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Courtesy of Forbes

Charlotte, North Carolina, my home and where the Carolina Panthers reside (for now), is currently undergoing massive upheaval as a result of a tax revaluation by the Mecklenburg County Tax Assessor’s Office. This is the first revaluation since 2011, and Charlotte has only continued to increase in its population to the tune of roughly 54 people a day. This population growth coupled with a lack of supply in housing stock (both affordable and otherwise) has led to the kind of real estate speculation that spells disaster for working class neighborhoods. 

The Tax Assessor’s Office reported that commercial property jumped by an average of 77% while residential jumped by an average of 43%. As a result, people are making tough, kitchen table decisions like appealing their revaluation or moving before a property tax rate is set in July. The revaluation has turned an affordable housing crisis into a nightmare with horror stories of affected neighborhoods devastated and residents despondent with the choices ahead of them. 

There was a story released this past Thursday that one major fixture of the region is also feeling the squeeze: David Tepper’s Carolina Panthers. 

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In the pilot episode of Larry Charles’ Dangerous World of Comedy, the director of Borat and former Seinfeld writer timidly asks a reformed Liberian warlord known as General Butt Naked, “What does human flesh taste like?” 

The General answers that it tastes like pork. This is the moment when a two-drink minimum seems like a great idea. 

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You have options. Before the start of every new sporting season, dedicated fans take a step back to join casual onlookers just catching up in assessing offseason developments, visualizing the year ahead, prognosticating to pass the time. There are bland press releases to read, rehearsed transcripts to read into, social media posts to pick apart. Media sources both official and otherwise get paid to distill this pile of corporate-backed bollocks into coherent season previews with scripted narratives to follow for your benefit so you can regurgitate it to uninterested parties as the smartest, least likable person in the room when the topic of conversation finally comes around. I know what these previews will say. So do you. This is the ritual.

But there are alternatives. That’s why you’re here.

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Graphic by Brian Kraker

Another year down. Another year older, but perhaps none the wiser? Maybe that decision doesn’t belong to you alone. It felt like nothing did, most of the time. From Tide Pods to the Philly Special to countless acts of cruelty and many more of plain senselessness to the continued existence of the Golden State Warriors to having 12 years left to stop the sun to inexplicable blue lights over Astoria, everything that happened felt like it was going to happen anyway, sooner or later, and we were all left to bear it as best we could. Same as it ever was, but different.

Still: we would be equally bereft of sense to assume that darkness would drive out darkness. You may have heard that only light can do that. For all the bad and rot everywhere, urban, suburban and rural, at home and abroad, there were the moments in between that made everything we experience every day that kept us together, however briefly. If we experienced them together? All the better.

As Bootsy Collins said in 1972, “Balance is my thing/The snow, wind and rain must come.” With that, we delve into the year that was, with an eye toward the twelvemonth ahead.

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aretha franklin songs

Citation needed

The first time I internalized Aretha Franklin – not “heard,” because as an American growing up post-1966, you never hear her for the first time – I was playing a video game against my oldest, not older, brother, back in the relatively nascent console days when video game producers didn’t know what to do other than to license actual music to fill in gaps in gameplay.

Specifically, the first time I internalized Aretha Franklin, who passed away on Thursday at the age of 76, was during one of the marathon sessions of NFL GameDay 2000 that yours truly used to play against his older, wiser sibling. To give you an idea of how the games themselves usually went, I relied on the fake punt-pass as my go-to fourth down play, and it never worked, and the most memorable game we ever played rests on that guy using that play, my play, to beat me in the final seconds of a game in which I was already ahead. He kept a running log of this particular series, but that is neither here nor there. It’s in Chicago, if I had to guess.

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You’d have to really be up on your Eastern European saints to know Stanislaus Kostka; the 16th century Jesuit novice somehow isn’t even the best-known St. Stanislaus from Poland (an honor that goes to Stanislaus Szczepanów, the 11th century bishop martyred at the hands of a guy literally named Boleslaw). Long story short, Kostka grew up a boy of weak constitution but strong religious fervor in a (surprise!) harsh patriarchal family with six siblings and one older brother in particular who – we are told, probably by way of the younger siblings – ragged on him often. After education in Vienna, an alleged visit from St. Barbara and a long trip through Germany and Austria that ended with employment in a Rome boarding school, Kostka realized in a vision that the last fever he had would get the better of him, promptly wrote a letter to the Virgin Mary and died in the small hours of August 15, 1568, at the age of 17. In the Renaissance, being self-aware enough to realize you had a weak immune system was basically enough to get you beatified and canonized; in the Gilded Age, it was enough to get you Chicago’s first Polish Catholic church.

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After I saw the 2018 Album of the Year Grammy nominees, I told myself that I wouldn’t be mad if any of the artists nominated won the highly coveted award. There were no glaring insults to the culture-at-large, à la Beck or Mumford & Sons. There was Bruno Mars, Lorde, Jay-Z, Childish Gambino and, of course, Kendrick Lamar. All of these artists released albums that seeped through popular culture (though you could argue that the extent of Lorde’s and Childish Gambino’s impacts was less pronounced than the other three nominees).

Despite having a lineup of albums that had their valid arguments and did not seem personally imported into the category by John Lennon impersonator and Recording Academy president Neil Portnow, the final win for Bruno Mars’ resounding coronation changed my earlier assertion that I would not fault the Grammys for awarding something like 24K Magic for Album of the Year. The more I began to reflect on Bruno’s win and what it meant, the more I began to question why we should even pay attention.

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