https://www.outsideonline.com/2419401/monolith-moab-utah-shitshow
In the spell of a week, a mysterious monolith appeared in the Utah desert and was subsequently removed by some slackline bros. The saga has raised more questions than answers.
So who’s in the right? The artist or the art destroyers? Or both?
Must have been a slow news week, or perhaps reporters beaten down by the virus and the election just needed some holiday mirth, because on November 23, when some Utah sheep counters announced their discovery of the weird shaft of steel in a red-rock canyon near Moab, the media went nuts. The so-called Utah monolith was covered by CNN, Fox, and USA Today; to date, The New York Times has published four stories on it, with international art players speculating about the identity of the sculptor, who remains unknown. Stephen Colbert dedicated his “mono-logue” to the object.
By the morning of November 24, photographers, Instagram self-promoters, and other yahoos had figured out the undisclosed location and were descending in droves, publishing the coordinates and directions online. A crew of reality-TV dudes with beards and muscles landed in a helicopter, filmed themselves measuring the thing, used phones to record latitude and compass direction, then produced a fiberglass stepladder and snapped selfies perched on top. The Bureau of Land Management posted pictures of dozens of cars and RVs sleuthing the zone, fresh tire tracks over fragile soils, toilet paper fluttering in the breeze. The Insta-famous slab of steel was poised to replace the void left by the removal of the Into the Wild school bus in Alaska and take the mantle of world’s dumbest backcountry shrine.
It was a short run. After dark on Friday night, November 27, four men with strong headlamps and a wobbly wheelbarrow shoved the tower unceremoniously to the dirt, wrenched it from its foundation, and hauled it away, admonishing onlookers: “This is what happens when you leave trash in the desert.” Two Moab slackliners, Andy Lewis and Sylvan Christiansen, took credit on Facebook for the removal.
As reporters reveled largely in the jolly questions of who done it and who undone it, internet basements simmered with scolding. While many loved the elegant art piece, made all the more sublime by the artist’s invisibility, others condemned the incursion of any man-made object in pristine desert. Next, as some attacked Lewis and Christiansen for undemocratic art removal, others lauded them for taking decisive action to shut down a circus.
So who’s in the right? The artist or the art destroyers? Or both?
First, I think we can establish that this slab of steel is not “trash.” It’s a gorgeous piece, thoughtfully composed in-line with a dry waterfall in a shallow amphitheater. But what makes it great is not the structure so much as the process. The artist installed it in secret, likely years ago. They took no credit, held no gala opening, posted nothing online. It feels like the purest artistic vision: a perfectly executed work without any of the acclaim or ego or money that drives the rarified gallery world. The piece makes me think (well, it made my wife think first, and then she suggested that I think) of coyotes and ravens examining their reflections. It makes me consider the awe of solitude, and later, after its discovery, how easily that awe is corrupted.
One of the media obsessions has been determining the identity of the artist. Several prominent sculptors were named. Which raises the question: If this were the work of a famous artist, would that make it “important”? Would that make it more or less likely to require removal? I tend to believe that an artist capable of fabricating and installing the piece in such a remote place was also capable of understanding that its power lay in its anonymous mystery.
So instead of thinking of it as vandalism or a prank, let’s put it in the category of land art, whose rich history in the West includes Robert Smithson’s Spiral Jetty in Utah, James Turrell’s Roden Crater in Arizona, and Michael Heizer’s City in Nevada. The jetty was legally installed in 1970 and has become a beloved destination, but I wonder if it would have been lambasted in the age of social media. The latter two are on private land, not open to the public, and have therefore largely escaped environmental criticism. The monolith also belongs to a second category: guerilla art, which is to say unpermitted public art serving a higher purpose; it makes make us think, laugh, admire, and, not least of all, question the purpose of art. I’m thinking of the Center for Land Use Interpretation, which installed speakers in a forest that played the sound of a tree falling, and of Earth First unfurling a “crack” down the front of Glen Canyon Dam.
If we can establish the fact that it is art, and good art (which I know we can never agree on), then we can tackle the question of land ethics. After all, it might be fine for one of us to drive into the desert, gather all the downed ancient juniper, and make a roaring bonfire. But when dozens or hundreds do it, the desert loses its soul and becomes a tire-tracked fire pit. I agree that if everyone decided to erect a metal masterpiece on inaccessible public lands, we’d have a problem. And although copycat versions have already been found in Romania and California, it seems that the costs and logistics alone will prevent a major outbreak. If we’re going to be purists about pristine nature, then we’d do better to focus our ire on things like roads, mines, and, for that matter, national parks, which alter the landscape much more dramatically than this monolith. As for those intent on condemning any art placed on public lands, the biggest fish to fry is Mount Rushmore, carved into sacred Lakota lands that were ceded by treaty to the tribe, then stolen by the United States.
Now what about the ethics of removing the monolith? The San Juan County sheriff declined to launch an investigation. The sculpture was there illegally to begin with, and once it was taken, who was the victim? The artist? The land? The public? One could argue that the removers had no right to remove the object. Who appointed them the purveyors of eco-ethics? And there’s something chilling about the act, when we remember members of the Taliban dynamiting ancient Buddhist towers, taking it upon themselves to determine what is decent.
But I don’t see the removal as a judgment of the art itself, its merits, or even its right to exist. As Christiansen wrote in a Facebook comment on one of his own posts, it was a means to stop the caravan of lookie-loos: “The ethical failures of the artist for the 24 [inch] equilateral gouge in the sandstone from the erecting of the Utah Monolith, was not even close to the damage caused by the internet sensationalism and subsequent reaction from the world.”
They took the kind of quick, decisive action that the BLM (for good reason) is incapable of. I may not want these dirtbags (I mean that with the utmost respect) elected to Congress, or working as dogcatchers, but this specific action appears ethically sound.
So are there any ethical lapses in the one-week life span of the silver tower? The actions of the internet sleuths and YouTubers, while kind of fun to watch, were self-serving and irresponsible. The purpose of posting the videos, of course, is to gain clicks and advertising money. While the artist did all the work and took no credit, these bros are trying to capitalize on the art without doing the work. I don’t see an ethical defense of posting the location and directions to a place that will surely be overrun. The man who claimed to be the first to find the site wrote on Instagram: “I had it alone to myself for about 10 minutes in the morning before people started showing up but overall not too crowded you all want to make the journey.” This statement distills social media’s toxic effect on wilderness: I got my minutes of glory, then it got trampled, but you should go, too, and don’t forget to hit the subscribe button.
The beauty of the silver tower was its solitude. In order to be sublime, it had to be alone. And as soon as humans “found” it, it lost its magic. Isn’t this the way of all arches, waterfalls, and slot canyons? So perfect in their anonymity, so wrecked by a race that can’t stand to leave beauty alone. The desolate canyon will be just as gorgeous without the obelisk, and now those who want to leave the beaten track can enjoy it, and thousands just like it, without battling the blitz of the #explorers. The quick flash of metal will be outlasted by the timeless erosion of the earth, the trickle of red sand finding its way to the river, to the sea

With the closure of almost half of Atlantic City's casinos, Newark set to vote on gambling and casinos or racinos in almost every state, it seems as if the reasons for the very existence of Atlantic City are in serious jeopardy.
Israel Joffe
Atlantic City, once a major vacation spot during the roaring 20s and 1930s, as seen on HBOs Boardwalk Empire, collapsed when cheap air fare became the norm and people had no reason to head to the many beach town resorts on the East Coast. Within a few decades, the city, known for being an ‘oasis of sin’ during the prohibition era, fell into serious decline and dilapidation.
New Jersey officials felt the only way to bring Atlantic City back from the brink of disaster would be to legalize gambling. Atlantic City’s first casino, Resorts, first opened its doors in 1978. People stood shoulder to shoulder, packed into the hotel as gambling officially made its way to the East Coast. Folks in the East Coast didn't have to make a special trip all the way to Vegas in order to enjoy some craps, slots, roulette and more.
As time wore on, Atlantic City became the premier gambling spots in the country.
While detractors felt that the area still remained poor and dilapidated, officials were quick to point out that the casinos didn't bring the mass gentrification to Atlantic City as much as they hoped but the billions of dollars in revenue and thousands of jobs for the surrounding communities was well worth it.
Atlantic City developed a reputation as more of a short-stay ‘day-cation’ type of place, yet managed to stand firm against the 'adult playground' and 'entertainment capital of the world' Las Vegas.
Through-out the 1980s, Atlantic City would become an integral part of American pop culture as a place for east coast residents to gamble, watch boxing, wrestling, concerts and other sporting events.
However in the late 1980s, a landmark ruling considered Native-American reservations to be sovereign entities not bound by state law. It was the first potential threat to the iron grip Atlantic City and Vegas had on the gambling and entertainment industry.
Huge 'mega casinos' were built on reservations that rivaled Atlantic City and Vegas. In turn, Vegas built even more impressive casinos.
Atlantic City, in an attempt to make the city more appealing to the ‘big whale’ millionaire and billionaire gamblers, and in effort to move away from its ‘seedy’ reputation, built the luxurious Borgata casino in 2003. Harrah’s created a billion dollar extension and other casinos in the area went through serious renovations and re-branded themselves.
It seemed as if the bite that the Native American casinos took out of AC and Vegas’ profits was negligible and that the dominance of those two cities in the world of gambling would remain unchallenged.
Then Macau, formally a colony of Portugal, was handed back to the Chinese in 1999. The gambling industry there had been operated under a government-issued monopoly license by Stanley Ho's Sociedade de Turismo e Diversões de Macau. The monopoly was ended in 2002 and several casino owners from Las Vegas attempted to enter the market.
Under the one country, two systems policy, the territory remained virtually unchanged aside from mega casinos popping up everywhere. All the rich ‘whales’ from the far east had no reason anymore to go to the United States to spend their money.
Then came the biggest threat.
As revenue from dog and horse racing tracks around the United States dried up, government officials needed a way to bring back jobs and revitalize the surrounding communities. Slot machines in race tracks started in Iowa in 1994 but took off in 2004 when Pennsylvania introduced ‘Racinos’ in an effort to reduce property taxes for the state and to help depressed areas bounce back.
As of 2013, racinos were legal in ten states: Delaware, Louisiana, Maine, New Mexico, New York, Ohio, Oklahoma, Pennsylvania, Rhode Island, and West Virginia with more expected in 2015.
Tracks like Delaware Park and West Virginia's Mountaineer Park, once considered places where local degenerates bet on broken-down nags in claiming races, are now among the wealthiest tracks around, with the best races.
The famous Aqueduct race track in Queens, NY, once facing an uncertain future, now possesses the most profitable casino in the United States.
From June 2012 to June 2013, Aqueduct matched a quarter of Atlantic City's total gaming revenue from its dozen casinos: $729.2 million compared with A.C.'s $2.9 billion. It has taken an estimated 15 percent hit on New Jersey casino revenue and climbing.
And it isn't just Aqueduct that's taking business away from them. Atlantic City's closest major city, Philadelphia, only 35-40 minutes away, and one of the largest cities in America, now has a casino that has contributed heavily to the decline in gamers visiting the area.
New Jersey is the third state in the U.S. to have authorized internet gambling. However, these online casinos are owned and controlled by Atlantic City casinos in an effort to boost profits in the face of fierce competition.
California, Hawaii, Illinois, Iowa, Massachusetts, Mississippi, Pennsylvania and Texas are hoping to join Delaware, Nevada, New Jersey and the U.S. Virgin Islands in offering online gambling to their residents.
With this in mind, it seems the very niche that Atlantic City once offered as a gambling and entertainment hub for east coast residents is heading toward the dustbin of history.
Time will tell if this city will end up like Detroit. However, the fact that they are losing their biggest industry to major competition, much like Detroit did, with depressed housing, casinos bankrupting/closing and businesses fleeing , it all makes Atlantic City’s fate seem eerily similar.

I've gotten a ton of questions from students about LSAT-Flex, so I decided to make a post compiling the most common ones. Happy to update with more info as questions come up.
I also have two related YouTube playlists: one on how coronavirus affects LSAT and admissions and one on LSAT-Flex. Also check out the LSAT-Flex/ProctorU experience threads (1 / 2 / 3 / 4 / 5) and accommodations threads.

LSAC posted the May 2020 LSAT-Flex Sample Conversion Chart on LawHub (November 3 Update)
76 questions in total.
-4 for 175 (72/76 correct)
-9 for 170 (67/76 correct)
-15 for 165 (61/76 correct*)
-22 for 160 (54/76 correct)
*-14, meaning 62 correct, would also give you a 165.
It's a surprising curve, considering there are regular LSAT PrepTests with ~100 questions where -9 or -10 would give you a 170. (In other words, you could get a larger % of questions wrong on this Flex exam and still get the same score!)

LSAC added 2 LSAT-Flex Practice Tests to LawHub (October 23 Update)
1) May 2020 "LSAT-Flex Sample" (previously unreleased)
2) PrepTest 73
(PrepTest 89 is now also available as a regular PT inside LawHub.)

To make an LSAT-Flex version of PrepTest 73, they removed the second LR section (numbered as section 4 in the print version).
LSAC posted on LawHub that the raw score conversion chart for the May 2020 LSAT-Flex sample is "COMING SOON." (I hope they release it before the November LSAT!) For the LSAT-Flex version of PrepTest 73, they simply wrote, "there is NO conversion chart for this PrepTest."
For those who haven't seen them, raw score conversions are under the "Help" section (bottom-left) inside LawHub.

LSAC Announces January, February, and April 2021 LSAT-Flex (October 15 Update)
LSAC announced that the January, February, and April 2021 LSATs will all be LSAT-Flex administrations.
Each will take place on or around the originally-scheduled testing date. They will count towards retake limits and will also be undisclosed.
January LSAT-Flex Primary Test Dates: January 16-17
Registration Deadline: December 2
Score Release: February 3

February LSAT-Flex Primary Test Dates: February 20-21
Registration Deadline: January 6
Score Release: March 10

April LSAT-Flex Primary Test Dates: April 10-11
Registration Deadline: February 24
Score Release: April 28

LSAC Announces October LSAT-Flex Scheduling (September 17 Update)
LSAC announced October LSAT-Flex scheduling would open Tuesday, September 22 at 12PM Eastern.
With all previous LSAT-Flex administrations, many were able to access ProctorU to schedule their times early, and this loophole will likely be open for the October LSAT-Flex as well.
In other words, LSAT-Flex scheduling for previous administrations was available several hours before the initially-announced scheduling time of 12PM Eastern. You could log into ProctorU by resetting the password on the ProctorU account associated with your LSAC account email (already created by LSAC). In other words, go to ProctorU's website, enter your LSAC email address, and reset the password.

LSAC Announces November LSAT-Flex (August 27 Update)
Originally scheduled for November 14, it's been moved approximately one week earlier. Most will take it that Saturday (Nov 7), Sunday (Nov 8), Tuesday (Nov 10), or Wednesday (Nov 11), with some taking it later that week if they have special remote proctoring considerations. The registration deadline has also been moved one week earlier, from September 30 to September 23. LSAC's expected score release date is Tuesday, November 24.

LSAC Announces October LSAT-Flex (August 18 Update)
Originally scheduled for October 3, most will take it that Saturday, Sunday, Tuesday, or Thursday, with some taking it that Wednesday if they have special remote proctoring considerations. LSAC's expected score release date is Friday, October 23.

LSAC Announces August LSAT-Flex Scheduling (August 12 Update)
On Wednesday, August 12, LSAC announced August LSAT-Flex scheduling would open Thursday, August 13 at 12PM Eastern).
However, as with all previous LSAT-Flex administrations (May, June, and July), many were able to access ProctorU to schedule their times early, and this loophole appears to still be open for the August LSAT-Flex as well.
In other words, without prior announcement, scheduling was available several hours before the initially-announced scheduling time of 12PM Eastern. You could log into ProctorU by resetting the password on the ProctorU account associated with your LSAC account email (already created by LSAC). In other words, go to ProctorU's website, enter your LSAC email address, and reset the password.

LSAC Allows Mechanical Pencils + Foam Earplugs Starting with August Flex (August 12 Update)
Via email from LSAC:

We will now allow test takers to use a regular or mechanical pencil, or a pen, while taking the LSAT-Flex. You will still need to show your writing utensil(s) to the proctor during the check-in period.
In addition, test takers may use soft, non-electronic, non-corded/banded, generic foam ear plugs, which will need to be shown to and approved by your LSAT-Flex proctor.

More on LSAC's site here and in this post.

LSAT Retake Limits Reinstated (August 3 Update)
Starting with the October LSAT, all LSATs will once again count toward retake limits, even if they are rescheduled as LSAT-Flex administrations. (The May, June, July, and August LSAT-Flex tests do NOT count toward retake limits.)

Some July LSAT-Flex Test Scores Lost (July 29+30 Update)
Somewhere in the range of 120-140 July LSAT-Flex test-takers' exam data was lost due to a glitch when transmitting their information from ProctorU to LSAC.
LSAC called many of those affected and offered them a refund for July, a free retake in August (or through April 2020), and 4 free law school reports.
In my view, this is not nearly enough given a screw-up of this size, and LSAC should do much more for these test-takers.
LSAC has not made an official written public announcement to students. However, they did provide a statement to the National Law Journal saying that those affected will have the option to take a makeup exam sometime in the next week or so.

August LSAT-Flex (July 8 Update)
LSAC announced the August 29 LSAT will be an LSAT-Flex. Most will take it that Saturday, Sunday, Monday.
Like previous LSAT-Flex administrations, it will not be disclosed, and it will not count toward retake limits. Target score release is September 18 at 9AM Eastern.
Unlike other Flex administrations, there will be a score preview option for first-time test-takers (for a fee - $45 if you pay before the test, $75 if you pay after the first day of the test).
This means you can see your score before deciding whether to cancel. You still have to wait a few weeks for your score like everyone else, though.
LSAC has confirmed the score preview option will be available for all LSAT administrations moving forward.
LSAC also established a new requirement that you must complete LSAT Writing in order to receive your score, and it opens up 8 days prior to the LSAT.

July LSAT-Flex Scheduling
The July 13 LSAT in North America as well as the June international LSAT has been rescheduled as an LSAT-Flex the week of July 12, with most taking it on July 12 and 13.
LSAC opened the scheduling sign-up process for the July LSAT-Flex on Friday, June 26.
However, many of those taking the May and June LSAT-Flex were able to access ProctorU to schedule their times early, and this loophole was still open for the July LSAT-Flex as well.
In other words, without prior announcement, May, June, and July LSAT-Flex scheduling was available several hours before the initially-announced scheduling time of 12PM Eastern. You could log into ProctorU by resetting the password on the ProctorU account associated with your LSAC account email (already created by LSAC).
If you experience "405 errors" while trying to schedule, hit refresh a couple of times (even if you have to do so through each step) and you should be able to book. Also try multiple browsers - I've heard Chrome might work better.
In an email, LSAC wrote, "Due to the remote proctoring logistics, different countries will test at different times and dates. Scores for the July LSAT-Flex will be available on July 30."

June LSAT-Flex Administration
The June LSAT-Flex administration went much more smoothly than the May administration, with few reports of the issues that affected the May administration. Wait times for proctors were much shorter.

May LSAT-Flex Administration
Many LSAT-Flex tests were successfully administered. However, some ProctorU proctors mistakenly told students they weren't allowed to have scratch paper (when it is permitted). LSAC will work with affected students to let them retake.
Many students experienced long wait times for proctors and difficulty logging in (especially on May 18). If this happens to you, stay in the queue, don't disconnect. If you disconnect and rejoin, you lose your place in line and go to the back of the queue.
It wasn't possible to see the proctors on camera, even though they could see you. You communicate with them through a chat box and over audio (in other words, voice-only using your mic). Some reported that it was distracting to have their webcam light on the entire time. (You could cover the light before starting if this might bother you.)
Students got a full minute "break" between sections (not previously advertised).
I received some reports that students were able to use legal-sized scratch paper (8.5 x 14). It's worth noting that LSAC's rules simply say 5 sheets and don't specify the size, and it's up to the proctor's discretion. It might be worth trying, but I'd recommend also having regular (8.5 x 11 unlined) paper available just in case.
I've also heard some students successfully used the command-F / control-F (find) shortcut function to search for keywords in the exam text. LSAC has confirmed this is permitted.

LSAT-Flex and Retake Limits (May 13 Update)
LSAC updated their website to indicate that the May and June LSAT-Flex administrations will not count towards retake limits (and later confirmed via email that the July LSAT will not count toward retake limits).

The online, remotely proctored LSAT-Flex tests do not count toward this total as they were administered as an emergency response to the COVID-19 pandemic in May and June 2020.

June LSAT-Flex Scheduling (May 13 Update)
The same loophole that allowed students to register early for the May LSAT-Flex was still open for June LSAT-Flex scheduling.
Without prior announcement, June LSAT-Flex scheduling was available several hours before the initially-announced scheduling time of 12PM Eastern. You could log into ProctorU by resetting the password on the ProctorU account associated with your LSAC account email (already created by LSAC).
If you experience "405 errors" while trying to schedule, hit refresh a couple of times (even if you have to do so through each step) and you should be able to book. Also try multiple browsers - I've heard Chrome might work better.

June LSAT-Flex Announced (April 29 Update)
The June 8 LSAT has been rescheduled as an LSAT-Flex for the week of June 14.
Most will take it on Sunday, June 14 and Monday, June 15. LSAC is targeting June 30 for score release for all test-takers, and scheduling is expected to open 12PM on Wednesday, May 13.
(So far, the announcement only relates to the June 8 test in North America - they haven't yet made a decision on the international June 27 / 28 administration. IMO, they should've rescheduled that as a Flex already, and I'm hoping they will soon.)

May LSAT-Flex Scheduling (April 27 Update)
Without prior announcement, May LSAT-Flex scheduling was available several hours before the initially-announced scheduling time of 12PM Eastern. You could log into ProctorU by resetting the password on the ProctorU account associated with your LSAC account email (already created by LSAC).
If you experience "405 errors" while trying to schedule, hit refresh a couple of times (even if you have to do so through each step) and you should be able to book. Also try multiple browsers - I've heard Chrome might work better.
Available time slots for the May LSAT-Flex were 9AM-7PM Eastern Time, in 20-minute increments.

May LSAT-Flex Scheduling (April 23 Update)
LSAC has moved LSAT-Flex scheduling to Monday, April 27, at 12PM Eastern, citing issues with a system in ProctorU that is required to handle signups. Test dates will still be May 18 and 19 for most test-takers.
ProctorU support shared with me what they're sending students right now:

"LSAC has not entered this exam into our system or made it available for proctoring yet...You’ll have plenty of time between setting up an account and taking your exam in order to test your equipment. Please do not set up an account under ACER or any institution or organization that is not your own as this can negatively impact that institution’s tracking of their own test-takers."

In other words, wait for LSAC's email with instructions before you register on ProctorU.

LSAT-Flex Section-Weighting + Dates (April 15 Update)
LSAC confirmed that Logical Reasoning will NOT double-weighted - all questions will count the same. This means Logical Reasoning is less important than on the regular LSAT, and Logic Games and Reading Comprehension are slightly MORE important.
There will be about 75 questions and each section will have roughly the same number of questions. Based on previous exams, we can expect RC will have ~27, LR will have ~25, and LG will have ~23. If you'd previously planned to spend more time on LR, you may want to adjust your study plan accordingly.
LSAC also announced the May LSAT-Flex will be offered on May 18 and 19 (accommodated test-takers may take it on a different day), and scores will all be released on the same date -- no later than Friday, June 5.
They haven't yet released specific options, but there will be multiple time slots during which it's administered over the course of two days (May 18 and 19). I imagine there will be both morning and afternoon options. Registration will open (for previous April LSAT registrants) on April 22.
They confirmed there will NOT be the option to see your score prior to deciding whether to cancel.

Why Did LSAC Create LSAT-Flex?
The April LSAT was canceled because most of us now have stay-at-home orders. There was no way to administer it in-person at an LSAT testing center. Instead, LSAC has added a new LSAT-Flex administration the week of May 18. (Most will take it May 18 and 19.) It will be an alternative for those who had initially wanted to take the March and April LSAT in North America.
It will be administered online, at home on your computer. It will be different -- three sections, not five. You will have one section of games, one reasoning, and one reading comp back-to-back. They will equate the scores nonetheless. In other words, you will still get a score out of a possible 180 as an equivalent to the traditional five-section exam.
As for scores, LSAC’s site says two weeks for the online LSAT-Flex. They can't get them back much faster because of all the statistics they have to analyze, but they're also working quickly because law schools want those scores before they can evaluate applications.
(By the way, most law schools are extending deadlines to wait for the LSAT-Flex. They may extend further if they need more applicants.)
Virginia extended the stay-at-home order until June 10. Others, like California, extended it indefinitely. The June LSAT is June 8 and will have to be canceled, as many other states will likely extend to June 10 or beyond, meaning there's likely going to be at least one more LSAT Flex opportunity. If we see second and third waves of COVID-19, as I've been reading, the Flex will be around for a long time.
It may even be that LSAT-Flex will be here to stay as the new normal. It's very hard to go back on technology once you've advanced. Remember, there have been a number of difficulties in administering the LSAT in-person. They had to book the testing centers, hire proctors, get all the tablets in place and make sure they were fully charged. Additionally, students had to travel long distances to take the exam. If they offer the LSAT more frequently online, pulling out some of their old undisclosed test forms, it would have a number of advantages.

How to simulate LSAT-Flex
There are four sections in the Online LSAT Prep Plus (and books of published PrepTests) because that's how PrepTests have always been published -- the four scored sections. LSAT-Flex is three sections. One Logic Games, one Logical Reasoning, one Reading Comp.
If you're taking the online LSAT-Flex, I would practice like Game Day - only do three sections. A simple solution would be to remove or skip one of the logical reasoning sections from any given published LSAT PrepTest. Then you've got three sections - one of each type. Do them back to back (no break).
If you want to get a rough approximation of a scaled score on the LSAT-Flex, multiply your initial raw score by 4/3 before converting it using that exam's chart.
It won't be perfect, but it'll be close enough to give you a sense. Another option would be to calculate your overall accuracy % on the 3 sections you complete, then use that as a baseline to approximate your accuracy % out of the total number of questions on a given exam.
(For example, if you answered 60/75 correct, that's 80% accuracy. If you maintained that level of accuracy on a 100-question exam, that would mean your raw score was 80. On the June 2007 LSAT, a raw score of 80 converts to 161.)
Give yourself a margin of error of a couple of points on each end to be safe. If you take the average of your most recent five exams you've done in a relatively short period, that will give you the best indication of where you stand.

How to simulate LSAT-Flex proctoring
Do some practice runs -- take a practice test online with the Official LSAT Prep Plus with a friend watching you on Skype/Zoom on the other end to simulate the online proctoring with ProctorU.
You could also get a group together and do a Zoom call, where you take practice tests together and watch each other, to have the feeling of not being alone in this process and also to have the feeling that somebody might be watching you and holding you accountable.
Another thing you could do that's popular on YouTube is doing a "study with me" session, where you livestream yourself in front of your desk on camera, studying for the LSAT. However, you don't have to have your face on camera, if you're shy about that. Instead, you could have the camera stationed over your desk, to simulate that experience, just a little bit.
(Note: for the actual LSAT-Flex, you need to show your face on camera for the entire duration of the test so they know it's you taking it and they can track your eyes, etc.)
You're doing the online LSAT-Flex on computer, whether desktop or laptop, not on an iPad, which is somewhat ironic since the digital LSAT was on a tablet for the in-person administrations.
The look and feel will be the same, but obviously on a computer, you're not using a touchscreen. You'll be doing it with a keyboard and mouse instead.

Why LSAT-Flex is only 3 sections (not 4 or 5)
Part of the reason is there'd be no way to monitor you during any breaks (if you went to the bathroom, for example). It's not a controlled environment like a test center. They can only monitor you as far as the video camera can see on your laptop.
There's also the issue of paying proctors for longer periods of time - ProctorU is not set up for tests as long as the LSAT.
Finally, the longer an online test goes, the more likely it is for there to be a tech issue.
They equate the scores, though, so it ends up being equal in difficulty in the end.

LSAT-Flex Bathroom Breaks
I've confirmed with ProctorU that bathroom breaks will not be permitted for most test-takers.
They wrote:

the exam does not have breaks unless LSAC specifically approves it (for things like accommodations)

I haven't specifically confirmed with ProctorU whether they allow diapers, but I can't imagine them considering it a security risk (or having a way to determine whether you're wearing one).
Limiting coffee / tea or other diuretics (liquids in general, really) will help you get through the 2-hour exam without issue.

LSAT-Flex Scratch Paper
LSAC has confirmed you are permitted 5 sheets of scratch paper (10 pages, given that you can use both sides).
You'll have to hold both sides of each page up to the camera before starting to confirm the sheets are blank before starting, and you'll be asked to destroy the scratch paper at the end of your exam.

Will LSAT-Flex become the new normal?
The more LSAT-Flex administrations there are, the more that becomes the new "normal." And I suspect there will be several due to COVID-19 this year.
And with each LSAT-Flex test date, they'll get better at administering it.
It will be hard for them to go back (especially if there are more "waves" of COVID-19 as I'm hearing predicted).
LSAC says they hope to return to regular in-person administrations when possible. But COVID-19 or not, I suspect it's hard to go backward on technology.
If you're planning on taking the LSAT anytime in the next few months, don't assume it will be the Digital LSAT on tablet. It may be LSAT-Flex on your computer.

Will LSAT-Flex be easier?
Some are assuming the LSAT-Flex will be easier because it is only 3 sections, rather than 5. However, LSAC has always been extremely careful about "test-equating" (ensuring that LSAT scores from different administrations and test forms are comparable).
They go to great lengths with detailed statistical analyses to adjust the "LSAT curve" (raw score conversion) to account for any differences in difficulty based on students' performance.
(That's the main reason LSAC takes a few weeks to release LSAT scores - they are checking to see if students performed as expected on the questions.)
It's possible there will be higher accuracy because endurance/fatigue is less of an issue, and LSAT-Flex is likely a more pleasant test day experience for most, assuming good Internet, quiet environment, etc.
However, LSAC will equate the scores to account for that, so I wouldn't assume it will be easier to get a higher scaled score out of 180.

Is LSAT-Flex At-Home Harder Than In-Person?
We can’t say whether testing at home vs in-person at a testing center is better for every student. However, I suspect it’s a more pleasant one for many.
Some Potential LSAT-Flex (At-Home) Benefits:
At home, you may have a great internet connection and if you live alone, no one is going to bother you. You're not going to have a proctor walking around and you won’t be in a room full of other test-takers making noise, sneezing, and or distracting you in other ways. You also avoid the hassles of booking a testing center and being placed on a waitlist.
Perhaps most importantly, the LSAT-Flex exam is only 3 sections (2 hours) rather than 5, and home is a more comfortable environment for many.
Some Potential LSAT-Flex (At-Home) Drawbacks:
If you live with roommates, family, significant others, kids, or pets, taking it at home may not be so easy.
Perhaps most importantly, if your internet is shaky and slow, or if your computer's old, you might have technical issues.
Overall, most of the students I encounter say at-home and shorter is preferable.
However, one of the biggest concerns is having the right computer and a strong-enough Internet connection. You may have to borrow one, and LSAC is taking that into consideration.
They are committed to equal access. If you have a barrier of some kind that prevents taking the LSAT-Flex at-home in a comfortable environment, reach out to LSAC. They’ll probably give you a loaner device and/or help you take it at a local law school, university, etc. if you need it.

Would you do LSAT-Flex or regular LSAT?
It depends on your personal timing and when you're ready for the LSAT versus 3 sections at home versus five 5 in-person.
For a lot of folks, if they have a quiet home environment, 3 sections at home is preferable because it's shorter, it's a smoother test day experience, on the flip side though, the 75 questions you do count relatively more per question than when you're doing four scored sections, so that's one thing to consider.
Lots of unknowns -- we don't know how long the online LSAT-Flex will be available. LSAC is taking a wait-and-see approach, as they typically do.
You may not necessarily have both options. You'll probably have one option or the other, for each administration, as things unfold.
(As for the writing sample, that will still remain online, they're not going to administer that in-person, whether you're doing LSAT-Flex at home online, or digital LSAT tablet in-person, you'll still be doing LSAT writing online, at a separate point, at a separate time, either way.)

LSAT-Flex score release & law school deadlines
The LSAT-Flex score release will be two weeks after you take it. LSAC is targeting June 5 for the May LSAT-Flex, June 30 for the June LSAT-Flex, and July 30 for the July LSAT-Flex. (Score release will be the same for all who take a particular administration - regardless of the exact date / time you take it that week.)
A 2-week turnaround is slightly faster than regular administrations, but not by much.
That's because they still have to do all their detailed statistical analysis to make sure that people performed on Test Day as LSAC expected (previous calculations, internal difficulty ratings, etc.)
A lot of law schools will be extending deadlines if they haven't already to wait for the May LSAT results to be released. They may also extend beyond that for those taking the June LSAT-Flex.

Will LSAT-Flex tests be disclosed?
LSAC considers these "special" administrations and remains hopeful about returning to in-person administrations (and, relatedly, releasing 4-section exams) in the near future.
There was not only one test form used across multiple days of LSAT-Flex, so there wouldn't just be one test form for any month's Flex administration anyway. The May, June, and July LSAT-Flex exams will not be disclosed.

How admissions views LSAT-Flex
Some schools aren't accepting LSAT-Flex this cycle only because of timing (although most will). They still consider it a valid LSAT comparable to the regular in-person LSAT.
Now, let's say, your in-person score was low, your LSAT-Flex score is higher.
They still won't look down on the LSAT-Flex score. While they'll know you took the LSAT-Flex, it's not a huge deal.
Law schools are confident in LSAC's ability to administer a valid and reliable admission test. They're confident that a 75-question exam can be equivalent to -- or equated with -- a 100-question exam.
Obviously, there are pros and cons to doing a shorter LSAT at home vs a longer one in-person, but law schools want the number.
They have incentive to care only about the number because that's what goes to the ABA -- meaning that's what's factored into the US News Rankings. So, don't worry about it.
(The admissions professionals in the LSAC webinar, as well as those I've spoken with directly, all say they will consider LSAT-Flex scores equal to those earned on the paper and Digital LSATs.)
I wish LSAC wasn't annotating LSAT-Flex scores with an asterisk - it adds a lot of unnecessary stress for students (especially considering they used to add an asterisk to accommodated scores until settlements forced them to stop).
However, if anything, this will remind admissions you took a new LSAT format during a global crisis. It provides a bit of context. Your score is still your score, of course, regardless of the format.
tl;dr Just get the score, the number is what matters the most at the end of the day.
If you have any questions I didn't address or would like further clarification, please feel free to leave comments, and I'll update this post with them.

Going through old issues of the Wrestling Observer Newsletter and posting highlights in my own words. For anyone interested, I highly recommend signing up for the actual site at f4wonline and checking out the full archives.
PREVIOUSLY:


1-7-2002	1-14-2002	1-21-2002	1-28-2002
2-4-2002	2-11-2002	2-18-2002	2-25-2002
3-4-2002

Ever since the deaths of WCW and ECW, one of the big stories in the business has been watching other promotions attempt to rise up and fill the void, all with varying degrees success. The big two have been WWA and XWF. And it's always the same story. Some new company has a backer with unlimited resources and they promise, they're thiiiiiiiis close to striking a TV deal. But the money always falls through, the TV deals never materialize, and everything dries up. Then there's UFC, which is something of an alternative to pro wrestling, but it's also struggling with financial issues. However, they seem to have the best shot of it right now. The reality is, to have any chance of becoming a viable #2 behind WWF, you need television. Not just any television, you need a weekly show on a major network in a strong time slot. None of these companies have it and TV networks aren't chomping at the bit to offer it. The last network to take a chance on adding wrestling was TNN, almost 2 years ago when they signed up for ECW and later traded it in for WWF. Even in its dying days, WCW was still drawing decent ratings by TBS and TNT standards, but Time Warner dropped it anyway. Bischoff and Fusient negotiated with FOX for a year and when Turner dropped it, FOX had all the leverage and could have low-balled the hell out of them and gotten WCW if they wanted it for practically nothing. But they also passed. WWF is the #1 big dog in the industry and even their ratings are falling. In the eyes of TV execs, the wrestling boom is on the downswing and networks aren't interested in picking up a second-rate product in a declining industry. All of this makes it near impossible for anyone to become a viable competitor. Along with a TV deal, you also need tons of money to burn because networks will demand a big budget presentation (ECW went deep into debt just trying to make their shows look acceptable for TNN's standards). Because any viable startup is going to lose a lot of money at first, so you need a financial backer that is willing to absorb those losses for the faint hope that it miiiight pay off in the end. And finally, you need talent. You need a mix of hot, new stars and established names that the public already knows, And there's not a whole lot of them on the market right now. WWF has signed all the top available names and the rest are sitting out lucrative WCW contracts. And as we've seen, if you even try to build around someone (like XWF around Mr. Perfect), then there's always the final hurdle of Vince swooping in and signing them away, cutting you off at the knees before you even get off the ground.
The way Dave sees it, the only viable way a new promotion is going to get off the ground anytime soon is if a major network is interested in getting behind it. And even if they do, Dave doesn't think you can launch right away. You need a network that will promise you a TV deal 3 years from now while helping to develop the product in the meantime. Then he suggests the OVW business model. Get all the best, available talent you can and run these shows as a small, local indie. Let them establish names and try to grow from that over the next 3 years in front of small crowds, sort of like what ECW did. In a few years, when you've created some stars with some buzz and grown your fan base, then you can launch nationally. You also need to take a page from Eric Bischoff's book and competitively bid for any major WWF star who's contract comes due. Without those major players, you won't be taken seriously by the general public. So you'll probably end up overpaying for a lot of WWF names (much like Bischoff did), but it's a necessity in this game if you want wrestling fans to see you as a real competitor to WWF. That's the tactic that helped WCW become competitive in the mid-90s. Of course, back then, WWF was already struggling with poor business and times were tough. They may be on the downswing now, but WWF is infinitely stronger now than it was then, plus they offer guaranteed money now, which is another difference. But anyway, you have to do all these things, with a network willing to spend the kind of money it takes to compete with Vince McMahon, and then you have to hope you're smarter than WCW and don't self-destruct in spite of it all. And even if all those things fall into place perfectly (no chance), there's still no guarantee it would be successful. TL;DR - the mountain to climb in order to become a competitor to Vince McMahon is practically insurmountable.
So speaking of WWA, Dave has a ton of news on the fiasco of their recent PPV in Las Vegas. You can't advertise people who aren't under contract and you can't throw a major PPV together at the last minute, and they did both. Terry Taylor and Larry Zbyszko reportedly weren't paid. Each were promised $1,000 but since they were last minute additions to the show, they were told their checks weren't ready. Promoter Andrew McManus is saying he expected the cable companies to push the show harder, since they claim they want an alternative to WWF, but they barely advertised it at all. McManus also apparently had no idea Zbyszko was going to cut the promo he did, where he spent the entire time trashing the WWF and had no point whatsoever. They had about 2,500 people in attendance, but only 653 of those were paid, the rest freebies. PPV buys are expected to be embarrassing. And then the no-shows. As mentioned last week, Randy Savage had a verbal agreement with McManus but reportedly tried to change the terms at the last minute to something completely unreasonable so that fell apart. McManus was talking about filing a lawsuit against Savage backstage at the show, but the next day, they were in contact again and he's still trying to get Savage to work their next PPV in April. Buff Bagwell was also advertised for the show and McManus said he has no idea why because Bagwell was never booked and McManus said he doesn't want him back anyway. Road Dogg was advertised but he called McManus the day before the show and claimed he had been arrested on a probation violation in Pensacola and couldn't be there due to house arrest (he had already been paid for the show in advance). But Dave has done the research and neither the city nor county police have any record of him being arrested so...who knows? The Jeff Jarrett vs. Brian Christopher main event was a last minute change. McManus was pushing for Jarrett vs. Scott Steiner, but neither man was willing to put the other one over. Jarrett also has issues with McManus, feeling like McManus pushed him aside in favor of Randy Savage and when the Savage deal fell apart, he came crawling back to Jarrett. The week before the show, it was thought Jarrett (the WWA champion) might pull out also, but he ended up deciding to do it, but they still have some issues to work out. WWF also sent a letter threatening to sue WWA if Brian Christopher used his Grandmaster Sexay gimmick, which he has been using on the indies since he left WWF. All in all, just a complete shit-show and you can see how this company is already falling apart before they can even really get out of the blocks.
So what about XWF? They've been trying to run house shows, but they've not been successful. The company taped several hours of shows to try to pitch to networks, but they have Jerry Lawler doing commentary (he's back in WWF now of course) and Curt Hennig (practically a jobber in WWF now) as the top star. So needless to say, those shows are pretty much useless for pitching to a network or building anything around. People in the company are claiming they're close to striking a TV deal with TNT, TBS, or USA but of course, as noted earlier, those things never pan out and nobody is really believing that XWF has a TV deal in the works. Jamie Kellner of Time Warner made it pretty obvious that he doesn't want wrestling anymore, so Dave can't imagine them picking up XWF and in fact, there's sources that say part of the deal with WWF buying WCW stipulated that Time Warner can't carry any wrestling program on their stations for 5 years, so not until April of 2006. Jimmy Hart did have a meeting with former Turner exec Bill Shaw who is close with Ted Turner personally. Shaw mentioned the idea to Ted, who seemed vaguely interested, but even if he was, he would have to find a different TV network to put it on. Ted Turner was also advised that it would probably cost upwards of $50 million in losses over the first 3 years to get off the ground, at which point he reportedly lost interest.
There is another promotion in the works being quietly discussed. Jerry Jarrett has had negotiations with InDemand PPV, with the idea of doing weekly PPV events on Wednesday nights, at $9.95 each. Dave doesn't know if this is viable or not in the short-term, but without TV to create new stars, he can't see it lasting long-term. They'd be using most of the same talent WWA is using now. Jeremy Borash is trying to work out an agreement between WWA and Jarrett to share talent. Jerry Jarrett actually has a long track record as a promoter and company owner and made a lot of money in the 70s and 80s and then when he sold the promotion, he got into real estate and made even more money than he ever made in wrestling. He's a guy who wants to get into the business to make money, not just a money mark trying to get into the business for the fame. He knows how to make stars and book wrestling. Jarrett had a group of investors last year and made a last-ditch effort to buy WCW before Vince swooped in and got it. Dave says Vince Russo may end up involved with this promotion also, because they're interested in bringing him in as booker. But there's an issue there because Russo is still in a lawsuit with Hogan over the Bash at the Beach incident 2 years ago. As long as Russo doesn't work for another wrestling company, Time Warner's lawyers have agreed to represent him in the case, which is why he dropped out of being the booker for WWA, although not like you can tell from how that company is booked (I'm pretty sure Russo was secretly booking these guys all along actually). But the crux of Hogan's lawsuit was that the Bash incident basically destroyed his marketability as a wrestler. Him joining WWF kinda proves that to not be the case and Dave seems to think this lawsuit will probably fade away soon. Jeff Jarrett isn't involved in his dad's plans yet and is said to be against the idea, but Dave figures he'll probably end up involved in this new venture (yup). But there's also the worry of nepotism. No matter how much WCW tried to convince people otherwise, Jeff Jarrett is not a franchise guy you can build a successful company around, and Dave wonders if Jerry will recognize that with his own son, or will he fall into the same trap every promoter seems to when it comes to their own kids? Time will tell I guess. (And with that paragraph, TNA breathes it's first breath...)
K-1 founder Kazuyoshi Ishii announced plans later this year to host a major event at the 101,000-seat Yokohama International Stadium, featuring K-1, PRIDE, and professional wrestling. In the event a show like that actually sells out, it would likely be the biggest money event in the history of sports entertainment. Ishii talked about doing a double main event of Rickson Gracie vs. Naoya Ogawa (a dream match people have been trying to put together for years) and Mirko Cro Cop vs. Kazushi Sakuraba. Dave says NJPW has talked about running a show in that stadium, but the reality is, they don't have anything popular enough to come close to filling it. (This show does indeed happen, but it's in a different stadium. They still end up drawing something like 90,000 people. The Gracie/Ogawa match doesn't happen, but Cro Cop vs. Sakuraba does. But we'll get there).
The WWF is in trouble. Not the company. The initials. The World Wrestling Federation lost its appeal this week in the case with the World Wildlife Fund. A 3-judge panel upheld the original ruling, which gives the WWF (wrestling) until the end of March to stop using the "WWF" initials for any marketing outside the United States. The World Wide Wrestling Federation (WWWF) shortened its name to WWF in 1979, when it was still a regional promotion. Throughout the 80s, as the WWF grew into a national and eventually global organization, this came to the attention of the Wildlife folks. They're based overseas and for the most part, they were fine with Vince McMahon using the initials in the United States. In 1994, the two sides signed an agreement that the wrestling company would have limited use of the initials outside of the U.S. and would always have to refer to themselves by the full "World Wrestling Federation" name rather than "WWF." Within the U.S., they were free to use "WWF" all they wanted. Well, as the wrestling company grew during the 90s, they began blatantly ignoring the agreement, arguing that it was unenforceable and amounted to restraint of trade. The court system clearly disagreed. Dave talks about the WCW/NWA split in the late-80s and how it led to the company cutting ties with the NWA and gradually and quietly renaming everything to "WCW" and how it wasn't really a big deal. But this is different times and WWF is a much bigger entity with merchandising and licensing around the world, a major online presence at wwf.com, and more. So it's gonna be more complicated this time. WWF claimed it would cost them upwards of $50 million to change its brand name, but the appeal judges were unsympathetic, saying that the WWF had made "clear and repeated" breaches of their 1994 agreement and the cost of rebranding is entirely their fault for flagrantly violating the agreement. In other words: tough shit. You knew you were breaking the rules. Deal with the consequences. WWF is expected to appeal the decision to Britain's highest court, the House of Lords, and if they lose there, game over. As of press time, it's unclear what WWF will do. At a recent investor's meeting, Linda McMahon used the "WWFE" initials, which is the official corporate entity of the company ("World Wrestling Federation Entertainment") and on all UK television this week, all references to "WWF" were changed to "WWFE" as well. Last year, when WWF lost the original case, they were also ordered to pay the Wildlife Fund's legal bills. They were on the hook for $630,000 as of October and probably significantly more by now. The court is also expected to rule on monetary damages for the past 8 years of violating the agreement, and that could total in the millions. The Wildlife Fund's biggest complaint has been the WWF's website, which is wwf.com. The Wildlife Fund uses wwf.org and argues that it creates confusion in the marketplace.
8 years ago, the WWF toured Japan and it was a major flop. Their biggest show only put 4,500 people into a 17,000-seat arena and even that was heavily papered. It was the smallest crowd ever for wrestling in the history of that arena at the time and crowds chanted "refund!" at the end of a night full of bad matches and screwy finishes. 8 years later....complete opposite. WWF went to Japan this week and it was a monster success. Their return to that same arena sold out the same day tickets went on sale, to the tune of $1.1 million, which may be the largest non-PPV gate in WWF history. No free tickets at all. Even Funaki's parents had to pay for their nosebleed seats. The crowd was popping for everything, knew all the stars, and were hotter than most American crowds. It was especially notable because the fans clearly wanted authentic WWF. They had a Japanese translator out there translating Shane McMahon's opening promo and the crowd booed it. So Shane called an audible, kicked out the translator, and began speaking in slow, easy English and the crowd popped huge (kinda the same way American fans want authentic NJPW. But every time NJPW comes here, they always try to "Americanize" the card, when really, we just want Okada and Tanahashi to do what they do best). WWF has limited visibility in Japan. The major shows air on cable in a similar time slot as NJPW and NOAH, both of which draw bigger ratings than WWF's shows. But nonetheless, this crowd was rabid for WWF and some of them even dressed up. There were a lot of signs in the crowd too, written in English, just like they've seen American crowds do.
Other notes from the Japanese show: Chris Benoit was scheduled to go on the tour (not to wrestle, just to appear) but WWF canceled him at the last minute. Dave says Benoit was looking forward to going so he was pretty bummed. Prior to the show, Naoya Ogawa came out to greet the crowd. The crowd popped huge for Lita doing a moonsault, even though other women's wrestlers in Japan do it all the time. But this crowd was just nuts for anything WWF. Funaki pinned Hurricane in one of those things where they were pandering to Japanese fans. But as mentioned, they didn't want to be pandered to, they wanted authentic WWF and they cheered Hurricane over Funaki. Ric Flair cut a promo talking about his career in Japan and got a huge reaction, and he got a big pop when he mentioned various Japanese stars he's faced, especially Keiji Muto (also worth noting Muto was there doing commentary for the show for airing on TV next week). Torrie Wilson got a huge reaction, because Japan is just as thirsty as the rest of us. Rock vs. Jericho main evented and Rock was over like crazy. The show ended with Flair, Rock, and Muto all shaking hands to send the fans home happy (far as I can tell, the only footage of this show that exists online anywhere are these highlights from Rock/Jericho).

WATCH: Highlights of Rock vs. Jericho in Japan - 2002

On this same tour, they also went to Singapore and Kuala Lumpur in Malaysia. Only interesting note is that, during the Malaysia show, Billy and Chuck completely dropped the gay gimmick. It's a primarily Islamic country and, maybe you've heard, they kinda frown upon that sort of thing.
Sometime over the past couple of weeks, the WWF made an offer to Bret Hart to appear at Wrestlemania, but he turned it down. The show is in Toronto and WWF Canada President Carl DeMarco made it his goal to get Hart to appear on the show. DeMarco and Hart have a business relationship that goes back years and Hart is the one who eventually helped DeMarco get his position in the WWF. Many times in the last few years, DeMarco has been the man in the uncomfortable position of playing intermediary between Hart and the WWF. DeMarco first reached out to Hart with the idea that he would be the special referee in the Triple H vs. Jericho title match, with the idea to keep it completely secret from everyone, even the other wrestlers, and sneak him into the building right before the match. This way, if no one knew he would be there, Hart's name wouldn't be used to help boost the show. It would just give Hart a huge pop and create a cool moment without Hart feeling like he was helping to pad Vince's pockets. In exchange, on top of being paid, Hart would also be given rights to his photos and videos from his career that WWF owns. That's something Bret has been pushing for for years, even before he left the company, because he wants to put out his own "Best of" video on his career as well as use the photos for his autobiography. Hart and Vince had reached an agreement for that back in 1997, but then the screwjob happened and that went out the window. Later, the day before Owen Hart's funeral, Bret and Vince met in person and talked about it and Vince agreed to give Bret the rights for that stuff. So a few days later, when Bret contacted the office to get the ball rolling, WWF lawyer Jerry McDevitt responded that Vince had no recollection of making that agreement. Anyway, Hart still wants that stuff and he agreed to meet with Vince to discuss it, but he said he didn't think he would agree to do Wrestlemania. At that point, Vince refused to meet with Bret unless he would agree to work Wrestlemania. So that never happened. DeMarco kept pushing the idea, saying that ending his career as a commissioner in WWA is no way to be remembered. Then he pitched an idea that Hart could even appear on Raw the night after Wrestlemania in Montreal and do an angle where he punches Vince. When Hart again turned him down, DeMarco laid on the guilt trip and basically implied that if he couldn't get Hart to do Wrestlemania, his own job might be in jeopardy.
Hart later wrote in his Calgary Sun column about the offer and said he had considered it in order to get the rights to that stuff, but said he didn't consider it for long, saying he couldn't sell himself out so easily and was offended that WWF thought he would so easily brush aside everything they've done to him. Hart listed all the problems he's had with McMahon, starting with the screwjob, the aftermath of Owen's death and how the WWF's legal strategy turned the entire Hart family against each other, and how Vince lied to him in that in-person meeting before Owen's funeral about giving him the rights to the footage and photos. He also revealed that DeMarco attempted to put together another meeting between Bret and Vince last year when Raw was in Calgary, but Vince backed out of the meeting, then went on TV (with Stu Hart and several other Hart family members in the front row) and did a re-creation of the Screwjob with Benoit and Austin, strictly as a middle finger to Bret. Or how Vince went on Off The Record after the death of Owen and accused Bret of only caring about what happened in Montreal and implied that Bret didn't even really care that Owen had died. Things like that. Basically, Bret says why would he go back to the company after all that? In regards to working an angle with Vince after Wrestlemania, Hart said, "In that one phony punch, everything that's happened would be minimized into an angle. Maybe wrestling fans would love it. My fans would hate it. And so would I." Hart ended the column by extending an olive branch to McMahon, saying he would like to have a private conversation with him and talk about their issues and see if they could come to an agreement on everything else, but he refuses to participate in a public spectacle at the expense of his dignity (yeah, needless to say, this didn't happen. Still 8 years away from those fences being mended).
NJPW's latest show at Sumo Hall was a big moment for the company. Dave talked about this show last week and now he's finally seen it. It was the first major Tokyo show since Keiji Muto, Kendo Kashin, and Satoshi Kojima left and also featured the crowning of new IWGP Heavyweight and IWGP Jr. champions. It also came during the same week that AJPW held its major show, NOAH held the biggest show in its history, All Japan Women held its first PPV, PRIDE held a big show, and WWF were in town. So lots of competition that week in Japan. NJPW desperately needed a home run here and....they didn't get it. The show was sold out and the matches were fine, but the crowd was lukewarm for most of it and it didn't feel like anything special. Tadao Yasuda winning the IWGP title sucked the air out of the building because no matter what fame he has coming out of his recent MMA upset victory, NJPW fans see through it and recognize that Yasuda really isn't a very good wrestler and in fact, is far worse now than he was even a few years ago (and he wasn't great then either). Dave seems pretty confused as to why NJPW is insisting on booking themselves into the grave but they sure seem to be trying.
Speaking of shows from Japan Dave has finally seen, the recent AJPW show at Budokan Hall gets a similar review. After a tough couple of years, this felt like the AJPW of old, with a packed house at Budokan. The undercard wasn't much but the top matches were incredible and despite how much the company has struggled lately, because of how its been protected, the Triple Crown title is just about the last world title in pro wrestling that still has an aura and feels like it means something when it changes hands. At age 52, Genichiro Tenryu had an excellent match with Kojima. Aside from Nick Bockwinkel, Dave can't think of anyone who's ever been as good in their 50s as Tenryu is right now. And of course, Kawada won the title from Muto in the main event in a 4.5-star match.
Kenta Kobashi announced he will still appear at every show on NOAH's upcoming tour, but he won't be wrestling. He'll do autograph signings and cut promos. People bought tickets for this tour weeks ago, expecting to see Kobashi but of course, he re-injured his knee in his first match back. He still wants to appear though, since fans bought tickets expecting to see him. Dave says that if everyone in WCW had that same attitude, they might still be beating WWF today instead of, ya know, dead. Before he got hurt again, the plan was to have Kobashi challenge Jun Akiyama for the GHC title at their big show next month but that's obviously out the window now.
Katsuji Nagashima, a member of NJPW's board of directors, resigned this week from the company. Nagashima has been a major player behind the scenes since 1989 and was arguably one of the key decision makers alongside Riki Choshu. In reality, Nagashima was voted out by the board of directors and was given the chance to submit a resignation rather than be outright fired. Dave says this is all part of the fallout from the AJPW/Muto situation. You see, when NJPW and AJPW were working together, the long-term plan from NJPW's side was to send Nagashima and a few other people over to help AJPW run the company, since they were on the brink of death. The idea would be for NJPW people to entrench themselves in AJPW's office and help run things and when Motoko Baba retired (rumored to be this year), they would essentially control the company. But Mrs. Baba ended up being so impressed with the way Muto handled himself that she instead gave Muto all the power NJPW was hoping their office people would get. Basically, they had a long-term plan to quietly and slowly take over AJPW, but Muto fucked it up. Others feel it was a foolhardy plan to begin with, and that Ms. Baba would never have willingly given up control of the company to NJPW directly because it would be a slap in the face to her husband, who went to his grave still hating Inoki. Regardless, Muto jumping ship and entrenching himself in power pretty much undercut NJPW's plan. But then, the double-turn! Turns out Nagashima had actually secretly planned to jump ship along with Muto. But for whatever reason, when Muto went, he didn't include Nagashima. So then NJPW found out Nagashima's plan and thus, he's been essentially fired. Dave says Nagashima is essentially the Jim Ross of NJPW, with the same level of backstage power (JR was pretty high up in WWF at this point). There's lots of rumors that Riki Choshu may be the next to go and he's already been pretty much stripped of all his power. He's still a member of the board of directors, but he has zero power in the dressing room and is really just another wrestler on the roster at this point. In fact, Dave talks about how lots of different wrestlers over the years have had decision making power in NJPW (Choshu, Fujinami, Chono, Liger, Sasaki, etc.) and it's a problem because you have all these huge stars that are also angling for backstage power. The situation is described as having Hogan, Flair, Bret, Shawn, Austin, and Rock all fighting for power in the same locker room, undercutting and backstabbing each other. This atmosphere is said to be why Keiji Muto grew to hate being in NJPW and why he decided to leave.
Side note: this has been just the most tedious Rewind I've ever written. Shit's taking forever today. Feels like every story is detailed as hell and as I'm writing this, it looks like block after block of huge paragraphs. Sorry this ain't more bite-sized.
Masahiro Chono is expected to face Naoya Ogawa at NJPW's big 30th anniversary Tokyo Dome show in May. Chono actually wants to face Shinya Hashimoto, but there's a lot of bitter feelings in NJPW about Hashimoto still after he left the company awhile back and people are torn on whether he should be allowed back (Hashimoto does indeed come back for this show. And it ends up being his final NJPW match ever. But it's not against Chono. He ends up working a tag match, teaming with Ogawa. Which, speaking of, Ogawa doesn't face Chono either. Ends up being Chono vs. Mitsuharu Misawa in one of those dream matches people never thought they'd see. But we'll get there).
Dave saw a tape of the recent debut show from Ring of Honor and says it was a great show that lived up to the hype. The 3-way main event of American Dragon vs. Christopher Daniels vs. Low-Ki was as good as any indie match Dave has ever seen and he wanted to give his TV a standing ovation when it was done. Dave doesn't see any of these guys in WWF because they're all way too small for Vince to take them seriously, and you can't have these kind of 25-minute classics in today's WWF either. Plus, there's no way they can work matches like this, as stiff as it was, for 200 days a year either. But for this show, for this crowd, it was damn near a perfect match. Dave says it's unfortunate that these guys are around right now, when the wrestling business is crumbling and there's only one or two places you can make a decent living by doing it. 10 years ago, these guys would have been can't-miss stars in Japan. 5 years ago, they would have been can't-miss stars in WCW's undercards. But now....tough to make a name for yourself when WWF is the only game in town and you're under 6 feet. Anyway, Dave says this show was excellent. The semi-main event of Eddie Guerrero vs. Super Crazy was great too, but the 3-way was clearly the main event and focus of the show and Dave thinks that's good. Guys like Guerrero can draw a crowd but ROH was smart to put the stars they plan to build around in the main event and establish them. That way, in the future, those guys can draw on their own without relying on ex-WWF names like Guerrero.
A bunch of indie promoters, including Dusty Rhodes (Turnbuckle Championship Wrestling) met in Atlanta last week, to talk about forming a partnership called Ring Warriors. Dave doesn't really elaborate, but it sounds almost like a modern day twist on the NWA, with all the promoters agreeing to work together with their promotions and trade talent and all that stuff. Obviously never goes anywhere.
Gene Simmons from the band KISS is reportedly working with promoter David McLane to revive Women of Wrestling under the name "Gene Simmons' WOW." McLane is the guy who also created GLOW in the 80s. Simmons is saying they will also put out a magazine and clothing line (another thing that went nowhere).
At the WWA PPV in Las Vegas, there was an altercation between Eric Bischoff (who was backstage visiting) and Juventud Guerrera. At some point, Guerrera walked up to Bischoff and sarcastically said something along the lines of, "How's it going, boss?" Bischoff responded with, "Weren't you one of the guys who signed that petition to get me fired?" (Dave says that after Bash at the Beach 2000, after the Hogan incident, Bischoff and Russo had a big blow-up argument. At that point, Konnan started a petition to get Bischoff fired and keep Russo in charge and he tried to get people in the locker room to sign it. Juvie is one of the people who signed). Bischoff told Guerrera he would never forget it and walked away. (Dave has the details on the petition a bit wrong but he corrects it in the next issue I think, we'll get there).
Slick Robbie D (real name Robbie Dicks Jr.) became the 3rd recent WWF developmental wrestler in the past 3 months to pass away. The death was apparently a suicide. Dicks had recently been arrested on statutory rape charges and hung himself in his jail cell, but friends of his don't believe the story and say he never would have killed himself. He had worked in Calgary with Stu Hart and at one point, Bret Hart passed on a tape of him, which led to him being signed and sent to Memphis. When Jim Cornette took over OVW, they moved him there and he'd been there ever since. But during his time there, he rubbed people the wrong way. Apparently he was always known for having an attitude problem and wasn't well liked in Calgary either by anybody other than Stu Hart. Dave talks about another incident a couple years ago when he was arrested in Canada after getting into a fight with a woman and was charged with unlawful imprisonment and kidnapping. Nobody would bail him out of jail because nobody liked him, until finally, Mark Henry (who was also in OVW at the time on one of his weight loss punishment excursions) bailed him out. Just days before his death, he had been arrested after the father of a 17-year-old girl he was seeing reported him. At the time of his death, Dicks was no longer in OVW. He was fired after a backstage argument with Leviathan (Batista) turned into a legit fist fight. The two were alone in the room and there were no witnesses and each man claimed the other started it. Because of his bad attitude and because people like ol' Dave, Dicks got the blame and was fired because most people felt he started the original argument. He was scheduled to start with UPW in California just prior to his death.
Notes from Raw: they didn't acknowledge that half the crew was overseas and instead claimed Jericho wasn't there because he was out shopping for Stephanie, leading Dave to ask, "have they ever castrated a world champion before Wrestlemania?" They did an angle where Undertaker went to developmental and attacked David Flair to try to get Ric to face him at Wrestlemania. He also threatened to hurt Flair's daughters next (run Charlotte!). Also, for a company that used to loudly criticize WCW for occasionally having blade jobs, Dave points out that Austin, David Flair, and Triple H all 3 bladed on this one single episode of Raw.
Regarding the training camp WWF held last week (that was discussed in the last issue): as mentioned then, nobody really impressed all that much. And in fact, AJ Styles was said to be the biggest disappointment of the group, because everyone had heard so many rave reviews about him and maybe they were expecting too much. In the ring, he was technically good but the company felt he has no promo skills and doesn't have the look they want and the consensus is that he's not ready for the big leagues yet (he still gets an offer).
Hulk Hogan's radio buddy Bubba The Love Sponge was acquitted on charges of animal cruelty in Tampa. Bubba and his producer and a hunter were on trial for a stunt they pulled 2 years ago where they castrated and killed a boar during a live radio broadcast. Bubba testified that the slaughter was done to educate listeners about where their food comes from and that the pig squeals people heard on the air were a recording, not the actual animal being killed. The prosecutors argued that they inflicted unnecessary pain to the boar and jurors were shown a video of it, but that somehow didn't convince them and he was acquitted. Bubba is claiming he's going to file a lawsuit against the prosecutors now in retaliation. In related news, Bubba The Love Sponge is a piece of shit.
Hulk Hogan and Jerry Lawler are both working on WWF-produced autobiographies. Dave thinks Hogan's will certainly be an entertaining piece of fiction. He also thinks Lawler could end up having a hell of a book if it's done well because he's got a lot of history to cover.
Apparently some of the guys in WWF's developmental territories have some attitude problems that are rubbing some the wrong way. During his latest column on WWF.com, Jim Ross wrote about how some of these guys "don't know how good they have it." Dave says that in particular, former WCW wrestlers Mike Sanders and Johnny The Bull have heat for complaining about how bad everything is working in developmental. Because it ain't glamorous. But they're complaining to veterans who spent years driving hundreds of miles, working 6-7 nights a week, for little to no money at all. Meanwhile, even though being in developmental is hard work, they aren't traveling much and they're still getting guaranteed weekly paychecks. So needless to say, it's rubbing the older guys the wrong way.
Chris Jericho, Triple H, and referee Brian Hebner got into some kind of big shouting match backstage after Raw. Apparently Jericho was mad at something Hebner allegedly screwed up during his match with Angle on the show, and for whatever reason, Triple H got involved, defended the referee, and said Jericho is the one who screwed it up. I skimmed through the match on the network and can't really tell where anything was screwed up but who knows.
WWF had talks with Ken Shamrock about returning, with the idea to put him against Kurt Angle. But Shamrock wants the kind of reduced schedule the NWO guys got and they weren't gonna go for that so it fell apart.

Yup, I knew this was a long issue. We've got one of those rare instances where I hit the 40,000 character limit on Reddit. See the comments below for the last little bit of this Rewind.

I used to work for a trade show company in California. My company would rent out venues, sell exhibition slots to vendors, sell tickets to hundreds of interested buyers, and hold events where small business owners could promote their business and attendees could shop. I won’t reveal the specific industry for obvious privacy reasons.
This was a very small company consisting of my boss, myself, and handful of other employees. My job was to contact vendors and sell them exhibition slots to participate in our trade shows with the promise of them getting to meet a whole bunch of new clientele. Along with a salary, my pay included commission on each sale I made, paid out after each event was held. If a salesperson left, their commission for future shows was paid out in full upon their leaving. I’m sure some of you can tell where this is going.
In March, when COVID mandates compromised all of our events that I had been selling exhibition slots for, my boss made the following changes: All events would be reschedule to a later date. We would give no refunds, only offer to move their exhibition to said later dates. We would transition the trade shows to online in the meantime.
This transition proves to be difficult. After a few weeks of extremely stressful customer service, in late March I got the call from my boss that I knew was coming, informing me me that he could no longer afford to keep me on payroll. HE ALSO SUGGESTED THAT MY COWORKERS AND I APPLY FOR UNEMPLOYMENT, CONTINUE TO WORK FOR THE COMPANY, AND THEN RECEIVE BACK PAY ONCE THINGS PICKED BACK UP. I declined this offer immediately. More importantly, my boss informed me that commission couldn’t be paid to me at the moment, and that I would receive it at a later date. He also specifically ensured me, “it’s your money, you will receive it.”
Even after leaving the position, which was honestly a relief, I received countless calls from old clients saying they couldn’t reach my boss, were out of the loop as far as new events were going, wanted money back, etc. All I could do was give them the contact info of my coworkers and boss and keep on my job hunt.
Fast forward seven months and I have received none of the aforementioned commission. I texted my old boss a few days ago and asked on the status of commission payment, noting that I would love it by the end of the year so I don’t have to apply it to 2021 taxes. He responded saying that the company has no revenue and that they will be shutting down soon, making commission impossible. Jesus Christ. I don’t know exactly how much I am owed, but I suspect it to be somewhere in the 700-1200 dollar range.
My immediate response was to ask if all of my clients had been fully refunded. As my commission is dependent on my sales, which are dependent on my clients receiving exhibition slots at the shows they were promised, I understand this is difficult. So, if all of my clients HAVE been refunded in full due to cancellation of events, it’s clear I don’t get my commission, which I accept. Here’s where things get extremely suspicious:
When I asked my boss if all of my clients had been refunded, here is his verbatim text response: “No but the money has been used in staff payments. Just like any small business, We are all about cash flow. Once the cash flow stopped, we were unable to pay staff. We will be hosting the shows next year assuming we are allowed. We can discuss your commission then. I have given refunds to a lot of vendors already. I just don’t know how many are yours. Unfortunately nothing in contracts (in general not only the one you signed) can be applied anymore because of Covid as this is a pandemic and is impacting every single person. However let’s talk about your commission next year.”
SO, I know for sure that not all of my clients have been refunded, and likely will not be, assuming they are promised later events. This means that he has simply pocketed the full amount of some of my clients’ payments and is in fact actively withholding commission from me. He’s also on record (via my text messages) denying me payment of my commission.
ALSO, looking back, my boss has a history of shady business practices. Allow me to elaborate: I was initially brought on as a 1099 independent contractor despite working five days a week from roughly 9-5. I was later made a full W-2 employee in early 2020. Our pricing structure was entirely arbitrary. My boss would eyeball quotes for exhibition slots despite all of them being exactly the same (an 8x10ft space with a foldable table to decorate). He would up prices based on feeling out what people were willing to pay. Our website would frequently falsely advertise. My boss would send out ad materials claiming our events had 900 attendees when really they had an average of about 200.
I have quite a few questions here, and if you gotten this far, THANK YOU. I realize this is a bit of a doozy: 1. All employees pre covid had their commission paid out in full before the events that they sold slots at occurred. This was never an issue until now, obviously. What is my legal standing here? Is my boss allowed to wait until said events happen to pay me? 2. It’s totally illegal to request I work for free and then back pay right? Like super illegal? I know one of my coworkers took this offer and continues to work for my boss. 3. The thing he said about contracts being void due to covid is like, extremely false, right? Like right out of his ass? 4. What can I do to put pressure here? Any reports I can make? I’m also concerned that some vendors aren’t getting refunds that want them. 5. The contract I signed upon hire entitles me to a certain percentage of each sale I make. I absolutely have access to this contract, though I don’t know the details of if it says anything about cancelled shows or refunds. Any key words or phrasing I should look for? How valuable is this contract? 6. Given everything I’ve said, how legal was this whole operation in the first place?
If anyone cares, I have since found another job with benefits that actually pays well and on time. It’s a great feeling. I can easily survive without the commission but I passionately believe that I am owed it, (what hasn’t been fairly refunded to my old clients at least) and am looking to pursue this on principal. Any and all help is appreciated!

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Sherwin(self) 2 [BOOK] The International Responsibility of the European Union: European and International Perspectives by Malcolm Evans and Panos Koutrakos; Hart Publishing (1st edition, 2013)(self) 5 [Article] Attributing Responsibility to International Organisations: Lessons from the EU–Singapore Investment Protection Agreement, European Investment Law and Arbitration Review Online by Christine Sim (Brill Nijhoff, 2018)(self) 1 [Article] Severe Autoimmune Adverse Events Post Herpes Zoster Vaccine: A Case-Control Study of Adverse Events in a National Database(self) 4 [ARTICLE] Empowerment Guarantee Act(self) 5 [BOOK][Chapters 1, 3, 6] Decentralization and Local Governance in Developing Countries: A Comparative Perspective(self) 1 [BOOK] Trends in Quorum Sensing and Quorum Quenching New Perspectives and Applications(self) 1 [Book] The Skills Training Manual for Radically Open Dialectical Behavior Therapy: A Clinician’s Guide for Treating Disorders of Overcontrol(self) 1 [Chapter] Odor Coding in the Olfactory Bulb(self) 11 [BOOK] 'The Oxford Handbook of Philosophy and Psychoanalysis' (2019) Edited by Richard G.T. 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I used to work for a trade show company in California. My company would rent out venues, sell exhibition slots to vendors, sell tickets to hundreds of interested buyers, and hold events where small business owners could promote their business and attendees could shop. I won’t reveal the specific industry for obvious privacy reasons.
This was a very small company consisting of my boss, myself, and handful of other employees. My job was to contact vendors and sell them exhibition slots to participate in our trade shows with the promise of them getting to meet a whole bunch of new clientele. Along with a salary, my pay included commission on each sale I made, paid out after each event was held. If a salesperson left, their commission for future shows was paid out in full upon their leaving. I’m sure some of you can tell where this is going.
In March, when COVID mandates compromised all of our events that I had been selling exhibition slots for, my boss made the following changes: All events would be reschedule to a later date. We would give no refunds, only offer to move their exhibition to said later dates. We would transition the trade shows to online in the meantime.
This transition proves to be difficult. After a few weeks of extremely stressful customer service, in late March I got the call from my boss that I knew was coming, informing me me that he could no longer afford to keep me on payroll. HE ALSO SUGGESTED THAT MY COWORKERS AND I APPLY FOR UNEMPLOYMENT, CONTINUE TO WORK FOR THE COMPANY, AND THEN RECEIVE BACK PAY ONCE THINGS PICKED BACK UP. I declined this offer immediately. More importantly, my boss informed me that commission couldn’t be paid to me at the moment, and that I would receive it at a later date. He also specifically ensured me, “it’s your money, you will receive it.”
Even after leaving the position, which was honestly a relief, I received countless calls from old clients saying they couldn’t reach my boss, were out of the loop as far as new events were going, wanted money back, etc. All I could do was give them the contact info of my coworkers and boss and keep on my job hunt.
Fast forward seven months and I have received none of the aforementioned commission. I texted my old boss a few days ago and asked on the status of commission payment, noting that I would love it by the end of the year so I don’t have to apply it to 2021 taxes. He responded saying that the company has no revenue and that they will be shutting down soon, making commission impossible. Jesus Christ. I don’t know exactly how much I am owed, but I suspect it to be somewhere in the 700-1200 dollar range.
My immediate response was to ask if all of my clients had been fully refunded. As my commission is dependent on my sales, which are dependent on my clients receiving exhibition slots at the shows they were promised, I understand this is difficult. So, if all of my clients HAVE been refunded in full due to cancellation of events, it’s clear I don’t get my commission, which I accept. Here’s where things get extremely suspicious:
When I asked my boss if all of my clients had been refunded, here is his verbatim text response: “No but the money has been used in staff payments. Just like any small business, We are all about cash flow. Once the cash flow stopped, we were unable to pay staff. We will be hosting the shows next year assuming we are allowed. We can discuss your commission then. I have given refunds to a lot of vendors already. I just don’t know how many are yours. Unfortunately nothing in contracts (in general not only the one you signed) can be applied anymore because of Covid as this is a pandemic and is impacting every single person. However let’s talk about your commission next year.”
SO, I know for sure that not all of my clients have been refunded, and likely will not be, assuming they are promised later events. This means that he has simply pocketed the full amount of some of my clients’ payments and is in fact actively withholding commission from me. He’s also on record (via my text messages) denying me payment of my commission.
ALSO, looking back, my boss has a history of shady business practices. Allow me to elaborate: I was initially brought on as a 1099 independent contractor despite working five days a week from roughly 9-5. I was later made a full W-2 employee in early 2020. Our pricing structure was entirely arbitrary. My boss would eyeball quotes for exhibition slots despite all of them being exactly the same (an 8x10ft space with a foldable table to decorate). He would up prices based on feeling out what people were willing to pay. Our website would frequently falsely advertise. My boss would send out ad materials claiming our events had 900 attendees when really they had an average of about 200.
I have quite a few questions here, and if you gotten this far, THANK YOU. I realize this is a bit of a doozy: 1. All employees pre covid had their commission paid out in full before the events that they sold slots at occurred. This was never an issue until now, obviously. What is my legal standing here? Is my boss allowed to wait until said events happen to pay me? 2. It’s totally illegal to request I work for free and then back pay right? Like super illegal? I know one of my coworkers took this offer and continues to work for my boss. 3. The thing he said about contracts being void due to covid is like, extremely false, right? Like right out of his ass? 4. What can I do to put pressure here? Any reports I can make? I’m also concerned that some vendors aren’t getting refunds that want them. 5. The contract I signed upon hire entitles me to a certain percentage of each sale I make. I absolutely have access to this contract, though I don’t know the details of if it says anything about cancelled shows or refunds. Any key words or phrasing I should look for? How valuable is this contract? 6. Given everything I’ve said, how legal was this whole operation in the first place?
If anyone cares, I have since found another job with benefits that actually pays well and on time. It’s a great feeling. I can easily survive without the commission but I passionately believe that I am owed it, (what hasn’t been fairly refunded to my old clients at least) and am looking to pursue this on principal. Any and all help is appreciated!

those don't have any concept what they are approximately to walk into. Down right here to have a great time, they discern 'why not supply poker a try?' in any case, how special can it be from the house sport they have played their whole lives?"
메이저 토토사이트
For most people, our first poker enjoy was nowhere near a casino. Both we learned from friends or own family contributors in domestic games, or we plugged into the online poker craze. Nonetheless, the idea of playing poker in an real brick and mortar (b&m) on line casino, with all of the attendant points of interest and sounds, is very tempting for most. So what do you need to recognize while moving your home or on line abilties to casino play? There are numerous differences among on line and b&m play, but two factors you can without delay want to take into account are tells and casino kind.
1. Tells
The principle issue the general public have when shifting from online to b&m play regards tells. A tell is a physical movement a player plays which can supply combatants a clue to his hand, inclusive of placing a hand to the face while bluffing.
On line, on account that your fighters can not see you, bodily tells are not really problem (there are online tells, however that is past the scope of this newsletter). In reality, one famous poker room has an advertising campaign where they invite those gamers who've a "bad poker face" to sign up for, for the reason that nobody can see your face on-line. Inside the film "rounders," quoted at the start of this newsletter, the villain is undone by using the way wherein he handles an oreo cookie depending on whether or now not he has a huge hand.
In fact, tells are not often this extreme. Maximum of the time when you play in a casino, in particular a "tourist" on line casino (see following), your warring parties are a whole lot more worried with what they're conserving than what you are.
Even when an opponent scrutinizes you, staring you down at the same time as thinking of a call, they are commonly simply considering how lots they like their own hand. Actual inform-spotting calls for long, cautious remark of a player's inclinations; you are now not possibly to give a great deal away on an man or woman hand.
Experts like to present the affect that they can just appearance right into your soul and recognise what you are retaining, however there may be loads extra to it than that. If you're really concerned you could buy a pair of reflective sunglasses to put on so no person can see your eyes. You can additionally usually wait a predetermined quantity of time (5 or ten seconds) earlier than acting whether your hand is powerful or now not so robust and choose a predetermined spot on the desk to stare at even as looking forward to a person to respond for your action.
2. Kinds of online casino
All casinos are not created same. Ten years in the past, before the explosion in poker popularity, maximum casinos did no longer have a poker room at all, or at pleasant, a small phase of the blackjack floor partitioned away in which or 3 $1 to $2 restriction games would possibly take location.
Manifestly, matters are one of a kind now, however there are nonetheless incredibly unique forms of casinos wherein one may play poker. The first is a card membership. Those are maximum normally observed in locations like california, wherein poker as a recreation of talent is legal, but a few other playing games aren't. Even though they have multiplied to different video games, those clubs are on the whole designed to play poker.
As such, you are probably to locate the most skilled poker gamers right here, despite the fact that no longer necessarily the most powerful and they have their share of vacationers as nicely. The more not unusual sort of casino is a las vegas style casino. These casinos have made fortunes on blackjack, slot machines and roulette and did no longer certainly awareness on poker inside the beyond as it is not a big cash maker for the on line casino.
In contrast to the alternative video games, that are towards the residence (the on line casino) and are based in order that the residence usually wins in the long run, poker is a recreation wherein the on line casino handiest makes cash through taking a percentage of every pot (referred to as "the rake," normally no more than $four a pot) for themselves. Despite the fact that now rare, some casinos take "time" rather than a rake, which means every 1/2 hour a representative of the casino comes round and collects a predetermined amount of money from every player in the game.
Of those las vegas style casinos, you may find what i consider as poker casinos vs. Tourist casinos. A poker casino is one that has constantly had poker as a part of its draw. Those consist of the bellagio and the mirage in las vegas and the taj mahal and borgata in atlantic town. A tourist casino is one of the aforementioned casinos that did now not have poker in any respect until the recent increase made it worthwhile as a draw to get gamers into their casino. Of path each of those kinds of casinos cater to travelers, but the poker casinos are where you are much more likely to locate specialists. Which of those types is extra for your taste is for the person to determine.
The maximum important issue to bear in mind is that whether it's online or inside the casino, poker is poker. Play a clever recreation and you have to rake within the chips, whether or not they're digital or product of clay.

artist: Frank Ocean
album: Blonde
listen: Spotify, Apple Music
August 20th, 2016. It’s a warm late summer Saturday afternoon. Many of us have been glued to our screens for weeks, hoping the moment will come. Finally, finally, Frank Ocean’s second proper studio album is on streaming services. No more rumors, no more waiting, no more misdirections, no more staircase building. The moment is here, we click play, and “Nikes” begins.
But before this moment, so much happened, a story that’s almost as interesting as the album itself.
tyler slept on my sofa, yeah
To those heathens unfamiliar with Frank Ocean, I gotchu. Born Christopher Breaux and raised in New Orleans, Frank moved to Los Angeles at age 19 to pursue a career as a musician. Before his breakthrough as a vocalist, he got work as a songwriter, getting credits on tracks by a prepubescent Justin Bieber (“Bigger”) and John Legend (“Quickly” featuring Brandy). Despite working with two current A-listers, Frank’s come-up would come through a group of edgy teenagers making goofy rap music. He became an early member of the unexpectedly influential Odd Future collective, and along with Tyler the Creator, Earl Sweatshirt, and Syd, would become one of its most prominent members. Frank’s debut mixtape, 2011’s Nostalgia, Ultra, would fully break him through as a solo artist, and by the end of the year he got to write a song for Beyoncé (“I Miss You”) and feature twice on the Kanye West/Jay-Z collab album Watch the Throne. Nostalgia, Ultra was recorded in defiance of a middling relationship with his label Def Jam, and saw him recording over the instrumentals of a variety of different songs, such as “Electric Feel” by MGMT, “Strawberry Swing” by Coldplay, and “Optimistic” by Radiohead. This would later get Frank into legal trouble, as the Eagles would take offense with his use of the “Hotel California” backing track on “American Wedding”, and threatened to sue Frank despite the song being on a free mixtape. The controversy would not stop Frank’s rising star, as he would continue to record music, both solo and with Odd Future, such as the fan-favorite Tyler collab “She”. But things were about to get a lot bigger, and a lot more… orange.
spending each day of the year
If you’re vaguely familiar with Frank Ocean or Blonde, you’re probably aware of the memetic status of the long wait for the album. While there’s been far bigger gaps between releases and other similarly complained-about hiatuses (just look at the replies to literally anything Rihanna posts), people were unbelievably hyped for whatever Frank was doing next. Why? Well, channel ORANGE. Frank’s highly anticipated and overwhelmingly acclaimed debut album was released in mid-summer 2012, a week earlier than its announced date to avoid a possible leak. It was an album everyone deserved to experience together, a perfect summation of everything that Frank had done to that point. People fell in love with Frank’s abstract, idiosyncratic lyrics and song structures, the warm production, and a great list of collaborators from his Odd Future partners Tyler and Earl Sweatshirt to Pharrell, Andre 3000, and John Mayer. Frank had treaded new ground all through his career to this point, but he was about to jump forward in a whole different way.
Right before the release of channel ORANGE, Frank posted a letter, originally intended for the liner notes of the album, on his Tumblr. It discussed his falling in love with a man who continued to influence Frank, firmly establishing him as being one of the first and most prominent openly LGBTQ+ artists in the hip hop industry. He recieved widespread support for his announcement from the wider music community, with the notable exception of Chris Brown, who jumped Frank outside a studio in early 2013. Brown, who punched Frank in the face and whose entourage called him a faggot, would attend the Grammys weeks later and refuse to stand with the crowd when Frank won the award for Best Urban Contemporary Album. Why is this part relevant? It isn’t really, but fuck Chris Brown.
we’ll let you guys prophesy
As early as February 2013, Frank was talking about his follow-up to channel ORANGE. In an interview with BBC’s Zane Lowe, he said he was “10, 11” songs into his next album, and was working with Pharrell, Tyler, and Danger Mouse. 2 months later, he would cite the Beatles, the Beach Boys, and Stevie Wonder (two of whom he would sample on the final album) as inspirations. In June, he would play several new songs at a rare live set in Munich, which included early versions of future Blonde cuts “Seigfried” and “Ivy”. This would be the last taste of anything new for a while, and the mystery of where Frank was and what he was working on increasingly grew as the years passed. In April 2014, he would post on Tumblr that the album was almost done, but seven more months would pass before anyone would be blessed with new Frank. Rather than an album announcement or new single, it was a lo-fi demo of a song that would not make the final album, “Memrise”. In January 2015, he would post a cover of the Isley Brothers’ “At Your Best (You Are Love)” as a tribute to Aaliyah, who had done a well-known cover of the song. 2015, however, would become infamous for something different.
The Post.
On April 6th, 2015, Frank posted on his Tumblr to finally announce the upcoming album alongside a curated magazine releasing in July. Through a misleading caption, the album would be regarded as Boys Don’t Cry up until the final release despite it being the name of the magazine. Hype would go into overdrive, and despite a lack of future announcements from Frank, fans would scavenge anything possible to find details. A picture of Frank on the set of a rumored music video leaked, and people would later find the song title “Nikes” in the director’s resume. This would later be (correctly) connected to a vague Chance the Rapper tweet from July, which he would actually post again closer to the final release. A mysterious empty playlist named states appeared on Frank’s SoundCloud in May, which caused a flurry of speculation for a while but ultimately led to absolutely nothing. Speaking of nothing, July 2015 would come and go, then August, then September, then 2015 itself. In late November, produceDJ A-Trak posted a tweet hinting at a mysterious upcoming song called “White Ferrari” releasing in several weeks. Frank fans jumped on it, with the evidence being: a) an old Tumblr post where you can see what looks like ‘rari’ written on a chalkboard next to Frank, and b) it’s the most Frank Ocean song title you can come up with. Again, this would turn out to be completely correct minus rumors that Playboi Carti was on the song.
2016 now. Frank would stay quiet for even longer, but fans would get a taste with a short feature on Kanye’s The Life of Pablo. Much of early 2016 was Frank occasionally emerging from the shadows, usually doing things that weren’t music like modeling for Calvin Klein. Finally, in July 2016, a self-deprecating post emerged on Frank’s website, acknowleding the many delays and announcing the album would be released in July. It wasn’t. As the final minutes of July ticked away and fans were losing all hope, suddenly, a mysterious livestream began on the website. It showed a black and white image of a warehouse. The New York Times reported the album and magazine would be out on August 5th. This was it. Or was it?
endless, timeless
People were so desperate for new Frank Ocean music that they watched him woodwork for weeks. Every so often, he would walk on camera and build… something. Clips of music would play, but they were often ambient loops or snippets of instrumentals. Well into the project, with the August 5th date having passed, there was a period of weeks with no new progress or appearances from Frank on the stream, leading impatient fans to search for the location of the warehouse. It would actually be found by Redditors as an event space in Brooklyn, but as the stream was pre-recorded, it wasn’t much help. Finally, on August 19th, Frank returned and finished the staircase, walking to the top and back down, completing the stream. Immediately after, a visual album called Endless dropped on Apple Music. Fans reacted with confusion and disappointment, believing that they had waited four years for something they could only play in one long sitting. However, there was a quick clarification that Endless was different from what people were still calling Boys Don’t Cry. The next morning, the “Nikes” video released on Apple Music, over a year after it was filmed. Things progressed incredibly quickly from there, as pop-up shops were announced for later that day, and it was discovered that copies of the long-teased magazine contained the even-longer-teased album. Fans wouldn’t have to wait for those to get online, however, as the album itself finally, FINALLY dropped on Apple Music at around 5:00 PM EST. That album is Blonde.
these bitches want nikes
It's pretty clear that Frank wanted "Nikes" to be everyone's introduction Blonde. It was released as a single/music video, the only one from the era, and it's also the first song on the album. "Nikes" is a bold choice for a lead single, a subversion of expectations for anyone coming in expecting a "Thinkin Bout You" or "Swim Good" type track. Over a melancholic, dark, almost ambient beat (and some of the only drums you'll hear on this album), Frank touches on a variety of topics, ranging from materialism to drugs to modern relationship dynamics to a shoutout to Trayvon Martin. Most notably, Frank's voice is pitched up for a majority of the song, almost building up the suspense on this long-awaited album for when the effect will drop. That moment comes almost exactly three minutes in, with Frank's natural voice coming through with the very self-aware line "we'll let you guys prophesy", which feels like a clear acknowledgement of the years of speculation leading to this moment. The final bridge of the album version (the alternate magazine version features a verse from Japanese rapper KOHH) is heartbreaking, describing a relationship where Frank's partner is making love with him despite them not being in love and the partner still not being over their previous relationship. Themes of relationship drama and love in the modern age permeate throughout the album, along with being regular songwriting topics of Frank's.
Of course, I can't discuss "Nikes" without talking about the video. Directed by Tyrone Lebon, a London based photographer and filmmaker, the music video features a barrage of different subjects, locations, and abstract imagery with occasional appearances from Frank and a cameo from A$AP Rocky. Lebon, himself an accomplished fashion photographer who has worked with Louis Vuitton, Calvin Klein, and, yes, Nike, creates these beautiful dreamlike scenes, some of which only appear for brief moments. There is a nude woman swimming in a glass tank of water, hazy scenes of people at a club party, a man on fire, the devil dancing, and at one point, a talking dog. Some shots in the video even reference other media, with the most obvious being this shot of a nude figure in a pile of money, which seems like an obvious analogue to the famous rose petal scene from American Beauty. However, more interesting to me is this shot, which references the infamous Heaven's Gate cult, who committed mass suicide in March 1997 in conjunction with the Hale-Bopp comet, which they believed would bring a spacecraft that would take their souls to another world. The cult members had covered their (TW: non-graphic photo of body) upper bodies with a shroud and worn identical pairs of Nike Decades, an image Frank and Lebon recreated for the video. Considering the songs critiques of materialism and wanting specific brands as a status symbol, you can definitely interpret the shot as a statement calling this type of behavior cult-like. The crushing weight of capitalism sends people in all sorts of weird directions in a search for deeper meaning, some find it in buying expensive shoes made by slave labor, some are exploited by the allure of cults like Heaven's Gate. Interestingly enough, the cult would find itself intertwined with the world of hip hop again two years later when Frank collaborator Lil Uzi Vert referenced them on the cover to his still-unreleased album Eternal Atake. Bizarrely, this lead to Uzi being threatened with legal action by the surviving members of a suicide cult.
we'll never be those kids again
I've touched on Frank's use of pitch-shifting on "Nikes", but it's far from limited to one song. As touched on in this amazing Left at London video, Frank has something of a reputation for playing with pitch alot in his music. On Blonde, the effect can be used to convey a variety of things, which differ based on which song you're listening to. To me, Frank's pitched up vocals on "Nikes" when mixed with the frustrations about materialism, status, and relationships in the lyrics convey a sense of alienation, his voice sounding almost inhuman. On "Ivy", Frank's voice is pitched up again, but noticeably less, with way more of his natural voice coming through. Considering the lyrics center around a long-dead relationship with an emphasis on how they were "kids", the pitch shift gives his voice more of a child-like tone. The dreamy production, with help from former Vampire Weekend membeproducer Rostam Batmanglij, creates a sense of wistful nostalgia mostly through reverb-heavy guitars and subdued synths. Even more pitch-shifting is used for the rap sections of "Nights" and "Futura Free", possibly conveying a sense of youthful arrogance in the latter, and for the chorus of "Self Control", sung by Austin Anderson, lead singer of underrated indie band Slow Hollows.
Quite possibly the only song on Blonde that wouldn't have sounded entirely out of place on channel ORANGE, "Pink + White" is also the album's most accessible track. Another longing love song with themes of mortality and nostalgia, it's still far from Top 40 radio, but the production from Pharrell Williams and a lush string arrangement from the legendary Jon Brion (who conducted my favorite film score, Eternal Sunshine of the Spotless Mind as well as having worked with Kanye West, Fiona Apple, Sky Ferreria, Mac Miller, and others) gives the song extra punch. Of course, you can't talk about the song without mentioning Beyoncé, who drops by for an uncredited vocal performance, harmonizing behind Frank. As far as flexes go, getting Beyoncé on your album just for background vocals is definitely up there, but considering how Bey was one of Frank's first major co-signs, it makes a lot of sense. The final minute of the song, where Bey's harmonies, the piano and drum based beat, and the strings all swell, is purely beautiful.
be yourself
Rosie Watson, the mother of one of Frank's close friends, makes her second appearance on a Frank Ocean album on the first interlude, "Be Yourself". Watson was known for leaving passionate speeches of advice to her son over the phone, and one of them was used for the channel ORANGE interlude "Not Just Money". That speech was about money, and this one is about drugs. Watson tells her son not to fall into peer pressure, to not try to be someone else, and to not take drugs unless its under doctor's supervision lest he become a "weed-head" who is "sluggish, lazy, stupid, and unconcerned". While her fears of addictive weed are probably based in daytime news fearmongering, the message of individuality resonates. Frank is well known for doing his own thing, from going off on his own to be a musician to being with Odd Future to being one of the only openly LGBTQ+ figures in hip hop and R&B to literally being on his own by self-releasing Blonde. Frank has definitely been himself, and he's all the better for it. The interlude also features a reoccurring motif of the album, the ambient track "Running Around" by producemusician Buddy Ross, who has since worked with artists like Vampire Weekend and Bon Iver. "Be Yourself", along with later interludes "Facebook Story" and "Good Guy" and the outro of "Futura Free", feature "Running Around" underscoring various figures sharing monologues that define their ideology. Is there a particular reason for using this song specifically? Maybe, but personally I just think it's because its a really great, relaxing ambient piece.
The album goes right from being yourself to being alone, two sides of a coin. "Solo" covers the fallout of a relationship, leading to Frank smoking weed by himself in the midst of the dark, empty world. The chorus invokes almost apocalyptic imagery, speaking of "hell on Earth" and "cities on fire". Drugs have become Frank's only shelter from the grim world, but unlike what Rosie Watson thinks, he's not taking them to be someone else. He knows things have ended, but can only escape with his mind altered. The lonely atmosphere of the song and biblical imagery of the chorus are both supported by a single (solo) organ being most of the song's backing instrumentation. James Blake, who played the organ and produced the track, is no stranger to minimalist atmospheres, having created many of them on his solo (ay!) music.
Continuing the minimalism of the previous track, "Skyline To" is a dreamscape of a song. There's a hazy guitar, subtle synths and buried drums (provided by Tyler, the Creator) along with sounds of nature, creating a relaxing vibe. Much like a dream, Frank's lyrics are stream of consciousness, ranging from the passage of time to weed to sex. Piercing adlibs underscore many of Frank's lines, mostly saying "smoke", "haze", and "blur". These adlibs were, for some reason, originally thought to be Kendrick Lamar, but this was later debunked when physical copies of Blonde were released with the official credits.
keep a place for me
One of the album's absolute high points and one of the most heartbreaking songs of the decade, "Self Control" describes the slow death of a relationship. The first half is mostly underscored by minimal guitars provided by Austin Anderson and (Sandy) Alex G, with Anderson dropping in both pitched and unpitched. However, midway through the song, it goes to a whole different level. A wordless, distorted vocal wail brings in a gorgeous string section, and Frank's vocals for the outro are beautifully layered, creating a For Emma-esque multi-track choir, which plays out the song in a way that's both quiet and intimate and grand and epic. It's a painful, dramatic end to a relationship that was once happy, and Frank knows that it will be over that night.
"Good Guy" feels like it comes from the direct aftermath of the breakup in "Self Control". Frank goes on a blind date set up through one of his friends to a gay bar, but comes away not feeling much. His date texts "nothing like you look", and talks "so much more" than Frank does. Most of all, Frank realizes that his date only sees it as a fun night, while Frank, profound as always, is hoping for a deeper connection. It's a simple interlude, with the only instrument being a keyboard, but it creates a sense of such distinct loneliness and disillusionment in the face of heartbreak that it's up there with the album's best songs.
every night fucks every day up
After the album dropped, "Nights" became an instant fan favorite. It's not hard to see why, with its melancholy tone, synth-heavy instrumental, and personal lyrics recapping Frank's life in Houston after Hurricane Katrina hit his hometown of New Orleans as well as relationship drama. The song feels more straightforward than others on the album, but then around the three minute mark things start changing up. Distorted guitar riffs drown out the synths, and get louder and louder before a beeping noise transitions into a ambient trap beat as Frank's voice gets more pitched up for a final rap verse and layered for the last chorus. The beat switch on "Nights" is almost memetically acclaimed, with my favorite being Big Quint's reaction. It's the kind of musical choice that really elevates a song, leading to its current reputation of being the favorite song of every depressed vibe guy who makes slowed + reverb versions of Frank, Tyler, and Lorde songs.
Before Blonde dropped, there was much speculation as to who would end up appearing on the album as a feature. Kanye West was floated often of course, along with Chance the Rapper (due to the "Nikes" tweet), Playboi Carti, Bon Iver, and others. However, once the album actually came out there wasn't much of anything you could call a feature. Beyoncé singing backing vocals on a song, Kim Burrell on another, some voices on interludes, Not!Kendrick Lamar on adlibs. However, the one clear actual feature on the album was one nobody could be disappointed by. On "Solo (Reprise)", the absolute legend Andre 3000 comes out of his cave long enough to drop an absolutely fire verse over mostly just piano and occasional off-kilter, experimental drums. It's not a long track, coming in barely over a minute and not featuring Frank himself, but Andre's dense lyrics about everything from police brutality to ghostwritten bars (something that many people took as a shot at Drake despite it being recorded before Drake's ghostwriting scandal broke) create an instantly memorable, fleeting experience that transitions into the next section of the album.
don't have much longer baby
While there are several songs on Blonde that show Frank going more "out there" than ever before, maybe the best example is "Pretty Sweet". Channeling the orchestral swells on The Beatles' "A Day in the Life", the song begins with an overwhelming, chaotic string section blasting. Frank is audible, but being drowned out by the noise around him, which gets louder and louder before dropping completely. The second section of the song has some reverb-heavy, layered vocals from Frank over neo-psychedelia/dream pop-esque guitars. Suddenly, for the final minute, a drum-and-bass beat drops, which Frank wordlessly harmonizes before giving way to a children's choir, who sing a short outro which name-drops the song's title. The lyrics to the song are abstract and vague, singing about parents, religion, fake friends, and mortality. According to Genius, "sweet" is a term from the south (where Frank grew up) meaning to call someone gay. It's an interesting read, and I honestly don't think you can fully exclude any interpretation of Frank's work.
Easily the most memed track when Blonde came out was "Facebook Story". The song isn't inherently funny, but it appears in the middle of a fairly dramatic stretch on the album and features a man with a thick accent talk about fighting with his girlfriend over Facebook. In the immediate panic of the album's release, the speaker was often incorrectly identified as Swedish cloud rapper Yung Lean (who was also incorrectly identified as a vocalist on "Self Control" and is officially listed as having vocals on "Godspeed"), but it's actually French house musician SebastiAn, who had worked with Frank on Endless. SebastiAn tells a story about having an argument with his then-girlfriend where she insists that he accept her on Facebook (or "Fazebuk" as he pronounces it). When SebastiAn refuses because she's in front of him and its unnecessary, she accuses him of cheating on her and breaks up with him. The interlude follows the pattern of the previous interludes, telling a wider story on modern culture. Rosie Watson tells her son to be himself and to not be someone he isn't, something that resonates heavy in our hypercapitalist modern culture, which emphasizes buying expensive status items and creating a Personal Brand to sell yourself. "Good Guy" takes things to modern relationships, which in Frank's view lead to more people just trying to find some fun for the night rather than deeper meaning. On "Facebook Story", a relationship is severed over not being "friends" on a social media app when you're in the same room. Much of modern culture is defined by our status symbols, and among them is the idea that a relationship isn't official until it hits social media.
Finishing a four-song run of shorter tracks in the album's second half ("Pretty Sweet" is the longest of these at 2 and a half minutes) is "Close to You". Frank, who had listed Stevie Wonder as an influence on his new music all the way back in 2013, now reworks a Stevie cover of the Burt Bacharach and Hal David song "Close to You". It's not an exact word-for-word cover, but the inspiration is clear and a short piece of Stevie's talkbox-filtered voice appears at the end. Frank's verse, delivered through a vocoder effect provided by indie pop musician Francis and the Lights, is about the aftermath of a rough breakup, fitting with the previous interlude. Religious imagery comes up again, with Frank saying he's "preaching to this choir, to this atheist" when it comes to talking to his ex. He's not devastated by their breakup (touching back to the dichotomy of the relationship on "Nikes" and "Self Control") but he's lonely ("Solo") and worried about getting older. It's become ingrained in us that our twenties are the time where we become an adult, find a partner, and settle down, which leads to people feeling pressured to stick with people they might not have otherwise. Nobody wants to die alone and unloved, and it's a genuine feeling of anxiety for many that once they hit 30, they're basically a senior. Things in Frank's relationship may have ended badly, and he misses them deeply, but he still has memories that the two of them shared, and nobody can take those memories away.
your dilated eyes watch the clouds float
You might remember the "White Ferrari" tweet I mentioned from DJ A-Trak, where he said the song would be heard in a matter of weeks and it would be the best thing we heard that year. While it was more like months, the second part is 100% true. "White Ferrari" is my favorite song on Blonde and one of my favorites of all time.
"White Ferrari" is the sound of driving into the early hours of the morning, letting your partner rest their head on your shoulder as you look up at the stars. It's an epic story of a relationship from his teen years, special, valuable, and pure (like a "white Ferrari"), a nod to the fleeting moments we have in this world and who we spend those moments with. The song is sonically intimate, mostly backed with ambient-esque synths and quiet acoustic guitars. There's a really cinematic quality to the instrumental to me, feeling like the soundtrack to a great indie film, and the presence of Jon Brion on the song hammers that home. Frank goes for it vocally on the track too, starting in his lower register, adding some beautiful vocal layering in the middle to create an amazing harmony effect, and ending in a quiet falsetto that could be mistaken for Justin Vernon (and it has). The final verse in particular is wonderfully abstract, with a series of wistful metaphors for wishing things had just been different. We wonders why couldn't they be older ("I'm sure we're taller in another dimension"), which feels like a poetic take on the sentiment from the Beach Boys' "Wouldn't It Be Nice". He just wishes they could go wherever they wanna go, go back to the basics and beginning of their relationship, when they were "primal and naked", a line that can be interpreted as invoking early human imagery or the passion that comes from the start of a sexual relationship. He just wants them to be go beyond their imagined walls, go to where the boundaries are limitless ("You dream of walls that hold us in prison / It's just a skull, least that's what they call it / And we're free to roam"). However, like in many songs throughout the album, there's a sense of depressing reality setting in. They spent so much time together, thought what they happened was special, one of a kind, and profound. However, things didn't work out like that, and now Frank is alone and trying to figure things out. It's a beautiful song, and interpolating The Beatles' "Here, There, and Everywhere" on the line "Spending each day of the year" definitely helps. In another interesting note, the release of the full credits for the album revealed that Kanye West co-wrote "White Ferrari". Kanye's exact contributions to the song aren't known, but I'm grateful for anyone who took part on creating this perfect song.
"Seigfried" might be the most abstract and poetic breakup song ever recorded. Frank, in typical Frank fashion, takes a song about the end of relationship and brings it to deep existential ideas, mortality, and religion. Frank is frustrated by the end of a relationship, and considers that he should give up and just try for the idealized nuclear family, living in the suburbs behind a white picket fence with a few kids. But he rejects that, and it leads him down a darker path, one of life, death, God, and humanity itself. Frank isn't normal, he isn't superficial and based in status symbols, he wants something deeper and more profound. He wishes he could see God in a way that someone else could, even just a glimpse of belief, but is disillusioned by religion, something that was heavily touched on in the channel ORANGE song "Bad Religion". Frank wants to be able to believe, but he can't help but think about the fragility of human existence. A solar flare could turn our society upside down or end it entirely in a moment, which makes searches for deeper meaning seem pointless. This throws back to the invoking of the Heaven's Gate imagery from the "Nikes" video. People search for deeper meaning or satisfaction out of life in all kinds of varying ways. In Frank's eyes, he'd rather enjoy himself with film photography and psychedelic drugs. In the end, however, things circle back to what matters in the moment, the death of a relationship. He'd do anything for his ex, anything to bring them back. The psychedelic, dream-poppy production of the song is absolutely gorgeous, layering filtered guitars and keys with a dramatic string arrangement from Radiohead's Jonny Greenwood, underscoring the deep existentialism of the song.
Because it's her favorite song on the album, I reached out to the amazing GoWestYoungKanye for a word on "Seigfried", and this is what she sent:

"‘Seigfried’ is my favourite song off all time — well, it’s tied for first with Nina Simone’s ‘Feeling Good’, at least. For three years, I listened to it every single night before I slept, at least once, finding it more and more spell-binding and resonant and splendid with each listen. (I’m an insomniac, things that put me to sleep are rare, and I tend to give ‘it put me to sleep’ as a compliment.)
For me, at least, ‘Seigfried’ is the rawest song on an album that drips blood; there is something so infinite and agonising about the way Frank sings ‘two kids and a swimming pool’, and calls out ‘brave!’, echoing himself uncertainly. Most people are familiar with the beat switch at the album’s midpoint, and have rightfully lauded it, but the second the strings come in under Frank as he croons ‘I’m livin’ over city / And taking in the homeless sometimes’, acting as the track’s pulse, a quickened heart rate, is easily one of the best few seconds on the album, even if the bassline is only temporary. It wounds me, and it heals me, in the same way ‘Feeling Good’ does.
Ultimately, I think the beauty of ‘Seigfried’ is in its honesty: an attempt at subversion fails; Frank is not brave; he’s a fool. He attempts to slot the minutiae of love (his lover’s freckles and his own crooked teeth [among other flaws]) into the hetero-nuclear ideal (two kids and a suburban house with a swimming pool) but comes up empty — as I listen, I find myself thinking of the word ‘emptiness’ constantly, and the track echoes in the empty space accordingly. Sometimes, it's good to be alone."

Thank you Kiki ❤️
"Godspeed" connects things back to the theme of religion. James Blake, who created a religious atmosphere on "Solo", is back in a more ambient take on gospel sounds. There's a prominent organ with some quiet electric pianos, digital strings, and an outro from gospel singer Kim Burrell. The first verse includes a direct Bible reference, tying into a Psalms 23 quote about always preparing a table in the presence of your enemies. Despite how Frank's relationship with his partner ended, he would still be there for them no matter what, and would offer them a place in his home. He wishes his ex godspeed on wherever they go in their future life, wanting them to live safely and happily even when they aren't together anymore. Frank's moving on, and with the knowledge that the relationship is over, still giving his best to his former partner.
how far is a light year?
This brings us to the final song on Blonde. While "Futura Free" is nine minutes long, it's split into a song and an extended outro interlude. Bringing things full circle by pitching his voice up for a majority of the song, Frank raps about his life, his upbringing, his fame, and the uncertainty of life. He references 2Pac and Selena, two stars who died young. He's living the life he wants to live, but not taking it for granted. He's grateful for all the success he's had, but still nostalgic for his life before the fame. It's stream of conscious, but Frank can make that sound profound. The production is kind of celebratory, but also kind of melancholic, capturing the uncertain feeling of the song perfectly. As one final way of tying everything together, at the near five minute mark, the song proper ends, and after a long silence, the interlude begins. Called "Interviews", it features a series of questions asked to Frank's brother Ryan, rappeproducedesigner Sage Elsesser (also known as Navy Blue), and others by skater and designer Mikey Alfred. It's a nostalgic piece, allowing the guys to goof around and answer questions about superpowers and secret talents. The final line of the album, spoken by Alfred, is "How far is a light year?". In the moment, it was innocuous, but as a way to play out Blonde, it takes on a deep, profound meaning. Frank has taken us on a journey, and that journey has ended for now, but there's so much more to go.
please run that back though
Blonde is one of the only albums I'd consider legitimately perfect. It's creative and unique, an album that people have since tried to recreate but not been able to. It's intimate, lush, and ambient, but also experimental and incredibly out there. The lyrics are heartbreaking and personal, but also existential and profound. There's a dichotomy to it, one that ties perfectly back to Frank's "two versions" he mentioned in the Post. Frank has seemed comfortable with taking his time on the next album, and considering how worth it Blonde was given the long wait, I have complete faith in him coming back and dropping another great album in the 2020s. No matter how long it takes. Thank you for reading.
discussion questions

Where would you like to see Frank go on his next album? His future music has been previously described as "space reggae" and taking inspiration from “nightlife, Detroit, techno, house”.
There are many ways to interpret the overarching concept of Blonde. If you can sum up what the album means in 10 words or less, how would you?
Frank announced a release date for Blonde, missed it, and then went a full year before another update. Are artists entitled to keep fans updated of delays?
Frank made headlines on Blonde by releasing it independently aside from an initial exclusivity deal with Apple Music. Could you see this being the dominating future strategy, or do the labels have too much power for it to ever really work?

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