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            Johann Hari on unplugging from the attention economy and much more!͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;
        
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    <a class="brand-logo-link" href="https://www.jamespillion.com/" style="color:#e73e3e !important;"><img class="brand-logo" src="https://images.squarespace-cdn.com/content/5d6e5bd5387da8000162b6a2/1568966833012-U8W1VBIL6OAZHKEJRX6V/JP_logo_site_lrg.png?format=750w" height="37" alt="James Pillion" style="font-size:.8333333333333334em;display:block;border:0;text-decoration:none;line-height:0;font-weight:normal;font-family:'DejaVu Sans Condensed', 'Liberation Sans', 'Nimbus Sans L', 'Helvetica Neue', Helvetica, Arial, sans-serif;color:#000;height:auto;max-height:37px;max-width:100%;width:auto;margin-left:0px;"></a>
    
  

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      <h4 style="color:inherit;margin:1.414em 0 .5em;font-weight:400;line-height:1.25em;font-size:1.2em;mso-line-height-alt:1.2em;margin-top:0;font-family:Palatino, Palladio, Baskerville, 'Nimbus Roman No9 L', Garamond, 'Century Schoolbook', serif;letter-spacing:.02em;"><strong>“What is technology for? Why do we even make technology? We make technology because it takes the parts of us that are most human and extends them. That’s what a paintbrush is. That’s what a cello is. That’s what language is. These are technologies that extend some part of us. Technology is not about making us superhuman. It’s about making us extra-human.” </strong></h4><p style="color:inherit;font-size:1em;margin:0 0 1.25em 0;font-weight:normal;font-family:'DejaVu Sans Condensed', 'Liberation Sans', 'Nimbus Sans L', 'Helvetica Neue', Helvetica, Arial, sans-serif;text-align:right;line-height:1.618em;margin-bottom:0px;" class="">— JEF RASKIN</p>
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      <p class="" style="color:inherit;font-size:1em;line-height:1.618em;margin:0 0 1.25em 0;font-weight:normal;margin-top:0;margin-bottom:0;font-family:'DejaVu Sans Condensed', 'Liberation Sans', 'Nimbus Sans L', 'Helvetica Neue', Helvetica, Arial, sans-serif;">It’s a perverse feeling to look around a morning train carriage these days and witness every single commuter bent over glowing screens. Where once I saw myself as being in charge of my choices, <a href="https://www.youtube.com/watch?ab_channel=Netflix&amp;v=uaaC57tcci0" rel="nofollow" style="color:#e73e3e !important;"><strong>The Social Dilemma</strong> </a>has forced me to accept that we never stood a chance against the might of <a href="https://www.amazon.com/Age-Surveillance-Capitalism-Future-Frontier/dp/1541758005/ref=asc_df_1541758005/?adgrpid=95590145924&amp;hvadid=416644102551&amp;hvadid=416644102551&amp;hvdev=c&amp;hvdev=c&amp;hvdvcmdl=&amp;hvdvcmdl=&amp;hvlocint=&amp;hvlocint=&amp;hvlocphy=9057137&amp;hvlocphy=9057137&amp;hvnetw=g&amp;hvnetw=g&amp;hvpone=&amp;hvpone=&amp;hvpos=&amp;hvpos=&amp;hvptwo=&amp;hvptwo=&amp;hvqmt=&amp;hvqmt=&amp;hvrand=2261757366072669937&amp;hvrand=2261757366072669937&amp;hvtargid=pla-889113318205&amp;hvtargid=pla-889113318205&amp;linkCode=df0&amp;psc=1&amp;ref=&amp;tag=hyprod-20&amp;tag=" rel="nofollow" style="color:#e73e3e !important;">surveillance capitalism</a>. The <strong>Netflix</strong> doco had me dreaming of my earliest days using social media, the awe and ecstasy that overwhelmed me when I connected with friends across the globe for the first time, and was offered an immersive window into their daily lives. As my social sabbatical stretches on, a part of me wonders whether I can ever recapture this feeling, free of anxiety-inducing addiction, once again.</p>
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      <h3 style="color:inherit;margin:1.414em 0 .5em;font-weight:400;line-height:1.25em;font-size:1.44em;mso-line-height-alt:1.44em;margin-top:0;font-family:Palatino, Palladio, Baskerville, 'Nimbus Roman No9 L', Garamond, 'Century Schoolbook', serif;letter-spacing:0em;"><a href="https://www.youtube.com/watch?ab_channel=MovieclipsIndie&amp;v=D1kH4OMIOMc" rel="nofollow" style="color:#e73e3e !important;"><strong>Captain Fantastic </strong>🎥</a></h3><p class="" style="color:inherit;font-size:1em;line-height:1.618em;margin:0 0 1.25em 0;font-weight:normal;margin-bottom:0;font-family:'DejaVu Sans Condensed', 'Liberation Sans', 'Nimbus Sans L', 'Helvetica Neue', Helvetica, Arial, sans-serif;">A vicarious thrill surged through me while watching <strong>Julia Roberts</strong> and <strong>Sean Penn</strong> bludgeon each other with brutal honesty in <strong>Matt Ross</strong>’s new <strong>Starz</strong> original series <strong>Gaslit</strong>. While the first few episodes left me abuzz, it inspired me to finally screen <strong>Captain Fantastic</strong>, Ross’s sophomore feature film. The indie drama had a powerful effect on me. Much like the title characters, a highly disciplined family living off-grid in the Oregonian mountains, I have laboured for years on end, pushing my body and mind to new depths in the pursuit of knowledge and excellence. Yet just like this odd-bunch, such sacrifice has come at the expense of certain comforts and validation. The film offers a startlingly refreshing examination of present-day society as <strong>Viggo Mortensen</strong>, and his precocious brood, wage war against America’s undereducated and overmedicated ills.</p>
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      <h3 style="color:inherit;margin:1.414em 0 .5em;font-weight:400;line-height:1.25em;font-size:1.44em;mso-line-height-alt:1.44em;margin-top:0;font-family:Palatino, Palladio, Baskerville, 'Nimbus Roman No9 L', Garamond, 'Century Schoolbook', serif;letter-spacing:0em;"><a href="https://www.youtube.com/watch?ab_channel=HBOMax&amp;v=l3oWrNQo_Ng" rel="nofollow" style="color:#e73e3e !important;"><strong>Tokyo Vice </strong>📺</a></h3><p class="" style="color:inherit;font-size:1em;line-height:1.618em;margin:0 0 1.25em 0;font-weight:normal;margin-bottom:0;font-family:'DejaVu Sans Condensed', 'Liberation Sans', 'Nimbus Sans L', 'Helvetica Neue', Helvetica, Arial, sans-serif;"><strong>Michael Mann</strong>, celebrated for his 1980s hit serial <strong>Miami Vice</strong>, returns with a lush and hard-hitting examination of Japan’s tight-knit underworld in <strong>Tokyo Vice</strong>. Famously pitching the pastel saturated romp as <em>MTV Cops</em>, one can imagine a similar pitch of <strong>The Wire</strong> meets <strong>Black Rain </strong>for this <strong>HBO Max</strong> original. Traces of <a href="https://www.youtube.com/watch?ab_channel=ryy79&amp;v=95-bc1DZovg" rel="nofollow" style="color:#e73e3e !important;"><strong>Ridley Scott</strong>’s 1989 Yakuza crime saga</a>  are evident from the primary casting to the unfolding narrative.&nbsp;Yet what sets this fish out of water story apart from its peers is the fact that <strong>Jake Adelstein</strong>, an American expatriate, dishes the inside scoop from the inside. After learning that Adelstein was <a href="https://theconversation.com/tokyo-vice-reminds-me-of-my-experience-with-the-yakuza-in-japan-182727" rel="nofollow" style="color:#e73e3e !important;">the first Western journalist</a> to work for <strong>Yomiuri Shimbun</strong>, a flagship Japanese newspaper, I’m set to tuck into Adelstein’s <a href="https://www.wob.com/en-au/books/jake-adelstein/tokyo-vice/9781849014649" rel="nofollow" style="color:#e73e3e !important;">2009 memoir of the same name</a>.</p>
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      <h3 style="color:inherit;margin:1.414em 0 .5em;font-weight:400;line-height:1.25em;font-size:1.44em;mso-line-height-alt:1.44em;margin-top:0;font-family:Palatino, Palladio, Baskerville, 'Nimbus Roman No9 L', Garamond, 'Century Schoolbook', serif;letter-spacing:0em;"><a href="https://open.spotify.com/album/4j4w5DDWMKD7ePStAl19OF?si=T8vggw8_QaqbgA5Xthqkcg" rel="nofollow" style="color:#e73e3e !important;"><strong>Modern Sounds In Country &amp; Western Music </strong>🎶</a></h3><p class="" style="color:inherit;font-size:1em;line-height:1.618em;margin:0 0 1.25em 0;font-weight:normal;margin-bottom:0;font-family:'DejaVu Sans Condensed', 'Liberation Sans', 'Nimbus Sans L', 'Helvetica Neue', Helvetica, Arial, sans-serif;">A recent re-watch of <strong>Taylor Hackford</strong>’s <a href="https://www.youtube.com/watch?ab_channel=MovieclipsClassicTrailers&amp;v=jVHCQfcugdw" rel="nofollow" style="color:#e73e3e !important;"><strong>Ray</strong></a> transported me right out of my mid-week funk, and helped me remember why the 2004 biopic is the cream of the crop. As someone that loves reflecting on the inspiring lives of yesteryear, <strong>Ray Charles</strong> sits right up there as a leading light. That a blind man managed to inveigle his way into the hearts and minds of the world, <a href="https://www.reuters.com/article/us-charles/ray-charles-innovated-in-business-as-well-as-music-idUSTRE68H0FI20100918" rel="nofollow" style="color:#e73e3e !important;">securing a landmark deal with <strong>ABC</strong></a> that eclipsed the likes of <strong>Frank Sinatra,</strong> is some kind of wonderful. This 1962 album was one of Charles’s first creative endeavours after leaving <strong>Atlantic Records</strong>, a highly controversial passion project that would become one of his most cherished and timeless offerings. I can’t wait to dive into <strong>David Ritz</strong>’s <a href="https://www.wob.com/en-au/books/david-ritz/brother-ray/9780306814310?gclid=EAIaIQobChMIgcDXq_OU-AIVkNezCh0twwE5EAQYAiABEgLuIPD_BwE#GOR001244944" rel="nofollow" style="color:#e73e3e !important;"><strong>Brother Ray</strong></a>, his celebrated biography on the musical titan.</p>
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      <h3 style="color:inherit;margin:1.414em 0 .5em;font-weight:400;line-height:1.25em;font-size:1.44em;mso-line-height-alt:1.44em;margin-top:0;font-family:Palatino, Palladio, Baskerville, 'Nimbus Roman No9 L', Garamond, 'Century Schoolbook', serif;letter-spacing:0em;"><a href="https://www.wob.com/en-au/books/bret-easton-ellis/less-than-zero/9780330447973" rel="nofollow" style="color:#e73e3e !important;"><strong>Less Than Zero </strong>📚</a></h3><p class="" style="color:inherit;font-size:1em;line-height:1.618em;margin:0 0 1.25em 0;font-weight:normal;margin-bottom:0;font-family:'DejaVu Sans Condensed', 'Liberation Sans', 'Nimbus Sans L', 'Helvetica Neue', Helvetica, Arial, sans-serif;">A nostalgic longing led me to pick up <strong>Bret Easton Ellis</strong>’s debut novel while spring cleaning my bookshelf. The 1983 publication had a profound effect on me right after high school, its nihilist rhetoric and deadened cast of characters leaving me comfortably numb. Set against the sun-bleached backdrop of Los Angeles, the aimless narrative follows an ensemble of college kids addicted to MTV, drugs, and the pursuit of excess. What was most surprising, and slightly disconcerting, is how the book left me feeling as an adult. While the fatalistic cast of characters are compelling to behold much the way a highway accident or house fire steals our attention, it paints a troubling portrait of entitlement. </p>
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      <h3 style="color:inherit;margin:1.414em 0 .5em;font-weight:400;line-height:1.25em;font-size:1.44em;mso-line-height-alt:1.44em;margin-top:0;font-family:Palatino, Palladio, Baskerville, 'Nimbus Roman No9 L', Garamond, 'Century Schoolbook', serif;letter-spacing:0em;"><a href="https://www.theguardian.com/news/2022/mar/08/gas-powered-kingmaker-uk-welcomed-putin-dmitry-firtash-ukraine" rel="nofollow" style="color:#e73e3e !important;"><strong>Gas Powered Kingmaker </strong>🗞</a></h3><p class="" style="color:inherit;font-size:1em;line-height:1.618em;margin:0 0 1.25em 0;font-weight:normal;font-family:'DejaVu Sans Condensed', 'Liberation Sans', 'Nimbus Sans L', 'Helvetica Neue', Helvetica, Arial, sans-serif;"><strong>Oliver Bullough</strong>’s phenomenal <strong>Guardian</strong> article, a sliver from his new book <strong>Butler To The World</strong>, is the first piece to really help me reckon with the tensions underlying the ongoing war in Ukraine. Bullough picks up where he left off with <a href="https://www.abebooks.com/Moneyland-Why-Thieves-Crooks-Now-Rule/31174793023/bd?cm_mmc=ggl-_-US_Shopp_Trade_10to20-_-product_id%3DCOM9781781257937USED-_-keyword%3D&amp;gclid=EAIaIQobChMIlNWT2Y2J-AIVxBrnCh2kKwlREAQYAiABEgLpn_D_BwE" rel="nofollow" style="color:#e73e3e !important;"><strong>Moneyland</strong></a>, <a href="https://www.jamespillion.com/campaigns/view-campaign/v3YEgN6pwq49rV1ppfHMtjsYhwfiELstMQScTOmnrukURS6H1ow1oUHDMriFuBBLPREukzmuUYVJ93GWJjCsW1S8pSldo1yb" rel="nofollow" style="color:#e73e3e !important;">previously reviewed in this newsletter</a>, this time taking aim at <strong>Dimitry Firtash</strong>, a well-connected Ukrainian billionaire with direct ties to the Kremlin. It’s incredible to realize how money can buy just about anything these days, from <a href="https://www.mylondon.news/news/nostalgia/abandoned-london-underground-station-sold-21129303" rel="nofollow" style="color:#e73e3e !important;">the sale of a former tube station</a> to connections with British royalty, <a href="https://www.google.com/search?bih=946&amp;biw=1680&amp;dpr=2&amp;q=dmitry%20firtash%20shakes%20hands%20british%20politicians&amp;rlz=1C5CHFA_enAU834AU834&amp;sa=X&amp;source=lnms&amp;tbm=isch&amp;ved=2ahUKEwjMo5Dx-JD4AhXUlmoFHRjMBmcQ_AUoAnoECAEQBA#imgrc=8FhARHM41ucUwM" rel="nofollow" style="color:#e73e3e !important;">and its most revered politicians</a>. The article also turned me onto <strong>Catherine Belton</strong>’s incredible <a href="https://www.amazon.com.au/Putins-People-Took-Back-Russia/dp/0374238715/ref=sr_1_1?crid=ZN2LO554LKKS&amp;keywords=catherine%20belton%20putins%20people&amp;qid=1651553741&amp;sprefix=catherine%20belton%2Caps%2C325&amp;sr=8-1" rel="nofollow" style="color:#e73e3e !important;"><strong>Putin’s People: How The KGB Took Back Russia And Then Took On The West</strong></a> and this chilling quote from a former Putin insider on his old boss.</p><p class="" style="color:inherit;font-size:1em;line-height:1.618em;margin:0 0 1.25em 0;font-weight:normal;margin-bottom:0;font-family:'DejaVu Sans Condensed', 'Liberation Sans', 'Nimbus Sans L', 'Helvetica Neue', Helvetica, Arial, sans-serif;"><a href="https://www.amazon.com.au/Putins-People-Took-Back-Russia/dp/0374238715/ref=sr_1_1?crid=ZN2LO554LKKS&amp;keywords=catherine%20belton%20putins%20people&amp;qid=1651553741&amp;sprefix=catherine%20belton%2Caps%2C325&amp;sr=8-1" rel="nofollow" style="color:#e73e3e !important;"><strong>“He would have gone gladly after four years, I think, but then all these controversies happened. With the West now, there is such a serious standoff that it’s almost the Cuban missile crisis. And now he’s gone even deeper… He understands that if it goes further, he will never get out.’ — Sergei Pugachev</strong></a></p>
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      <h3 style="color:inherit;margin:1.414em 0 .5em;font-weight:400;line-height:1.25em;font-size:1.44em;mso-line-height-alt:1.44em;margin-top:0;font-family:Palatino, Palladio, Baskerville, 'Nimbus Roman No9 L', Garamond, 'Century Schoolbook', serif;letter-spacing:0em;"><a href="https://podcasts.apple.com/in/podcast/tesla-vs-detroit-accelerate-faster/id1335814741?i=1000555639890" rel="nofollow" style="color:#e73e3e !important;"><strong>Tesla Vs. Detroit </strong>📻</a></h3><p class="" style="color:inherit;font-size:1em;line-height:1.618em;margin:0 0 1.25em 0;font-weight:normal;margin-bottom:0;font-family:'DejaVu Sans Condensed', 'Liberation Sans', 'Nimbus Sans L', 'Helvetica Neue', Helvetica, Arial, sans-serif;">I’ve had EV’s on the brain ever since tuning into this four-part podcast series. While Musk’s reputation continues to be maligned in the face of his personal antics, it’s hard not to tip your hat to his groundbreaking accomplishments. That his hare-brained ventures have dethroned <strong>Jeff Bezos</strong> to make him the world’s richest man is measurement enough. As for the automotive EV giant, I’m in awe of the all new six-seater <strong>Model X Plaid</strong> and its <a href="https://www.google.com/search?bih=946&amp;biw=1680&amp;dpr=2&amp;fir=4Riv_xl2p4XxFM%252CVyCiKLbtd141uM%252C_%253BPrFtK5slr8JmfM%252CayIKcguSegwRzM%252C_%253B3RBOdpIAWGlYDM%252CS1qHo0WcKHygGM%252C_%253Bu158RiNrpWJAEM%252CpQ9enpj53629xM%252C_%253BUKHIrbzQuLidZM%252CsamCt-DeeaCrYM%252C_%253BbKuZVwZVgOtyQM%252CHFT_4lULbO3bUM%252C_%253BfXt45BaMN6AlsM%252CQCkKXWp0pgSHBM%252C_%253BcBxnlJPNeE39CM%252CZK40gSNo96-F6M%252C_%253BBJM-naoNvaksqM%252CDU_gOyQciaFByM%252C_%253BMrXo16GtxEu-hM%252C52DgK46syRpB_M%252C_%253BHqjsn5YoQzomJM%252CYKgQIBpGzmWlqM%252C_%253BhgZwVCsyOArkaM%252CgTa2bYivKDSWwM%252C_&amp;ictx=1&amp;q=yoke%20tesla&amp;rlz=1C5CHFA_enAU834AU834&amp;sa=X&amp;source=iu&amp;tbm=isch&amp;usg=AI4_-kTTP0YNUon_LNT75vlHBLuxFMibCA&amp;ved=2ahUKEwjr9vHelZD4AhUAczABHczuAYgQ9QF6BAgEEAE&amp;vet=1#imgrc=4Riv_xl2p4XxFM" rel="nofollow" style="color:#e73e3e !important;">controversial yoke</a> steering wheel. <a href="https://www.youtube.com/watch?ab_channel=DougDeMuro&amp;v=G4FToV2F4Ys" rel="nofollow" style="color:#e73e3e !important;">As <strong>Doug DeMuro</strong> unveils their roomiest model to date</a>, and the first and only car brand to truly innovate the interior functions of an automobile, <a href="https://www.youtube.com/watch?ab_channel=TheGrandTour&amp;v=0ssucYoYtYE" rel="nofollow" style="color:#e73e3e !important;"><strong>Jeremy Clarkson</strong> proves that this ‘soccer mom car’ can leave an Audi R8 in the dust</a>. While we have <strong>Martin Eberhard</strong> and <strong>Marc Tarpenning</strong> to thank for founding the fledgling company in 2003, due credit goes to Musk for lighting a fire under Detroit’s derriere.</p>
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      <h3 style="color:inherit;margin:1.414em 0 .5em;font-weight:400;line-height:1.25em;font-size:1.44em;mso-line-height-alt:1.44em;margin-top:0;font-family:Palatino, Palladio, Baskerville, 'Nimbus Roman No9 L', Garamond, 'Century Schoolbook', serif;letter-spacing:0em;"><a href="https://www.wob.com/en-au/books/david-ritz/divided-soul/9780711948952" rel="nofollow" style="color:#e73e3e !important;"><strong>Divided Soul </strong>📚</a></h3><p class="" style="color:inherit;font-size:1em;line-height:1.618em;margin:0 0 1.25em 0;font-weight:normal;font-family:'DejaVu Sans Condensed', 'Liberation Sans', 'Nimbus Sans L', 'Helvetica Neue', Helvetica, Arial, sans-serif;"><a href="https://www.theguardian.com/music/2014/mar/26/marvin-gaye-rocks-back-pages-disc-music-echo-1971" rel="nofollow" style="color:#e73e3e !important;">As this 1971 UK article suggests</a>, <strong>Marvin Gaye</strong> was a contrarian spirit, a recluse that hated the spotlight yet yearned to be loved by the world over. The D.C. native would find an early mentor in the guise of <a href="https://www.theguardian.com/music/2010/jul/11/harvey-fuqua-obituary" rel="nofollow" style="color:#e73e3e !important;"><strong>Harvey Fuqua</strong></a>, leader of the doo-wop quintet <strong>The Moonglows,</strong> who not only cultivated his unrelenting perfectionism but showed him how to sleep his way to success. Just as Fuqua used a fleeting relationship with <strong>Etta James</strong> to <a href="https://open.spotify.com/track/32YAcaOr2WgZ53EuouRVwg?si=4573ad013ffb4bf0" rel="nofollow" style="color:#e73e3e !important;">cut some incredible duets</a>, the young upstart would wed <strong>Anna Gordy </strong>(seventeen years his senior!) to secure his seat at the Motown table. <a href="https://pitchfork.com/reviews/albums/marvin-gaye-here-my-dear/" rel="nofollow" style="color:#e73e3e !important;">I loved reading</a> about <strong>Here, My Dear,</strong> my personal favourite LP, commissioned as an alimony payment in his very public divorce some fifteen years later, and spurred on by his ongoing tryst with a teenage <strong>Jan Hunter </strong>(seventeen years his junior!).</p><p class="" style="color:inherit;font-size:1em;line-height:1.618em;margin:0 0 1.25em 0;font-weight:normal;margin-bottom:0;font-family:'DejaVu Sans Condensed', 'Liberation Sans', 'Nimbus Sans L', 'Helvetica Neue', Helvetica, Arial, sans-serif;"><a href="https://www.wob.com/en-au/books/david-ritz/divided-soul/9780711948952" rel="nofollow" style="color:#e73e3e !important;"><strong>“Berry Gordy thought like an oil man. Drill as many holes as you can and hope for at least one gusher. He wound up with a whole oil field.” — Marvin Gaye</strong></a></p>
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      <h3 style="color:inherit;margin:1.414em 0 .5em;font-weight:400;line-height:1.25em;font-size:1.44em;mso-line-height-alt:1.44em;margin-top:0;font-family:Palatino, Palladio, Baskerville, 'Nimbus Roman No9 L', Garamond, 'Century Schoolbook', serif;letter-spacing:0em;"><a href="https://variety.com/2022/music/news/vangelis-dead-chariots-of-fire-blade-runner-1235272061/#recipient_hashed=6d090042a9e1fecb5f11fd746192aa779b06547f3998ea1d54d4cbcaf33f3084" rel="nofollow" style="color:#e73e3e !important;"><strong>Vangelis </strong>👤</a></h3><p class="" style="color:inherit;font-size:1em;line-height:1.618em;margin:0 0 1.25em 0;font-weight:normal;margin-bottom:0;font-family:'DejaVu Sans Condensed', 'Liberation Sans', 'Nimbus Sans L', 'Helvetica Neue', Helvetica, Arial, sans-serif;">The last few weeks have brought the passing of one musical legend after another from <a href="https://www.theguardian.com/music/2022/may/20/bob-neuwirth-obituary" rel="nofollow" style="color:#e73e3e !important;"><strong>Bob Neuwirth</strong></a><strong> </strong>to<strong> </strong><a href="https://www.nytimes.com/2022/05/29/obituaries/ronnie-hawkins-dead.html" rel="nofollow" style="color:#e73e3e !important;"><strong>Ronnie Hawkins</strong></a> and <strong>Depeche Mode</strong>’s <a href="https://www.nytimes.com/2022/05/27/arts/music/andy-fletcher-dead.html?action=click&amp;algo=bandit-all-surfaces-time-cutoff-30_impression_cut_3_filter_new_arm_5_1&amp;alpha=0.05&amp;block=more_in_recirc&amp;fellback=false&amp;imp_id=131565756&amp;impression_id=8bf2fcf1-e3c6-11ec-9ed3-a1ee42cfcbdd&amp;index=1&amp;pgtype=Article&amp;pool=more_in_pools%2Fmusic&amp;region=footer&amp;req_id=912696573&amp;surface=eos-more-in&amp;variant=0_bandit-all-surfaces-time-cutoff-30_impression_cut_3_filter_new_arm_5_1" rel="nofollow" style="color:#e73e3e !important;"><strong>Andy Fletcher</strong></a>. Yet it was the obituary of <a href="https://variety.com/2022/music/news/vangelis-dead-chariots-of-fire-blade-runner-1235272061/#recipient_hashed=6d090042a9e1fecb5f11fd746192aa779b06547f3998ea1d54d4cbcaf33f3084" rel="nofollow" style="color:#e73e3e !important;"><strong>Vangelis</strong></a>, born <strong>Evangelos Odysseas Papathanassiou</strong>, that fanned the embers of nostalgia. If you’re a film nutter like me, than you’re intimately familiar with the touchstones of a Vangelis score. Films like 1981’s <strong>Chariots of Fire</strong>, 1982’s <strong>Blade Runner</strong>, and 1984’s <strong>The Bounty</strong>, a period blockbuster with a curiously bonkers plot line. His prodigious solo work was just as powerful, including his 1979 LP <a href="https://open.spotify.com/album/0GPvraFrPjbXzY0H3fcudk?si=82Q3fv7oTIiHiC_0opIjaw" rel="nofollow" style="color:#e73e3e !important;"><strong>China</strong></a> (which features in <strong>Ridley Scott</strong>’s <a href="https://www.youtube.com/watch?ab_channel=MYST3RYLUV3&amp;v=jBLFCQD76zk" rel="nofollow" style="color:#e73e3e !important;">Chanel No. 5 commercial</a>) and <a href="https://archive.org/details/VangelisTheTegosTapes1998" rel="nofollow" style="color:#e73e3e !important;"><strong>The</strong> <strong>Tegos Tapes</strong></a>, an eight-hour ambient compilation made for the exclusive use of a friend’s surgical ward.&nbsp;</p>
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      <h3 style="color:inherit;margin:1.414em 0 .5em;font-weight:400;line-height:1.25em;font-size:1.44em;mso-line-height-alt:1.44em;margin-top:0;font-family:Palatino, Palladio, Baskerville, 'Nimbus Roman No9 L', Garamond, 'Century Schoolbook', serif;letter-spacing:0em;"><a href="https://open.spotify.com/album/4A8vLBC8q1VoWsOGa8Nxcm?si=eM7s16ajR8ai_aSNtWWj4A" rel="nofollow" style="color:#e73e3e !important;"><strong>My First Karie </strong>🎶</a></h3><p class="" style="color:inherit;font-size:1em;line-height:1.618em;margin:0 0 1.25em 0;font-weight:normal;margin-bottom:0;font-family:'DejaVu Sans Condensed', 'Liberation Sans', 'Nimbus Sans L', 'Helvetica Neue', Helvetica, Arial, sans-serif;"><strong>Michael Mann</strong>’s <strong>Tokyo Vice</strong> has got me all hot and bothered for late nineties and early noughties Japanese culture. <strong>Kahimi Karie</strong> has been the icing on the cake, a Shibuya-based singer songwriter, whose soft-spoken vocals made her an overnight sensation with a new generation. <a href="https://open.spotify.com/album/4A8vLBC8q1VoWsOGa8Nxcm?si=eM7s16ajR8ai_aSNtWWj4A" rel="nofollow" style="color:#e73e3e !important;"><strong>My First Karie</strong></a>, released in 1995, consists of a collection of tracks that yo-yo’s between English and French and seemingly <a href="https://open.spotify.com/album/1fMvyxVX8gy4vQLnWFCui1?si=CYCiVwtSRzKtXUbvbuq2OA" rel="nofollow" style="color:#e73e3e !important;">inspired the seductive covers</a> of <strong>Nouvelle Vague</strong>. Karie’s <a href="https://en.wikipedia.org/wiki/Kahimi_Karie" rel="nofollow" style="color:#e73e3e !important;">Wikipedia profile</a> notes that this choice stemmed directly from her newfound obsession for <strong>Serge Gainsbourg</strong> and <strong>Françiose Hardy</strong>. At the prompting of her <a href="https://en.wikipedia.org/wiki/Cornelius_%28musician%29" rel="nofollow" style="color:#e73e3e !important;">then-boyfriend</a>, she put her photography aside to record a <a href="https://www.youtube.com/watch?ab_channel=pixelechomooY&amp;v=0omS6ApgB_M" rel="nofollow" style="color:#e73e3e !important;">debut single</a>&nbsp;in 1992, paving the way for her dreams to come. </p>
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