The New York Times discovered in September 2003, that the USA PATRIOT Act was being used to investigate alleged drug traffickers without what would otherwise be sufficient probable cause. These were investigations into non-terrorist acts using a law ostensibly designed to investigate terrorism. There was some suspicion that the Act was being used to investigate crimes occurring before the Act was passed, violating the ex post facto clause of the United States Constitution.
In one of the biggest power grabs (excluding virtually everything we know from Edward Snowden – more on that below), the FBI sent tens of thousands of “national security letters” and procured over one million financial records from targeted businesses in Las Vegas. These businesses were primarily casinos, car rental bureaus and storage spaces. The data obtained included financial records, credit histories, employment records and even people’s personal health records.
The FBI maintains and databases this – and, indeed, all information collected through the USA PATRIOT Act – indefinitely. In the good old days before the PATRIOT Act, the Feds were compelled to destroy any evidence they collected on someone later found not guilty of a crime. Note that the aforementioned data collection brought to public attention by Edward Snowden (which, again – we’re getting to that) falls under this provision. Not only is the government collecting obscene amounts of private and personal information about you, they’re also storing it indefinitely with no plans to stop.
What’s more, the FBI has approached public libraries to turn over the records for specific terminals, collecting information not about specific users who might be under investigation, but about anyone who has ever used the computer at the public library. Libraries, to their credit, have been very much at the forefront of resistance against the PATRIOT Act, with some litigating compliance despite operating on small budgets and others posting “canary letters,” which effectively say “The FBI Hasn’t Been Here Yet.” The removal of such a letter would warn patrons that the FBI has been sniffing around in their records.
Indeed, the greatest criticism of the PATRIOT Act is the simplest and perhaps most obvious: Why does an Act ostensibly passed to fight terrorism so drastically expand the government’s power to investigate virtually everyone else? The PATRIOT Act is not merely unconstitutional, it is an unprecedented expansion of state power in the Anglosphere, a culture based on restricted government and the primacy of individual rights.
An excellent example of this is the Foreign Intelligence Surveillance Act (FISA) expansion. Most people are familiar with the term “FISA court,” but very few people actually know what it is – a special federal court created under the Carter Administration that grants approval of electronic surveillance of both citizens and resident aliens in the event that they are accused of acting in the service of a foreign power. The last part of this sentence is very important: The FISA courts are not simply for allowing surveillance of anyone that it might be expedient to collect information about. The scope of their powers is very, very limited.
Or was.
The PATRIOT Act lowered the burden of evidence required to obtain a FISA warrant for electronic surveillance and expanded the overall scope of the FISA courts. Any savvy federal agent can now drape his charges in the garb of (what else?) “national security” and obtain electronic surveillance privileges hitherto only dreamed of by investigators. FISA courts have become pliant tools in the hands of the Feds, gladly approving their requests to monitor phone and internet surveillance, as well as access to medical, financial and educational records.

The Future of the USA PATRIOT Act

Do we still need the PATRIOT Act? Did we ever? All laws are certainly a product of their times. But this seems much more acutely true of the USA PATRIOT Act, which was passed in a rush and under duress without due consideration.
Particularly in light of the revelations from Edward Snowden – that the government is spying on everything they possibly can – it’s worth asking if there’s any walking back. He points out that the police state apparatus was originally for drug dealers, then for terrorists, but ultimately ended up being applied to anyone and everyone.
What’s more, Bob Bullard notes another frightful aspect of the USA PATRIOT Act: Terrorism-related cases are not subject to the Freedom of Information Act. This means that there is little or no oversight. There is no surer hallmark of a police state than an all-powerful domestic surveillance agency with no transparency or oversight. While the USA PATRIOT Act might not create an American Stasi as such, it certainly paves the way for one.
Continue reading The USA PATRIOT Act: The Story of an Impulsive Bill that Eviscerated America's Civil Liberties at Ammo.com.

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