![]() It doesn’t matter how many times I listen to it, it all but evaporates the second I lift the needle from the vinyl, and its parallel release with the vital, ear-boggling Soundcloud Dump – the product of a racing mind clearly caught in a feedback loop with an audience via live performances and DJ sets – didn’t help matters. It seemed like these self-imposed boundaries of wrangling with antiquated, notoriously difficult to use kit, were possibly constructed out of boredom and aimless tinkering as much out of the desire to set himself a genuine challenge. It’s true that one of his ‘post-return’ releases, the Cheetah EP (2016), has been slow to reveal its worth to me I have the sensation that this was an inwards-looking project, created with his back turned to us, his audience, and this feeling is hard to shift. (That time, initially, unseating some fans of rave and techno, who were howling for more of the breakbeat acid they’d already come to expect from the Analog Bubblebath series.) The criticism from people who confidently feel they know better – that he has somehow fumbled the ball – has plagued him since the release of his first album, Selected Ambient Works 85-92 on Apollo in 1992. This, of course, has always been one of his long term strengths – no matter how many folk it has frustrated in the short term – he has an utter inability to give people what they expect or feel they need at any given time. How can there be when we’re talking about the artist who made the tweaking Cornish hardcore acid of Caustic Window’s ‘Humanoid Must Not Escape’ the vaporous song of the stones ‘Blue Calx’ the boinging gary-addled oi-oi lunacy of Power Pill’s ‘Pac Man’ the 90s-terminating broken R&B of ‘Windowlicker’ the solemn but childlike clifftop processional of ‘Logan Rock Witch’ the crushing tinnitus-inducing industrial techno of ‘Ventolin’ the heartstring-yanking piano minimalism of ‘Aisatsana ’ the sophisticated liquid funk of ‘Minipops 67 ’. Mention his name to a selection of music fans over a period of time and the sounds/sensations triggered immediately, automatically, synaesthetically by nominative association will cover a multitude of affects and vibes, simply because there is no definable RDJ sound. This is to the extent that serious consensus on what it is exactly that he does is impossible to reach. One of the core strengths of Richard D James as a producer is that he has clearly been many things to many people over the previous three decades. “Give me your tired, your poor, your huddled masses yearning to breathe free, the wretched refuse of your teeming shore.Blackbox Life Recorder 21f / in a room7 F760 by Aphex Twin Send these, the homeless, tempest-tossed to me, I lift my lamp beside the golden door!” This country’s greatness and true genius lies in its diversity. ![]() Several other public citations of Lazarus assume that her poem is reducible to a message about the value of diversity. It’s a statement of values of our country.Ĭomey’s tweet echoes Nancy Pelosi’s interpretation from early 2017: “You know the rest. It’s a recognition that the strength of our country is in its diversity, that the revitalization … of America comes from our immigrant population.” For Comey, diversity is greatness. For Pelosi, diversity is both the existing strength of America and its source of revitalization. To marshal Lazarus’s poem in support of a redefinition of American greatness, however, is to capitulate to the terms of Trump’s exceptionalism-and to ignore the poem’s own radical imagination of hospitality.Ī little like Robert Frost’s “The Road Not Taken,” published in 1916, “The New Colossus” is one of those poems that is constantly rediscovered and recontextualized. Whether the popularity of “The New Colossus” is a consequence of the poem’s timelessness, its curious forgettability, or its “ schmaltzy” sincerity, writers, readers, and politicians resurrect Lazarus’s sonnet to speak directly to a present moment in which anti-black racism, xenophobia, immigration bans, and refugee crises define the terms of U.S. The story of the poem’s creation has circulated almost as widely as the lines of Lazarus’s poem. The Jewish Lazarus was a prolific writer in multiple genres, a political activist, a translator, and an associate of late-19th-century literati-including Ralph Waldo Emerson and James Russell Lowell. She wrote the sonnet, after some persuasion by friends, for an auction to raise money for the pedestal of the Statue of Liberty. ![]() The Major Flaw of You’ve Got Mail Megan Garber But the details of the poem’s production and of its author’s biography do not fully capture the conditions under which the poem emerged, conditions that help to explain the poem’s message to its immiserated masses. ![]() “The New Colossus” emerges at a pivotal moment in history. ![]()
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