Thursday, April 10, 2014

One Shot, Two Step

I was on the Critical Success podcast (episode forthcoming) with two infinitely better players and game masters (GMs,) Kat Murphy and James D'Amato and the topic was building better boss encounters. The conversation was good, I hopefully interjected well enough to keep the ball moving and just passed it off to Kat whenever I could.

But the conversation jogged my mind afterwards and there are two ideas that are crawling up the walls of my skull. The main big idea is this: A session is an experience you create for your players. In other words, it's a gift.

There are better and worse gifts, of course. Some show signs of deep care and others are gift cards or "I didn't know what to get you." Craft an session with your players specifically in mind. (And for the record, not everything a GM does is a gift. That way lies self-aggrandizement.)

Discussed, often, is "you want to create challenge for the players" and that is often interpreted as "crank up the Challenge Rating." And to be fair, there's something to that, for the people that  sincerely enjoy the math components of tabletop. I do not. I find the game less interesting now that I see the math behind it.

Skill obstacles, again, are another non-combat challenge. Also good, and it rewards people that put points into things or role-players. Role-playing eludes me.

Challenge, applied best in my opinion, is not when it's a direct numbers game, but instead when a GM successfully gets inside the heads of the players and crafts something that pulls them in strange ways.  Give them a goal and then multiple avenues to achieve it, or do not cut off an avenue to the goal that you haven't thought of. This is where One Shot (a podcast where improv comedians play tabletop, of which Critical Success is a spinoff) is most instructive: sessions are often rules-lite improvisation. Give the players what they need and riff off them.

This leads to the second idea: Borrow from videogames. If the above paragraph sounds a whole lot like a Deus Ex or a Dishonored level, well, good, that's the idea. Those spaces are poured over to facilitate vastly differently forms of play. The obvious example: Heist. Any GM worth their salt will have a series of dexterity and thievery checks as one avenue. Full frontal assault is also popular. But what about diplomacy and streetwise? Can the party (or one duly appointed member) talk their way into the room and get someone else to turn off the security system? But also: Dwarfs, not normally considered a sneaky race, can be useful here. Why? Dungeoneering.

(And etc etc. Be limited only by your player's imagination and even then, limit very loosely.)

For boss encounters, specifically borrow from Call Of Duty multiplayer. Multiplayer maps and boss encounters, fundamentally are both combat arenas. Treat your boss encounters that way.

This leans on the boss encounter portion of the podcast, but multiplayer shooter levels are designs with a couple things in mind, but three of the main things are verticality, locations that grant advantages and lanes that players are shepherded through. The terrain in a multiplayer shooter level is not neutral. Your boss area shouldn't be, either.

The Call of Duty specific portion here is the shield class. I hate Call Of Duty, because everyone there is better than me and most of them are bigoted or children. But! With the shield class, I can take more hits than an average player, be super annoying and still charge in with my players and contribute to the team's success. Apply that to boss encounters. Even if the player character (PC) can't be as useful to the party as whomever dishes out a lot of damage, create opportunities for the not-so-useful character to contribute.

If you set a fight in a quarry, then take away a barbarian's huge axe, maybe talk the PC into using her athletics skill to climb up to a bunch of rocks and kick a whole bunch down to wipe out a couple minions. Caster stymied by an anti-magic field? Perhaps reinforcements ought to arrive in a form that makes it easy for the caster to hit them. Don't nerf the player without giving them something awesome/dramatic to do instead.

The rest follows, I think.

Mostly for the drum tattoo that opens this song, but also because Save Ends is a band that has a lot of D&D nods, but isn't a D&D band. Plus, they come through town next week. I'll say hello.

Friday, January 24, 2014

Five Perhaps In Some Cases Somewhat Insufficiently Stressed Reasons We Should All Be Terribly Grateful To Miéville

When I looked around at the "best of 2013" material for comics I found one glaring omission: Dial H. Since I've never written a short list before, I figured what better way to show a deep and abiding love for a product than a hastily compiled thing that takes 30 seconds to read?

1. Traditionally conservative DC taking a risk.
In a relaunch that started out super weird, not only in terms of creator departures and editorial edicts, but also in that there was a no joke supernatural romance comic and a war comic (both concepts Vertigo would retry), Dial H was the strangest one of them all.

When my friends first heard about it, they thought "Oh, DC must hate Miéville. They gave him Dial H." Quite the opposite. He wanted Dial H. Before the relaunch, Miéville accepted a Swamp Thing gig, but that was aborted because the toys were being brought back over to the DCU and Geoff Johns needed a splash reveal in Brightest Day. There was a story in Hellblazer #250 as what I assume was a consolation. So, after the new 52, DC gave Miéville's pitch a shot.

I'm not aware of a higher profile creator relaunching a lower profile title at Marvel or DC recently. Mieville has won most if not all of the major science fiction/fantasy prose awards available to Westerners, and Dial H is best known as the butt of a joke, or as "what DC superhero team is not even D-list?"

2. Dial H was co-starred by a woman who was old and awesome.

Yes. I know. Usually old and wizened characters stand around, look stodgy and then occasionally when a big fight comes, show how they earned their beard. Dial H's lady (Roxie Hodder) did nothing of the sort. She was actively saving lives, appearing in the comic as a major character that did shit, articulated herself well, had opinions and kicked ass.

Also? Sex between two people that wasn't 30-something Bernini sculpture and 30-something Bernini sculpture.

3. Dial H stayed away from current DC continuity.

DC gave (or more likely outgoing Vertigo founder Karen Berger shielded the series from editorial edicts) Dial H enough rope to hang itself with and only checked in when literally every single new 52 comic had to have some major hero in it and even then Miéville made it work with panache.

For fans who wanted a "plays in its own corner and needs to read no other comics" treat, Dial H did that to the hilt.

4. Dial H had a story for adults.

Mainstream American superhero comics are read mostly by people over the age of 30. But hardly ever are comics written for them. There's things that don't insult our intelligence, by and large, but there are hardly ever comics that actually treat adult readers like adults.

Dial H did that. The story was confusing, presented themes like identity, paralysis and inspiration in a way that didn't explain everything at first glance and trusted you were along for the ride. It managed a neat trick of extracting a childish degree of wonder and inspiration out of readers who were supposedly jaded enough to know better.

5. Dial H #13

Dial H #13 is a jewel in the crown, though. I compared it, privately, to All-Star Superman #10, which is a high bar to clear and it probably doesn't.  What matters is that there's a bunch of tricks Miéville pulls in this issue that went largely unnoticed or uncommented on by comics criticism and this whole listicle piece is at best a flimsy veneer for drawing your attention back to it. The focus of the issue was the Dial Bunch (no really, that's what they're called) on the run, in a world with sentient graffiti. Now alone, the phrase sentient graffiti ought to be enough, but the way that these things interface with the story (and advances the plot) is genius. But that's not why I adore Dial H #13, if I'm honest. I adore Dial H #13 above any other comic released last year because of the following single panel origin of Unbled, the Demon.

The entire issue is a celebration of the inspirational possibility of superhero comics, but that single panel stuck out to me more than the constructing tricks, the earnest proclamations of heroism, and quick sketches of future possibilities we'll never see.

(The first two images are pencilled by Mateus Santolouco, the second two by Alberto Ponticelli, the fifth by David Lapham and the sixth by Alberto Ponticelli again.)

Wednesday, January 1, 2014

Try Me, Oh God, Try Me

I write this to organize my thoughts and puzzle out how I feel. Patrick Kindlon was kind enough to show me the packaging, with an email chain from Deathwish Inc. founder and designer Jake Bannon at an October DRUG CHURCH show. This isn't a review.

There is a major conceit to Try Me. The conceit is this: Try Me revolves around the early life of Angelique Bernstein, or as she now calls herself, Jeanna Fine. 

It is told primarily through two interviews which focus on her life before she came into the porn industry. These interviews speak frankly about the multiple times she was raped, the oppression she faced after having sex with women and her life choices. The interviews are not, in my opinion, salacious.

Put crudely, her life's been rough and hearing her speak about it is compelling and depressing. Try Me is easily the most brutal thing Deathwish has put out this year, last year, next year or perhaps in any year the label will release music.

To anticipate the snark:

-Yes, I'm aware that the devastating nature regarding frank discussion of rape (a sadly common experience) speaks volumes about the castles in my mind about the place of aggressive music in this world.

I step around those interviews in my repeated listening, like landmines. You ought to hear Try Me once, straight through. It will not be a pleasurable experience, but you will talk about it. For better or for worse, my thoughts of Try Me are in the shadow of those interviews.

- - - - - - - - -

I should talk about the music.

 Try Me is 11 tracks, of which two are interviews and nine are songs.

Of the nine songs, three are over five minutes. Of those three, one is "Dingo Fence", a 10 minute song where a double-vocaled Patrick mostly yells "All the dumb cops, they get what they want." "Apport Birds" is six minutes and feels like 20.

The nine songs on Try Me are fairly divergent in terms of length. Three push past five minutes, two hit four and the balance are three or less.

 SELF DEFENSE FAMILY indulges their shoegaze and drone influences on all of these songs, to greater and lesser effect throughout. "Turn the Fan On" is technically four minutes, but the song part ends at about 3:15, with the rest being a guitar riff repeated and the sound of a dripping sink. It's effective, and while the game of spot the influence becomes tedious (and reveals how narrow my comparisons are), I remember BLACKLISTED employed a similar trick on No One Deserves To Be Here More Than Me. This is not to say BLACKLISTED invented it…

"Mistress Appears At Funeral" sung by Caroline Corrigan is an unexpected highlight. Her voice, as the lead, is a surprise and the cooing harmonies help everything glide along. It's about the discomfort of a mistress at a funeral and being unsure what to do with the emotions and the prying eyes and judgments of the other mourners.

I understand how to process the shorter songs, so I therefore believe I like them more. I prefer "Weird Fingering" to "Aletta," but I know better than to think SELF DEFENSE will play "Weird Fingering" live. 

There is also the sound of a cell phone notification going off somewhere on the record that takes me out of the experience.

I cannot listen to Try Me like a traditional Deathwish record. It is ugly. It is uncomfortable. It is worth a $6 digital download, I believe. It is worth something more than money: your undivided attention.

- - - - - - - - -

I ought to talk about the packaging.

It includes photos of Angelique Bernstein or Jeanna Fine at different stages in her life, one as a fifteen year old girl, others as the woman she is today. Both show nipples. 

After hearing the interview, I understand why they are there.

I am made uncomfortable by the inclusion of the photo of the fifteen year old Angelique Bernstein or Jeanna Fine with her visible nipples. I'm aware discomfort and an absolutely bare projection of personhood is the point of Try Me. I wince and cringe at it. I avoid looking at Try Me's packaging for that reason.

As for the ethics of the use of the interview, I have no idea. Angelique Bernstein or Jeanna Fine is credited as a SDF member, the interviews are not catty, and what's said is direct. Her voice appears to be authentic. Given how centrally she figures to the art, is she entitled to whatever meager royalties Try Me will generate?

- - - - - - - - - - - - -

Try Me is a good record, where good means effective. I can think of nothing like it in what I listen to. Deathwish Inc. owners Jake Bannon and Tre McCarthy are right, I won't listen to the interview more than once. But Patrick and guitarist/producer/engineer Andrew Duggan are also right, I won't listen to that interview more than once because I am scared of the interview's power.

In short: Try Me is the first Deathwish record to inspire genuine fear and actual panic.

Try the song, "Turn the Fan On." It can work as a single. It's very, very bleak, but it gives you very much the tenor of the record.

Wednesday, November 6, 2013

Dearly Missed Partycrasher

Partycrasher should be called Dearly Missed Houseguest. I understand why Partycrasher isn't titled that way, but at least in my home it is welcome like a friend I haven't seen in six years. Some perspective is useful: Their previous full length Career Suicide had an anti-Romney song ("Pardon Me, Thanks A Lot") whilst he was still best known as a Massachusetts politician. That's how long it's been.

Any outlet worth their salt is going to talk about how Partycrasher is two things: It is fast and it is
technical, and given how thoroughly saturated Career Suicide was with those two things, Partycrasher is worth marveling over. Those outlets are right.  What they're unlikely to mention, however, is melody. Syrupy melody, everywhere. At some points, Partycrasher feels like a DESCENDENTS record played by IRON MAIDEN. "I'll wait till the end of the world / to get the last laugh on you," Nuno sings and his voice almost makes me desire the apocalypse.

It's also a stunning record, quietly.  "Iceman Left A Trail" has some pitch-perfect BAD RELIGION oozing ahhhhhs beneath and behind the fretboard wizardry at the front and the back of the song. If you've seen A WILHELM SCREAM, you don't have to work hard to imagine this song being performed with Trevor Reilly and Mike Supina grinning at each other like madmen, trading off the racing, intricate guitar leads. "Devil Don't Know" drops an acapella chorus that I swear is stolen out of Motown.

This is A WILHELM SCREAM's first not-Blasting Room recorded full length, though it's Blasting Room mixed, and if the band didn't make a point to mention it, I doubt the listener would notice. Errr, well, Nick Angelini's drums are less prominent in the mix. Blasting Room does drums in a specific way.

As of this writing, there's six absolute stunners and five other songs that don't click yet. I'm not worried. I felt that way about Career Suicide when I first heard it, too.

Reilly once said something like the band wouldn't release another record if it wasn't better than what came before it. And if you've spent any time alive at all, that sounds like complete horseshit. Bands release records all the time that pale in comparison to their prior material for any number of reasons (no inspiration, no time, new members, lazy writing, lazy living, contractual obligation, listener expectations, listener error) and lie because, well, they've got another record to sell.

Trouble is, each successive A WILHELM SCREAM record actually is better than the last.

Mute Print sounds positively amateur now, Ruiner followed it up with a pitiless focus, while ratcheting up the degree of difficulty, a year to breathe and then Career Suicide appeared, doing everything better, in less time, with two very epic songs (five odd minutes) to wreck the curve. The stopgap self-titled EP in 2009 showed even more dexterous solos than Career Suicide, where bassist Brian Robinson had the standout solo on the record.

Partycrasher has more technically challenging parts better integrated with the songs they're a part of. There's nothing over four minutes, but the songs lose none of their wow factor. There is joyful virtuosity in these songs, evident in the couple seconds of teasing on "Boat Builders," "Devil Don't Know" and "Born A Wise Man."

Speaking of closer "Born A Wise Man," it is everything I could want from an A WILHELM SCREAM song. It is fast, it is precise and it it speaks about what I assume is the band's origin. It treads similar themes to Career Suicide's closer "We Built This City! (On Debts And Booze)"

1)A WILHELM SCREAM isn't in this for the money, because there isn't any.
2) There's a lot of hard work involved that will go on for a very long time.
3) In a touring circuit of liars, frauds and disingenuous "heroes" out for a buck, A WILHLEM SCREAM is sincere. We know this because they tell us.

It's y'know, boilerplate, but the specifics shine.

I've only listened to Partycrasher straight for six days. My gut is I'll be less enthusiastic in a couple months. But then again, I'm so enthusiastic now I felt compelled to write. I know I'll be listening to Partycrasher for years to come, if that softens the blow.

I feel strange recommending a record that half of which is either there or hasn't clicked for me yet. I doubt I could do this with other bands, but I'm talking about A WILHELM SCREAM. They're good for it.

I paid No Idea $7 for a download on Halloween. If I had known the download didn't come with lyrics, I would have hesitated, but hopefully No Idea will rectify that.

In short: Partycrasher is faster and more squiggly and more catchy than you'd expect, from a band known for all of these things. It's a marvel, but it's A WILHELM SCREAM. They've made marvels their job.

Ladies, gentlemen, "Born A Wise Man." The whole song is great, but that thrashy outro is a challenge to us all. "The bar is now here," it says. "Who's up?"

Saturday, October 12, 2013

Parts Of Summer, Waiting For Winter

It's great being wrong.

I remember being worried in my review of Castor, the Twin that Dessa's aim was to align herself with a field where she wasn't so interesting or striking, and by and large with Parts of Speech, she has done that. Sure, there's more straight-forward rap bangers like "Fighting Fish" or "Warsaw", but Parts of Speech is defined by Dessa actually full on singing.

And so, I expected the approach largely to fail to my ears. The trouble for me is, Dessa succeeds and at some points, gloriously.

Where I must eat a full plate of crow and maybe two or three is "It's Only Me." It's precisely the song I was afraid of. It's 3:48, with one verse, two choruses and a hyper-long bridge. Most of the song is soft cooing and light instrumentation, courtesy of Dessa's backing band. It's the thing I was most scared of and after living with the disc for three odd weeks, it's my favorite song on Parts Of Speech.

(Don't tell anyone. I have a reputation to maintain. If they ask, it's "Warsaw." Blade Runner club jam, bro. But you and me? "It's Only Me.")

It could not exist without Dessa's backing band, the same jazz guys on Castor, The Twin, who deliver on "It's Only Me" a restrained and soft background over which Dessa sings.

"I've been having that dream / it seems I always will / I don't know what the thing means / except it sends me to the telephone."

Parts of Speech is well-realized melancholy, the first record of new material written with and for a group of jazz guys to perform behind her. That should be clear on its face, but this writer has a keen grasp of the obvious. I was cautious during Castor, I think, because the record was written around Doomtree's compositions. Speaking of which, Paper Tiger does a great job on the one-two punch of singles "Call Of Your Ghost" and "Warsaw." Parts Of Speech does not suffer anything in interpretation.

As for the rest of Parts Of Speech, it's a regrets record. I listened to it in a darkened Las Vegas hotel room, complete with a two foot long stain in the carpet and my cell phone off. I drank a lot of tequila for a week and lied about why I was in town. Parts Of Speech suited that mood like a pair of opera gloves.

It's not all sad slow jams, but those stick out to me. "Skeleton Key" is upbeat and good in the sense of the song is solidly constructed, but I doubt it will be anyone's favorite. By the time you get past "Skeleton Key," you understand what you're in for. "Dear Marie" follows that one and it's a letter to a Marie, with the subtext I'm guessing, of Dessa kissing Marie's boyfriend. It is followed by a cover of Bruce Springsteen's "I'm Going Down."

You did read that correctly. It is effective. The song feels morose and aches.

There's less powerful tracks, of course. "Annabelle" or "The Lamb" come to mind. I skip them. They're important stories, but unsuccessful songs, to my ears. "The Lamb" lyrically bears a very strong resemblance to the story of "The Chaccone."

The Chaconne:
"first a darling
then a marvel
when we met
I was still a young girl"

The Lamb:
"If they ask me, I'll deny it
But I remember what you did
While it's true you were a young man, then
I was just a kid"

"Call Off Your Ghost" is probably about the same person as" Go Home." "Icing Burns," a non-album track included with my bandcamp download, I'd bet money is about the same person as "Alibi."

Parts Of Speech got released in the spring/summer of 2013. It doesn't at all feel like a summer record. It feels appropriate for frigid weather. It feels like it ought to be there in your ears with winter's chill around your neck. Maybe I'm feeling too much of the Minneapolis in the record. Parts of Speech feels cold and distant, like a faraway wave goodbye.

In the Phonogram parlance, "It's Only Me" is a curse song. Listen to staring at a text message or a picture and it'll work its melancholic charms.

Tuesday, September 24, 2013

Humans! Make! Games!

Two quick disclaimers.
One: When I say assholes, I do not mean racist/sexist/otherwise dead-end beliefs and the people that espouse them. I mean people with opinions that deviate from the "Bacon is a vegetable" folks of nerdom.
Two: The article I'm responding to here is a couple months old now.

My favorite games aren't my games. "My games" are the products of the vision of a specific studio. I play Blizzard games. I play Supergiant games. I play Runic games and so on ad infinitum. But I can't claim them as mine, except in the sense that I own a license.

Ben Kuchera's article, over at the Penny-Arcade Report (these days invaluable) largely avoids this point, when talking about assholes making your games, using Fish and Teasdale as examples. Fish, for saying hyperbolically what serious games commentators have being saying for years (Japan's games for this console cycle by and large have been disappointing or worse) and Teasdale for the mortal sin of being sick of space marines and off-brand Tolkien as settings for videogames.

The article uses a weak defense of personhood to throw a veil over Phil Fish or Mr. Teasdale. "Hey, guys, Phil Fish might piss you off on Twitter, but, hey, isn't Fez great" is the takeaway. That's weak and Kuchera ought to know better. A more vigorous defense might be: This person has an opinion contrary to your own. He is entitled to it. And, given that he's a game developer and a gamer himself, perhaps their criticisms are warranted.

And even that's weaker than the point that reminds us these people are individuals: They're allowed to be wrong and speak before his thoughts are fully formed.

Teasdale is an asshole for speaking his mind about sci-fi/fantasy games, apparently. He's probably just letting off steam. But more than that? He's right. Sci-fi and fantasy are well-trod settings for videogames, some incredible, most passable.

It's not a debatable premise that a setting involving American men with assault weapons in shiny space armor is tired. That's a fact of life in 2013. Same for the post-apocalyptic genre or off-brand Tolkein. Teasdale saying that he's not interested in those settings or trappings personally shows that he's a creative, discriminating human who has made those games for 15 years of his life already. And Kuchera ought to know better than to call that unreasonable.

For an example outside gaming: Go to any big comic convention and count how many male "zombification" artists or scantily clad women in zombie makeup you can see before you start taking sanity damage or lose interest in zombies as a storytelling device.

And yes, "Good artists borrow, great artists steal" is a thing Picasso said, but in the canon of videogames there's terribly few artists, or, I suppose, studios with a chosen aesthetic and the a) vision and b) talent to properly exploit it.

But beyond these comments speak to something else in life: Many people who consume art/entertainment/whatever are dismayed to learn that discrete persons with opinions create "their" media. Take any well-known creative on Twitter and they will tell you they get people telling them "why do you keep posting politics on my twitter or I unfollowed you because you had an opinion I dislike."

(We pass over the cardinal sin on Twitter, being a woman with an opinion. Whatever you do, don't do that.)

Saying: "Well, you followed me and if you don't like what I say or think the unfollow button is right there" gets you branded as an asshole. Put a different way: Asserting your right to discrete personhood in the space which you designate as yours for mental overflow is being an asshole.

You can see how that's worrisome.

And so the problem isn't with "asshole" devs, or people with opinions, but gamers ourselves. Though, I could also substitute people.

Gamers are by and large, scared of people's different, opposing opinions. I suspect it's a matter of how young the market for console shooters skews is, but it feeds into a larger human feeling that we don't know we want something new until an artist has already put in the time to envision, create and distribute it, we'd largely prefer a more precise, better variation on an idea that's come before.

Case in point: Grand Theft Auto 3.

To sum up: I hope we get more assholes making games, the same way I hope gamers can feel less defensive about a person trying to manifest their creative vision. We've got a long way to go.

It's a blog about ideas, so have a song called I've Got An Idea... by End Of A Year/Self Defense Family. Enjoy.

Saturday, July 20, 2013

Punk Rock For Young Avengers Fandom

Hello, Young Avengers fandom.

Perhaps you are interested in punk rock. Maybe you read that excellent Freaky Trigger piece about punk rock and Young Avengers and thought, "huh." Maybe you've heard a little before but Kieron Gillen and Jamie McKelvie are getting you more interested. In that case, let me introduce you.


I'll dispense with the backstory: Nubile white men with guitars a good half century ago figured out you didn't need talent to play music, you just needed anger and momentum.

Punk rock's major contribution to music's history (aside from a reminder to get out before you start to suck) is the idea that an aspiring artist does not require someone else's imprimatur to make music. If someone isn't making the music you want to hear, you are now deputized to make it yourself.

Seriously. If you've got a song in your heart: Write it. Now. This very minute. Stop reading. Go. Do it. Now. Do it.

There's connective tissue between punk rock and comics, if you know where to look. Most obviously, Patrick Kindlon and Matthew Rosenberg, to name two, have released some of my favorite music ever. Mike Cavallaro, known to the Eastern Seaboard as Johnny X from Sticks And Stones, Becky Cloonan, Rick Remender, Jen Van Meter and ad infinitum. Gillen and McKelvie's history with music and a member of punk's extended family, Britpop, is suggested by the above image. It's called Phonogram, there's two volumes and Volume Two, The Singles Club, forced me to confront my fear of dancing. It presented better arguments for dancing than my reasons not to dance.

This is not a history, but a survey. Five songs, cast widely to get a taste in your mouth. If you like it, come back next week. If not, you're only out the time you took to listen to five songs. These aren't my five favorite punk rock songs in the world, but these are five songs which all suggest many of the cardinal directions punk rock moves in. You may hopefully find something you like.

The songs hopefully suggest the focus, the lens, the catalyst and the fuel. There's a Romanticism to punk that I find still useful as I age. There's other parts to punk, the branded nihilism, the clear-eyed hopelessness, but those are doors to go through later on. I still need to get you through this one first.

Like all surveys, it's necessarily incomplete. Emo is a longer story than I have time for and oh God I'm rambling. Five songs. Play loud.

Until I figure out how to embed playlists into Blogger, just go here.
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