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<channel>
	<title>The Bygone Bureau</title>
	
	<link>http://bygonebureau.com</link>
	<description>A Journal of Modern Thought</description>
	<lastBuildDate>Fri, 17 May 2013 15:00:06 +0000</lastBuildDate>
	<language>en-US</language>
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		<title>Goodnight Hotmail, You Sweet Prince</title>
		<link>http://feedproxy.google.com/~r/bygonebureau/~3/Cdr5afEzLeM/</link>
		<comments>http://bygonebureau.com/2013/05/17/goodnight-hotmail-you-sweet-prince/#comments</comments>
		<pubDate>Fri, 17 May 2013 15:00:06 +0000</pubDate>
		<dc:creator>Mike Zuckerman</dc:creator>
				<category><![CDATA[Internet]]></category>
		<category><![CDATA[highlight]]></category>
		<category><![CDATA[submission]]></category>

		<guid isPermaLink="false">http://bygonebureau.com/?p=12680</guid>
		<description><![CDATA[A eulogy for no one's favorite email service.]]></description>
			<content:encoded><![CDATA[<img src="http://bygonebureau.com/wp-content/uploads/2013/05/hotmail.jpg" alt="hotmail" title="hotmail" class="stretch" />
<p><sidenote>Photo courtesy of <a href="http://www.flickr.com/photos/fylkesarkiv/">Fylkesarkivet i Sogn og Fjordane</a></sidenote></p>
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<p>Friends, family, fellow former Hotmail users, we gather here today not to mourn the death of Hotmail — a highly mediocre personal electronic mail platform that was officially pronounced dead on May 3, 2013 — but, rather, as cliché as it sounds, to praise its life.</p>
<p>Hotmail — founded as “HoTMaiL” in July of 1996 by two genius dudes named Sabeer Bhatia and Jack Smith, subsequently acquired by Microsoft for a boatload of jack, and rebranded as “MSN Hotmail” — was, dare I say, a pioneer, no, a <em>trailblazer</em>, in the world of web-based emailing, rescuing us from the shackles of shit-even-for-1996 services like Prodigy and AOL. To me — to us — back then, Hotmail was, without hyperbole, a gosh-darn <em>savior</em>. We could theoretically email whomever we wanted whenever we wanted without real limitations and irritations, as long as we could scrounge up an internet connection, a login, and a password. Sure, Hotmail, you weren’t perfect (your interface was clunky, your spam detection left something to be desired, and you were relatively free of any bells and whistles like labels and folders and the like), but you were <em>better</em>, and, in ’96, better was good enough for us. I don’t think I’m speaking out of line here when I say that we loved you from the very beginning.</p>
<p>But something happened, Hotmail. You mistook our love as unconditional. You failed to innovate. You failed to make our lives easier. You, for lack of a more fitting phrase, let yourself go — in the functionality department as well as the looks department, continuing to dress in the drab blues and beiges of so many fat ladies’ housecoats. You weren’t reciprocating our love. You grew complacent. And as a result of your complacency, in the Spring of 2004 when many of us began receiving those precious Gmail beta invites, we examined our relationships with you, Hotmail, and the majority of us decided that it was time to move on. To move on to an email platform that cared about how it looked and cared about how it performed. To an email platform that cared about us and cared about our needs. To an email program that <em>reciprocated</em>. I was one of those folks, Hotmail. I was one of those who abandoned you for Gmail. I — not unlike the majority of you here today, I’m assuming — thought it was for the best.</p>
<p>There’s zero doubt that Gmail was then, and is today, a vastly superior way to communicate electronically in every imaginable way. Huge storage capacity. Huge attachment capacity. Almost-perfect spam filters. An incredibly logical and helpful way to organize not only your contacts but your messages, too, with filters and labels and such. To me, in its current iteration, Gmail feels as close to infallible as we’re going to get. But is this kind of utter reliability  in electronic communication — in an age where electronic communication is king — what we as a society really need? Is it what we really want? I’m standing here in front of you today saying an emphatic, &#8220;No, it most certainly is not.&#8221;</p>
<p>Total reliability, to me, is a vastly overrated notion and, in the case of Gmail, total reliability is damaging.  Damaging to our lifestyles. Damaging to our very <em>freedom</em>. Who among us doesn’t yearn for the days of yore when emails could actually get lost, and excuses for not doing what you were supposed to be doing or not being where you were supposed to be were, like, completely legit? With Gmail, you can find me at any time of any day and make me do whatever you want me to do whenever you want me to do it and, if I fail to, I’m up Shit’s Creek without a paddle. Emails no longer get lost, get erroneously caught in spam filters, or are rendered undeliverable because they contain more than 12 KB of attached information. They get delivered. Every single freakin’ time. </p>
<p>Damnit, I may not have been advanced enough in my thinking to see it then but, as I stand here in front of you today,  I can very clearly see it now. Hotmail was my crutch, my rock, my excuse, my alibi — and now it’s gone and I mourn it. I mourn it and the freedom it gave me. I know, I know, I promised not to mourn, but I’m only human and <em>damn</em> is this a sad revelation.</p>
<p>But there is a bright side here for those of us smart enough and ballsy enough to recognize it. All three of you — raise your hands you bold, brilliant bastards — who were still current Hotmail users as of Hotmail’s time of death have been given the option to migrate to an Outlook.com account which, one can only hope, is as gloriously backward and Luddite-tastic as our dearly departed friend Hotmail was. You’re the smart ones, you three. You have been living your lives in blissful alibi-having ignorance and now, like it or not, you’re the new trailblazers. So blaze away. And, for the rest of us who don’t have the sack to dump Gmail and join you (or <em>rejoin</em> you as it were) on your soon-to-be blazed trail, we’ll be at that seven o’clock dinner with the in-laws at the Olive Garden because, of course, we got the fucking email.</p>
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		<title>We Listened to Random Access Memories</title>
		<link>http://feedproxy.google.com/~r/bygonebureau/~3/J5IPouMORqk/</link>
		<comments>http://bygonebureau.com/2013/05/16/we-listened-to-random-access-memories/#comments</comments>
		<pubDate>Thu, 16 May 2013 15:00:19 +0000</pubDate>
		<dc:creator>Kevin Nguyen &amp; Nick Martens</dc:creator>
				<category><![CDATA[Music]]></category>
		<category><![CDATA[highlight]]></category>

		<guid isPermaLink="false">http://bygonebureau.com/?p=12650</guid>
		<description><![CDATA[Is the new Daft Punk record the ultimate internet album?]]></description>
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<p><name1>Kevin:</name1> Nick, I think we have to talk about the new Daft Punk album. We might be the two most qualified people in the world to talk about it, having listened to their live album, <em>Alive 2007</em>, almost exclusively throughout college.</p>
<p>I don&#8217;t remember being this excited for an album ever, but at the same time, I don&#8217;t think there has ever been an album as well hyped as <em>Random Access Memories</em>. After months of obscure teasers and samples, an entire hour&#8217;s worth of new Daft Punk music is almost overwhelming. (Part of me wonders if I would&#8217;ve been just as happy if Daft Punk released the album in 30-second chunks over the course of 40 years.)</p>
<p>So: what are your first impressions of <em>Random Access Memories</em>?</p>
<p><name2>Nick:</name2> Kevin, you&#8217;re right. <em>Random Access Memories</em> generated online buzz about as efficiently as anything I can remember. And the album itself also takes advantage of the internet in a uniquely interesting way. I&#8217;m imagining listening to something like this ten years ago, with its huge web of collaborators, influences, and references, and finding it somewhat baffling. I&#8217;m sure there are people who are big Pharrell fans who also understand Todd Williams&#8217;s significance in the house music scene, but I&#8217;m not one of them. Without the ability to easily read up on all these people and listen to their music, <em>Random Access Memories</em> probably would have just sounded disjointed to me.</p>
<p>But since YouTube exists, Monday actually turned into one of the most fun days of music listening in my life. I blasted the album all day non-stop with its Wikipedia entry opened behind it. Instead of being confused why some old guy was talking over the first two minutes of &#8220;Giorgio by Moroder,&#8221; I learned that Giorgio Moroder is actually the dude who&#8217;s speaking, and then I pulled up some of his amazing work on the <a href="http://www.youtube.com/watch?v=Akyx5iu_z8Y"> <em>Midnight Express</em> soundtrack</a>. Not only did this teach me about some awesome old-school electronic music, but it gave me a whole new perspective on the Daft Punk track (seriously, listen to the two of them back-to-back). This stuff happened over and over as the album played on, and I had an absolute blast (it also explained, though did not necessarily excuse, why &#8220;Touch&#8221; exists). I expect this is pretty much the outcome Daft Punk wanted, and I can&#8217;t argue with it.</p>
<p>So, what do you think of all the collaborations? Are Daft Punk and Animal Collective really two great tastes that go great together?</p>
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<p><name1>Kevin:</name1> The track with Panda Bear, &#8220;Doin’ It Right,&#8221; definitely isn&#8217;t one of the collaborations that sticks out. Just after a few listens, the stand out for me is definitely &#8220;Instant Crush&#8221; with the Strokes&#8217;s Julian Casablancas, and it actually illustrates pretty well what works about these collaborations overall.</p>
<p>Daft Punk&#8217;s Guy-Manuel de Homem-Christo and Thomas Bangalter have a knack for beats and melody, but their instrumentation can be a little bland, sometimes tiresome even (see: &#8220;Robot Rock&#8221;). Casablancas is almost the opposite, best known for the noodly dueling guitars that have driven his solo album and the last two Strokes records. Those guitar riffs cleverly manifest themselves as synyth runs on the chorus of &#8220;Instant Crush,&#8221; and there&#8217;s a very Strokes-y guitar solo in the middle of the song.</p>
<p>The true hero collaborator of the record though is Niles Rodgers, whose funk/rock/disco guitar colors the entire album aesthetically in a throwback &#8217;70s vibe. (You probably know more about Rodgers than me, from your wiki&#8217;ing.) But as much as <em>Random Access Memories</em> is an homage to disco, is it a dance record? I read an interview that with this album, Daft Punk wanted to do what they&#8217;ve always done but with live instrumentation. Does this feel like old Daft Punk to you with new tricks, or an entirely new direction?</p>
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<p><name2>Nick:</name2> So, I generally tend not to put much stock in what artists say about their own work because so often it&#8217;s just not helpful in terms of critical analysis. De Homem-Christo and Bangalter especially seem untrustworthy since they go to such theatrical lengths to create the public image of Daft Punk. The statement you mention, then, is kind of hilarious at first blush because <em>Random Access Memories</em> feels like such a self-conscious stylistic departure for the group. There&#8217;s a moment in the track I mentioned before, &#8220;Giorgio by Moroder,&#8221; where Moroder says, in the context of his music, &#8220;There was no preconception of what to do.&#8221; Then the beat drops out and a soaring violin swoops in — a sound that&#8217;s never appeared in the Daft Punk canon before. When I first heard it, it felt so heavy handed, like, &#8220;HAY GUYZ WERE NOT ELECTRIC MUSICZ N E MOAR KTHXBYE.&#8221;</p>
<p>But as I&#8217;ve listened more, I don&#8217;t think that&#8217;s quite what they&#8217;re saying. I queued up a bit of <em>Discovery</em> today, which I think has the most in common with <em>Random Access Memories</em> of their earlier work. Both feature a wide stylistic range and lots of traditional pop vocal performances. And in light of these new songs, what struck me most about <em>Discovery</em> is how heavily their older music relies on a rigid electronic drum beat. Now, Daft Punk made electronic dance music, so this isn&#8217;t exactly a revelation, but when I went back to <em>Random Access Memories</em>, I realized how much new space they created by removing that beat. They can still use a steady rhythm to reproduce the delicious groove of their older material, as in &#8220;Get Lucky,&#8221; but they can also do things that feel nothing like their past, like the album&#8217;s chaotic closer, &#8220;Contact.&#8221; </p>
<p>You asked me two things — is this a dance record and does it feel like old Daft Punk? I think it feels like what would happen if Daft Punk made a record that wasn&#8217;t dance music. Lots of the same elements are still here — the repetition, the vocoder, the funk — but their entire sound has transformed in the absence of the dance beat.</p>
<p>We&#8217;ve talked a lot about the mechanics of the record so far, but is it, y&#8217;know, <em>good</em>? The novelty and excitement are definitely propelling me through the first ten listens, but how do you think it will fair by play count 100?</p>
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<p><name1>Kevin:</name1>  I&#8217;m glad you brought up <em>Discovery</em>, because that’s the only other Daft Punk album that felt like an <em>album</em>. But <em>Random Access Memories</em> might be their best. Like you said, they&#8217;ve taken all of their familiar elements and done something sort of extraordinary with them: in the absence of beat, there is rhythm.</p>
<p>But to answer your question: will this album last? I can see this record enduring more than other Daft Punk albums (which are largely awful). Is it a great album? I&#8217;m unsure of that. Because on one hand, it&#8217;s not a consistent album. But its drone-y repetition makes it a great album to listen to at work, much like the beloved new Justin Timberlake album.</p>
<p>Even though it&#8217;s an album that is largely a throwback to the &#8217;70s, it&#8217;s very modern, seemingly made for the age of people who sit on computers all day and listen to Spotify.</p>
<p>Do you think it&#8217;s a work album?</p>
<p><name2>Nick:</name2> That&#8217;s a good question, and the answer actually says a lot about what makes this album special. I&#8217;m sure you can back me up on this because we&#8217;ve both been listening to nothing else at our jobs for the past two days: <em>Random Access Memories</em> is a fantastic work album. Daft Punk records tend to be because they&#8217;re full of positive energy and loops that don&#8217;t challenge your brain. If you want to listen to <em>Random Access Memories</em> this way, it totally lets you. &#8220;Fragments of Time,&#8221; for example, is one of those songs that will make you shake your shoulders a little bit while you stare at an Excel workbook.</p>
<p>But there&#8217;s another side of <em>Memories</em> that&#8217;s new for Daft Punk: the album rewards you if you pay careful attention to it. Take &#8220;Motherboard,&#8221; one of the two tracks that only De Homem-Christo and Bangalter received a writing credit for. It&#8217;s a soft, moody song with peppy drums, crystalline synths, and subtle strings. It&#8217;s basically the quintessential fade-into-the-background-as-you-read song. But if you listen closely, there&#8217;s a lot to discover. The beat is oddly staggered, the suite of instruments is interestingly diverse, and the sounds layer over each other in complex and sophisticated ways. And this is all happening on a track that&#8217;s almost filler.</p>
<p>No matter how much I love &#8220;Around the World&#8221; (note: A LOT), I could never just sit and think about what it&#8217;s doing for seven minutes. But If (and god willing, when) Daft Punk tours again, I feel like I could appreciate the music on <em>Random Access Memories</em> just as much in a cramped, atmospheric indie venue as I could if it was blasting out of a neon polyhedron at a rave on the moon.</p>
<p>Not that I would turn down the latter, of course.</p>
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		<title>Three Questions for Timmy the Galaxy</title>
		<link>http://feedproxy.google.com/~r/bygonebureau/~3/rszgMm7415M/</link>
		<comments>http://bygonebureau.com/2013/05/15/three-questions-for-timmy-the-galaxy/#comments</comments>
		<pubDate>Wed, 15 May 2013 20:30:12 +0000</pubDate>
		<dc:creator>Hallie Bateman</dc:creator>
				<category><![CDATA[Humor]]></category>
		<category><![CDATA[hallie bateman]]></category>
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		<guid isPermaLink="false">http://bygonebureau.com/?p=12642</guid>
		<description><![CDATA[A quick chat with one of the universe's brighter galaxies.]]></description>
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<p><img src="http://bygonebureau.com/wp-content/uploads/2013/05/timmy_the_galaxy.jpg" alt="timmy_the_galaxy" title="timmy_the_galaxy" class="stretch" /><br />
<sidenote>Illustration by <a href="http://halliebateman.com/">Hallie Bateman</a> for The Bygone Bureau</sidenote></p>
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<p><strong>You seem brighter than most galaxies. What&#8217;s your secret?</strong></p>
<p>Yeah, you know, when I was younger, I did that whole act: &#8220;Ohhh I&#8217;m a galaxy, my darkness is infinite, I can&#8217;t believe I&#8217;m stuck in this stupid little Universe forever, I&#8217;m gonna go listen to Conor Oberst, woe is me!&#8221; But that shit gets old after about four billion years. I guess I just grew up and realized that I&#8217;m not the center of the world, you know? I just contain it.</p>
<p><strong>Have you ever been in love?</strong></p>
<p>I merged with another galaxy once. Her name was Destiny. She had the most beautiful gas I&#8217;d ever seen. We were both into the alternative scene: black metal, tattoos, cosmic bowling. We took a lot of amphetamines. God, that feels like 10 billion years ago&#8230; No, I think it was more like 12. </p>
<p>Anyway, she&#8217;s just a distant memory now. I mean, I know she lives within me — or I within her? Once you merge it all kind of just fades. Your identity is changed forever. I don&#8217;t even remember my previous orbit. It&#8217;s far, far away.</p>
<p><strong>What are you afraid of?</strong></p>
<p><em>(laughs)</em> This is probably gonna sound crazy but sometimes when I&#8217;m changing before bed, I get this eerie feeling like someone, somewhere, is looking up at me.</p>
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		<title>Weapon of Mass Crustacean</title>
		<link>http://feedproxy.google.com/~r/bygonebureau/~3/6wr5MmrT3FE/</link>
		<comments>http://bygonebureau.com/2013/05/14/weapon-of-mass-crustacean/#comments</comments>
		<pubDate>Tue, 14 May 2013 14:00:04 +0000</pubDate>
		<dc:creator>Nick Martens</dc:creator>
				<category><![CDATA[Videogames]]></category>
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		<guid isPermaLink="false">http://bygonebureau.com/?p=12635</guid>
		<description><![CDATA["Perhaps some psychologist can tell me why it feels so good to inhabit a colossal cosmic crustacean and wreak havoc across the solar system. But I don’t particularly care why."]]></description>
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<p>The number of games I bring with me when I fly is genuinely ridiculous. I have a case of 18 Nintendo DS and 3DS game, plus a dozen more stored on the system itself. My iPhone holds 60 games, ranked and categorized, with another 40 on the iPad. In my defense, this is a collection of cheap titles amassed over many years. Still, as I thought about them all jammed in my bag and pocket on a flight to New York last week, it made me feel kind of silly. And more so because I didn&#8217;t want to play any of them.</p>
<p>My vision blurred as my eyes passed over row after indistinguishable row of colorful rounded squares — carts and apps. No single game asserted itself forcefully enough that I felt like I must play it above the others. That is, until my gaze froze upon an iPad app icon containing a maniacal cartoon crab. <em>Yes, I thought, I need to play <a href="http://twolivesleft.com/Crabitron/"></em>Crabitron<em></a> right now.</em></p>
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<p><em>Kids in the Hall</em> is great for many reasons, but I&#8217;ve always felt that its crowning achievement was <a href="http://www.youtube.com/watch?v=uwlAvsPvPfg">&#8220;I&#8217;m Crushing Your Head.&#8221;</a> It&#8217;s an absurd minute-long skit that somehow speaks to the loss of childhood, the pettiness of adulthood, and the solitude of existence, reflected in one silly gesture. <em>Crabitron</em> doesn&#8217;t just express these same ideas; it does so using the exact same gesture.</p>
<p>When I first launched the game, I immediately knew what was happening, and it made me giddy with anticipation. A monster space crab lounged at the bottom of the screen, its claws raised. On either side of each claw was a circular outline, inviting me to place a thumb and index finger over them. When I did, the game sprang to life. I pinched my fingers and the crab snapped its claw.</p>
<p>Perhaps some psychologist can tell me why it feels so good to inhabit a colossal cosmic crustacean and wreak havoc across the solar system. But I don&#8217;t particularly care why. All I know is that when I pressed my actual fingers together, the claw on the screen crushed a galactic VW Bus, and a bunch of aliens flew out into space. Then I shoveled them into my gaping crab-maw, and the game rewarded me with money. Now, <em>Crabitron</em> is actually well designed, with novel controls and surprising variety, but that&#8217;s just a footnote. On a cramped six-hour flight, the game made me feel like I could crack the whole plane in half like a pixie stick and devour everyone inside. Which, it turns out, is all I ever wanted out of in-flight entertainment.</p>
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		<title>Notes from the Bigoted Ornithologist Association</title>
		<link>http://feedproxy.google.com/~r/bygonebureau/~3/f384IOh-VOY/</link>
		<comments>http://bygonebureau.com/2013/05/13/notes-from-the-bigoted-ornithologist-association/#comments</comments>
		<pubDate>Mon, 13 May 2013 15:00:56 +0000</pubDate>
		<dc:creator>Matt Seidel</dc:creator>
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		<guid isPermaLink="false">http://bygonebureau.com/?p=12627</guid>
		<description><![CDATA[Presenting new research from the most obstinately intolerant scholars of birds.]]></description>
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<p>Another year has come and gone, which means that some of the most renowned bigots in ornithology had much to report this past weekend at the B.O.A.’s annual convention.</p>
<p>Starting things off, Professor Gimblethwait persuasively argued that male birds are inherently better at spatial navigation and thus should be at the front of any flying V-formation. </p>
<p>Noted culture warrior Lucy Rankin then took the stage and blamed the breakdown of traditional family values on the promiscuous mating habits of the common cuckoo. </p>
<p>Professor Gulbert delivered a compelling genetic argument for the roadrunner’s innate athletic superiority. However, she did admit that she would probably start the slower-footed egret at quarterback because of its intangibles. </p>
<p>A special guest [name redacted] from the Department of Wildlife’s new homeland security division described a pilot government program to affix a nape tag to track every Persian shearwater, Egyptian goose and Oriental turtle-dove nesting in the U.S.</p>
<p>Hardly had the applause died down before Professor Snead galvanized the audience anew by noting that vultures, buzzards and crows compose the 47% of birds who rely on other animals or vehicles to kill their prey for them. </p>
<p>Not to be outdone, the eugenicist Professor Johannson waxed rhapsodic about a future master race of condor-swan-eagles that would be immune from the bird flu. He was ushered off stage as he was canvassing the room for an anti-albatross pogrom.</p>
<p>Dr. Cilic, Eastern Bluebird expert, added that the Orioles were all bums.</p>
<p>Dr. Krunztler proceeded to shock even the most hardened bigots by delivering his otherwise staid lecture on avifauna biodiversity in featherface. </p>
<p>Inspired by Seth MacFarlane’s performance at the Academy Awards, a leering Professor Sancton showed a nine-minute slideshow of tufted titmice, blue-footed boobies and MacQueen bustards baring their crests. </p>
<p>A tough act to follow, but Professor O’Bannon spellbindingly railed against our permissive bird migration policies. He singled out the western sandpiper, whom he somewhat bizarrely accused of “taking all our jobs.”  </p>
<p>Lastly, Professor Malowski, the keynote speaker, wrapped things up by decrying the savage custom of regurgitating food into a chick’s mouth. He went on to say that while a bird like the parrot was a good mimic, it was not capable of philosophical reasoning; that while the nightingale’s song was certainly lovely, it could never rival the complex polyphonic structure of a Beethoven symphony; and that woodpeckers had not as of yet produced a novelist to rival Tolstoy. </p>
<p>The bigoted ornithologists then adjourned to the hotel bar, where they enjoyed a sumptuous banquet catered by Chick-fil-A and confided to the staff that some of their best friends were birds. </p>
<p>Until next year everyone!</p>
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<p><sidenote>Images courtesy of <a href="http://www.flickr.com/photos/11356857@N08/">OnFoot4now</a>, <a href="http://www.flickr.com/photos/perpetualplum/">Sue Clark</a>, <a href="http://www.flickr.com/photos/hadesigns/">Artbyheather</a>, and <a href="http://www.flickr.com/photos/april-mo/">april-mo</a>.</sidenote></p>
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		<title>Recommendations, 5/10</title>
		<link>http://feedproxy.google.com/~r/bygonebureau/~3/mnMnkTzubKA/</link>
		<comments>http://bygonebureau.com/2013/05/10/recommendations-510/#comments</comments>
		<pubDate>Fri, 10 May 2013 14:00:12 +0000</pubDate>
		<dc:creator>The Bureau Editors</dc:creator>
				<category><![CDATA[Internet]]></category>
		<category><![CDATA[Recommendations]]></category>
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		<guid isPermaLink="false">http://bygonebureau.com/?p=12615</guid>
		<description><![CDATA[This week: eating chocolate, mediocre genre TV, radio plays, and absurdist 3D animation.]]></description>
			<content:encoded><![CDATA[<h3 id="darryl">Darryl</h3>
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<p>Last week I visited a farm on the Big Island of Hawaii that grows cacao trees. As part of the tour, I got to harvest a cacao pod (involving poles, machetes, and waist-mounted reed baskets&#8211;fun for about the first three or four pods, maybe not over a whole day of harvesting), hack it open with a knife, and taste raw cacao beans. I expected something mild and pleasantly earthy, sort of like eating a handful of cocoa nibs.</p>
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<p>I was wrong. Each bean is covered in a slippery white rind, which tastes like a mix between lychee and durian. The bean itself is an eggplant-purple and chalky, like a Tums tablet. It also tastes exactly like Grannick&#8217;s Bitter Apple, a chewing deterrent for dogs that maybe some owners want to try to see just how bitter it actually is. (Tip: if you spray it directly onto your mouth it will make you throw up).</p>
<p>The take-away here? Simple: <strong>eat chocolate, and marvel</strong> at the amount of ingenuity, craftsmanship, and sheer physical labor that goes into turning these horrible little chalk-pods into something as wondrous as chocolate.</p>
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<h3 id="ben">Ben</h3>
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<p>Over the past year I’ve become obsessed with podcasts. While there are some downsides — I’ve slowly weaned myself off of listening to music, which has led to the fear that I’m becoming my father, who will soon be listening to right-wing radio shows as they’re the only talk radio available in this town — there are some amazing shows, my favorite of which is <strong><em><a href="http://thrillingadventurehour.com/">The Thrilling Adventure Hour</a></em></strong>.</p>
<p>It&#8217;s a collection of comedy radio plays, though they are all recorded in a live stage show in Los Angeles. While there are many shows under the <em>Thrilling Adventure Hour</em> umbrella, the most easily accessible series are <em>Beyond Belief</em>, a Thin-Man style supernatural mystery series, and <em>Sparks Nevada: Marshall on Mars</em>, a sci-fi western.</p>
<p>I’ll admit that I’m particularly disposed to the medium — the only art that’s ever made me cry was a radio play, so they’re some type of emotional kryptonite — but these shows are both long-running, hilarious, and emotionally potent, and I laud them without hesitation.</p>
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<h3 id="kevin">Kevin</h3>
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<p>Nick recently showed me David O&#8217;Reilly&#8217;s animated short film <strong>&#8220;External World,&#8221;</strong> which I somehow missed when it made the internet rounds in 2011. It was perhaps the strangest, most unexpected seventeen minutes of my life. You should watch it right now. I&#8217;ll wait.</p>
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<p>Amazing, right?</p>
<p>I adore O&#8217;Reilly&#8217;s animation, which favors bright, soft colors and smooth shapes over detail and texture. But what really comes through here is his wicked sense of humor. &#8220;External World&#8221; is an outlandish universe, grounded in references to old cartoons and videogames. I don&#8217;t remember the last time I laughed so hard. The experience reminded me of my first viewing of Don Hertzfeldt&#8217;s Rejected or the original Adventure Time short so many years ago.</p>
<p>Speaking of which, Cartoon Network recently aired an episode of Adventure Time that was written and directed by O&#8217;Reilly called &#8220;A Glitch is a Glitch.&#8221; It&#8217;s a great fit: a weird universe, for O&#8217;Reilly to bend and color with confident, hilarious absurdity.</p>
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<h3 id="jonathan">Jonathan</h3>
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<p>If you aren’t busy this weekend, I recommend two mediocre genre shows: <strong><em>Continuum</em> and <em>Grimm</em></strong>. <a href="http://www.syfy.com/continuum"><em>Continuum</em></a> is a Canadian export (the first series is on Netflix) with one neat twist to distract you from the underacting. The twist is that in the future, the bad guys are anti-corporate terrorists and the supposed hero works for some kind of monolithic GooglePolice. Sci-fi usually pits underdogs (or cyborgs) against powerful, soulless corporations (Omni Consumer Products, Weyland-Yutani, Tyrell Corporation, etc.). In <em>Continuum</em> our heroine (Rachel Nichols) is a corporate shill who time-travels back to 2012 with a group of 99%er revolutionaries. Aided only by her perpetually pained expression, her form-fitting wearable smartphone, and a Nerd Ex Machina (Erik Knudsen) perched in a nest of computers, she sets about trying to stop the bad guys from doing some kind of wibbly-wobbly timey-wimey stuff to the future. <em>Continuum</em> is a competent passer of time where, this being Canada, nobody gets too excited. The apocalypse is contemplated with about as much urgency as a Tim Horton’s menu.</p>
<p><a href="http://www.nbc.com/grimm/"><em>Grimm</em></a> (NBC Tuesdays) is also perfectly acceptable and mostly entertaining. In <em>Grimm</em>, various fairy-tale type creatures (called Wesen) walk, unseen, amongst the few remaining normals left in Portland, Oregon. (Most non-shifting, non-monsters move to Gresham, I guess.) And this guy, Nick (David Giuntoli) is a Grimm who can see the creatures as they really are.  Also, there’s gonna be some murder mystery each week because, unlike the 10-episode series <em>Continuum</em>, the writers have to come up with 20+ episodes each season. Nobody seemed as surprised by <em>Grimm</em>’s success as the creators of the show: they re-invent characters, make-up strained “mythology” on the fly, and write characters off for weeks on end. And yet, <em>Grimm</em> is rather charming, due in no small part to Silas Weir Mitchell as a werewolf, excuse me, Blutbod. Mitchell was given the part of Mr. Exposition but transformed it into the most compelling character on <em>Grimm</em>. He is, as Mitchell has described him, “a complex dude.” An episode of <em>Grimm</em> won’t blow you away, but (thanks to Mitchell) it beats mowing the lawn.</p>
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		<title>The Garden State Soundtrack Will Change Your Life</title>
		<link>http://feedproxy.google.com/~r/bygonebureau/~3/Swg-A_7TjJE/</link>
		<comments>http://bygonebureau.com/2013/05/09/the-garden-state-soundtrack-will-change-your-life/#comments</comments>
		<pubDate>Thu, 09 May 2013 14:00:18 +0000</pubDate>
		<dc:creator>Kevin Nguyen</dc:creator>
				<category><![CDATA[Music]]></category>
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		<guid isPermaLink="false">http://bygonebureau.com/?p=12605</guid>
		<description><![CDATA["Indie music never belonged to anyone, but at least in the early '00s, it was easier to pretend it did."]]></description>
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<p>Jesse David Fox nails it in his <a href="http://www.vulture.com/2013/05/defense-of-garden-state-zach-braff.html">retrospective defense of <em>Garden State</em></a>: </p>
<blockquote><p>[S]omewhere between its soundtrack winning a Grammy and Zach Braff raising more than $2 million on Kickstarter to film a tonal sequel, we started hating <em>Garden State</em>. The movie didn&#8217;t change — we did… It&#8217;s become a symbol for its blend of quirky, twee, morose, earnest, precious, hipsterness, and it&#8217;s resented for it. We&#8217;ve confused its influence for cliché.</p></blockquote>
<p>But perhaps a more enduring backlash than the one against the film was the soundtrack. In 2004, <em>Garden State</em> represented the popularization of indie music. Suddenly underrated acts like the Shins, Iron and Wine, and Zero 7 were playing in Starbucks, and being conflated with pseudo-indie bands like the Killers or the Bravery. Zach Braff didn&#8217;t cause it — indie rock was always bound to go mainstream (see: world wide web) — so much as <em>Garden State</em> became the face of a trend. The reaction from already entrenched indie music fans could be best summed up in an <a href="http://www.youtube.com/watch?v=YN1mKiQbi4g">old sketch video about a hip record store called Other Music</a> where a pre-fame Aziz Ansari murders a customer for asking about the <em>Garden State</em> soundtrack (&#8220;It&#8217;s supposed to be indie-tastic!&#8221;).</p>
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<p>I was into the Shins before <em>Garden State</em> (feel free to roll your eyes). But when <em>Garden State</em> popularized the Shins, I didn&#8217;t feel like the band had sold out. I was just psyched that now other people I knew also liked the Shins.</p>
<p>In high school, I fell in with the kids who liked Nine Inch Nails and Tool — both of which whom I enjoyed at the time, but to a much lesser degree. It didn&#8217;t really speak to me in the way a high schooler&#8217;s favorite band is supposed to speak to him/her. (Although part of me suspects that when a bunch of suburban, prep school virgins talk about how &#8220;Closer&#8221; would make a great song to fuck to, maybe it doesn&#8217;t <em>actually</em> speak to them either?) But my sophomore year, I discovered the Shins on a music site called <a href="http://en.wikipedia.org/wiki/Epitonic">Epitonic</a> (now long defunct). Their melodies were sunny; James Mercer&#8217;s sweetly maudlin lyrics were the sentimental antidote to the angst-ridden dirge of Trent Reznor and James Maynard Keenan.</p>
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<p>Whereas music elitists had seen <em>Garden State</em> as an appropriation of something that belonged to them, for me it felt like a form of acceptance. I lived just outside of Boston, and when the Shins came to town, I couldn&#8217;t convince any of my friends to come with me (even the friend who had purchased a Nine Inch Nails ticket for me without asking, made me pay for it, and then forced me to driver her to the concert). A year later, after <em>Garden State</em> came out, I was able to convince a friend to drive with me all the way down to Providence, Rhode Island to see the Shins.</p>
<p>Since <em>Garden State</em>, the Shins have released two lesser albums. I&#8217;ve seen them on each supporting tour, every time at a bigger and bigger venue. It&#8217;s hard to complain, because really, this is the natural trajectory of any band that a lot of people like.</p>
<p>One of my favorite blogs used to be called <a href="http://theshinswillchangeyourlife.blogspot.com/">The Shins Will Change Your Life</a>, its title taken from the moment in the film when Natalie Portman&#8217;s character <a href="http://www.youtube.com/watch?v=Ziwr4f5eR0M">introduces Zach Braff to the Shins&#8217; most famous ballad, &#8220;New Slang.&#8221;</a> The site highlighted the most pretentious, self-serious passages from Pitchfork album reviews without comment. It still exists today, but functions as a fairly ordinary music blog, talking about bands that most people who read Pitchfork have heard of.</p>
<p>Indie music never belonged to anyone, but at least in the early &#8217;00s, it was easier to pretend it did. <em>Garden State</em> captured a perfect adolescent dream: that a cute stranger might tell you to listen to a song, and that song might actually change your life.</p>
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		<title>The Metamorphosis: On Amanda Bynes’s Twitter</title>
		<link>http://feedproxy.google.com/~r/bygonebureau/~3/YU7XkFwvPXk/</link>
		<comments>http://bygonebureau.com/2013/05/08/the-metamorphosis-on-amanda-byness-twitter/#comments</comments>
		<pubDate>Wed, 08 May 2013 14:00:25 +0000</pubDate>
		<dc:creator>Nathan Pensky</dc:creator>
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		<description><![CDATA["Watching the videos Bynes posts on her Twitter doesn’t feel like watching someone giving a poor performance. It feels like watching someone lose her mind."]]></description>
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<p>We&#8217;ve seen this movie before. A child performer attempts to make the transition into more serious roles and in the process adopts an entirely new, more “adult” public persona. It isn’t enough just to seem older. Well-known child performers who age by increment only serve to remind audiences of the passage of time, a reality that has never scored well in the 18-34 demographic. In the same way that people find it hard to see the physicality of actors that aren’t extremely thin or extremely overweight, outward signs of adolescence are not tolerated. As an actor, graduating from child roles to adult ones is a test less of performative skill than of personal reinvention.</p>
<p>Some, like Anne Hathaway or Ryan Gosling, achieve this transformation of persona. Others equally talented, like Dakota Fanning or Haley Joel Osment, don’t. Still others, like Lindsay Lohan or Macaulay Culkin, change from a performing child into an attention-seeking adult, whose antics off-screen belie anything they could do professionally. Audiences become eager to punish the Lohans and Culkins of the world for stealing away the child they once knew and replacing it with a flawed human, one who chose to step out of the professional stage lighting into the stark light of day, blemishes and all.</p>
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<blockquote class="twitter-tweet" width="500"><p>Rawr!<a href="http://t.co/2P5W5eXdD3" title="http://twitpic.com/cjvef9">twitpic.com/cjvef9</a></p>
<p>&mdash; Amanda Bynes (@AmandaBynes) <a href="https://twitter.com/AmandaBynes/status/324325661592416256">April 17, 2013</a></p></blockquote>
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<p>But the metamorphosis of former child star Amanda Bynes is different from any of those other examples, if only because it may be the severest case of this third category.</p>
<p>The markers of Bynes&#8217;s downward spiral aren&#8217;t the conventionally tragic drug addictions and career disasters; she&#8217;s gone beyond that. Her fall seems to entail not a lack of poise but a loss of self. When you hold a picture of the Amanda Bynes we knew from only a few years ago in her early 20s to the selfies that show up on her Twitter these days, the difference is more drastic and bizarre than that of other fallen child actors.</p>
<p>Before Bynes started showing real signs of this change, she had already successfully landed several supporting roles as an adult in major motion pictures like <em>Easy A</em> and <em>Hairspray</em> and a starring role on the TV show <em>What I Like About You</em>. But it wasn’t her transition from the apple-cheeked sketch player on her Nickelodeon shows to the semi-successful adult actor that has lit up the blogosphere. Rather, it’s been the emergence of the acid-haired glamazon of her own self-shot Twitter videos.</p>
<p>I&#8217;d never really taken much notice of Amanda Bynes as an actress. Even from a young age, I was more interested in MTV than Nickelodeon. But the couple of times I did see her shows, she had a spark of intelligence and charm that her tween cohort lacked. Her comic stunts seemed better realized than those of, say, Hilary Duff or Melissa Joan Hart. She was that rare contradiction of terms, a child actor with equal parts commitment to craft and effortless panache.</p>
<p>But Bynes’s roles as a child actor, while effective, were mostly in an overdrawn slapstick style. And so it&#8217;s striking how in her new role as media curiosity, she has seemed to draw from a lot of the same comedic tools she used for the clowning of her childhood performances. Her hair and eyelashes just keep getting bigger, her make-up more and more dramatic.</p>
<p>Watching the videos Bynes posts on her Twitter doesn’t feel like watching someone giving a poor performance. It feels like watching someone lose her mind. And yet there’s also a distinctly performative flavor to the specifics of these videos.</p>
<p>Bynes seems obsessed with controlling her image, and yet that obsession itself is characterized by a lack of control. Her tweets are a never-ending campaign for glossy celeb rags to use “approved photos” of her, and yet the photos she posts on her Twitter are without exception poorly shot images of an exhausted, desperate young woman.</p>
<p>As art, her persona is a horror show where she is both the blonde heroine unwittingly stalked by a creature and the creature itself. We hear ourselves screaming, &#8220;Don&#8217;t go in there!&#8221; but keep watching through our fingers to see what will happen. And in that performative capacity, the new “Amanda Bynes Show&#8221; is not without its merits. There are elements of her performance as a personality on the brink that are actually pretty compelling.</p>
<p>For instance, the fact that her facial piercings affix right at the spot where her dimples would go could be a way for her to comment on the characteristic feature of the cute child actor, as if she&#8217;s redefining that characteristic to suit her new goals. In the infamous <a href="http://www.youtube.com/watch?v=k9jzLVR-h6U">&#8220;Sour Patch video,&#8221;</a> it&#8217;s compelling the way she looks both in the screen of her phone and in the mirror. One wonders which picture was showing her what she wanted to see? And then she posted this video online, another lens. She piles screen upon screen between herself and her viewer like layers of make-up, daring us to feel any sort of connection with her.</p>
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		<title>Progress</title>
		<link>http://feedproxy.google.com/~r/bygonebureau/~3/tgpcHUMf83Y/</link>
		<comments>http://bygonebureau.com/2013/05/07/progress/#comments</comments>
		<pubDate>Tue, 07 May 2013 14:00:24 +0000</pubDate>
		<dc:creator>Brad Jonas</dc:creator>
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		<description><![CDATA[So this is growing up.]]></description>
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		<title>Some Luck</title>
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		<pubDate>Mon, 06 May 2013 14:00:41 +0000</pubDate>
		<dc:creator>Avery Edison</dc:creator>
				<category><![CDATA[Internet]]></category>
		<category><![CDATA[Right Body, Wrong Junk]]></category>
		<category><![CDATA[elizabeth simins]]></category>
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		<guid isPermaLink="false">http://bygonebureau.com/?p=12574</guid>
		<description><![CDATA["The transgender community is all about hierarchies: how well you pass, how much surgery you’ve had, how much strife you’ve been through. The age you came out at is just another ladder to count rungs on."]]></description>
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<p><sidenote>Illustration by <a href="http://cargocollective.com/eliz">Elizabeth Simins</a> for The Bygone Bureau</sidenote></p>
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<p>“You’re so lucky,” she said. I was seated between two women in the reception area of the Gender Identity Clinic in London. Each of us was there for a biannual appointment with the doctor assigned to us. No matter how far along you are in the process, you have to come to the clinic presenting as your desired gender, as a show of commitment. It’s a cruel expectation for some people, making their trip to and from the clinic an exercise in embarrassment, but it meant that the three of us knew we were each shooting for the same hoop.</p>
<p>“You’re so lucky,” she said, and I didn’t need to ask why. I was barely twenty years old at the time, fresh-faced and with a body that would guzzle up the female hormones I’d been prescribed and adjust itself well to a new gender. But the other two women in line were older than I was — late forties, early fifties — and their bodies would not be so accommodating. They’d spend the rest of their new lives dealing with five o’clock shadow, rough skin, and — worst of all — the regret of a half a century’s worth of shame and secrecy.</p>
<p>I was lucky, because I was born into a time when I could come out as transgender and make the transition while I was still barely born at all. They were unlucky, because they’d never really be able to make themselves into the women they felt like inside, not to their satisfaction. I didn’t know what to say back to her. I didn’t know how to alleviate the guilt I was feeling right then. Probably, it’s not something I deserve to feel okay about.</p>
<p>It seems like every other week I read an article  about someone coming out as transgender. If I happen to miss these articles when they first come out, people are kind enough to email them to me (which feels like I imagine it does when the one black friend in a group keeps getting forwarded blog posts about racism in <em>Girls</em>).</p>
<p>I read these pieces and invariably discover that the subjects of them are younger than me, younger even than I was when I came out. Partly that’s because they make for better photos alongside the text (nobody likes seeing the depressing image of a trans-woman or -man who doesn’t meet their expectations for a “convincing” look), and partly that’s because our culture is fascinated by the ever-lower age limit for awareness in children and acceptance by parents. Fifteen-year-old transgender girls, ten-year-old trans boys, a gender-queer infant blowing three candles out on hir half-blue/half-pink birthday cake. I see them all on my computer screen, and I know that if I met them, I would say one thing:</p>
<p>“You’re so lucky.”</p>
<p>Of course, it’s ridiculous of me to feel jealousy toward those who have managed to do something about their dysphoria faster than I did. My transition has worked out okay, even accounting for my (by these kids’ standards) late escape from the confines of my assigned gender. But you could say the same thing to the woman I stood next to in that clinic. Sure, her situation looks bad to <em>her</em>, but there’s an 80-year-old transwoman who would give anything to get back on that side of the pension line.</p>
<p>The children in these articles have it better than me, and I have it better than the old women at the clinic, and they have it better than dead trans-people who never had the chance to come out at <em>all</em>, and every one of us probably has it better than starving babies, political refugees, and the guy who has to polish L. Ron Hubbard’s tombstone. The transgender community is all about hierarchies: how well you pass, how much surgery you’ve had, how much strife you’ve been through. The age you came out at is just another ladder to count rungs on.</p>
<p>But the knowledge of that relativity, of those pointless and divisive hierarchies, doesn’t stop me laying awake at night and thinking about how my life would be different if I’d had the courage, or the awareness, or the gall to come out as transgender when I was sixteen, or thirteen, or ten. And believe me — I <em>wanted</em> to at ten. (Hell, I wanted to at <em>five</em>, so please be sure to place me high up on that particular scoreboard.)</p>
<p>I imagine standing up in front of my class at the all-boys school I was part of in eighth and ninth grade, telling my peers that the thing about me that was different — the thing that led them to bully me mercilessly from the day I started there — was that I was a girl, and would become the first girl to graduate that school in spite of its segregated stance. Everybody is shocked, but my speech is so moving that they all cheer and fully support me.</p>
<p>I picture speaking up to my doctor when I was nine, as he examines my penis and informs my mother that I need a circumcision because I’d neglected to play with myself (as, apparently, young boys do) enough to stretch the skin down there . I picture telling him that the reason I did my best to ignore that organ was because it didn’t feel right. I picture that conversation leading to a long discussion of gender identity, my place in the world, and how everyone in my community can help me through the difficult journey I’m about to embark on. There are tears.</p>
<p>I think about my mother asking my five-year-old self why I’d scrawled all over my face in the school pictures I’d just brought home. I am honest.</p>
<p>Like all regrets and should-have-beens, these are pointless daydreams. None of these scenarios would have happened, because none of them <em>did</em> happen. I just wasn’t ready, for whatever reason, to deal with all this stuff until I was nineteen, and that’s nobody’s fault, especially not mine. It’s just how it worked out for me. Any anger I feel about that is wasted. Any bitterness will just fester in me and achieve nothing, especially not personal growth. Any sadness is silly. I know that.</p>
<p>But I know it only intellectually, not emotionally. And so I can’t help but have the visceral reaction of envy and sourness when I read of the new generation of trans-kiddies. And so I understand why the woman at the clinic said those words.</p>
<p>“You’re so lucky,” was a statement I agreed with, sympathized with, and had no idea how to respond to. Acknowledgement would seem like bragging, deflection would seem like lying, gratefulness would seem greedy. So I just said what I felt. I said that I was sorry.</p>
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