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.

Artist: Joji
Album: Nectar
Label: 88Rising
Release Date: September 25, 2020
Listen:
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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

• Ew

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

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?
  

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I don't want to bore you all so please take a look at my thoughts on some pretty cool films! I watched ~91 movies this year and beginning January 1 I decided to keep a list and write a review if I felt inspired or didn't write one if I was too high or lazy. The list is a combination of movies that came out in 2020, movies I had never seen before, and some movies that needed a rewatch.
I am by no means a professional critic but only an incredibly passionate fan that likes to think I have a good eye! Comment if you agree, comment if you disagree, just comment so I have something new to think about some of the films.
As a quick note, this post is essentially a rip-off of a post done by u/BunyipPouch that can be referenced here: https://www.reddit.com/movies/comments/eh71gy/i_saw_192_movies_in_theaters_in_2019_here_is_my/ . I really like the way this person outlined their list so I'm pulling a Quentin Tarantino and stealing their idea! Without further ado:
____________________________________________________________________________________________________________
Arrival - 10/10 Confirmed my favorite movie of all time. Watching for what might be the 7th time made me realize the strength of a feeling that movies can give you. Having a favorite movie doesn’t mean it is the best movie, but the feeling you get when watching your favorite movie has you wanting to chase that feeling in every movie you see. Certain aspects are unexplainable but all I know is there is something about this movie that gets to me every time I watch it. Maybe it’s the decision she makes to live out the life she sees in front of her even though it leads to extreme heartbreak. Maybe it’s the daring concept of alien life in what is almost such a real depiction. Maybe it’s the idea that time really is a shiftable construct that we may have the power of utilizing. Whatever it is, it leads to extreme beauty and an indescribable feeling.
Parasite - 10
Spotlight - 9.4 A near perfect 10/10. This isn’t a typical movie that should be judged by the acting or camera work, but by the ability to progress and tell a sick and twisted story. The layers are peeled back with each scene, revealing a new horrific aspect about the size of the case, the attempt to cover it up, and the sickness of the individuals involved. The scope of the story can cause an emotional reaction at multiple points and makes you see the pain that the victims have gone through without leaning too much on showing this actual pain.
2001: A Space Odyssey - 9.4
1917 - 9.3
Gone With the Wind - 9.3
Waves - 9.2 There are so many interesting aspects of this film that make it unique and almost fantastic. Firstly, it is almost equally an experience of sound as it is of color and visual (hence ending on Alabama shakes’ Sound and Color). The soundtrack uses modern rap and R&B hits in an effective way and not in the way of trying to impress the audience with good music. Secondly, the emotional scenes are so genuine and the directing style is not aggressive so you can feel the emotion with the characters. The moment of Emily seeing her bf hug her dying father, causing her to walk away bursting into tears and trying to find the words to say to her parents over text, is beyond heartbreaking and done so well. The demise of her brother is depressing and felt exaggerated but goes to show that life can take crazy turns. Loved it.
Soul - 9.2 Such a beautiful film that I did not expect to move me the way it did. The film tackles incredibly deep and metaphysical questions with such ease that it makes the directing and everything about the movie feel even more genius. At times it struggles between being a movie for kids and trying to answer life's toughest questions, but overall tells a beautiful story of just living to live.
Sound of Metal - 9.2
The Lighthouse - 9.2 Oh my god. I don’t really know what to say but this movie made me feel things and that feeling is hard to find. I don’t want to rate it.
The Social Network - 9.2
Pain and Glory - 9.1
Dear Zachary - 9 Never cried more in a movie as this is what the heaviest loss looks like. The sheer passion and commitment that Kate and David have toward honoring their son and being good people is astounding and incomprehensible at times. I’ve never hated someone so much in my life before and felt so strongly about the need to live and do good. It is easy to be broken after something like this happens to you but the awe-inspiring love and devotion that these people have for this family is one of a kind. Please watch this if you need to cry.
The Tree of Life - 9
Ferris Beuller’s Day Off - 9
Midsommar - 9 I don’t even really know what I watched but I know it was genius.
Gladiator - 8.8
The Lord of the Rings: The Fellowship of the Ring - 8.8
Steve Jobs - 8.7 Shot in 3 unique stories, this movie is able to give you the spirit of Steve Jobs without needing to explain historical information like many biopics would. Faasbender is spectacular and creates the essence of Steve Jobs perfectly as someone who is utterly devoted to better the human race no matter the cost it brings to those around him. The editing is impressive with so many quick cuts and blending the shots to feel like a singular story. You walk away impressed with the legacy jobs left behind, the heartbreak of him not being around to further the human race, and the harsh reality that he was not a flawless human.
The Curious Case of Benjamin Button - 8.7 This film is really in a category of its own, not because it’s the greatest movie ever made, but because of how unique each of the elements are. Fincher takes his signature style of directing and combines it with a Tree of Life storytelling narrative and a Steven Spielberg/James Cameron style of creating a classic feel good drama. Overall, it’s core is designed to make you accept life for what it is, even if this is particularly a positive spin on life and its consequences.
The Grand Budapest Hotel - 8.7
Frances Ha - 8.5 It is such a realistic depiction of struggling New Yorkers without the emotional breakdown. You never really see her lose her shit even when she seems to be going crazy. I hated in the moment the separation of Greta and her best friend because of the somewhat abrupt change in Sophie’s character, but they have a nice full circle reunion. The performances are fantastic and the film has a certain air to it as if Baumbach wants you to realize that what you are watching is not real life while trying to make it seem as real as possible. Definitely a unique film that has minor flaws but overall shows a meaningful journey of a New Yorker trying to find their way.
Almost Famous - 8.5
Bridge of Spies - 8.5 Steven Spielberg has centered his masterful directing skills into telling real life stories without the need for too much artistic involvement. Movies like Vox Lux and The Lighthouse capture you with artistic involvement, but Spielberg has learned how to capture you with immaculate storytelling of historical events. If you are ever interested in learning something new, Spielberg will not disappoint.
The Lord of the Rings: The Return of the King - 8.5
The Other Guys - 8.5
Drive - 8.5
Munich - 8.4 This is an action film that takes away the historical cliches of action films and adds a layer of raw truthfulness. Spielberg uses his gift to inform people of a momentous story that affected Israel and the Jewish people without adding any propraganda-like elements to make you pity them or be completely one sided. The story is horrifically true, and Spielberg does not hold back on any of the details. The acting is solid and provides an emotional look into the consequences that come with facing terrorists both for a nation and for an individual.
Ad Astra - 8.4
Okja - 8.4 So goddamn high please don't hurt the animals.
Wedding Crashers - 8.4 You sandbagging son of a bitch
Blade Runner - 8.3
Crash - 8.3 Incredibly powerful and socially relevant, this movie was necessary during these times to artfully show the systematic racism engrained in society. The acting performances are stellar, particularly Thandie Newton, and Haggis’ directing is perfect to convey the raw emotion in each scene.
Spirited Away - 8.3
Blade Runner 2049 - 8.3
Kill Bill Vol. 1 - 8.3
Enemy - 8.2 Such an interesting and gripping movie that didn’t seem to make a lot of sense but I imagine a second watching would provide more insight. Gyllenhal is truly something else and should be treasured. Villanueva is so good at creating his own world and creating such a uniquely shot film with moods and coloring.
Good Time - 8.2
Snowpiercer - 8.2
The Town - 8.2
5 to 7 - 8.1 Luckily I was in the mood for a rom com but this had its own unique air to it as of course there were cheesy parts, but they were not delivered in a cheesy way. Once over the fact that someone essentially like me could find themselves in this sort of relationship, I could actually begin to root for them and understand how something like this could work. There are some amazing lines that I should go back and write down for when I want to pursue someone, and the holistic narrative of the film is done very well. There is nothing special from a directing standpoint, but his simple approach at least allows the story to progress without any complications from a camera perspective.
Oceans 11 - 8.1 The heist movie of all heist movies. You show me a young Brad Pitt and George Clooney and I’m not sure there’s a way to fuck that up. There are obviously cliche moments and the impossibility of actually pulling this off is sometimes too ridiculous (they throw glow sticks into a hidden elevator shaft to a vault), but overall wonderful to watch.
Jojo Rabbit - 8.1
Philadelphia - 8 Led by the incredible acting of Hanks followed by the emotionally gripping plotline, Philadelphia is able to tell the story of not just one gay man’s plight with aids and the repercussions socially and physically, but of an entire minority’s struggle with acceptance. The directing is very understated in a way that pays off considering the story development should be at the forefront of the film. Incredibly heart-wrenching and is clearly an important film to giving a voice to gay Americans.
Uncut Gems - 8 The Safdie brothers have a particular way of filming/directing that creates an environment of entertaining stress that is able to grip your attention for the whole film. I love the connection between the opal gem and Howard as the movie begins and ends with that connection through his body. Sandler was absolutely snubbed and perfectly portrays what it’s like to be an addict and constantly on the run.
Molly's Game - 8
The Lord of the Rings: The Two Towers - 8
Jaws - 8
Love Actually - 8
Cruel Intentions - 7.9 A glorified soft-core porn featuring a young Reese Witherspoon? Yea, you could say I liked it.
Knives Out - 7.8 An all star cast and provides enough mystery to keep the plot moving seamlessly. It’s a very interesting film for a murder mystery as they reveal what would typically be the biggest piece of info quite early in the movie, but there are more layers that need to be peeled back. The reveal is very clever and was not too outlandish, but I think they could’ve done more to make it even more shocking. Aside from that it’s a fun film and is worth the watch.
Rise of the Planet of the Apes - 7.8 In what was a surprisingly enjoyable movie, planet of the apes takes an Avatar approach and gets you to root against the humans. The montage of the ape growing up is done concisely but effectively and allows you to connect with him while remaining entertained. There are obviously some cheesy aspects and not a lot of character development outside of the ape, but I left feeling like I could watch a sequel.
Tenet - 7.8 I love Nolan but I struggled at times to keep up even with my eyes glued to the screen.
Scott Pilgrim vs. the World - 7.8
Booksmart - 7.7 In what can be assumed to be an ode to the Superbad films of the late 2000s, Booksmart successfully keeps you entertained primarily driven by strong performances from Kaitlyn Dever and Beanie Feldstein. They have a clear chemistry that is never doubted and play the perfect duo of extroverted smart high school kids that are finally ready to rebel. There are scenes that are a bit predictable and slightly lazy in writing in order to move the story along that I’m choosing to nitpick over (dever creating a “diversion”, using the pizza guy as the free get out of jail card), but once the little things are accepted the greater story can be appreciated. The movie has the particular feel of Superbad in which you know you’re going to see some outlandish things on the journey that will lead to laughs, but will ultimately lead in a coming of age lesson in a heartwarming way.
Out of Africa - 7.6 "You’ve ruined it for me, being alone."
10 Things I Hate About You - 7.5
Zodiac - 7.5
Frozen - 7.5
The Interview - 7.5
Casino Royale - 7.5
Skyfall - 7.5
The Talented Mr. Ripley - 7.4
Tron Legacy - 7.4
Palm Springs - 7.3
Borat Subsequent Moviefilm - 7.2 The hype was too much to overcome but Cohen really did a nice job of bringing back the classic and presenting Borat in a 2020 world. It’s genius filmmaking to have someone like Borat show America what America is really like as you can look in the eyes of a racist foreigner.
Don’t Worry He Won’t Get Far On Foot - 7
Quantum of Solace - 7
The Perks of Being a Wallflower - 6.9 The cheesiness makes it shocking that it was released as late as 2012 but overall its an interesting story clearly coming from a novel with strong themes.
Loopers - 6.9 I liked having seen Loopers, but it’s not a must see movie. The ending was creative and definitely saved my overall opinion of the movie.
Have a Good Trip - 6.9 Never forget the power of psychedelics and how these icons have had crazy trips. Carrie Fisher is your new favorite.
Coachella Documentary - 6.9
The Gentleman - 6.9
Jurassic Park - 6.9
About Time - 6.9
Spider-Man Far From Home - 6.8 Probably the worst of the new Spider-Man movies but still provides great visuals with interesting hero concepts. There is definitely a lull in the middle and there are some scenes that make you appreciate Marvel, but otherwise just another solid movie from marvel.
Oceans 13 - 6.7 While entertaining and still shows you Pitt and Clooney, there are definitely more annoying aspects and less intriguing storylines.
The Social Dilemma - 6.4 Obviously a very important topic that should have more documentaries like this one, but really overplayed some of the dangers in a dramatic/theatrical sense.
Ford Vs. Ferrari - 6.2 Not gonna lie, while the story itself is enthralling and a unique part of history, the “studio” feel of this movie took away from much of my enjoyment. I feel bad that Bale and Damon had to be in such a studio made film because they both put on great performances. Bale can do anything he wants and crush it. The way they vilify certain aspects is comical and the cliches are tough to get by, but there are some great action shots of the races and powerful scenes where bale is doing the heavy lifting.
Long Shot - 6.1 Definitely some funny and witty jokes, but overall it’s mediocre. I didn’t hate it and actually enjoyed many of the aspects, but no need to say much more.
Air Force One - 6 Patriotic in the most 90s way possible, with Harrison Ford as president, evil Russian bad guys with mustaches, and an essentially all white cast, Air Force One is a hidden American propaganda film. The movie was funnier than anticipated because of the classic Harrison Ford trope of constant survival and the dramatic set ups to make the wins look even more unbelievable. Either way, hard not to love Ford as the president of the USA and almost made me proud to be an American by the end.
Meet Joe Black - 6 With a 100% white cast and overall 90s feel to the movie, it’s hard to rate this movie “fairly” as if it had just come out in 1998. But I like the idea similarly to Tree of Life in terms of looking over your life and making sure you have lived it completely without any regrets. However, acting is mediocre and I didn’t realize how much I hate the typical 90’s businessman in movies.
Andre the Giant - 5.8
Fury - 5.5 This was definitely a disappointing letdown. Expectations were definitely high going in but the horrible special effects and mediocre acting made this tough to be invested by the end.
Armageddon - 5
Back to School - 5
Cougar Hunting - 4.9

The Fall was founded by one Mark E. Smith back in 1976, after seeing the Sex Pistols at the Lesser Free Trade Hall (The same gig attended by Ian Curtis and Peter Hook of Joy Division, Morrissey of the Smiths, and Tony Wilson, who founded the highly influential indie label Factory Records. Basically, Mark was at one of the more important gigs of the past 50 years, as this gig inspired all of those previously mentioned to either start bands or get involved in the punk scene, and changing the course of British indie music.). Over their 40+ years of operation, the band had Mark E. Smith at its helm as the sole constant member throughout it's existence. The band would become known for its classic assortment of records, with the tight musicianship by members such as guitarist Craig Scanlon and drummer Karl Burns (shown in the beginning of this clip from MTV's Cutting Edge) and Mark's esoteric lyricism, the witty, while often-times volatile and difficult, personality of Mark E. Smith, and the constant changing lineup of its members as a result of Mark's volatility. They would also remain to be the favorite band of legendary DJ John Peel, with the band holding the record of the most Peel sessions by a band, which is 24 sessions. The Fall would ultimately come to an end with the untimely death of Mark E. Smith in 2018 due to kidney and lung cancer.
The Fall are a significant band in the history of Post Punk, with a wide catalog of music to listen to released throughout the different eras of the band. I have decided to make a write-up going through the many eras of the Fall, while giving some recommendations from each era to start you off.
(1976 - early 1979 - Early Beginnings: The Martin Bramah Era)
during these years, the Fall were just getting their start with their sound. Their early material leans more towards the punk side of the sword rather than the post punk of their later years, but the embryo of the Fall's sound is clearly present. This can possibly be attributed to the guitar style of Martin Bramah in their early releases, which has a high pitched and trebly sound to the guitars. Their first recorded released came on a live album on the last day of operation for the Electric Circus, then they released their debut EP Bingo Master's Breakout then a single called It's The New Thing all in 1978. They finally released their debut album Live at the Witch Trials in March 1979 before Martin Bramah left in April 1979 due to increasing tensions with Mark E. Smith. He would then go on to found a band by the name of Blue Orchids with another former Fall member Una Baines, who he was dating at the time. Martin would prove to not be the only member to leave because of Mark's controlling demeanor in the band's future.
Here's some tracks to introduce you to this era's punky edge:
Last Orders
Bingo Master's Breakout EP (The entire EP's good to check out)
It's The New Thing
Rebellious Jukebox
Futures and Pasts
Mother-Sister
(mid 1979 - 1982 - The First Golden era: the Marc Riley Era)
I'm calling this the Marc Riley era because, even though Marc Riley was a part of the Bramah era, after Martin Bramah left, Riley would become the main guitarist instead of his previous role as bassist. This would open the door for members like Craig Scanlon to join on rhythm guitar and Steve Hanley on bass. This would end up transforming the sound of the band into the post-punk sound most people are familiar with the band. After releasing Rowche Rumble and the album Dragnet in 1979, the band would end up releasing a string of classic singles in 1980, such as Fiery Jack, How I Wrote Elastic Man, and probably their most well-known song, Totally Wired, as well as releasing the great album Grotesque (After the Gramme). 1981 would also prove to be a good year, with the release of the single Lie Dream of a Casino Soul and the 10-inch EP Slates. The band would end up travelling to Iceland for a string of gigs, which would lead to the recording of some songs for probably their best album Hex Enduction Hour, with tracks like Hip Priest and The Classical displaying the Fall's power in full force. The band would also released the album Room To Live and the single Look, Know. However, this year would prove to be the last with Marc Riley on lead guitar. After learning of their chart success in New Zealand (which was about 300 copies sold to get in the top 20), the band travelled there to play a few gigs in Australia and New Zealand. While there, increasing tensions between Smith and Riley came to a head in Australia when Riley punched Smith in the face for slapping the band for dancing to the Clash (yes, really). There is even a television interview where Mark's black eye is visible (even with heavy makeup). This tour would end up being released as a live album by the legendary New Zealand label Flying Nun Records as the album Fall in a Hole in 1983 (Which Smith would eventually threaten legal action for and forced Flying Nun to pay all of the revenue from the record, effectively almost killing Flying Nun in its infancy). Marc would end up being sacked by the end of the year. This left a hole to be filled for the lead guitar role, and that would be filled after a trip to America.
Here's some tracks to check out to introduce you to the classic Fall sound:
Rowche Rumble
How I Wrote Elastic Man
Totally Wired
New Face in Hell
Prole Art Threat
Lie Dream of a Casino Soul
Hip Priest
The Classical (N-Word Warning)
Iceland
Winter
Marquis Cha-Cha
(1983 - 1989 - The Second Golden era: The Brix Smith Era)
The band would soldier on without Marc Riley into 1983, with Craig Scanlon taking his place on lead guitar. This period would lead to the release of singles like The Man Whose Head Expanded and the Kicker Conspiracy EP. During the Fall's first American tour without Marc Riley, Mark E Smith was introduced to Brix Smith after a gig in Chicago in April. Within three months, Brix would move to England and end up marrying Mark. She would eventually join the band in September of that year and would first appear on their album Perverted by Language, albeit with minimal involvement and only appearing on one track. Her introduction to the band would end up bringing a pop sensibility to the band, as she would eventually become a major songwriting contributor along with Mark and she would try and push the Fall into a more commercially viable direction.
This period would lead to some of the band's most critically acclaimed,as well as their most commerically successful, material. early singles like C.R.E.E.P and Oh! Brother in 1984 display the early shift into the pop sphere for the band. The band would also release the album The Wonderful and Frightening World Of in 1984. By 1985, the band were starting to hit their stride in the commercial sphere, with singles like Cruiser's Creek and Couldn't Get Ahead appearing in the singles charts and the great album This Nation's Saving Grace receiving critical acclaim and decent sales. The band would continue to release increasingly pop-oriented records between 1986-1987, with singles like Mr. Pharmacist, Hit the North and Hey! Luciani reaching the lower ends of the charts, There's a Ghost In My House giving the band their highest singles chart peak, and the album Bend Sinister reaching the Top 40. However, 1988 would prove to be a banner year for the band, with the album The Frenz Experiment reaching the top 20, and the single of the Kinks song Victoria also reaching the top 40. However, this era would eventually come to an end in 1989, when Mark E Smith and Brix Smith ended up divorcing and Brix left the band. Her last record in this era would prove to be the album I am Kurious Oranj, a collaboration with the Michael Clark dance group. However, the trajectory that Brix set the band upon would let their success continue into the 90s, With the band eventually reaching their peak in commercial popularity. However, not all good things are meant to last.
Here's some songs to check out to introduce you to this era's pop-leaning sound:
The Man Whose Head Expanded
Kicker Conspiracy
Eat Y'self Fitter
C.R.E.E.P
2 X 4
Cruiser's Creek
No Bulbs
Spoilt Victorian Child
My New House
I am Damo Suzuki
Shoulder Pads #1
Mr. Pharmacist
Hey! Luciani
There's a Ghost in my House
Hit The North
Victoria
Big New Prinz
Dead Beat Descendant
(1990 - 1994 - The Peak, followed by the Fall: The Major Label years)
After Brix left the band, Martin Bramah was brought back into the fold to fill in her place, and would be featured on the album Extricate, which led to songs like Telephone Thing, which shows influence from the Madchester scene of that time period, which included the Stone Roses and the Happy Mondays, and the love song Bill is Dead, which possibly reflects upon his divorce the previous year. However, Martin Bramah would not be staying for long, as he would end up being kicked out of the band that same year for having a relationship with the keyboardist. This album marked the period when the band would be featured on a major label, with the band being signed to Fontana. The Fall would continue on to have success during this period, with the aforementioned Extricate reaching the top 40, albums like Shift-Work and Code: Selfish reaching the top 30, and singles like White Lightning and Free Range reaching in the single charts, with Free Range being the bands last top 40 single. Their commercial peak would come with the album The Infotainment Scan, which contained a cover of Lost in Music by Sister Sledge, giving the Fall their first and only top 10 hit album. Mark would also be featured on a top 20 single, which was I Want You by the Inspiral Carpets. However, Mark E. Smith's speed and alcohol addiction, which persisted over the previous decade, started to take its toll. The bands fortunes started to dwindle with the album Middle Class Revolt, Which only reach number 48 in the charts, a far cry from their previous Top 10 success. With this album, the Fall would begin to go downhill, both in their commercial performance and their critical stature.
Here's some songs to check out from this banner period for the Fall:
Telephone Thing
I'm Frank
Bill is Dead
Edinburgh Man
Free Range
Lost in Music
Hey! Student
15 Ways
(1995-1998 - The Low Point: The Brownies Years)
By this point, Mark E. Smith begins to go downhill with the previously mentioned drug and alcohol addiction, and its effect on the music shows. Brix Smith returns around this time period and would come back on the album Cerebral Caustic. Even with her involvement in the band, the album got middling reviews and performed worse than Middle Class Revolt. Smith would also dismiss the long time guitarist Craig Scanlon, who had co-written 120 songs with Smith over the previous 16 years. Smith would later say that he regretted this decision. By the time of The Light User Syndrome, Brix had enough of Mark E. Smith's degrading state and behavior due to alcohol abuse, and would leave on the tour supporting this album. This period would be wrought with increasing tensions in the band and financial troubles, which ultimately came to a head on the US tour supporting the album Levitate at an infamous gig at the New York venue Brownies in April of 1998. Smith ended up appearing drunk at the gig, and did everything in his power to make it hard for the band to play. It came to a head when drummer Karl Burns, who returned to the band when Middle Class Revolt was made, ended up shoving Smith for messing with his drum kit. Burns and long-time/essential bassist Steve Hanley would end up leaving the band and never returning. After this gig, the next few years are marked with the band remaining a low profile for the most part, where would eventually return to form by 2003.
Here's some tracks to check out (if you want to) from this era:
Don't Call me Darling
Rainmaster
D.I.Y Meat
The Chiselers
Powder Keg
Masquerade
(1998 - 2002 - Touch Sensitive: The Long Lull)
During this period of the Fall, the band was just starting to be put back together by Mark after the debacle that was the Brownies gig. The band was able to achieve some form of critical favor with their album The Marshall Suite in 1999, with Touch Sensitive being a particular standout on the album and being featured in a Volkswagen commercial. The band would then release their album The Unutterable, which also started to gain the critic's favor back. The next album Are You Are Missing Winner, however, didn't do the band any favors, as it was recorded when the band was tight on funds. It was considered a misstep by the Fall after the acclaim that the last album received. However, this would ultimately lead to the start of a new era of the fall that would effectively renew their relevance as a band in the public's eye.
Here's some tracks to check out from this transitional period of the bands history:
Touch Sensitive
W.B
Sons of Temperance
Dr. Bucks Letter
Bourgeois Town
(2003 - 2009 - A return to grace: The Third Golden Age)
This era of the fall proved to be a rebirthing of the band's relevance and quality, with Mark writing some of the best material the band had in years. This era starts with the album The Real New Fall LP (Formerly Country on the Click) in 2003, which provided the band with some late era classics, such as Mountain Energei and Theme From Sparta F.C. Around this period, the DJ John Peel, who was one of the band's biggest supporters from the beginning, died of a heart attack, but not before the Fall could release one more Peel session a couple months before his death. The Fall would then release Fall Heads Roll in 2005, which also provided the band with another late-era classic in the form of Blindness. The band would also release albums like Reformation Post TLC and Imperial Wax Solvent within the same period. Imperial Wax Solvent would end up being the first Fall album in 15 years to reach the top 40. This would lead into the final era of the Fall leading up to Mark E. Smith's untimely death.
Here's some tracks to check out from this era:
Mountain Energei
Theme From Sparta F.C.
Blindness
Clasp Hands
Fall Sound
Latchkey Kid
Is This New
Strange Town
(2010 - 2018 - The Witching Hour: The Domino and Cherry Red/final years)
In 2010, the Fall would release Your Future Our Clutter on Domino Records, the same label that releases records by the Arctic Monkeys and Franz Ferdinand, Two bands heavily influenced by the Fall. Mark E. Smith would also end up recording vocals for Glitter Freeze on the Gorillaz album Plastic Beach, which was released in 2010. The band would eventually move to Cherry Red records, which would remain the label of the band until its dissolution. On Cherry Red, the Fall would release album such as Ersatz GB, Re-Mit, Sub-Lingual Tablet, and New Facts Emerge. The latter album would prove to be the band's last record. Over this period, Mark began to develop significant health problems, and would eventually be diagnosed with terminal lung and kidney cancer. This is probably due to the fact that Mark E. Smith was a heavy smoker for most of his life, and his previous problems with drugs and alcohol didn't help either. Mark would perform his final gig with the Fall in November of 2017, and would eventually succumb to his illnesses on January 24th, 2018. Mark E. Smith would leave behind a long history of innovation, wit, and volatility and large catalog of great music for others to be inspired by.
Here's some tracks to check out from the final era of the Fall:
Bury Pts. 2 + 4
Nate Will Not Return
Loadstones
Fibre Book Troll
New Facts Emerge
(Final Remarks)
So that's my write-up for the Fall. I discovered this band about 3-4 years ago and I have fallen in love with them ever since, and I just felt like that they deserved some attention. I wrote this post for anyone who may be interested in checking out the band and giving them a place to start from no matter the era. May Mark E. Smith rest in peace, for he wrote "Northern white crap that talks back" and dug repetition.
P.S: For any fans of the fall, what is your favorite album/song by the fall and why?
If you want to, you can come check out my subreddit Collectionhauls, where I've been posting vinyl finds I've had at the flea market, and have been posting music to check out since March. If you want, you can come post something from your collections to show to others. Anyway, goodbye and I hope you enjoyed my post and possibly enjoy the Fall even more.

The Fall was founded by one Mark E. Smith back in 1976, after seeing the Sex Pistols at the Lesser Free Trade Hall (The same gig attended by Ian Curtis and Peter Hook of Joy Division, Morrissey of the Smiths, and Tony Wilson, who founded the highly influential indie label Factory Records. Basically, Mark was at one of the more important gigs of the past 50 years, as this gig inspired all of those previously mentioned to either start bands or get involved in the punk scene, and changing the course of British indie music.). Over their 40+ years of operation, the band had Mark E. Smith at its helm as the sole constant member throughout it's existence. The band would become known for its classic assortment of records, with the tight musicianship by members such as guitarist Craig Scanlon and drummer Karl Burns (shown in the beginning of this clip from MTV's Cutting Edge) and Mark's esoteric lyricism, the witty, while often-times volatile and difficult, personality of Mark E. Smith, and the constant changing lineup of its members as a result of Mark's volatility. They would also remain to be the favorite band of legendary DJ John Peel, with the band holding the record of the most Peel sessions by a band, which is 24 sessions. The Fall would ultimately come to an end with the untimely death of Mark E. Smith in 2018 due to kidney and lung cancer.
The Fall are a significant band in the history of Post Punk, with a wide catalog of music to listen to released throughout the different eras of the band. I have decided to make a write-up going through the many eras of the Fall, while giving some recommendations from each era to start you off.
(1976 - early 1979 - Early Beginnings: The Martin Bramah Era)
during these years, the Fall were just getting their start with their sound. Their early material leans more towards the punk side of the sword rather than the post punk of their later years, but the embryo of the Fall's sound is clearly present. This can possibly be attributed to the guitar style of Martin Bramah in their early releases, which has a high pitched and trebly sound to the guitars. Their first recorded released came on a live album on the last day of operation for the Electric Circus, then they released their debut EP Bingo Master's Breakout then a single called It's The New Thing all in 1978. They finally released their debut album Live at the Witch Trials in March 1979 before Martin Bramah left in April 1979 due to increasing tensions with Mark E. Smith. He would then go on to found a band by the name of Blue Orchids with another former Fall member Una Baines, who he was dating at the time. Martin would prove to not be the only member to leave because of Mark's controlling demeanor in the band's future.
Here's some tracks to introduce you to this era's punky edge:
Last Orders
Bingo Master's Breakout EP (The entire EP's good to check out)
It's The New Thing
Rebellious Jukebox
Futures and Pasts
Mother-Sister
(mid 1979 - 1982 - The First Golden era: the Marc Riley Era)
I'm calling this the Marc Riley era because, even though Marc Riley was a part of the Bramah era, after Martin Bramah left, Riley would become the main guitarist instead of his previous role as bassist. This would open the door for members like Craig Scanlon to join on rhythm guitar and Steve Hanley on bass. This would end up transforming the sound of the band into the post-punk sound most people are familiar with the band. After releasing Rowche Rumble and the album Dragnet in 1979, the band would end up releasing a string of classic singles in 1980, such as Fiery Jack, How I Wrote Elastic Man, and probably their most well-known song, Totally Wired, as well as releasing the great album Grotesque (After the Gramme). 1981 would also prove to be a good year, with the release of the single Lie Dream of a Casino Soul and the 10-inch EP Slates. The band would end up travelling to Iceland for a string of gigs, which would lead to the recording of some songs for probably their best album Hex Enduction Hour, with tracks like Hip Priest and The Classical displaying the Fall's power in full force. The band would also released the album Room To Live and the single Look, Know. However, this year would prove to be the last with Marc Riley on lead guitar. After learning of their chart success in New Zealand (which was about 300 copies sold to get in the top 20), the band travelled there to play a few gigs in Australia and New Zealand. While there, increasing tensions between Smith and Riley came to a head in Australia when Riley punched Smith in the face for slapping the band for dancing to the Clash (yes, really). There is even a television interview where Mark's black eye is visible (even with heavy makeup). This tour would end up being released as a live album by the legendary New Zealand label Flying Nun Records as the album Fall in a Hole in 1983 (Which Smith would eventually threaten legal action for and forced Flying Nun to pay all of the revenue from the record, effectively almost killing Flying Nun in its infancy). Marc would end up being sacked by the end of the year. This left a hole to be filled for the lead guitar role, and that would be filled after a trip to America.
Here's some tracks to check out to introduce you to the classic Fall sound:
Rowche Rumble
How I Wrote Elastic Man
Totally Wired
New Face in Hell
Prole Art Threat
Lie Dream of a Casino Soul
Hip Priest
The Classical (N-Word Warning)
Iceland
Winter
Marquis Cha-Cha
(1983 - 1989 - The Second Golden era: The Brix Smith Era)
The band would soldier on without Marc Riley into 1983, with Craig Scanlon taking his place on lead guitar. This period would lead to the release of singles like The Man Whose Head Expanded and the Kicker Conspiracy EP. During the Fall's first American tour without Marc Riley, Mark E Smith was introduced to Brix Smith after a gig in Chicago in April. Within three months, Brix would move to England and end up marrying Mark. She would eventually join the band in September of that year and would first appear on their album Perverted by Language, albeit with minimal involvement and only appearing on one track. Her introduction to the band would end up bringing a pop sensibility to the band, as she would eventually become a major songwriting contributor along with Mark and she would try and push the Fall into a more commercially viable direction.
This period would lead to some of the band's most critically acclaimed,as well as their most commerically successful, material. early singles like C.R.E.E.P and Oh! Brother in 1984 display the early shift into the pop sphere for the band. The band would also release the album The Wonderful and Frightening World Of in 1984. By 1985, the band were starting to hit their stride in the commercial sphere, with singles like Cruiser's Creek and Couldn't Get Ahead appearing in the singles charts and the great album This Nation's Saving Grace receiving critical acclaim and decent sales. The band would continue to release increasingly pop-oriented records between 1986-1987, with singles like Mr. Pharmacist, Hit the North and Hey! Luciani reaching the lower ends of the charts, There's a Ghost In My House giving the band their highest singles chart peak, and the album Bend Sinister reaching the Top 40. However, 1988 would prove to be a banner year for the band, with the album The Frenz Experiment reaching the top 20, and the single of the Kinks song Victoria also reaching the top 40. However, this era would eventually come to an end in 1989, when Mark E Smith and Brix Smith ended up divorcing and Brix left the band. Her last record in this era would prove to be the album I am Kurious Oranj, a collaboration with the Michael Clark dance group. However, the trajectory that Brix set the band upon would let their success continue into the 90s, With the band eventually reaching their peak in commercial popularity. However, not all good things are meant to last.
Here's some songs to check out to introduce you to this era's pop-leaning sound:
The Man Whose Head Expanded
Kicker Conspiracy
Eat Y'self Fitter
C.R.E.E.P
2 X 4
Cruiser's Creek
No Bulbs
Spoilt Victorian Child
My New House
I am Damo Suzuki
Shoulder Pads #1
Mr. Pharmacist
Hey! Luciani
There's a Ghost in my House
Hit The North
Victoria
Big New Prinz
Dead Beat Descendant
(1990 - 1994 - The Peak, followed by the Fall: The Major Label years)
After Brix left the band, Martin Bramah was brought back into the fold to fill in her place, and would be featured on the album Extricate, which led to songs like Telephone Thing, which shows influence from the Madchester scene of that time period, which included the Stone Roses and the Happy Mondays, and the love song Bill is Dead, which possibly reflects upon his divorce the previous year. However, Martin Bramah would not be staying for long, as he would end up being kicked out of the band that same year for having a relationship with the keyboardist. This album marked the period when the band would be featured on a major label, with the band being signed to Fontana. The Fall would continue on to have success during this period, with the aforementioned Extricate reaching the top 40, albums like Shift-Work and Code: Selfish reaching the top 30, and singles like White Lightning and Free Range reaching in the single charts, with Free Range being the bands last top 40 single. Their commercial peak would come with the album The Infotainment Scan, which contained a cover of Lost in Music by Sister Sledge, giving the Fall their first and only top 10 hit album. Mark would also be featured on a top 20 single, which was I Want You by the Inspiral Carpets. However, Mark E. Smith's speed and alcohol addiction, which persisted over the previous decade, started to take its toll. The bands fortunes started to dwindle with the album Middle Class Revolt, Which only reach number 48 in the charts, a far cry from their previous Top 10 success. With this album, the Fall would begin to go downhill, both in their commercial performance and their critical stature.
Here's some songs to check out from this banner period for the Fall:
Telephone Thing
I'm Frank
Bill is Dead
Edinburgh Man
Free Range
Lost in Music
Hey! Student
15 Ways
(1995-1998 - The Low Point: The Brownies Years)
By this point, Mark E. Smith begins to go downhill with the previously mentioned drug and alcohol addiction, and its effect on the music shows. Brix Smith returns around this time period and would come back on the album Cerebral Caustic. Even with her involvement in the band, the album got middling reviews and performed worse than Middle Class Revolt. Smith would also dismiss the long time guitarist Craig Scanlon, who had co-written 120 songs with Smith over the previous 16 years. Smith would later say that he regretted this decision. By the time of The Light User Syndrome, Brix had enough of Mark E. Smith's degrading state and behavior due to alcohol abuse, and would leave on the tour supporting this album. This period would be wrought with increasing tensions in the band and financial troubles, which ultimately came to a head on the US tour supporting the album Levitate at an infamous gig at the New York venue Brownies in April of 1998. Smith ended up appearing drunk at the gig, and did everything in his power to make it hard for the band to play. It came to a head when drummer Karl Burns, who returned to the band when Middle Class Revolt was made, ended up shoving Smith for messing with his drum kit. Burns and long-time/essential bassist Steve Hanley would end up leaving the band and never returning. After this gig, the next few years are marked with the band remaining a low profile for the most part, where would eventually return to form by 2003.
Here's some tracks to check out (if you want to) from this era:
Don't Call me Darling
Rainmaster
D.I.Y Meat
The Chiselers
Powder Keg
Masquerade
(1998 - 2002 - Touch Sensitive: The Long Lull)
During this period of the Fall, the band was just starting to be put back together by Mark after the debacle that was the Brownies gig. The band was able to achieve some form of critical favor with their album The Marshall Suite in 1999, with Touch Sensitive being a particular standout on the album and being featured in a Volkswagen commercial. The band would then release their album The Unutterable, which also started to gain the critic's favor back. The next album Are You Are Missing Winner, however, didn't do the band any favors, as it was recorded when the band was tight on funds. It was considered a misstep by the Fall after the acclaim that the last album received. However, this would ultimately lead to the start of a new era of the fall that would effectively renew their relevance as a band in the public's eye.
Here's some tracks to check out from this transitional period of the bands history:
Touch Sensitive
W.B
Sons of Temperance
Dr. Bucks Letter
Bourgeois Town
(2003 - 2009 - A return to grace: The Third Golden Age)
This era of the fall proved to be a rebirthing of the band's relevance and quality, with Mark writing some of the best material the band had in years. This era starts with the album The Real New Fall LP (Formerly Country on the Click) in 2003, which provided the band with some late era classics, such as Mountain Energei and Theme From Sparta F.C. Around this period, the DJ John Peel, who was one of the band's biggest supporters from the beginning, died of a heart attack, but not before the Fall could release one more Peel session a couple months before his death. The Fall would then release Fall Heads Roll in 2005, which also provided the band with another late-era classic in the form of Blindness. The band would also release albums like Reformation Post TLC and Imperial Wax Solvent within the same period. Imperial Wax Solvent would end up being the first Fall album in 15 years to reach the top 40. This would lead into the final era of the Fall leading up to Mark E. Smith's untimely death.
Here's some tracks to check out from this era:
Mountain Energei
Theme From Sparta F.C.
Blindness
Clasp Hands
Fall Sound
Latchkey Kid
Is This New
Strange Town
(2010 - 2018 - The Witching Hour: The Domino and Cherry Red/final years)
In 2010, the Fall would release Your Future Our Clutter on Domino Records, the same label that releases records by the Arctic Monkeys and Franz Ferdinand, Two bands heavily influenced by the Fall. Mark E. Smith would also end up recording vocals for Glitter Freeze on the Gorillaz album Plastic Beach, which was released in 2010. The band would eventually move to Cherry Red records, which would remain the label of the band until its dissolution. On Cherry Red, the Fall would release album such as Ersatz GB, Re-Mit, Sub-Lingual Tablet, and New Facts Emerge. The latter album would prove to be the band's last record. Over this period, Mark began to develop significant health problems, and would eventually be diagnosed with terminal lung and kidney cancer. This is probably due to the fact that Mark E. Smith was a heavy smoker for most of his life, and his previous problems with drugs and alcohol didn't help either. Mark would perform his final gig with the Fall in November of 2017, and would eventually succumb to his illnesses on January 24th, 2018. Mark E. Smith would leave behind a long history of innovation, wit, and volatility and large catalog of great music for others to be inspired by.
Here's some tracks to check out from the final era of the Fall:
Bury Pts. 2 + 4
Nate Will Not Return
Loadstones
Fibre Book Troll
New Facts Emerge
(Final Remarks)
So that's my write-up for the Fall. I discovered this band about 3-4 years ago and I have fallen in love with them ever since, and I just felt like that they deserved some attention. I wrote this post for anyone who may be interested in checking out the band and giving them a place to start from no matter the era. May Mark E. Smith rest in peace, for he wrote "Northern white crap that talks back" and dug repetition.
I personally believe that the Fall, while revered in Post-Punk circles and UK indie music, I feel that they are still highly underappreciated in popular music. I feel that they should have been on the same level as the Cure or Joy Division in their cultural significance to music in general. However, what we do have from the Fall is great and I can say that I love them dearly.
For any fans of the fall, what is your opinion on the significance of the Fall to popular music? What do you find to be your favorite aspect of the Fall's music?

High all! I really recently fell in love with the Fallout Universe, with all its complexities and unique stories. In particular, I very much enjoy the subjectivity of interpretations of the games and their outcomes, and I wanted to create my own personal contribution by writing a story specifically set after the Second Battle of Hoover Dam. The Courier is referenced once in passing and there's no mention of a next of kin for the Courier. The story is completely original with entirely unique characters that I've made and it takes place after a non-specific timeline in which Mr House wins the fight for the Mojave Desert. I wanted to share some of my work with my fellow Fallout fans and see what you think. I sincerely hope you enjoy it.
Beginning:
After the guns fell silent during the Second Battle of Hoover Dam, the world was forever changed. Mr House’s City State of New Vegas gained full sovereignty and control over the Mojave Desert, and his Securitron Army pushed the exhausted NCR and broken Legion out. In the following years, Mr House rapidly expanded the city of New Vegas, and reignited the production of old Pre-War Technology automobiles, bus lines, and a high speed train line appeared. The Strip itself expanded beyond the Three Families; Strip clubs, pubs, casinos, all you can eat buffets filling the area, with some residential apartments and houses now beginning to be sold to the highest bidder, just as it was in the old world.
The expanded city of Vegas outside the Strip itself however is a slum, crime, inequality, and denigration is all but abundant, and unrest is growing. Following the removal of President Kimball, his Vice President Donald Watson took over and inherited a State in crisis. Faith in the government had rapidly deteriorated, and the economy of the NCR began to suffer as many relocated to the Strip to live a life of luxury and excess. The NCR is now a shadow of its former self, with Military Police now required to keep order on the streets of its towns and cities. The poverty level is rising. In the East, Caesar’s Legion too is changing, and not for the better. With the Western Campaign a failure by all accounts, resources dwindling, questions about the strength of their Leader Caesar are cropping up in the minds of those closest to him.
By 2295, the pieces had fallen into place. The fate of these States and the people who uphold them is uncertain. One thing is for sure. Whatever happens, the Wasteland will be changed unlike it has ever been before.
‘I appreciate your respectful and restrained response to my contact. It is a pleasure to interact with the less agitated members of your State.’
Aminta barely heard Mr House, and instead stared out the windows of the Lucky 38. The skyline of the Strip extended seemingly forever, pushing away the surrounding darkness with neon light. Just beyond the city outskirts, the silhouette of Mr House’s newly created Launch Pad. It was one of five, and she could just see the other four, each slightly further away from the city than the last. She scrutinised them, and was struck by the boundless possibilities of such technology; the opportunities provided. How exciting it would be! Mr House’s voice then cracked her thoughts and brought back to the present. She listened, without comment.
‘Roughly 18 hours ago, a team of five extraordinarily skilled individuals ascended Hoover Dam from the base of the structure,’ The ostentatiously large screen in which Mr House’s face sat suddenly changed to show grainy footage. ‘This was captured by one of our cameras on the perimeter of the dam. I apologise for the bad quality, it has been surprisingly difficult obtaining improved camera lenses, and As you can see, they used some kind of Grapnel Launcher and ascended via the rope.’
On the screen, it was possible to just make out five distinct figures at the base of the dam. They were clearly dressed in dark clothing, though the quality was too poor and the camera was too far away to make out any of the fine details of the material. Aminta scrutinised the footage, watching intently as the five figures used an oblong object, reminiscent of a hunting rifle to fire a rope, or cord up the side of the dam; high enough to catch the top. The operator of the device then disconnected it from the gun, and pressed it into the ground. It appeared to stick. They then ascended the rope. The camera feed then cut to show three of the attackers subdue and restrain two security guards. Due to the light, it was clear that the clothing the criminals were wearing was Recon Armor, though there were no insignia or identifiable characteristics. The two men were then held down by two and clubbed across the face by the third member with the butt of a 10mm pistol. He then turned to the computer and retrieved something from his pocket. Then the screen went black.
‘At this point, at roughly 1:27 am a Trojan was fitted onto the system. It temporarily disabled all the security cameras in the sector. It was one of the strongest Trojans I’ve ever come across, but I was able to get the system back up and running within 15 minutes. Unfortunately we cannot recover any footage from the corrupted data files that detail how the robbers escaped. I hope you can understand why I decided to contact you.’
Aminta pondered to herself. Why would Mr House, a man who controlled Rockets and owned and governed an entire city and it’s enterprises, would need to contact the New California Republic for assistance in a robbery? From where they were standing, he appeared to be in a position any high ranking NCR official would kill for. She didn’t say anything. There had to be more to this meeting than what Mr House was implying. She looked to her left, trying to be casual. Sitting next to her with an overexaggerated grave look on his face was Political Officer Neville Dawson, and next to him was Dennis Crocker, former Ambassador to the Strip. They too were quiet, their faces frustratingly hiding what they were thinking. Not sure where to look, Aminta turned back to the screen Mr House’s caricature face was on. She had to say something.
‘Mr House, why exactly do you think these people targeted Hoover Dam? There are many casinos and places full of money on the New Vegas Strip. Is there anything of massive value at Hoover Dam?’
‘Well Chief Aminta Marr, no, ostensibly speaking, there is nothing there of real value to anyone, unless they have the ability to take and control the Dam and source it’s hydraulic generated electricity,’
‘Then why would someone do this?’ Aminta said curtly. She tensed up, not meaning to sound dismissive.
‘Well Aminta, they did take one thing from what we've deduced,’ Mr House said, appearing to ignore her tone.
‘And what was that Mr House?’ Neville cut in. He was leaning forward, hands clasped tightly together. He was trying - and failing - to ease the tension in the room.
‘Well, before I contacted you Neville, and to answer your question Aminta, I ran through my storage records from 2285 to the present. I had Mr Harvey Shwarze, my ‘Representative in Government’ review them in paper form in our archives. Three things - completely inconsequential things mind you, were missing. Three Platinum Chips.’
‘Three Platinum Chips?’ Neville said concertedly, as if he knew exactly what Mr House was talking about.
‘That’s right. It’s a data storage device, well it was a data storage device. Designed by me before the Great War of 2077. Perhaps once upon a time this would’ve been valuable to somebody, but after the Second Battle of Hoover Dam I had access to all kinds of ruined facilities all over the Mojave to reform to working order. I began reprinting hundreds of Platinum Chips which were variations of the original Platinum Chip. They continuously upgrade and encrypt my software to prevent any outside programmers from accessing my highly sensitive data. I have no idea what a group of hooligans would want with three. I can easily replace them, and since they’re only usable on my systems, well they would simply be useless.’
‘Perhaps they wanted to sell them,’ Aminta proposed. It wasn’t impossible, she thought. People pay top dollar for things with perceived value, isn’t that the cardinal rule of the Strip?
‘To whom?’ Mr House replied. ‘The point still stands. Nobody has any use for them but me.’
‘Well, perhaps they thought they were valuable.’ Dennis remarked.
‘In any case, they will soon learn they are not valuable.’
‘If you have no problems with this Mr House,’ Aminta cut in. ‘Why do you need us here? The NCR has its own problems, big problems, and from where we’re standing, you seem to have everything under control.’
‘That’s precisely the issue!’ Mr House exclaimed. ‘The very fact they managed to steal anything from me at all is deeply disconcerting! I spent days and nights running statistical simulations for all possible scenarios in and formulated the best plans for countering every scenario I came across!’
‘I guess my point is, I do not understand, in any capacity, why you, YOU of all people would need to call us for assistance in a matter that you - whether intentional or not - have spent the last fives minutes telling us it isn’t an issue.’
The room fell quiet. Aminta pulled her hands back from the table and into her lap, and looked down at them, pretending to be occupied analysing them. She had exposed the true, unspoken meaning of this meeting, and they all knew it. She bit her lip. Dennis wiped the sweat off his face. Neville breathed in deeply, as though he was going to speak. But Mr House did first.
‘As I understand it, the NCR has fallen on hard times since the Second Battle of Hoover Dam. My Lieutenant after the battle was admittedly curt in regards to handling our relations, and since then it seems your economy is really struggling with extremely poor unemployment and satisfaction levels,’ Mr House paused.
Neville looked at Aminta with a look of understanding, and regret but he didn’t say anything. Mr House was right. Of course he was right.
‘It just so happens that while it may look from the outset I’m doing well, with the occasional launch of one of my experimental rockets, crime in Greater New Vegas is extraordinarily high. To be clear, the Strip is not, but the extended city state with the newly constructed buildings - those areas are. I want to make a proposition for the mutual benefit of the NCR, and New Vegas. Neville, think carefully about what I’m about to say.’
Neville spoke up. ‘Alright, I’m all ears.’
‘Dennis Crocker here can once again become the Ambassador to the Strip, and the NCR can once again have an Embassy. I will also give the NCR access to some of my technologies to help your state re-stabilize after everything that’s happened. In return however, I would like Aminta here, who is your Chief and Commander of both your military and normal police forces, to assist my Securitrons in patrolling Outer Vegas. Securitrons don’t make the best police, and security guards are in short supply and are not equipped, in any sense, to be police. I also would like your help in tracking down the culprits of this robbery; that being an extension of the aforementioned policing stipulation. Such a breach of security cannot happen again. Neville Dawson, I’m willing to sign a treaty pertaining to these terms, or any terms the NCR may propose, unless of course it does mutually benefit both states.’
Aminta felt her twang strike her deep in her heart. For years, the NCR Police Force had been absorbed into the Military Police Unit, and they could barely contain black market dealings of Chems and military grade weaponry on the streets of NCR’s cities. They did not have the resources or power Mr House seemed to think they did. For nearly 3 years straight she had been bombarded with evidence of killings by her own subordinates, illegal incarcerations, and illicit behavior between colleagues within her own chain of command, with no power to rehabilitate or prosecute those involved. Meanwhile, those that had the money to escape fled to New Vegas, desperate to find a life of comfort. It was possible that through re-establishing trade and mutual respect with Mr House, they could rebuild the NCR’s respectability on the international and internal level. She found herself hoping the treaty would be signed.
‘This... is a huge proposition. I hope you can understand the overwhelming nature of what you’re telling us, it’ll take a bit for us to come to a conclusion.’ Neville exhaled, as though he had been holding it for the last minute.
‘I understand.’ Mr House responded.
‘Maybe I ask,’ Donnie piped up. ‘What specific kinds of technology will you provide to the NCR?’
Mr House ran down a checklist. ‘Vehicles. Remade pre-war cars. Excavation machines. Cement mixers. Would provide jobs and improve your infrastructure in the process, whilst also giving me business and improving the situation here. Mutually beneficial for both sides.’
‘I see.’
Aminta struggled to contain her happiness. She had become a police officer to enforce safety and protect those who abide by the law. This was a way back to such operations, in which she could help those in need, rather than sit idly while their situation worsened.
‘I’ll also be willing to give 10% of the electricity produced by Hoover Dam to the NCR. It produces more than I need.’ Mr House offered.
Dennis shifted his weight, and opened his mouth. It was a second before anything came out.
‘15% would be great, if possible.’
‘Done.’ Mr House concluded.
‘Well, we’ll definitely have to confer this back to President Watson. As previously said by Mr Dawson, this is a huge offer.’
‘I understand. Aminta, I can only hope you also support this.’
Aminta smiled. ‘I am willing to establish a NCR Police Force here in New Vegas, and assist in establishing prosperity and stability, for the benefit of both states.’
‘Excellent. I’ll arrange for a Taxi to take you back to the border.’
*****
Nobody said a word in the ride in the elevator down to the entrance of the Lucky 38. There was a perpetual sense of being watched, and listened to, and Aminta supposed they probably were. She sensed from the stiffness of Donnie and Neville’s postures they felt the same way. As the three left through the ground level of the building, the desolate casino indicated a time long past, preserved in pristine condition yet uncannily lifeless; inhabited only by robots. Aminta felt a shiver flow throughout her body, prompting her to hurry outside.
Upon exiting, Aminta was greeted by the fantastic lighting she had seen from the Lucky 38. Buildings stretched high into the now night sky, perpetually lit up and calling for you to spend a few short hours in their luxurious suites and lose all the money you have without knowing it. She had visited the Strip a couple of times before the Second Battle of Hoover Dam. Back then, whilst still grand, its exterior walls felt cobbled-together, layered pieces of steel to preserve what glory the pre-war days had. Now, the Strip felt open, almost a complete return to complete pre-war glory, though there was no way of her knowing what such a time looked like. Polished, beetle like cars with extravagant interwoven pieces of silver and gold making up their hubcaps cluttered the road, filled with nicely dressed young women chattering incessantly.
Boys, ranging from teenagers to old men stumbled around, drunk and happy, their legs falling beneath them as though they were wet noodles. To the left, the Ultra Luxe Casino hotel stood at the far end of the street, intoxicatingly ostentatious and alluring for any hoping to climb the social ladder, despite the many rumors of cannibalism attempting to tarnish the brand. The fountain outside the front sprayed sparkling water into the night air which caught the light of the strip and reflected it like the jewels the building it was in front of was embroidered in. However, Aminta was not taken by the hotel, and watched two NCR troopers, still in their military uniforms be forced to dance in front of a crowd of onlookers. They were pushed and shoved as they struggled to dance, their arms and legs barely keeping to any rhythm as they fell to the ground, vomiting a putrid yellow substance onto the asphalt. She looked away in disgust and embarrassment for the two men.
A man in an expensive looking suit and bowtie greeted the three. Behind him stood a long polished black car.
‘Shall I take you to the crossing point?’
‘Yes.’ Donnie answered. Aminta and Neville followed his lead. He had more experience on the Strip than the majority of the tourists around them. She started the car once they were all inside, the engine barely kicking as it began to drive. Aminta marvelled at its power, it’s sleekness, at the strength and confidence of its movement and the luxury of it’s exotic wood plated interior.
The chauffeur drove to the large South Gate of the Strip, passing multitudinous buildings of similar grandeur and spectacle, all the same though uniquely different, until they all blurred into one mix of different colours and moving forms. The chauffeur leaned out of the side window, showed an identification pass to a Securitron, and the gate opened. Aminta’s car was the only car that left. As the gate closed, the car picked up speed and tore through the rest of Vegas.
Immediately outside the Strip, the buildings were noticeably more dilapidated. Aminta watched as the varied prosperity of the Strip curtailed rapidly into a mess of buildings, barely recognisable as residential or industrial, though they were unmistakably new creations. She almost didn’t notice it at first, but they were all the same. Row after row of buildings with the same geometric exterior, though placed at odd angles to each other, as if a child had been playing with them and haphazardly threw them into where they now stood. As the car moved further and further away from the Strip, lights in these buildings became scarce, and the brickwork became exposed to reveal pipelines and shreds of electrical appliances, some still spitting sparks. When the light of the Strip was nothing more than a flicker of light on the night horizon, the copied buildings were replaced with houses, roofs sagging, walls crumbling. As the car zipped passed, Aminta caught wisps of figures; people moving about the ruins and the darkness like ghosts, until they passed the last house, and all that could be seen was the night sky and desert shrubbery.