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In an effort to define exactly what a practice of DruidCraft might be, Brianna in Germany with a group of OBOD members around the world made this list of the differences and similarities between Druidry and Wicca:
First, we have to define 'Wicca' in a way that makes everybody happy, which is may be one of the hardest tasks in modern Paganism.
The best way is to say it with the words of an English friend, who is both a Wiccan High Priestess and a Druidess: 'Wicca' means British Traditional Wicca à la Gerald Gardner & Co (ie properly initiated into a Brit. Trad. Coven), and 'Pagan Wicca' stands for all of those who practice Wicca as it is depicted in the many good books that deal with Wicca (e.g. Scott Cunningham etc.)
Pagan Wicca is a very individual path (everything can, nothing must), thus this list of differences and similarities refers primarily to Wicca when compared with British Traditional Wicca.
We refer to Druidry here as the kind of Druidry that is for example practiced by OBOD. There are also other streams of Druidry, such as Celtic Reconstructionism, where the differences with Wicca would be greater.
This list doesn't claim to be complete or infallible. Its purpose is to give interested people a general idea. Neither Druidry nor Wicca can ever be completely described or categorized. To fully understand them, they have to be experienced and lived – and by doing so, they will become unique and very individual paths for each and everyone.
What Wicca and Druidry have in common
Respect and Love for Nature
Their ethics
Both work within a circle. In Wicca the Circle's primary purpose is to preserve and focus the energy, so it fulfills the intent of the particular ceremony. The Wiccan Circle is also a protective circle, so that the energy has no outside interference or influence. The Circle is 'between the worlds, beyond space and time. In Druidry the circle symbolizes the microcosm of the macrocosm – the world. It is also defines the sacred space for the ritual.
The 8 High Days, although with different approaches
The 4 Elements and directions, and their correspondences
The 'Law of the Harvest' or karmic 'law' that all that you send out (energy-wise) will come back to you (nevermind how often for now)
The equality of man and woman, of male and female principle, both in groups and in divinity
Honouring the 'old gods'
The use of meditation, visualization and rituals as religious/spiritual practices
Honouring our ancestors (but in slightly different ways)
Both are orthopractic religions, not orthodox ones: which means that what one knows or believes is less important than what one does or experiences.
Quite often the differences are only in the detail, whereas a more generic definition would put them under 'Similarities'.
What is specifically Wiccan:
Wicca has a stronger focus on the moon than Druidry and celebrates the full moons (and some also the dark moons) with a ritual, but gives the same amount of importance to the Sun as does Druidry.
Wicca uses Magic in a different and often more active way than Druidry
Wicca has a different historical background to Druidry
Wicca is widely seen more like a mystery religion
Wicca has a different focus on and understanding of standard elements of a ritual, like for example calling the quarters, steps and ritual tools
What is specifically Druidic:
Tree lore and Ogham
The druid grove (both inner and in the physica world)
The focus on peace
In Druidry the moons don't play such a big role
Druidry can be seen as a religion, but also as a way of living / a philosophy, which results in there being Druids from many different faiths
Druidry has a different historical background to Wicca
Druidry is widely seen more like a spiritual path
Druidry focuses on the celtic pantheon
This list is a collective effort from Druids and Wiccans, all members of the Druidcraft Subforum of the Messageboard on www.druidry.org


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Carme () è un personaggio della mitologia greca.

Genealogia

Figlia di Fenice e di Cassiopea.

Non ci sono notizie su sposi o progenie.

Mitologia
Dopo una battaglia presso la sua città, la donna, ormai anziana in quel periodo, venne fatta prigioniera e affidata come nutrice alla giovane Scilla, figlia del re Niso.

Note

Personaggi fenici della mitologia greca

redpajama_set_name: RedPajamaWikipedia


We are huge fans of taking the kids on London city breaks, and it's made so much easier by the fact that taking the train from Nottingham is really convenient for us. The kids love a train journey anyway, and it always makes travelling a little bit easier for us as a family. As long as we have plenty of snacks, drinks and activities to keep the children busy you can always be guaranteed a fairly smooth trip journey to the capital by train.
Getting on the train to London always feels like the start of the holiday for us, as both the girls are as excited about the trip as they are about reaching London itself. Travel with kids that starts off on the right foot always has the best chance of success I think.
If you are new to visiting England's capital, then it could feel like a minefield trying to find the best area to stay in London with kids. As with most capital city's, some areas are more family friendly than others and for this short break we were heading to one of the best locations for a family break. Kensington is probably one of the most famous of the London borough's, known for it's affluence and also its great museums, cafes, restaurants and of course Kensington Palace and Hyde Park.
As well as a wealth of places for tourists to visit right on your doorstep, Kensington is also home to the Royal Garden Hotel, which was due to be our base for this family weekend break in London. I've read so many great reviews about this hotel, I was really keen to see if it lived up to it's reputation as one of the best places to stay in London for families. With a 6 and a 4 year old in tow, we were certainly going to be putting the hotel to the test, so lets see how we got on.
We took the short walk from High Street Kensington tube station to the Royal Garden Hotel with the girls, knowing we would be a little bit early for our check in. We had a busy day planned so we wanted to leave our bags in the luggage room and get started on our London itinerary.
We received a very warm welcome on arrival and the girls were presented with two rucksacks to help them make the most of their stay. To say they were impressed with them was an understatement, and they immediately found a spot where they could take a peek inside to see what goodies the Royal Garden Hotel had given them for their stay.
Inside their bag was a princess activity pack with games and stickers, a colouring pack with a notepad and pencils, a water bottle and a torch. It was such a great gift from the hotel for their young guests and they popped on their backpacks feeling more than ready for what the rest of the day had in store.
We left the rest of our luggage with the concierge and headed out to begin our London adventure on what was proving to be a very sunny weekend in the capital.
The hotel is situated next door to Kensington Gardens and Hyde Park, so it made perfect sense to stroll through the gardens on the way to the museums. The Royal Garden Hotel is about a 20 minute walk away from some of London's most famous museums and the one we were due to visit was the Science Museum. In the same area you will also find the Natural History Museum and the V&A, so there is plenty to keep a family busy for an entire weekend, right on your doorstep.
We spent the afternoon exploring the Science Museum, and it was a big hit with all of us. The girls loved The Garden, which is a hands on exhibit for younger ones to learn more about the scientific world around them, and Daddy was particularly impressed with the Space exhibit and the computers through the ages he discovered at the museum.
After our busy afternoon at the museum, Indie and I had to make our way to Wembley Park as we were going to watch the Women's FA Cap Final between Chelsea and Arsenal that evening. We left Daddy and Brook to head back to the Royal Garden Hotel to enjoy some quality time together without us, and go and find out a bit more about the Food and Flicks package that had been arranged for them to enjoy that evening.
With lots of London hotels offering special offers, finding great deals for families can feel a bit like looking for a needle in a haystack. Don't worry though, as the Royal Garden Hotel has some fantastic family friendly offers and if you are planning a stay here then the Food and Flicks package is perfect for younger children.
When Daddy and Brook got back to the hotel, they were ready for some snacks and movies, and that is exactly what Food and Flicks is all about. They contacted room service and arranged for their family friendly snacks to be delivered to our Executive Suite whilst lining up which movies they wanted to watch from the unlimited package that came with this hotel deal.
A table of pizza wheels, chicken wings, coke floats and chocolate fruit kebabs was delivered to the room while they enjoyed watching some of their favourite children's movies. Moana might well have featured in that list once or twice as this is Brook's favourite film at the moment! This was probably one of the best nights Daddy had spent in a hotel with a 4 year old since we began writing the Zena's Suitcase blog, all snuggled up on the sofa watching fun movies and enjoying a fantastic buffet of movie snacks.
Indie and I made our way back from the football game, looking forward to seeing what Daddy and Brook got up to when disaster struck. Well a minor one, but when you are 6 years old and you are tired from a fun filled busy day, and your Mum leaves your Royal Garden Hotel rucksack packed with goodies on the tube your little world kind of falls apart. When we arrived at the reception, Indie's tear stained eyes probably said it all, and when I told the receptionist what had happened she quickly provided us with a new rucksack and saved the day, as well as my bacon.
My happy little 6 year old and I then went up to our room to find Daddy and Brook and to catch the tail end of the movie and snacks before bed. Everything was feeling right with the world, once again.
When we arrived in our Executive Suite, it was very clear that Daddy and Brook had made themselves right at home while we were out. The size of the suite was impressive and the views over Kensington Gardens were just delightful, so I can see why they were making the most of the room's facilities.
Indie quickly took up residence next to Brook on the sofa bed in order to get the best view of the movie showing on the flat screen tv, while I went to explore the main bedroom and of course the bathroom. Everything about the Royal Garden Hotel Suite was impressive including the size of the beds, the sofas and the desk space available if someone needed to catch up with some work.
Bottled water was provided at turn down and there was a full compliment of tea and coffees including a Nespresso machine and a mini bar.
The bathroom was the perfect place for either a little pampering or to make sure younger children could enjoy their usual bedtime routine. There was underfloor heating as well as robes, slippers and large fluffy white towels. I'm a huge fan of my creature comforts, so lots of boxes were being ticked for me already.
The bathroom also enjoyed a full size bath as well as separate shower, so it really didn't matter what our preference was when it came to cleansing, as everyone in the family was catered for.
Once we had all caught up from our busy and exciting day in London, we enjoyed a very comfortable and relaxing night's sleep at the Royal Garden Hotel. We knew we were going to feel very sad about leaving the hotel in the morning already.
I love hotel breakfasts as they work so well for families, and the one the the Royal Garden Hotel is excellent quality all round. When we arrived at the restaurant to be seated, the girls were presented with another colouring and activity pack to keep them busy, needless to say everyone was impressed with this and it made for a great treat first thing in the morning.
The girls enjoyed their favourite cereals and pastries while Daddy and I took a look at the hot buffet. There was an omelette station as well as a fine array of breakfast items, and the chef was happy to prepare what ever we required to order and bring it over to our table. He also made Brook a chocolate and strawberry pancake that was particularly well received by a very appreciative 4 year old.
The Royal Garden Hotel breakfast was probably one of the best I've ever encountered and made for a very relaxing and enjoyable start to our final day in London, when we were due to be going over to White City to explore Kidzania.
We thoroughly enjoyed our experience at the Royal Garden Hotel in Kensington, London and think it ranks very high as one of the best places to stay in london for families who are looking for luxury 5 star hotels. The service was excellent from everyone we came into contact with, and staying at the hotel made our visit to London feel very special indeed.
The Royal Garden Hotel is in a fantastic location for families looking to spend time in London also. With Kensington Gardens being next door, and the museums being accessible by foot it means you always have access to lots of things to see and do for your weekend away.
The public transport routes near to the hotel also mean that if you are wanting to explore more of London, you will also find it very easy to get there from the nearby tube station.
If you are looking into where to stay in London, I can strongly recommend a visit to the Royal Garden Hotel, and if you have children that enjoy watching films, then they will appreciate it no end if you add the Food and Flicks package to your stay.
Want to save several quid with your stay? Check out the best prices at your online travel agency with a VPN now.
We were offered a complimentary family weekend stay at the Royal Garden Hotel in Kensington in exchange for this review but all thoughts and opinions are our own. You can read our other hotel reviews here.


Dartford Golf Club was formed in 1897 by Charles James Morgan.
The Club is home to the Watson Trophy. The Club Champions of Kent are invited to compete in early April for the title of Champion of Kent.
Dartford Golf Club is very proud of former Juniors who have represented England and Kent at the highest level.
Our former Juniors are now writing the new chapters of our history; please find listed some of the achievements to date.
Ladies Kent champion in 2005, 2008 and 2009. Member of the England Elite Squad for under 21s. In 2011 Anne had represented represented the County of Kent for 20 consecutive years. Anne and proud Father Peter, won the Daily Express Mixed Foursomes, played at Mijas in Spain.
Played for England at School Boy, Junior, Youth and Senior representative level. Watson Trophy Winner 1992. In 1993 he was finalist in the English Amateur which was held at Portrush, losing out to Iain Pyman on the 37th hole played in horrendous conditions.That same year he represented Great Britain & Ireland in the Walker Cup,Picking up a point from Tiger Woods.
Turned to golf at 15 years old after being a successful county tennis player. Michael has won numerous county events at Junior, Youth and Men's level becoming a scratch golfer in 2007. Michael is the Watson Trophy Winner for a record 4 times. His national achievements have included The Dubai Emirates Amateur Open Winner, Regional British Open Qualifying Winner, Lagonda Trophy Winner and Runner up.


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Ray "Otto" Douglas
By Carl Fritz
Ray Douglas, "Otto," was a hiker friend to many on the A.T. On December 22, 2015, Otto lost his battle with cancer. He spent the last month and a half in a VA hospital with numerous visitors.
Otto just missed being counted as one of only a few that attended all 15 Hard Core's with Tennessee Eastman Hiking and Canoeing Club (TEHCC). He did 14, only missing the 2014 event because he was hiking on the PCT. He did attend the 2015 Hard Core.
In addition to Hard Core, Otto accumulated over 700 volunteer hours with TEHCC while working on the A.T. He was a great worker, and if you have hiked any of our 134 miles you have trod across a step that was placed by Otto or a rock crib that he built.
While a student in 2005, Otto started a Trail Crew at Appalachian State University in Boone, NC. The club is still active today and works on many trails in North Carolina plus working on the A.T. with TEHCC. He was also an Appalachian Long Distance Hikers Association board member for a couple of years.
Otto's tombstone will be at Mountain Home National Cemetery in Johnson City, TN.
Ray Douglas, "Otto", was a hiker friend to many on the A.T. December 22, 2015 Otto lost his battle with cancer. He spent the last month and a half in a VA hospital with numerous visitors.
Otto just missed being counted as one of only a few that attended all 15 Hard Core's with Tennessee Eastman Hiking and Canoeing Club (TEHCC). He did 14, only missing the 2014 event because he was hiking on the PCT. He did attend the 2015 Hard Core. In addition to Hard Core, Otto accumulated over 700 volunteer hours with TEHCC while working on the A.T. He was a great worker and if you have hiked any of our 134 miles you have trod across a step that was placed by Otto or a rock crib that he built.
While a student in 2005, Otto started a Trail Crew at Appalachian State University in Boone, NC. The club is still active today and works on many trails in North Carolina plus working on the A.T. with TEHCC. He was also an ALDHA board member for a couple of years.
LEARN MORE ABOUT OTHER VOLUNTEERS
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ensuring that its vast natural beauty and priceless cultural heritage can be shared and enjoyed today, tomorrow, and for centuries to come.
The Appalachian Trail Conservancy is a 501c3 organization. Our CFC number: 12230. Our Tax ID number: 526046689.
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redpajama_set_name: RedPajamaCommonCrawl


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Global Numud
Your guide to global diversity
Climates
Cities No Responses »
Cities in the world are both similar and different. All of them are societies of many thousands people living next to each other and doing works that do not directly create food. Cities are both products and power of the civilization. Most of todays achievements, industrial and scientific, are created there. They are hubs for entertainment, infrastructure, education, shopping, tourism. Even rural people regularly visit cities. The life in the cities is more individual and varied.
While similar cities are also greatly different all over the world. Architecture, urbanisation, culture, religion, lifestyles and different ethnic communities form a distinct blend unique to the region.
The first cities have been established in Mesopotamia 3200 BC. For centuries urbal lifestyle was limited to a select minority: nobility and craftsmen. Majority had to grow food to avert famine. Only the largest empires were able to support massive megalopolises (e.g. Rome) using food and water from vast areas around them. All this started to change in 1700s-1800s, when improved agriculture allowed more and more peasants to leave for urban factories. This "Industrial revolution" changed the city life from an exception to a rule. In 19th century already some European nations had a larger population in their cities than villages. In 20th century most American and Asian nations followed suit. At ~2006 there were more people living in cities than villages all over the world.
Americas Asia Europe Africa Oceania
United States city Subcontinent city Post-Soviet city North African city Australasian city
Latin American city East Asian city British city Central African city Oceanian city
Chinese city Mediterranean city South African city
Gulf city Nordic city
Southeast Asian city Central European city
Mideastern city
American cities are young and constantly changing. There are few old buildings. In flourishing cities a new building is frequently torn down before the generation that saw its construction passed away. Even the most iconic buildings and churches are not saved from wrecking ball if the economy dictates so.
Latin American city
A Latin American city has a historic center dating to the colonial era (16th-18th centuries). It is based on a rectangular layout. One central area is left as a small park. This is called "Plaza de Armas" (Weapons square) as it used to be a refuge for city dwellers under siege.
Post-Soviet city
While Soviet (Socialist) regimes of 1920s-1940s conquered vastly different cities, they have received many similar features since: styleless prefab apartment micro-districts, megalomaniac centers, common urban culture and experiences.
British city
British cities are old and have suffered little war damage. Very old buildings – mainly gothic churches and abbeys – survive in downtowns. In 18th-19th centuries Britain was the world's most advanced nation and its cities show it.
Nordic city
Nordic cities are small. A settlement of ~30 000 people would be considered a town elsewhere but it could be a regional metropolis in the Nordic countries, with all the necessary amenities including an international airport.
Central European city
Central European cities are centered on their neat downtowns, with opulent palaces, magnificient church spires and former gabled merchant homes. In summer the old towns fill with open-air cafes while in the winter they are frequently covered by snow.
Mediterranean city
The center of a Mediterranean city is a mish-mash old town of cobbled streets and grand old buildings (Romanesque, Rennaisance, Baroque). Many opulent palaces, cathedrals, monasteries and city halls remind of the medieval times when the city and its local families wielded powerful independence.
North African city
A North African city is centered on its Medina, a downtown of extremely narrow labyrinthine streets where cars are replaced by motorbikes and donkeys. This is a large marketplace with plain outer facades and separate district for different goods.
Central African city
To many a Central African city is an epitomy of poverty, with their endless slums and minuscule wages. Technologies the urban dwellers elsewhere take for granted are often not present in a Central African city.
South African City
South Africa has a history of a unique political system of apartheid where different races lived in separate areas. While this has been dismantled in the 1990s the South African cities still reflect the past.
Gulf city
The cities at the Gulf have been completely transformed in the recent decades on the oil wealth. Before the oil extraction began ~1970s all of them were small insignificant desert outposts. Since then the population of Gulf cities imploded 10 to 40 times, doubling every decade or so.
Northern Middle East has been the birthplace of "city" as such and the region's cities are among the world's longest continuously-inhabitted territories. Vast white new neighborhoods thus surround downtowns which are like history books.
Chinese city
Chinese cities are constantly growing with new taller and taller skyscrapers built every month rather than year. The urbanization drive that swept other continents decades ago now reached China. 400 million people moved into cities since 1985, driving the urbanization from 20% to 50%.
East Asian city
In an East Asian city everything seems cramped. The area has extremely high population density (400 people/km2) and much of this scarce land is mountainous. Cities have small strips of coastal land to develop on. Nevertheless they are huge.
Oceanian city
Stuffed by wide oceans on their little islands and atolls the Oceanian cities are small, with even the capitals rarely surpassing 100 000 in poplation. An Oceanian city is extremely remote by all senses, many hours of flight-time from the nearest metropolis.
Australasian city
Australasian cities are all new. The oldest buildings date to the 19th century but most are far more recent. They are cities of immigrants: most of the inhabittants, their parents or grandparents moved in from countries thousands of kilometers away.
Types of diversity
+Climates
+Scripts
© 2013 Global Numud Suffusion theme by Sayontan Sinha


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How Trent Reznor Turned His Anger Outward
The Nine Inch Nails frontman on his excellent new album, redirecting his rage, 'The Twilight Zone' and why he still thinks about Bowie all the time
By Kory Grow
Kory Grow
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View all posts by Kory Grow
Nine Inch Nail's Trent Reznor Brandon Bowen
Trent Reznor is not a Vegas kind of guy. Yet here is Mr. Self-Destruct, clad entirely in his signature black, a 5 o'clock shadow peeking through at 11 a.m., sitting on the worn leather couch of a green room inside the Hard Rock Hotel & Casino. "It's a nice, dark room," he says, sipping on some kind of green health drink. The place is bedecked with gaudy rock & roll memorabilia, and photos on the walls sport everyone from Ozzy Osbourne to Marilyn Manson flipping the bird. "Rock is not dead," Reznor offers dryly. "Although I'm drinking green juice, so it's not helping the cause." He pauses for comedic effect.
"We rehearsed for a tour here in Vegas," he says, "years and years ago in my pre-sober days, and it's very easy to lose track of night and day. It wasn't a good town for me to be in for an extended period. Now I don't mind being here from a people-watching perspective. I don't gamble. That's one addiction that has escaped me."
Nine Inch Nails are here for a three-night residency, where he and his bandmates can test-drive their lo-fi live show – picture lots of smoke and stark lighting – before embarking on a tour in support of their cutting new EP, Bad Witch. The record completes a splintered suite about dehumanization in the Trump era with fuzzy, distorted guitar, moody saxophone playing and a mix of Reznor's teeth-gnashing invectives and a few moments of disarming crooning. It's a nuanced, complex half-hour of noisy rock & roll and it represents a new era for the group.
Reznor, at age 53, is a different person than he was 30 years ago. He's married and has four kids. When not working on the band, he and his musical partner, Atticus Ross, compose film scores; they won the Oscar for their soundtrack to The Social Network in 2011. And he still works "in a very limited amount" with Apple on their streaming service.
Nine Inch Nails' recent trilogy of EPs have each charted in Billboard's Top 30, they can headline festivals and they can still notch songs on the rock charts, as they did with the Add Violence EP's new-wavy, catchy "Less Than."
He still makes self-deprecating asides in conversation, such as, "I'm not saying this to sound pretentious" and "This is a boring conversation," when explaining his thoughts. But by and large, one thing becomes clear as he speaks: It's good to be Trent Reznor these days. So why does his music still sound so angry?
"I have a secret storehouse of aggression that I tap into," he deadpans during a lengthy chat with Rolling Stone. "I'm not particularly filled with the unchannelable self-destruction and rage as I felt like I used to be. And I'm very grateful for that." He chuckles. "What's driving more of my anger these days is external. A portion of each day in the studio is Atticus and I having a therapy session, venting and trying to make sense of what's going on in the world – and this remains the platform to express that."
The last three Nine Inch Nails records reflect different aspects of societal decay. Were you thinking mostly of Trump when you were writing these?
It's not Donald Trump. I don't think he's the cause of it, but he's certainly the result of the conductivity and the social media. The more that people are connected together, seemingly the lower the level of discourse and the more extremities have found each other. It's become sharper in focus for me and more concerning on a personal level being a father of young kids. It's power being tribalized.
How did these three releases come about?
They were meant to be three pieces of one big album. Then we thought, "What if we broke it into three smaller records?" So each record is a different reflection on questions like "Who am I, and how do I fit into this world?"
What does each record represent?
Not the Actual Events was more about, "I'm to blame and maybe this person I've become is just a façade. People view me as an addict that's pretending he's found contentment. What if I burned the house down with embracing that self-destructive fantasy?" And it fit musically.
The second record, Add Violence, was about, "Maybe it's not me. Maybe the world's not what it appears to be. Maybe we're in a simulation." And initially the third one was supposed to be a more extreme version of that. We started working on it we felt we backed ourselves into a corner creatively. Then it revealed itself to us.
And what was that?
[Bad Witch] was more about how the pessimism had kicked into gear: "This whole idea that we are even important is a fucking illusion. We're just an accident left to our own devices. With everything we could do, we've dumbed ourselves down to where enlightenment is ultimately the illusion. We're just animals who self-destruct and we're proving that we're not fucking rulers. We're not godlike. The illusion is thinking we are." The most clues to it all are in the song "Ahead of Ourselves."
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Why did you and Atticus record yourselves pounding on rocks on Bad Witch's "Shit Mirror"?
It seemed to fit lyrically what we were trying to convey. In this newfound time where the fucking leader of the free world is essentially announcing it's okay to be racist and fucking ignorant and nothing is happening to him, people are testing the water and coming out of the closet. I find that mentality fucking grotesque. The music was meant to embody that and I thought if it could be done with this kind of attitude and swagger, it would inform the rhetoric of the song, which would be low-tech. What if the sound of it was reduced to just pounding in the dirt?
What made you pick up the saxophone again?
Really, it was just sitting there. For however many years I've been out of high school, I've been saying, "I'm going to get back and really practice, maybe take lessons again." I just started playing a little bit and said, " Fuck it. Let's go. Start recording." I think I played for maybe an hour on "God Break Down the Door," and then Atticus arranged it and I said, "We're onto something." Suddenly, I was teleported into a world reminiscent of how I felt about the first Psychedelic Furs album, where everybody picked the instrument they were gonna play and it felt like a collage of sound, like they didn't know what they were doing but it was mixed well and it sounded chaotic and cool.
You also sang in a different way on that song.
The decision to do the Bowie-esque, croony vocal was just fucking around initially without the intent of it ever going to the outside world. And Atticus spoke up and said, "You gotta keep that."
Trent Reznor and David Bowie on the set of the "I'm Afraid of Americans" video. REX Shutterstock
With the saxophones, too, it reminds me of Bowie's Blackstar.
I knew it would. I mean, I still think about that man all the time.
What do you think about Bowie now?
Let's first talk about Anthony Bourdain. I never met him. But I liked the world with him in it better. I liked knowing he was out there in some fashion, especially in these times. That's a loss; culturally, we needed that voice.
With Bowie, I did know him to a degree. I certainly studied his work and continued to do so. It felt like, "Man, we weren't done. There's more to go. I needed you in the world." It was like a family member almost. There are these people that you feel you can rely on out there – not for support necessarily, but it's good to know they're experiencing life as we're in semi-uncertain times and even when we aren't. I think about that a lot.
Backtracking a second, you said around Not the Actual Events you were fantasizing about being an addict burning everything down. Are those feelings you still struggle with?
No. I look back to who I was 20 years ago and I wasn't equipped to deal with any sort of the weirdness of fame. Alcohol, drugs and what not became a tool to help cope and did for a while until they didn't. Now I don't feel like if I'm driving past the liquor store, the car's gonna drive itself in and I'm going to disappear for a week. I honestly don't feel like it's in my DNA; it's in there, but I'm not going to test it out. That record felt like a dangerous fantasy to allow oneself to think about and examine that. Of course, it's not a fleeting thought when you're making a record: It's several months. [pauses]
I prefer not to be an addict. And I prefer to have the 10 wasted years of my life back. But one good aspect when you do the work to get clean is that painful self-examination is involved in that. I would have never done that electively had I not had to do it. I would never choose, "Hey, what a great idea to sit in therapy meetings endlessly." But it did equip me with some tools. I know myself better now because I did that, and making an album that's self-examination does a version of that same thing.
Why have you been looking back on your life lately, in general?
I've been trying to think more about who I am and where I fit into the world right now. I don't necessarily mean me, "the artist," just that the world seems less familiar in some ways. In trying to think through that, I have found a surprising amount of comfort in thinking about things that make me feel good that are nostalgic. I gave in and bought a turntable several years ago. I actually really enjoy holding vinyl, putting it on and the inconvenience of having to walk across the room to pick the needle up if the phone rings. And I find comfort in watching old Twilight Zone episodes, 'cause it reminds me of something that felt familiar.
I used to never let myself romanticize the past or look at it through rose-colored glasses, and I've allowed myself to realize that I do like some things and I don't think there's any real harm necessarily in allowing oneself to think back to things that you sense some sort of comfort from.
How has that played into your music?
I used to never allow myself to pick up a distorted guitar, because we've done that and it seemed out of date, but I did for Not the Actual Events and it was exciting. As we're in a very anti-rock climate right now – not everything I'm thinking about is reactive to what's happening around me culturally – but I do think an exciting, fucking aggressive rock song feels very fresh to me in a world that's saturated with escapist hip-hop and pop bullshit.
In old interviews you used to say rock & roll was supposed to piss people off.
Well, it seemed like its purpose was to feel like it was breaking the rules and expressing rebellion or something in a way that didn't feel super refined and preprocessed. I wouldn't say it has to be angry, but the spirit of truthfulness and integrity appeals to me.
Trent Reznor performs with Nine Inch Nails in London, 1994. Ian Dickson/REX Shutterstock
How will you be translating that attitude to the stage?
I've always looked at the live show as, "I have the privilege of your time for a few hours to see our music. How can I make that an immersive and something awesome?" And when we did the shows last year, I was thinking, "If you walk into the Sahara tent at Coachella, you're surrounded by 200 screens and every laser and light imaginable." And seeing Roger Waters' last tour, where no expense was spared and there's a catalogue that's unmatchable in terms of having a nice, visual component, and then watching livestreams of current festivals and seeing every band in front of a video wall, I thought, "I'm sick of seeing that. Let's just say, 'Fuck all that and throw a piss-stained sheet over any video wall that's around. It'll be a band playing with fucking smoke." It felt fresh and maybe a bit retro.
Speaking of retro, you had your fans line up to buy tickets, like in the pre-Internet days. I know some people were complaining about waiting four hours. How do you feel that worked out?
In hindsight, there was a degree of micromanagement I could have done. Did I know how many ticket booths were going to be open? I didn't ask that question. I assumed someone did. There's things like that that I can beat myself up about, but what I saw was a little bitching and then there were also people that said it was cool and they'll remember it.
You said you were enjoying playing vinyl again. Since you're on Apple Music's payroll, how do you feel about streaming now?
I think having access to all the music in the world is cool. But it's detrimental in the sense that I don't think people spend that much time with the music they have access to, generally. I know that my taste was shaped by not having access to all the music in the world. What I did have access to, I listened to. If I bought an album and I didn't like it, I only had so many albums to pick from. I don't think I would have listened to Sandinista 200 times if it came out today and I was 15. But because I spent a lot of money on it at the time and all those discs, I spent time with it and it opened me up. I kind of got it after a while.
What did you learn from the time you were more involved in Apple Music?
It was interesting, but the end result after spending a lot of times feeling like a marketer – and being very concerned with what the audience wants – was that I've really embraced being an artist. I think tuning in too much to what the audience wants is toxic. How you sell tickets, that's one thing, but wondering what people want my new music to sound like is the kiss of death. Listening to feedback like, "doesn't sound like what I thought it should. Sucks." Or, "sounds too much like I thought it would. Sucks." That's very dangerous for artists.
I think a lot of indie music feels like it's based on the comments section. "What would be the thing that everyone would like right now?" How can I create a cocktail of things that would be accepted by that camp?" At the end of the day it feels more like market research than true expression.
I did an interview once with a famous rapper before his record came out, and I asked him what he wanted it to be. He kept saying, "I want it to be what the fans want."
There's probably nothing wrong with that if that's what you want to do. But to me it feels like the difference between an entertainer and an artist, and I really quantify those things in my head. There are pop stars I don't feel angry about. I don't like what they do, but I feel like they're an entertainer. But don't confuse that with – and I'm saying this to sound pretentious – the artist that is actually trying to make art that may or may not intersect with commerce. Having a roster of songs that songwriters have written for you and showing up for a vocal session a couple of times and a photo session for your album that someone else designed. That, to me, feels like an entertainer.
Atticus Ross,
Nine Inch Nails,
Britney Spears Asks Fans to Respect Her Privacy After Police Called to Her House: I Felt 'Gaslit and Bullied'


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Home » NZ at war » Discover WW1 » Did you know? » Khaki weddings
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Khaki weddings
Matthew Tonks - Senior Digital Adviser in the WW100 Programme Office
Hundreds of New Zealand men enlisted for war as bachelors, but embarked as husbands. What do these pre-departure weddings suggest about the wartime marriage habits?
Berry Boys on Te Papa's Blog
Berry Boys: Portraits of First World War Soldiers and Families
Wedding portrait of John and Maud Taylor, 15 February 1917. Courtesy of Te Papa (B.045853)
Booking a photographer is among the top priorities for couples looking to tie the knot these days, but 100 years ago, photographers were not so well equipped to capture candid scenes at weddings. Having a memento of the special day was still important, and so many couples took time on their special day to visit the studio of a professional photographer.
One of Wellington's foremost photographers at the turn of the twentieth century was Berry & Co., run by William Berry, and assisted by his wife and daughters. The studio's building – located at 147 Cuba Street and still bearing the company's name – possessed two photography studios and generous dressing rooms. Many thousands of newly-weds used these rooms to preen and adjust their wedding garb before having their photo taken. During the First World War, many such bridegrooms emerged wearing their military uniforms.
When the building's new occupants renovated the upper floor in the 1980s, they discovered a cache of images and business ephemera in the building's ceiling space. Amongst them were several glass plate negatives of newly-wed wartime couples. These wedding portraits – now in Te Papa's 'Berry Boys' collection – shed light on the disruptions that the First World War made to people's plans to marry and start new lives.
Cecil and Hannah Baker
Portrait of Private Cecil Charles Baker and his bride Hannah Irene Baker, 22 July 1915, Wellington, by William Berry. Purchased 1998 with New Zealand Lottery Grants Board funds. Courtesy of Te Papa (B.045511)
Cecil Baker had almost finished his military training when he married Hannah Harvey at the Kent Street Presbyterian Church on 22 July 1915. A few weeks later he left New Zealand with the 6th Reinforcements.
Read more about Cecil and Hannah Baker
Edmund and Mary Robinson
Portrait of Edmund Colin Nigel Robinson and his bride Mary Read, 11 September 1915, Wellington, by William Berry. Purchased 1998 with New Zealand Lottery Grants Board funds. Courtesy of Te Papa (C.025187)
Edmund Robinson was 22 years old when he attested for service in July 1915, and married Mary Reid on 11 September that year. In a suitably wartime theme, Mary wore a blue military-style dress on her wedding day, with a 'French hat of pale pink and blue, trimmed with roses,' according to a report in the Dominion.
Read more about Edmund and Mary Robinson
John and Maud Taylor
Wedding portrait of John Frederick Taylor and Maud Florence MacLeod (nee des Forges), 15 February 1917, Wellington, by William Berry. Purchased 1998 with New Zealand Lottery Grants Board funds. Courtesy of Te Papa (B.045853)
With twenty months of Territorial service under his belt, John signed up for the war on 3 October 1916 at age 22. It was while training at Trentham military camp that he was granted leave to marry Maud des Forges on 15 February 1917. Maud, a 34-year-old widow, had four children from her previous marriage, and gave birth to a fifth while John was serving overseas.
Read more about John and Maud Taylor
Alfred and Queenie Hart
Wedding portrait of Alfred and Queenie Hart, 19 April 1918, Wellington, by William Berry. Purchased 1998 with New Zealand Lottery Grants Board funds. Courtesy of Te Papa (B.044617)
Alfred and Queenie met at their workplace, printer-publisher Whitcombe and Tombs, in late 1916. In June the following year, Alfred enlisted for war at the Wellington Town Hall. Shortly before the completion of Alfred's training as a gunner, the couple married on 19 April 1918.
Read more about Alfred and Queenie Hart
James and Florence Hoverd
Portrait of James Arthur Hoverd and his bride Florence Lilian Davies, 20 July 1918, Wellington, by William Berry. Purchased 1998 with New Zealand Lottery Grants Board funds. Courtesy of Te Papa (B.046550)
James Hoverd first enlisted for the war in 1916, but due to his fast heart beat and flat feet was classified C1 – 'likely to become fit for service overseas after special training'. He was conscripted in 1917, began training in Trentham the following year, and granted leave without pay to marry Florence Davies in Vogeltown, Wellington, on 20 July 1918.
Read more about James and Florence Hoverd
The marriage rates of New Zealanders in the war years shows some interesting patterns. In 1914 there were 9,280 weddings – slightly more than the previous year. The number jumped to 10,028 in 1915, before dipping to 8,213 in 1916 – the year conscription was introduced in New Zealand through the Military Service Act. 1917 and 1918 saw much lower numbers of people marrying: 6,417 and 6,227 marriages, respectively. After the war, the number of marriages bounced up, as one would expect, to 9,519 in 1919 and 12,175 in 1920. The New Zealand Official Year-Book of 1921-22 accounted for this variation in marriage rate in the following manner:
The normal tendency towards a general increase in the marriage-rate was disturbed by the war in 1914-19. Taking the years seriatim, 1914 is little affected, the influences being of a counterbalancing nature. The succeeding year, 1915, in spite of the increasing diminution in the number of males of marriageable age, established a new record in point of number marriages…. This may be regarded as resulting almost wholly from the passing of the National Registration Act in 1915, and the desire of many men to be shown in the register as married, with a view to obtaining certain advantages or escaping certain obligations. Many marriages which would ordinarily have taken place in the later years were thus celebrated in 1915. The result was to adversely affect the marriage-rate in 1916. The Military Service Act of 1916, which took into account only marriages taking place before May, 1915, had a further depressing influence. The absence, in increasing proportion, of a large part of the men of marriageable age was felt still more severely in 1917 and 1918. In 1917 the rate descended to a level never previously reached, and in 1918 reached an even lower position.
While not exactly a large sample, the couples from the 'Berry Boys' collection above suggest that the varying patterns in the marriage rate might not have been as hard-nosed as described in the Year-Book. All the men had already enlisted before their wedding days, and were on the point of being sent overseas when they married. For them, tying the knot was a way to maintain a relationship or connection with home. Certainly once the war had been grinding on for a number of years, marrying one's sweetheart was a way of securing an important link in the face of a precarious future.
Discover more stories in Berry Boys: Portraits of First World War Soldiers and Families, a powerful book from Te Papa Press offering an extraordinary, evocative snapshot of New Zealanders facing the First World War.
Date added: 15 May 2017 | Last updated: 16 May 2017


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On Thursday a marginalized group that's been attacked, bullied, harassed and intimidated over their beliefs worked up the courage to come out of the closet and stand up for their rights.
Trump supporters nationwide celebrated October 11 as "Coming Out (as Conservative) Day," with some people claiming that revealing their right wing political leanings in the current polarized climate is just as brave as coming out as homosexual.
Aa the previous graphic depicts, the Left's violence against people who support Trump was noted throughout the 2016 presidential campaign, but it recently culminated in angry hordes harassing members of Congress over Brett Kavanaugh's Supreme Court nomination.
In recent days, Antifa members have harassed and bullied motorists in Portland, screaming mobs have driven senators out of restaurants, a Trump supporter had his truck torched – not to mention last year's assassination attempt of Republican lawmakers by a deranged leftist during congressional baseball practice.
Kentucky Sen. Rand Paul – who survived the baseball field shooting, but was assaulted at his home by a deranged leftist neighbor last year – has voiced concerns that "someone is going to be killed" in the current political climate. His wife Kelley has admitted she sleeps with a loaded firearm under her pillow.
All the while, Democrats like Hillary Clinton and Eric Holder continue to fan the flames of division, green-lighting more people to carry out political violence.
In light of the constant attacks on patriots who support the president, Conservatives still in the closet are not wrong to assume they could be attacked over their political beliefs.
I'm coming out today on #NationalComingOutDay as a Conservative.
At the risk of being assaulted by Hillary, Holder, etc …. I'm coming out as a conservative Republican.
I am coming out as a hard right wing conservative. Is that ok with you?
Today I' coming out as a straight conservative christian, the only real persecuted minority in America.