📚 A Feast for Crows (George R. R. Martin)

A Feast for Crows is the fourth of seven planned novels in the epic fantasy series A Song of Ice and Fire by American author George R. R. Martin. The novel was first published in the United Kingdom on October 17, 2005,[1] with a United States edition following on November 8, 2005.[2]

A Feast for Crows – Wikipedia by A Feast for Crows – Wikipedia

With each move, another three seem to unravel. Cersei increasingly paranoid and deluded. Jaime conflicted and constricted without his hand. Arya learns what it means to be faceless. Sam the slayer goes in search for answers. Sansa, I mean Alayne, learning about the Game of Thrones on the job.

Marginalia

I prefer my history dead. Dead history is writ in ink, the living sort in blood.

Every man should lose a battle in his youth, so he does not lose a war when he is old.

Men have scars, women mysteries.

Death is not the worst thing. It is His gift to us, and end to want and pain. On the day that we are born the Many-Faced God sends each of us a dark angel to walk through life beside us. When our sins and our sufferings grow to great to be borne, the angel takes us.

🤔 EduGems

Welcome to EduGems! This is a growing collection of pre-made prompts (“Gems”) for educators to use with Google Gemini.

EduGems by EduGems

Comment on 📆 Adam Fraser on the Challenges of Change by REVIEW: Surrounded by Idiots (Thomas Erikson) - Read Write Respond

[…] are not that way inclined? Or should we accept such perceived incompetence? Here I am reminded of Adam Fraser’s discussion of misalignment between behaviour and values. I guess one approach maybe to treat the various labels as a hypothesis about behaviour, not a […]

📚 Surrounded by Idiots (Thomas Erikson)

Surrounded by Idiots (Swedish: Omgiven av idioter)[1] is a 2014 self-help book by Swedish author Thomas Erikson.[2][3] It became an international bestseller, being translated into 55 languages and selling 1.5 million copies worldwide.[4][5]

The book categorizes people into four personality types using the DISC assessment and is meant to help readers understand and adapt to different behavioral styles in personal and professional interactions.[6][7]

Surrounded by Idiots – Wikipedia by Surrounded by Idiots – Wikipedia

Thomas Erikson’s Surrounded by Idiots explores the use of DISC Assessment to help appreciate our differences. I wrote a longer response here.

Marginalia

Consciously or subconsciously, surrounding factors cause me to choose a particular course of action.
And this is how we act. Look at this formula:

BEHAVIOR = f (P × Sf)

Behavior is a function of Personality and Surrounding factors.

Behavior is that which we can observe.

Personality is what we try to figure out.

Surrounding factors are things that we have an influence on.
Conclusion: We continually affect one another in some form or other. The trick is to try to figure out what’s there, under the surface. And this book is all about behavior.

“Introverted” doesn’t mean silent; it means active in the inner world. But the effect of this is often quiet.

Child psychologists have argued that the things we find most shocking in the behavior of our children are the things we recognize in ourselves—but wish we didn’t do. So who decides what kind of behavior is right and wrong?

What Yellows share is often completely unprocessed material that just tumbles out of the big opening on their faces. Sure, it might be well thought out, but it’s usually not. What’s most deceptive is that, almost without exception, it sounds very good. Yellows know a thing or two about presenting an idea so that it always sounds fantastic. If you’re unfamiliar with this particular person, you may very well take everything he says as true—a serious mistake.

You can be certain that while you are standing at the coffee machine and maybe even while visiting the restroom the truth will come out. When Greens need to relieve the pressure of not speaking out, they talk behind your back. In small groups of two or three people, they will gladly vent their displeasure. And they’re good at it. As long as they think they can escape your gaze, they’ll backbite you in ways you would never expect from a Green.

No matter who you are—Red, Yellow, Green, or Blue, or a combination of multiple colors—you will always be in the minority. Most of the people you encounter will be different from you. No matter how well balanced you are, you can’t be all the types at the same time. So you have to adapt to the people you meet. Good communication is often a matter of adapting to others.

Yellows talk more than they work. They have a penchant for talking about everything they need to do rather than actually doing anything. Everyone who knows a genuine Yellow knows exactly what I’m talking about.

This book has been about explaining exactly why the groups in this example worked the way they did and giving you the tools to avoid similar problems in your own life. I hope that you found pleasure in reading it and joining in this exciting exploration of how people function, what makes them similar, and what makes them different. Because we are all different. If you keep your eyes open, you’ll find out exactly how different.
The rest is up to you.

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Surrounded by Idiots: The Four Types of Human Behaviour and How to Effectively Communicate with Each in Business (and in Life) by Thomas Erikson presents…

🎵 Batman (Prince)

The Batman soundtrack for Tim Burton’s film was released on June 20, 1989. It sat in contrast to Danny Elfman’s score. Prince provided the songs that played within the world of the film. The two prodominantly worked in isolation, even though the producers had originally hoped that the two would work together.

The soundtrack was a hit on the Billboard 200, spending six consecutive weeks at 1. Other albums charting on the Billboard 200 in 1989 included:

• Fine Young Cannibals – The Raw & the Cooked
• Millie Vanilli – Girl You Know It’s True
• Madonna – Like a Prayer
• Janet Jackson – Rhythm Nation 1814

The bulk of the album was recorded between mid-February and late March 1989 at Paisley Park. The Batman era saw Prince exploring sampling and digital sequencing. While Prince produced, arranged, and performed almost everything himself, he did have a few key collaborators, such as Sheena Easton who duetted on “The Arms of Orion”.

The album was recorded quickly following the Lovesexy tour and it has a dark, stripped back sound. After several albums featuring full band performances, Batman was recorded almost entirely by Prince, with Eric Leeds and Atlanta Bliss being the only other instrumentalists. It is the first album to feature extensive sampling, with Prince using the Publison IM-90 Infernal Machine for sampling everything from guitars and keyboards to film dialogue.

Source: 1989 Batman by Guitarcloud

In addition to recording much of the album himself, Prince created a persona to help with the process. His Gemini persona represented the idea that every person has a “Batman” (order/justice/suppression) and a “Joker” (chaos/desire/liberation) inside them.

While Camille saw Prince firmly embrace an ongoing dalliance with his feminine side, Gemini allowed his hairy-chested masculine self out to play. One of the strongest drawcards for Prince taking on the Batman project was how much he identified with the dark/light struggle within AND between the lead characters. He would never have been satisfied with simply recording a soundtrack to a film in which he did not have a part, and so Prince created roles for himself.

Source: My Name Is…?: When Prince Was Not Prince by lEIGh5

The Future

Musically, the track is an example of late-80s “industrial funk,” (Janet Jackson’s “Rhythm Nation” is another example) built on a foundation of sampled choir hits and a relentless, programmed, rigid beat. The “sonic scaffolding” includes eerie, atmospheric synths and an undulating bass-line that creates a sense of urban dread. The arrangement is dense but clinical, moving away from the organic swing of his earlier work, such as “Raspberry Beret”, toward a more programmed, futuristic aesthetic that mirrors Tim Burton’s image of a decaying Gotham.

Lyrically, Prince adopts the persona of Batman, offering a prophecy of a world consumed by greed. He argues that political or physical strength isn’t enough to save the city; instead, the oppressed must find a “spirituality that will last.” By framing the struggle as a spiritual war rather than just a crime-fighting mission, Prince aligns the character of Bruce Wayne with his own career-long obsession with the struggle between the flesh and the spirit. Nobody puts Prince in the corner?

Electric Chair

Musically, the song is driven by a heavy, distorted, industrial stomp that feels far more aggressive than his standard funk. The keyboard line The jagged, staccato, “Superstition”-esque synth riff that works in counterpoint to the overdriven guitar. This is a constant through Prince’s work, with tracks such as “Darling Nikki”, Prince used the Zoom 9002 multi-effects processor to achieve the thin, “buzzy” guitar tone, which creates a sharp, digital edge. The heavy use of the Boss OC-2 Octave pedal on the bass and guitar riffs provides the “weight” that defines its threatening, high-voltage sound. These effects were connected direct-to-board. The song was made more synonymous by Prince’s 1989 SNL performance, which transitioned from machine-driven studio track to the thunderous live drumming of Michael Bland demonstrating the song’s rock potential.

Lyrically, the song is performed from the Joker’s perspective, portraying a mind so chaotic that “future crimes” are already being committed in thought. The metaphor of the electric chair serves as a dual-purpose image: it represents the literal punishment for a criminal and the “jolts” of lust Prince frequently wrote about.

The Arms of Orion

Musically, this is a lush, mid-tempo power ballad that leans heavily on the “pop” side of the soundtrack. While the LinnDrum provides a steady, understated pulse, the heavy lifting is done by Clare Fischer’s orchestral arrangement and synthesisers programmed to emulate high-end strings. The use of rain and thunder samples provides a literal “atmospheric” bridge to the film’s rainy Gotham setting. The piano-led melody is classic Prince balladry, utilising wide-open chords to create a sense of vast, celestial space.

Lyrically, the song was a collaboration with Sheena Easton, who penned the lyrics about the Orion constellation acting as a silent guardian for distant lovers. Assigned to Bruce Wayne and Vicki Vale, it highlights their inability to be together in the “light.” The arms of the constellation serve as a metaphor for an embrace that can only happen at night, echoing Bruce’s dual existence as a creature of the dark who can only find “safety” under the stars.

Partyman

Musically, this is the most “Oingo Boingo-esque” track on the album, featuring a frantic, horn-heavy arrangement and a “bouncing” bass groove. The track is famous for the “Joker” laugh samples and the sped-up, “Camille”-style vocal flourishes that add to the manic, unpredictable energy. It is a dense “audio collage” that fits the museum-vandalism scene in the film perfectly.

Lyrically, the song is an anthem for The Joker. It celebrates chaos and the subversion of order, with the Joker declaring himself the “Partyman” who has come to turn Gotham upside down.

Vicki Waiting

Musically, this mid-tempo track features a restless, wandering bassline that provides a “busy” counterpoint to the steady drum beat. The “bending” keyboard lines are likely produced by a Fairlight CMI or a Yamaha DX7 using a pitch-bend wheel or a “glide” (portamento) setting to mimic the sliding notes of a cello or violin. The “jam” at the end, featuring live drums and jazzy flourishes, is a hallmark of Prince’s tendency to let the tape roll to capture a spontaneous groove.

Lyrically, the song is a direct address to Vicki Vale. While it originated as “Anna Waiting” (for his then-girlfriend Anna Fantastic), the rewrite successfully captures the tension of a woman waiting for a man (Bruce Wayne) who is perpetually distracted by the “chaos” of his secret life. The lyrics bridge the gap between a standard love song and a film tie-in, using the Joker’s presence in Gotham as a metaphor for the external forces that keep lovers apart.

Trust

Musically, this is high-energy “techno-funk.” The repetitive, building structure uses the Fairlight CMI to trigger the orchestral stabs and the “vocal chops” that punctuate the rhythm. The “Mel & Kim” style vocal effect is a result of digital sampling and sequencing, where a snippet of a vocal is looped or triggered rapidly to create a rhythmic “stutter.” The inclusion of live horns gives the track a “big band” feel that contrasts with the cold, digital drums.

Lyrically, the song is credited to The Joker, famously used during the parade scene where he throws money to the citizens of Gotham. The central question—“Who do you trust?”—is a cynical taunt. While it fits the film, it could also be seen to reflect Prince’s feelings toward his former band The Revolution and his management, as he was navigating a period of intense professional reorganisation and was emphasising “trust” as his most valued currency.

Lemon Crush

Musically, this track serves as a precursor to the 90s “New Jack Swing” and boy-band pop. The Roland R-8 drum machine provides the crisp, “clicky” percussion, while the vocal chops create a rhythmic texture that serves as a second drum kit. Prince uses distorted guitar licks to “stab” through the polished production, ensuring the song retains a rock edge despite its slick, pop-oriented foundation. The density of the vocal layering is a classic Prince technique, used here to simulate the “rush” mentioned in the title.

Lyrically, the song is presented from Vicki Vale’s perspective (or rather, Prince’s interpretation of her “crush” on Bruce). The “Lemon Crush” is a metaphor for a refreshing but sharp romantic sensation. Unlike the darker themes of the album, this song focuses on the sensory experience of attraction, using bright imagery to contrast with the “black and gray” palette of the rest of the soundtrack.

Scandalous

Musically, this bedroom ballad turns the lights down low. It moves at a glacial pace, allowing the synth-string arrangements (again by Clare Fischer) to swell and breathe. The drum groove is minimal, leaving space for Prince’s multi-octave vocal performance. The song is an edit of the nearly 20-minute Scandalous Sex Suite, which used the Fairlight CMI to incorporate “environmental” samples (like Kim Basinger’s breathing and dialogue) to heighten the intimacy.

Lyrically, the song is an unabashed exploration of desire. In the context of the film, it serves as the “Love Theme” for Bruce and Vicki, playing during the closing credits to resolve the tension built up throughout the movie. It is “scandalous” not just because of the eroticism, but because it represents Bruce Wayne allowing his “human” side to emerge from behind the mask, even if only for a fleeting moment.

Batdance

Musically, “Batdance” is a revolutionary audio collage. It is not a traditional song but a 6-minute suite divided into movements (“The Bat,” “The Joker,” and “Rave”). Prince utilized the MPC60 to trigger dialogue samples from the film as rhythmic elements—treating Michael Keaton’s “I’m Batman” and Jack Nicholson’s “Gentlemen, let’s broaden our minds” as instruments. The track features a heavy industrial beat, chaotic guitar solos, and a mechanical “funk” that defined the cutting edge of 1989 production.

Lyrically, the “song” doesn’t have a traditional narrative. Instead, it serves as a meta-commentary on the film. By sampling the hero, the villain, and the love interest, Prince acts as a musical director, “remixing” the movie’s plot into a dance track. It is the ultimate expression of his “Gemini” persona—the artist who can inhabit both the light and the dark, the hero and the villain, all within a single rhythmic structure.

The Batman soundtrack represents a fascinating pivot where Prince’s ‘Gemini’ persona acts as a mediator between his internal dualities and the external archetypes of Gotham. Much like David Lynch’s recontextualization of Roy Orbison, Prince infects these characters with his own spiritual and carnal struggles. Using Winnicott’s framework, we see Gemini not as a mask, but as a ‘Potential Space’.

In our adult lives, potential space is the secret ingredient in enduring relationships. It lives in private jokes, silly games, inside references, mutual daydreams. Friends and partners create shared playgrounds, places where honesty and invention can flourish, and where new things can be dared. Even the grown-up worlds of art, science, and philosophy feed on this same in-between—anything that asks “what if?” and welcomes what hasn’t yet been worked out.

Source: The Magic of Potential Space: Why Grown-Ups Still Need Play by Stephen Salter

Ultimately, the album proves that for an artist of Prince’s complexity, the ‘Real’ is never found in a single identity, but in the friction between the personas he creates.

Comment on 2025 by 📒 February 2026 – Read Write Collect

[…] I also finished my reflection on 2025. […]

Comment on 📺 Bowie: The Final Act by 📒 February 2026 – Read Write Collect

[…] to Parade, Sign o’ the Times and Lovesexy. I also listened to a bit of David Bowie after watching Bowie: The Final Act and reading David Bowie – A Life by Dylan […]

Comment on 🎵 Do it Rightly (Twinkle Digitz) by 📒 February 2026 – Read Write Collect

[…] only acquisition with regards to music was Twinkle Digitz’ new single “Do It Rightly”. This included attending the single release at the Merri Creek Tavern, supported by Izzy Voxx and […]

Comment on 💬 John Johnston, Feeds and Anubis by 📒 February 2026 – Read Write Collect

[…] been battling with website and why Anubis was blocking RSS and […]

📒 February 2026

It is a crazy time of year when everyone comes back and start raising issues. Sadly, it feels like there are a lot of people questioning who does what, with some teams seemingly working in isolation and then wondering what the issue is. I am left wondering if this is this about process? Or being more human? Or is it about the spectre of AI?

We have so many tools for self-help, we are so impoverished for tools for group help – Priya Parker

Source: The Ezra Klein Show – Is Your Social Life Missing Something? This Is For You.

On the home front, it feels like it has been a busy month. We have started the second part of our renovations. This time we were better prepared for the mess and chaos, so it has been good … so far.

Extra-curricular activities started up again. New tennis group and dance class for our youngest provide the opportunity to start again.

We visited my grandfather in his new retirement village. It was strange. In part it was ‘perfect’ in the same way that an IKEA store is perfect. Just not sure how practical it is? Also managed to find time to get and about in Williamstown and Mt Dandenong.

I have started jogging again after dropping off over the summer. Opps. Managed to clock up 60km. Feels good to be back. I have also been walking more with the opening of the new Metro Tunnel.

Technologically, been battling with website and why Anubis was blocking RSS and comments.

We look up at the same stars and see different things.

Source: A Storm of Swords by George R. R. Martin

Here is a list of books that I read this month:

• Departures by Julian Barnes: Part memoir, part essay, part novella, Departures is Barnes’ final novel which explores life, memory and identity.
• Surrounded by Idiots by Thomas Erikson: A breakdown of the four key personality types—Red, Yellow, Green, and Blue—offering a practical guide on how to communicate with people who think differently than you do.
• Bowie: A Life by Dylan Jones: An oral history of David Bowie, which creates a tapestry of perspectives and contradictions constructed from hundreds of interviews.
• A Storm of Swords by George R.R. Martin: The third volume of A Song of Ice and Fire, where the War of the Five Kings reaches a brutal turning point and the threat from the North grows more dire.
• Belonging by Peter Read: A look at the relationship between non-Indigenous Australians and the land, exploring how a sense of “home” is constructed and what it means to belong in Australia in a post-colonial context.

The only acquisition with regards to music was Twinkle Digitz’ new single “Do It Rightly”. This included attending the single release at the Merri Creek Tavern, supported by Izzy Voxx and Rhizome and the Flavonoids.

I continued my deep dive into Prince, listening to Parade, Sign o’ the Times and Lovesexy. I also listened to a bit of David Bowie after watching Bowie: The Final Act and reading David Bowie – A Life by Dylan Jones.

With regards to my writing, I wrote the following:

• REVIEW: Revolution – Prince, The Band, The Era (James Campion)
• REVIEW: Belonging (Peter Read)
• REVIEW: David Bowie – A Life (Dylan Jones)
• REVIEW: Departure(s) (Julian Barnes)

I also finished my reflection on 2025.

Podcasts that stood out this month:

• Team Human with Douglas Rushkoff: My Dinner With Jeffrey: What the Epstein Files Reveal About Us All (mp3)
• The Ezra Klein Show: How Quickly Will A.I. Agents Rip Through the Economy? (mp3)
• Podcast – Cory Doctorow’s craphound.com: All laws are local (mp3)
• The Ezra Klein Show: Is Your Social Life Missing Something? This Is For You. (mp3)
• hanging out with audiophiles: HOWA EP 148 – CHARL OF TELEPATHIC INSTRUMENTS (mp3)
• Mapping the Zone: A Thomas Pynchon discussion podcast: Infinite Jest: Wherein We Begin By Beginning (mp3)
• Fresh Air: Novelist Julian Barnes Faces Mortality Without Fear (mp3)
• The Gray Area with Sean Illing: The problem with gamifying life (mp3)
• Tape Notes: TN:174 Danny L Harle (mp3)
• Late Night Live – Separate stories podcast: Bob Carr on suddenly losing his wife Helena (mp3)

🎧 Paul Dempsey’s Rock Playlist (ABC Nightlife)

I stumbled upon this interview with Paul Dempsey driving home from Twinkle Digitz. It was interesting to hear Dempsey talk about his upbringing and the music that has inspired him. Also, another musician benefited by older sisters.

Interestingly, the Shotgun Karaoke tracks are supposedly one-takes. I swear listening that they have layers in the instrumentation? If not, Dempsey surely had the tracks down-pat before clicking record.

👍 Visual Thinkery for We Are Open Co-op

Creative Commons licensed illustrations created by Visual Thinkery for We Are Open Co-op.

📅 Twinkle Digitz Single Launch w/ Rhizome & T.F. + Izzy Voxx (Merri Creek Tavern)

I had never been to The Merri Creek Tavern. I felt warned by a comment Dave Graney made in an interview with Will Hindmarsh on RRR—that synths and drum machines were not the usual du jour. I was not wrong.

Izzy Voxx

Izzy Voxx opened the night. While the recorded music is a combination of synths, bass, and drums, the stage setup consisted of a backing track, vocals, and guitar. She was supported on guitar by Jarra Grigg (of The Dharma Chain?), who utilized a pedalboard of delays, reverb, and even an EBow. The washed-out guitar added an ethereal feel often missing from the recorded tracks—a layer that reminded me of Davey Lane’s performance on FOSAGAWI. Musically, the sound sat somewhere between Montgomery and Washed Out.

Rhizome and the Flavonoids

Having followed the discussion between Dave Graney and Wes Smith, I knew there were multiple members and wondered how they would all fit. Miraculously, they squeezed a bassist, backing singer, guitarist, and keyboardist onto the stage.

The sonic palette was defined by the contrast between an Arp Odyssey, a Korg MS-20, and a drum machine (though I couldn’t quite spot where the machine was hidden). This setup provides a clear sonic link to post-punk acts like Devo. I was also reminded of Workers & Parasite, both for the synth usage and that characteristically sharp, angular sound.

Twinkle Digitz

The set featured a handful of new songs, including the latest single, “Do It Rightly.” Another track, perhaps titled “Heaven is a Letdown?” (I may have misremembered that), exploring the idea that heaven is a disappointment without a specific someone – and the oddity of being able to eat infinite snacks without consequence. Twinkle is also tapping into the zeitgeist with “Aurnj Man”, supposedly the next single.

The days of covers are long gone. No Tina Turner or old Go-Go Sapien songs. Sadly, we didn’t get “It’s Autonomous, Thomas,” but something always has to give. Will continues to evolve his setup, adding a new guitar pedal, FreqOut, for more dynamics. Thankfully, he outsourced the slides to someone else, one less obsticle – I wonder if moving toward controlling both slides and music via MIDI is possible?

I really liked the Merri Creek Tavern. The only minor letdown was that the red background didn’t always provide the best backdrop for the visual extravaganza.

🎵 Lovesexy (Prince)

Lovesexy was released on May 10, 1988. It came in wake of The Black Album being scrapped.

After Prince became convinced that the album was “evil”, he ordered it to be withdrawn a week before its release date. It was replaced with the album Lovesexy, a brighter pop-oriented album with elements of religious affirmation.

Source: Wikipedia

It was the first album not engineered by Susan Rogers and the first to be recorded primarily in the new Paisley Park Studio, bringing with it a cleaner more digital sound.

Although it captures the times, Prince was also pushing back, releasing the original CD as a single continuous 45-minute track. He wanted listeners to experience the album as a whole, rather than skipping to the hits.

When Lovesexy hit the charts, the late ’80s pop landscape was a mix of hair metal, synth-pop, and the rise of “New Jack Swing.” It peaked at No. 11 deeming it a commercial disappointment. Other albums charting in 1988 included:

• George Michael: Faith
• Def Leppard: Hysteria
• Tracy Chapman: Tracy Chapman
• Guns N’ Roses: Appetite for Destruction
• Bobby Brown: Don’t Be Cruel

In contrast, UK charts were more focused on the rise of the acid dance culture and pure bubblegum pop, with Stock Aitken Waterman dominating. This contrast in environment actually meant that Lovesexy was better appreciated abroad, peaking at No.1.

In contrast to the minimalist approach of earlier works, where songs were stripped back, Lovesexy is dense, with numerous layers. This in part this was only possible because digital control (the SSL computer and SMPTE sync) allowed Prince to master the analog chaos of having too many tracks. Previously, Prince would have had to bounce tracks to a stereo track to achieve the same levels of layering.

Lovesexy also introduced Prince’s new backing band, The New Power Generation (NPG), which is often referenced throughout the tracks. For Prince, this group was as much a philosophy as it was a particular group of musicians.

Eye No

Musically, “Eye No” opens with an ethereal, psychedelic wash of synths and spoken word that sets a theatrical tone – a “manifesto” of sorts before the funk erupts. Once the groove settles, it is driven by a rubbery, melodic bass-line and signature plucky guitar stabs that mirror the rhythmic precision of the “New Jack Swing” era. Although Prince achieved this precision primarily through live performance layered over rigidly programmed LinnDrum patterns, rather than relying on the automated ‘swing’ functions of newer sequencers, such as the MPC60. The song’s climax is an extended, celebratory jam featuring a “party atmosphere” of layered voices, eventually dissolving into a dense horn buildup and a transition filled with ambient room chatter, signalling the communal nature of the “New Power Generation.”

Lyrically, this is the formal introduction of the “Spooky Electric” mythology, representing the ego and the dark temptations of the world. Prince uses the song to draw a hard line in the sand: he says “no” to the nihilism, drugs, and alcohol that characterised The Black Album era, and “yes” to a higher spiritual calling. It is an exuberant rejection of the “beast” in favour of divine love.

The reason my voice is so clear
Is there’s no smack in my brain

Alphabet St.

Musically, driven by a lean, choppy guitar riff and prominent slap bass, “Alphabet St.” is a masterclass in the “groove over structure” approach. Rather than traditional verses and choruses, the song breathes as a continuous rhythmic exercise where instruments and vocal ad-libs enter and exit the mix like a choreographed street battle. The second half shifts into a high-energy rap by Cat Glover, further cementing the track’s connection to the late-80s hip-hop and breakdance aesthetic.

Lyrically, on the surface, the lyrics flirt with Prince’s classic eroticism – metaphors for “going down” and the “Tennessee plate” abound. However, within the Lovesexy context, it represents the physical joy of the “Alphabet,” a metaphorical journey from A to Z where the goal is to find “the sky” (heaven) through a liberated, guilt-free expression of love and attraction.

Glam Slam

Musically, “Glam Slam” highlights the “maximalist” aesthetic through a sharp contrast between a melodic, almost sugary synth line and a distorted, doodling guitar that wanders across the stereo field. The mid-song key change acts as a structural pivot, piling on layers of rhythm guitar and dense vocal harmonies. It concludes with a bizarre, avant-garde synth solo that showcases the experimental freedom Prince felt while working in the newly completed Paisley Park Studio A.

The lyrics are a kaleidoscopic swirl of psychedelic imagery, famously referencing “butterflies on legs.” While it utilizes the classic “wham, bam, thank you ma’am” trope, the song elevates the physical act of love to a cosmic, “glamorous” event. It captures the feeling of being overwhelmed by the beauty of a partner, seeing them as a manifestation of a higher, “Lovesexy” reality.

Anna Stesia

Musically, “Anna Stesia” begins with a stark, “tinny” piano motif that provides a cold, minimalist foundation before being swallowed by a deep bass and drum groove. As the track progresses, Prince allows the arrangement to “collapse” or unravel, moving away from pop structures into a sprawling, ambient soul-epic. The outro is a massive, multi-tracked vocal chant – “God is love, love is God” – that builds into a wall of sound, eventually returning to the haunting simplicity of the opening synth phrase.

Lyrically, a clever play on “anesthesia,” the lyrics depict Prince as a man numbed by loneliness and “fake” lust. He seeks a “liberator,” initially appearing to find it in a woman named Anna Stesia, but the song undergoes a mid-track conversion. By the finale, the “temporary state of unconsciousness” is replaced by the permanent wakefulness of religious devotion, as he pleads for God to “liberate” his mind.

Dance On

Characterized by a restless, syncopated drum pattern that refuses to settle, “Dance On” utilizes a call-and-response structure between Prince’s vocals and sharp musical “stabs.” The primary guitar features a harsh, industrial distortion – likely a Boss HM-2 or similar heavy metal pedal – that gives the track a jagged edge in a similar way to “Darling Nikki”. The chorus provides a brief “major key” reprieve, flavoured by a fairground-style organ that adds a touch of surrealism to the otherwise aggressive funk.

Lyrically, this is the album’s most overtly political moment, addressing the urban decay of Detroit and the systemic “power structures” that foster violence instead of production. Prince posits dance and music not as escapism, but as a revolutionary alternative to “jacks who vandalise.” It is a plea to trade the gun for the groove, suggesting that rhythm is a more potent tool for social change than aggression. It feels similar to “Uptown”, but also different.

Lovesexy

Musically, The title track features a bright, clean-yet-crunchy guitar tone that shares the rhythmic “snap” found in pop-rock crossover hits of the era, usually produced with the move to direct input, rather than microphoning the amplifier. The song follows Prince’s trope of extending into an instrumental jam, but takes a strange turn into a “vocal morphing” section. Through pitch-shifting and manipulation, Prince’s voice slides between masculine and feminine registers, aurally representing the “androgynous” nature of the soul. I am not sure how he achieved this, but it is definitely unique.

Lyrically, “Lovesexy” is the ultimate definition of his new philosophy – a state where sex is a holy, “dripping” ecstasy. The lyrics are thick with innuendo, such as the “race cars burning rubber” in his pants, yet they are framed by the “Gimme Shelter” style urgency of “just a kiss away.” It suggests that the peak of physical sensation is where one finally touches the divine.

When 2 R in Love

Musically, a stark contrast to the maximalism of the rest of the album, this ballad is a minimal, “lights down low” production driven by soft keys and a steady, understated beat. Originally intended for The Black Album, its inclusion here provides a moment of calm. The layering of delicate strings and horns creates a lush, intimate space that harks back to his early 80s “Quiet Storm” R&B influences.

The lyrics are an intimate play-by-play of a couple in a state of total union. It covers the spectrum of intimacy – from talking and emotional connection to explicit sexual acts – without the religious metaphors found elsewhere on the record. It serves as the “physical” heart of the album, showing what it looks like when two people actually achieve the state of being “Lovesexy.”

I Wish U Heaven

Musically, “I Wish U Heaven” is built on a foundation of a constant, driving drum groove and a palm-muted, crunchy guitar rhythm. The plucky, “cold” synth sounds in the second verse evoke a robotic, Kraftwerk-inspired precision, likely a result of Prince’s experimentation with the Fairlight CMI sampler. The song’s brevity and “short” sonic transients give it a modern, almost programmed feel compared to the sprawling jams elsewhere on the album.

Lyrically, it is perhaps the most straightforward and “pure” song on the record, the lyrics are a simple, benevolent wish for a past lover’s happiness. There is an absence of bitterness or regret; Prince has reached a spiritual plateau where he can genuinely wish someone “heaven” regardless of their shared history. It is the sound of a man who has found peace.

Positivity

The album closes with a grounded, repetitive groove centred around a metallic, xylophone-like percussive hook. The song structures itself around a bluesy call-and-response between the horns and guitar, allowing for various “movements,” including a rap and spoken word segments. The track eventually circles back to the ethereal, swirling strings heard at the album’s start, bringing the listener full circle in a “long ebb and flow.”

Lyrically, “Spooky Electric” returns one last time as a warning against the “beast” of negativity. While “Positivity” is the central refrain, it functions as a synonym for “Lovesexy” – a state of being that requires constant vigilance and a refusal to give in to cynicism. The song serves as a final sermon, urging the listener to hold onto the light even after the record ends.

Lovesexy feels like a definitive document of Prince’s attempt to reconcile the sacred and the profane. While the merging of sex and divinity was a theme he explored as early as Dirty Mind, 1988 marked a shift from rebellion to redemption. In this era, sexuality was no longer a tool to shock the listener, but a “New Power” meant to elevate them. To be “Lovesexy” was to reach a state where the ecstasy of the flesh and the ecstasy of the spirit were recognized as the same divine energy—a liberated, guilt-free expression of love that served as the ultimate antidote to the “Spooky Electric” within.

The central conceit of the album – a battle between God (good) and evil (the Devil, personified as “Spooky Electric”), which largely seems to be an internal struggle – is introduced early on in the record. “Lovesexy” as a concept is never really made clear, but it seems to be a state of spiritual well-being that merges love of God and connection with humanity via sexuality. Fortunately the album is good enough that the listener need not worry about trying to untangle Prince’s typically inscrutable sexual/spiritual philosophies. It’s merely a framework for a collection of songs that stands today as arguably the most fascinating of his career.

Source: Prince’s “Lovesexy” album revisited: 25 years later by Chris Gerard

Ultimately, Prince’s career was a constant cycle of territorialising and deterritorialising. Like John Banville, who wrote each new book to “get it right^[1],” Prince used Lovesexy to build a complex new world of mythology, only to move beyond it the moment it was finished.

Micro.blog

📚 A Storm of Swords (George R. R. Martin)

A Storm of Swords picks up the story slightly before the end of its predecessor, A Clash of Kings. The Seven Kingdoms of Westeros are still in the grip of the War of the Five Kings,[6] wherein Joffrey Baratheon and his uncle Stannis Baratheon compete for the Iron Throne, while Robb Stark of the North and Balon Greyjoy of the Iron Islands declare their independence (Stannis’s brother Renly Baratheon, the fifth king, has already been killed). Meanwhile, a large host of wildlings, the tribes from beyond the Seven Kingdoms’ northern border, approach the Wall that marks the border, under the leadership of Mance Rayder, the self-proclaimed “King Beyond the Wall”, with only the undermanned Night’s Watch in opposition. Finally, Daenerys Targaryen, the daughter of a deposed former king of Westeros and “mother” of the world’s only living dragons, sails west, planning to retake her late father’s throne.

A Storm of Swords – Wikipedia by A Storm of Swords – Wikipedia

I really enjoyed the the series, but I think I enjoy the books just as much. I am always taken by Martin’s ability to surreptitiously build character through the narrative.

I listened to all 50 hours via Libby.

Marginalia

We look up at the same stars and see such different things.

And any man who must say ‘I am king’ is no true king at all.

Some battles are won with swords and spears, others with quills and ravens.