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VIDA DE-sign by Michael Buckingham, aka Mick Muttley

Dear friends (yeah really, one of those) I have become a women's wear designer for VIDA! http://shopvida.com/collections/voices/ ...

Showing posts with label current affairs. Show all posts
Showing posts with label current affairs. Show all posts

Monday, 6 July 2020

Dangerous Pike - Aquarium Jazz LP - finally the trilogy package is complete

For more information on all that, scroll back a few posts to the "like Tangerine Dream" post.

There's a rundown there. Here's your link to the origins of Dangerous Pike on BC since Crimbo:

Fear Pain Grief LP
https://focisleft.bandcamp.com/album/fl-fear-pain-grief-compilation
Snakes And Lathers LP
https://focisleft.bandcamp.com/album/fl-fear-pain-grief-compilation
Aquarium Jazz LP [third in the official trilogy of CDs]
https://focisleft.bandcamp.com/album/fl-fear-pain-grief-compilation

For the record, "Fear Pain Grief" and "Snakes And Lathers" are NOT DP LPs per se, they are just origins records, not part of the trilogy at all. The official trilogy record weighs up like this:

1. Treacherous Paths LP
The most concise, and dosed-sounding music by FL's new side project, withdrawal music.
2. Trail LP
Two long-form tracks, 24 plus minutes each. Comprises micro-passages, with a sound not unlike William Basinski in his prime. It's also the happiest sounding DP music, made for my father's Day.
3. Aquarium Jazz LP
The most low-fidelity of the three CD records. Everything works as part of a compositional whole.

Finally, there are remixes of "For David Robert Jones" by Basinski, "Under The Coke Sign" by Boards Of Canada and "A Deeper Silence" by Steve Roach. Those are omitted from self-release, so keep your ears peeled for how I can get public versions of those out there in other forms. =)

Tuesday, 31 March 2020

DJ Muttley - 2 new mixes for ya

DJ Muttley - Afro Waffles (St. Vincent, Junior Senior, Cigarettes After Sex, DJ Friction & Nu Balance...
DJ Muttley - Skinned Potatoes (Mood Music CD samples, Supergrass, Explorer Flamenco Music, 40 minutes)


What can I say about these...home studio curated, plenty of ducking and diving, slipping and sliding. Love the Masseduction remix, that's big. Also fancying the DJ Friction & Nu Balance mixed with the supergay Junior Senior. "Skinned Potatoes" takes a more ironed out route, but perks up half way through flamenco music. I was inspired by one of my Paco Lucia CDs bought for my father the paralyzing and hypnotizing power of Spanish Flamenco music...like being locked in a lover's gaze. Mixing the flamenco with Britpop seems a original idea, not many people have tried that except Santana.

Enjoy the soundscapes. They're in .m4a format, straight from studio microphones. No messing about. No hipster FLAC lol.

http://subvertcentral.com/thread-63018-lastpost.html


Tuesday, 27 June 2017

283: FR Retrograde Reviews - Mick Buckingham - Chihei Hatakeyama - Mirage (Room40, Kranky)

Chihei Hatakeyama, after a healthy decades good exposure in the ambient field as a torchbearer of peaceful drones and sibilance should he strike the strings of his delayed electric guitar, presents “Mirage”, an album in the vein of classics like “Saunter” from 2003 and “Light Drizzle” from 2009. Generally focussing on the possibilities of decay trails, Mirage moves with an unearthly abandon. Field recordings of industrial action and children’s play recalls Chris Dooks, while the ambience is alike to Tom Honey’s Gòod Weather For An Airstrike project.

A summary does never do Chihei Hatakeyama due justice. For all this time I have spent collecting his albums, since his major label releases (Room40, Hibernate, Nomadic Kids Republic I believe were sent demos when BVDub picked up the wings of underexposed drone exports and jet-packed them into real ambient consciousness). Wherever you picked up on Chihei – maybe even as mainstream as Wire magazine and Fluid Radio on the web...I have to assert he’s one of my top 10 droners. That list includes big names like Hakobune, Liz Harris (Grouper), Oophoi, Steve Roach, Stars Of The Lid, Simon Scott (Slowdive), Brian Eno, Harold Budd, Hammock...mmmhmmm...some of my fave “others”.
Opening with the bereft breath of “Sad Ocean”, one immediately realises this is simply breath taking music set to scenic views of ambient scenes. Car windows being opened; cool breezes blowing in; or an early morning 5am walk. Thus quality is athletic styled lather, and the soft emotional heft is rendered like real leather interior design, here lies the elasticity principle of Chihei’s sound. What is supple and you get lost in it just as you would the focus of this sentence if it curved into discussion about fabric only. I’m to question how this music collection is so important that it will soundtrack my entire life comfortably. And it does, it will, it can. This sense of comfort and familiarity one feels when taking a listen to these serene wafts of new ago atmosphere is the opposite of new age kitsch.
The answer to why “Mirage” works so well, lies in a somatic response slowness yet paradoxical freedom. Attitudinal its an escape from life’s stasis field – take the lighthouse beacon sound of “Starlight And Black Echo”. Chihei sounds like he was searching deep within when making this. The strange echoing surfeit calms the nerves and puts pay to the hauntological idea of our memories being captured and left to bounce between the speaker system. Like ghost code, it is an aural monologue...is that the meaning of the mirage, we wonder? Pulsing tones reach a refrain then ebb away into comparable dark matter. It is time to see the light, the gut feeling, the mirror; of really belonging.

Indeed this is an lp conjuring mainly lighter shades on the colour wheel of life. With a fine Eton Mess of strawberry creamed texture cranking the cooker DC until the electronics have buttered us up completely, “Distant Steam Train Whistle” introduces a atmospheric harpsichord to lay the table and create a conversation portal for less hazy, more smoky guitar. The whole thing stands up to criticism of going on too long, as to me about an hour is the perfect length for a drone fest. Given the subtle placations throughout, it is amazing the music sounds so peaceful. I’m truly in awe of its warmth.
When I consider drone benchmarks, I think Budd & Eno – The Pearl is comparable here. Nothing borders on creating non-environmental tuning – the music is subtly weaved, controlled, and never totally knockout visceral. The pastoral essence is bottled and releases in places like a effectively placed land mine...a gaseous land mind, excellently perfumed and fighting the bad odour of cheap petrol-heavy streets where everything gets recorded (unless Chihei really lives far out). Indeed, if made in the 60s, hippies would be getting high around a bong to sounds contained here.

With most of the morass a lost-phase, a haze-dream, a bushy-nature-reserve of ambient logic, the ambience throughout “Mirage” is ripe when viewed through the first year psychology topic of reverse psychology. Why is this? Because the drones are: dense, thick, organic, unfiltered, healthy and extremely nutritious in the context of the drone music lovers palette. Like the aforementioned comparison of Tom Honey’s work, “Anatolia Mirage” hums a short poem of tones – tone poetry, a melodic haiku, with drones that are rather not long-winded, instead they are carried by the wind.
The a plus transcendental introspection created by the soliptic stress-straining slipstreams cajoles the listener’s expectations like kale being filtered through a sieve. Or pillows before bedtime laid out for a siesta or long snooze. Perfect for night and day time, but cornerstone logic is for weightless contexts, in a nutshell. There needs to be music like this made, for certain. I would not mind betting Hatakeyama has a third life from production and field recording for nature program music.


If there is any weakness of “Mirage”, it is as such that it is not very energising. Some would say it is too samey. To me though, when you have mood music as classy as this, sideswipes like that become irrelevancies. It becomes meaningless. When the music is this inspiring and meaningful, on the other hand, your perspective changes. The little man in your head vanishes. At least it does mine. I’m tired of half-assed critics who don’t know what a good opus sounds like. Mark my words, there is no way any educated listener of taste could describe this music as bland.


May we see more fantastic mirages from Japanese artist Chihei in future. The lps on the Kranky repped Room40 imprint after all – it had to be something special. This to me is Chihei Hatakeyama’s most realised work to date – never disappointing, never ghostly...this time, the mirage is permanent.

Saturday, 28 January 2017

Specialist Curry Recipes By Michael - First 10 Collection (2013-2017)

Cooked an awesome Chinese curry lst night. Ingredients list:
Special Recipe By Michael 2 - Chinese Tandoori Chicken, Mustard Seed & Cinnamon Strong Curry
3 teaspoons mustard seeds
2 cloves garlic
2 red onions
4 boneless chicken breasts
3 tbsp mixed spice powder
2 tbsp sauce thickener
2 tbsp tandoori curry powder
1/2 a courgette
1 yellow pepper
1 chicken stock cube/400ml boiling water
2 teaspoons chilli seeds
3 teaspoons cinnamon
1 cup/2 cups boiling water brown rice measure

To cook well, just follow the directions of my previous homemade curry.

1

Here's the recipe I just DIY knocked up:
Special curry by Michael 10.01.15 - Mushroom And Chicken Surprise
1 teaspoon mustard seeds...
1 teaspoon ground cinnamon
1 tablespoon ground cumin
1 strand spring onion (cut small)
2cm root ginger (peeled and cut)
4 mushrooms (large)
1 yellow pepper (chopped coarsely)
1 pack boneless chicken breasts (chopped small)
1 red onion (large chops)
3 cloves garlic (chopped small)
half a courgette (large chops)
chopped carrots (small)
additional ground chillies (to taste)
1 chicken stock cube / 500ml boiling water in gravy jug)
3 sprinkles Soy Sauce (at end)
basmati brown rice (1 cup 2 cups boiling water)
peanut sesame oil to baste

schematic: 1) prepare ingredients 2) brown chicken 3) onions, courgette, garlic, peppers in 4) spices, carrots in 5) stock
6) bring to boil 7) cook rice sprinkle over Soy Sauce and ground chilli to taste.

Now we've just got to see how it tastes. :)

3

Special Recipe By Michael 3 - Tomato, Cinnamon And Button Mushroom Chicken Curry Dip
2tbsp cinnamon
1 tsp ground coriander leaves
4cm root ginger, peeled ...
pack of button mushrooms
1 tin chopped tomatoes
2 onions
1 yellow pepper
1.6kg cooked chicken
1 tsp garam masala
2 tbsp med curry powder
1 tbsp mixed spice
1 / 2 cup ratio basmati rice
1 naan bread



I have 3 special homemade recipes I've done in the last 2 months now. Before I invite house guests - family when they come for dinner.



Sunday, 8 January 2017

2017 Mrb Poetry - To Myself

Mrb - To myself

Where my mind bleats for quiet, my heart skips for an answer
Where my head loses memories by the second, a whisper is often something I can muster
I muster
To myself
that cold cold chill
That permeates the radium of the world
Turning pipes inside out
Piping hot food used for body charcoal
And the ash of time as a vanguard for nails on a cross.

Sunday, 31 July 2016

Jo Quail - Five Incantions (Mick Buckingham review)

The uniting factor in Jo Quail's music has always been its all-consuming omnipresence. How it engulfs the listener whether listening loudly or quietly, softly or harshly. Where opener 'White Salt Stag' on this beautifully designed digipak CD edition is earthy and enchanting, closer 'Gold' takes a malleable, shaping of man-made metal angle in the form of Quail's use of electric cello and electronics, and the formulation of solid materials. There is a probability you'll not have a
whisper to it, but a blast, as the mourning strings stretch up through the inner ear and the drones throe-in the low ebb.

I am certainly taken by the 'Five Incantations' theme: take five simple steps, craft five complex tunes with over twice the narrative arcs interwoven. It is spectral music; to borrow Simon Reynolds' term, it creates a "cathedral of sound". A line can be traced like a silken sheet, a thinly woven cloth, a metal wire, all tension and never enough to satisfy in one take. Indeed, the music doesn't sound one take at all. Jo as her name goes knows how to put the work into her rhythms of refuge, her insomniac getaways. The sound art is rife with the kind of aching passion that teased through Greg Haines'
'Until The Point Of Least Resistance' from 'Until The Point Of Hushed Support', 2009. The psychological unease of it all.

Luckily for us there are plenty of moments where the tension reaches satisfying climaxes rather than plummeting us down. This factor makes a good album, in short, especially one that takes mood music so seriously. Mood music has a specific aim:to create that mood, to set one mood, no other mood, and anything else is futile. Resistance from the creator of the music would be his or her achilles' heel in the eyes of a mood music connoisseur. I have spoken of fine lines, and this record
is like a spider diagram, in that respect. Full of bewitching Bjork-esque cello and viola-register harmonies, the genie inside 'Five Incantations' is no fickle spellcaster - that thing has a mind of its own, an organic one, one that grows on you like greed does to a gambling addict. What does this mean? If you have any money left by now, by now, buy it.



www.joquail.co.uk

Mick Buckingham

Sunday, 1 May 2016

SubVersion Stop 266: Rebecca Pathan - Brandnewtrumpets - The World Wide Wave

Thanks to Grant Goldenchild (Technicality MC bitd) and his Drum & Bass Against Racism FB group for bringing this damn fine piece of writing to my attention, and for Rebecca for allowing the repost. 

The World Wide Wave by BrandNewTrumpets

The wave takes shape, emerges, evolving as it advances; gathering momentum, it grows and swells to new strengths. Finally it crashes, its kinetic energy cascading with the force that it’s gathered, and just as surely it dissolves diluted back into the folds of the vast expanse from whence it came.
Whilst innumerable waves crash without consequence, some bear considerable effects, even cataclysmic: their influence palpable.
This is not about the waves of the ocean, but rather the waves of human dialogue, which when emotively captured, become the Great Waves that sometimes surf with irrational behaviour. The rise of the internet drives dialogue further still, surging at speeds far greater than any time before. This powerful force is one we must handle with care, consideration and consciousness.
‘The Wave,’ or ‘The Third Wave ,’ is also the name of a social experiment, birthed in a history lesson designed to demonstrate, when unable to explain, the manner by which the German population willingly supported and followed the ideologies of Adolf Hitler. History teacher, Ron Jones, wanted to show that even democratic societies were susceptible to fascism.
‘The Third Wave’ was propagated as a movement initially for those students in Jones’ class. The movement enforced strict discipline and routine, and its principles were founded on a carefully manipulated motto, containing sound bites that promoted discipline, community, action and pride; individuality was suppressed and membership and exclusivity elevated. Within just a couple of days, the students were immersed in this new movement. Increasing numbers of students joined from all over the school, initiated with ceremony, membership cards and rules of conduct; members kept outsiders out, and reported on anyone who broke the rules. Dangerously slipping out of control by day four, the experiment was drawn to a conclusion on day five, with the students having to face the reality that so easily had they been swept away on a wave of misdirection and control that echoed that of Germany during the Third Reich.
The experiment captured the ease of indoctrinating a group of people with the succinct encapsulation, repetition and reinforcement of an idea, supported by a culture of ‘us’ and ‘them.’ The succinct encapsulation of an idea and its gathering momentum is not to be feared. The waves come and they go, and their perpetual nature sustains us. However, when ideologies are encouraged with the principles of divide and conquer, establishing rule by setting one side against another, surely the ideology becomes corrupted.
The emergence of thought and development of dialogue has driven evolution and change – we talked about it and then it happened. And history shows us that when ideologies are given a voice and the same voice is echoed, the further it spreads and the quicker it spreads, the more effective it becomes, and the more likely it will become a force to be reckoned with, good or bad.
Media and the communication of ideas to a mass populace has increasingly grown and increasingly infringed on the lives of ordinary people: from the rhetoric circling in the small and distant amphitheatres of ancient Greece, to the ubiquitous twittering of online cyber surfers today.
With each modal move comes greater responsibility as movement of thought increases its reach.
Today the volume is turned up, and we find ourselves practically deafened by the proliferation of carefully, (or carelessly, depending on which way you look at it), compressed, caption carried content. With so much available information and the relentless bombardment of info -bombs, it isn’t surprising that we have become accustomed to digesting our information in a comparable manner: quickly and indiscriminately. And just as we would, more often than not, we admit it all without accounting for source or evidence, or content even, let alone context.
It’s human nature to make snap judgements: an evolutionary requirement to protect ourselves. But we don’t have to indulge them. Surely real strength of thought is assessing it for what it is, weighing up our prior knowledge and our own personal experiences, judging as we would a wager.
Social media is shaped to galvanise ‘likes’ and ‘shares.’ It taps into our susceptibility to follow trends, and effectively adopt herd behaviour. There are at least two psychologies at play here: that concerned with the fear of missing out, and that of collective hysteria.
Whilst mass hysteria is something largely cited as a collective response to perceived threat, rapidly spread through rumours and fear, herd behaviour can be a collective reaction to a much greater range of events and occurrences. Think Princess Diana: a seemingly inexplicable event of collective mourning, on an international scale of mammoth proportions not likely seen before. Across numerous animal species, herd instinct (Nietzsche, 1887), crowd psychology (Freud, 1921) and similar theory, attempt to explain the phenomena of large numbers of individuals acting in the same way at the same time, without centralised or dictated direction.
A sense of self-preservation seems to run through many of these philosophies; we see others engaging in an activity and assume there may be benefits to us doing the same. A key example is the numerous scientific observations that reveal that when panicked, individuals confined to the same room with two equally distributed exits, disproportionally rush towards one exit over the other. The result is damaging, harmful even, yet time and again we behave in the same way.
There are countless examples of this kind of behaviour prevalent in human societies, and perhaps the playground is one of our first individual experiences of such. Remember the scenario of two individuals falling out at lunchtime: over what, a misplaced insult or a copied homework assignment? The rumours spread throughout the afternoon, and by the last lesson of the day a fight has been scheduled for 3.30pm outside the school gates. Did one of the two victims of this silly lunchtime spat goad the other into an official fist fight at the end of school? Probably not. But the rumours have them with their backs against the wall, and there’s no getting out of it. The two square off. Neither one of them wants a physical altercation, and it’s all been blown out of proportion; but all of a sudden there’s a call to ‘Fight!’ from the amassing crowds, and then there’s another one and another one, and now the whole crowd’s chanting, ‘Fight! Fight! Fight!’ Suddenly these two unprepared and frankly petrified individuals have their fates committed, and the repercussions are inescapable.
The call to ‘fight’ is not a reasonable or rational response; it is not an informed judgement, and retrospectively it’s just not right, but we do it. The same way an ordinary group of people respond recklessly in kind to events such as the recent ‘Black Friday.’ We observe the actions of others, and, in spite of the possibility of our own available information to the contrary, we decide to imitate what we have observed.
Also at play, warming up a lot of these en masse experiences, is FoMO, the Fear of Missing Out: a psychology that simmers under the surface of a lot of our actions. Whilst the term was coined only recently in 2013, I imagine the psychology has always been there, and that social media only heightens our susceptibility to it. FoMO is defined by the online Oxford Dictionary as: “Anxiety that an exciting or interesting event may currently be happening elsewhere, often aroused by posts seen on a social media website.”
Given that we are all now so ‘connected,’ we are constantly exposed to the goings on of everybody else. It doesn’t stop, and it genuinely feels like it’s not stopping; thus, so many of us feel like we shouldn’t be stopping either, lest we miss out. We feel compelled to be engaged with whatever else it is that everybody else is doing.
Was this behind the literal wave of the Ice Bucket? Remember, not so long ago, the hundreds and thousands spurred on to throw a bucket of ice cold water over themselves? ‘For what?’ was the criticism leveled by many when it was realised that the majority of these participants didn’t make a charitable contribution to the cause, which for a large number of them remained vague or unknown. ‘The Ice Bucket Challenge’ was a phrase coined that alone could rouse recruits, and it also clearly demonstrated the power we have to do good.
It’s worth noting that over my lifetime the use of sound bites has had a largely negative effect on political discourse, reducing real political insight to catchy snippets of information that oversimplify matters of great complexity. Politics is not black and white; but, perhaps our politicians have been persuaded to reduce it to such for apparent effectiveness. And effective it often appears to be, seemingly able to sway a nation with a small number of words, think, ‘Education, education, education,’ or ‘Yes we can.’ ‘It’s the Sun wot won it,’ has never been far from the truth, with the media able to effectively adopt their own political agenda and sell it in a headline; now where’s ‘Our Only Hope’?
Language here is crucially important; the words we use often carry more weight and influence than at first observed. Consider the term ‘Asylum Seeker.’ Before this term flooded British vocabulary in the ‘noughties,’ the same group of people was referred to as ‘Refugees.’ Refugees clearly require refuge, and this simple noun denotes that. But what is the implied purpose of an asylum seeker? This noun phrase shifts emphasis to the act of doing something, in this instance seeking something. Already our compassion may be reduced, less willing to provide for those who are looking for something, and who sound less like victims. And thanks to the media of the day, the term ‘Asylum Seeker’ was muddied so much so that there was a literal sense of blurred public perception, confusing the two very distinct groups of immigrants and asylum seekers.
And why is it that British migrants in their choice country of resettlement are identified as Ex-pats? Why are they Ex-pats and not immigrants? The very term that has been bred to positively encapsulate an immigrant’s allegiance to their country of birth and not to the country that has welcomed them, is of the very same logic that has people opposed to migrants entering this country. The British and Americans can afford to be patriotic, but other nationalities cannot.
Now consider the terms, ‘Welfare,’ or ‘Benefit.’ When I was growing up there was another term for this: ‘Social Security.’ Social security implied that we were all paying into an insurance scheme: a social insurance that you would be able to claim in times of failing security. ‘Welfare Benefit’ implies something entirely different. It implies that this social security that we all pay into is somehow a benefit, not a right. And the more we adopt this language, the easier it is to influence people’s perception of what something really is.
Our National Health Service is presently being brutalised in the public sphere: suddenly it’s broken and in crisis. It’s as if overnight somebody pulled the plug, and the following morning staff came on shift to find an institution down the sink hole. It’s not realistic, and it’s not failing. Everything is in need of constant consideration and requires unrelenting care. Much like a child, we don’t leave them to fend for themselves, we constantly reassess their needs, and when they’re not doing so well, we don’t discard them and get another one, we try harder, we care more, and we do not criticise.
Zero tolerance? This is not a phrase I welcome into our dialogue, nor an ideology I want to permeate our culture. Yet, today I hear promises of, ‘Zero tolerance of failure and mediocrity’ in schools; as if failure is something to be ashamed of and not something we all face in life’s valuable lessons. We can’t all excel in everything, but we should have the support to excel in the areas that best suit us.
At least today we can shout loudly; in this country a large proportion of us have access to a forum that provides a vague equality of voice. I am inspired by the internet. For all its bad, there is good, and it is perhaps the one institution that comes closest to an honest reflection of humanity.
‘Je suis Charlie’ was an act of shouting loudly, but how many people took the time to understand the nature of the circumstances that surrounded this response to the atrocities that took place in France, before purporting to be of the same voice? The political climate in France is not the same as our own; the relationship with the state is not the same as our own; views on tolerance and equality are not the same as our own; Charlie Hebdo is not the Private Eye. In spite of all of this, if you have taken the time to appreciate this and you still need to represent the voice of Charlie, then by all means do so.
But what Mark Twain said of the ‘Smith and Jones’ families, (what I knew as ‘Keeping up with the Jones’’), still applies, and perhaps it is even more resonant in the information driven society we live in today: "The outside influences are always pouring in upon us, and we are always obeying their orders and accepting their verdicts.” (p.510).
We need to protect ourselves on this information-superhighway; we need to adopt a green cross code. Before we perpetuate an idea, before we respond to our fears and desires, and before we stick our heads above the parapets with the simple click of a button, we need to Stop Look Listen and Think. ‘Arrive alive! Keep looking and listening,’ is just as relevant to crossing the road as it is to riding the waves of human discourse.
Vincent Van Gogh is attributed with saying: 'I don't know anything with certainty, but seeing the stars makes me dream.' We don’t know anything with certainty, and that’s ok – that means we can have an open mind and freedom of thought. We can have a dream, and we can give our dreams a voice, but let not our dreams be at the cost of others. Let us ride the waves with mindfulness, navigate with care for others, and not throw caution to the winds. Let us not divide and conquer, but conquer division.

© 2015 Rebecca Pathan All rights reserved

References
Jones, Ron. (1976 & 2014) The Third Wave. The Wave Home: Learning from The Third Wave. [Internet]. http://www.thewavehome.com/1976_The-Third-Wave_story.htm. [Accessed 10th April 2015].
Oxford University Press. (2015) Oxford Dictionaries. [Internet]. http://www.oxforddictionaries.com/definition/english/FOMO [Accessed 10th April 2015].
Twain, Mark. (1901) Collected Tales, Sketches, Speeches, & Essays: Corn-Pone Opinions. New York: Literary Classics of the United States
Bibliography
Leitch, Vincent B. ed. (2001) The Norton Anthology of Theory and Criticism. London: W. W. Norton & Company Inc.
Nietzsche, Friedrich and Smith, Douglas, ed. (2008) On the Genealogy of Morals: A Polemic. By way of clarification and supplement to my last book Beyond Good and Evil. Oxford: Oxford University Press.
Twain, Mark. (1901) Collected Tales, Sketches, Speeches, & Essays: Corn-Pone Opinions. New York: Literary Classics of the United States.