Hobbies

Language

2023 – Language Learning and A Five Year Duolingo Streak

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I’ve posted a few times on this blog, sometimes in passing about my language learning goals. How language has always been interesting, but then, I feel like I find EVERYTHING at least somewhat interesting, which is kind of a curse. In 2023, I vowed to become, not fluent, but at least, “pretty good” with at least two other languages by 2030. My New Decade’s Resolution, among a few other (I have not learned any piano yet).

Duo does Year in Review deals, like a lot of apps. Here’s mine.

I’ve actually been super slacking on my learning this year, sometimes barely doing one lesson each day. This has become even more apparent because my Aunt and Uncle recently started using Duo and we became, whatever Duolingo Friends would be called. My uncle made like 2x my yearly total XP within a few months. Granted, they are both retired and thus have more time to learn. Also they both travel, they recently took a trip to Europe, which I am pretty sure inspired their learning.

At least I still have them beat for the streak, because that one increases at the same rate for everyone. Technically by the end of the year I was at a 1826 day streak.

Exactly 5 years.

I’ve primarily been learning Spanish in those 5 years, and the middle half of this last year, though Duo keeps changing the tree layout (it’s been like 3 layouts since I started) and it’s a little disenfranchising when it happens because it feels like I’m losing progress. I actually have an achievement for getting level 1 nodes in an entire tree. But that was like 2 revisions ago when each note had 5 levels to it. The current tree is literally a path with no choices, which sucks because I always would skip around the pain in the ass verb crap en Español.

I started off the year still on my Norwegian kick. I’m less excited about that one these days, mostly because it’s less practical in a lot of ways.

For the last month or so, I’ve picked up my third choice to learn with Duo, Japanese. I’ve actually been enjoying learning again, so it was a good course. I’m not super sure Duo is the best choice for a beginner to learn Japanese with, some of the methods don’t feel like they are very clear on some thing, but fortunately for me, I took Japanese in High School. While I don’t remember a lot of it, but it feels like “riding a bike.”

It’s all very familiar, and I breezed through a lot of the “learn the Hiragana page.”

I don’t only learn using Duo, but it’s the main conduit. For Spanish I’ve read through some books in Spanish, and occasionally watch movies in Spanish. I’m still not great at the hearing part, but I’m pretty good at the reading part. Case and point a bit, on New Years Ever, I was poking around on streaming looking for some New Years shows, and Hulu had a stream from New York going. The part I caught was doing a ball drop for the Dominican Republic and Puerto Rico, and was almost entirely in Spanish. With the closed captioning on, I could read and understand the majority of what was going on. Which was fun.

Anyway, I don’t plan to drop Duo anytime soon, and I have more than the normal number of Streak Freezes because it occasionally gives you bonus freezes, if I get caught up and can’t learn. I’ll probably do most of 2024 in Japanese over Spanish though, I kind of feel like I’ve plateaued there for a bit.

Listening Habits

My Music Listening Habits for 2023

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It’s that time again, when I discuss my music habits for the year, or at least, parts of it that seem interesting, to me. I’ll just start off with the 5×5 chart, from my Last.fm scrobbles. I had some Spotify Wrapped stuff too but it doesn’t capture everything and was only for like 3 months of listening, so it’s kind of worthless.

So, a bit of an interesting surprise, Wolf Alice’s Blue Weekend was my top album for the year. I guess I was listening to that one a lot more than I really thought I had been. The same goes for Paramore’s This is Why. This is Why is kind of in there twice too, because they put out a second version where every track was done or remixed by an artist that was not Paramore.

I’m also a bit surprised how high Aurora’s The Gods We Can Touch ranked, at number three. I’ve always kind of considered it my least favorite of Aurora’s four albums. In less surprising areas are Hot Mess from Dodie and CHVRCHES, The Bones of What You Believe. Bones is definitely from the tenth-anniversary release. Hot Mess actually shows up twice, probably because before Spotify I was listening to the copy I made off the Vinyl version I own, which was tagged as Hot Mess (RSD Vinyl).

Related to CHVRCHES is Lauren Mayberry, with a single. Shame is one song, and it’s number 6. The album I believe is supposed to drop sometime in January, and I can almost guarantee it will be in a top spot for next year’s wrap-up, if not at number one.

Things get a bit more interesting later in the list here outside the top ten reliable when we get into the whole “potential usurpers” area. At number 14 is Ben Fold’s latest album, What Matters Most. Ben Folds has become a bit of a weird piece in my music listening. I’m not entirely sure I am super into his music, though it’s all pretty enjoyable. But I find Ben Folds as a person really interesting. I’ve been watching a bunch of his interviews on YouTube where he talks to all sorts of creative types and talks about the music-making process and it’s all very fascinating. My last real exposure to Ben Folds was way back in High School when Ben Folds Five and Brick were on the radio all the time. I don’t really being super into that song either, I was a lot more into rock and alternative in that time period. I’ve recently signed up for his soon to be ended Patreon, so I can snag the archive content and give it a listen.

At number 15 right after is Fizz with The Secret to Life. Fizz is a sort of super band collaboration between Dodie, Orla Garland and a couple of others that I had not really listened to previously. As much as I really like Orla and Dodie, I slept on this album because I just found the acid trip aesthetics of it to be really off-putting. But I decided I really should at least give it a try and it’s really good. Like super great good. I wish I had started listening sooner.

The last couple I want to point out here, feel a bit related. Let’s start with Raffaella, at number 20, with Live Raff Love (Act I). It’s technically an EP I think, I never really got the distinction honestly aside from EPs have less tracks. Anyway, Raff has been a consistent mainstay in my library since first hearing about her back in 2019 when I went to see Sigrid. Live Raff Love (Act II) I believe is slated for January, and I’m looking forward to it.

Like Raff, I want to mention Claud, to which I was pretty much introduced in a similar way, Claud was one of the acts performing at the little festival thing where I saw Lauren Mayberry’s solo show. Like Raff, I listened to a bunch of their music before the actual show and enjoyed it, and I enjoy it even more after watching them perform live. I am pretty sure at least half my plays on that Paramore remix of This is Why, is Claud’s rendition of Crave.

Which leads me to my usual predictions for next year. Claud and Raff will likely rank up there. Lauren will probably top the list. Sigrid I think has a new album in the works and has been making a bit of a come back in my listening this year, so I am predicting she will be pretty high. Fizz will probably be around, I’m not sure they will go much higher though after a whole year. Ben Folds will probably remain, though I doubt he will break the top ten. The only one on the list above I can say probably won’t return is Maisie Peters. I enjoy her music, but I don’t really know how to describe it, but I don’t really like her. Seems a bit too bitchy in a sort of “I think I’m better than everyone” sort of way.

Music

Calibrating My Audio-Technica AT-LP60

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I don’t have a ton of vinyl records, but I do like to actually listen to them. It’s a topic for its own entire post, but I don’t collect anything for its “value”. I collect because I want to enjoy it. I point this out a bit because I also have a shitload of toys. I noticed something recently, that I am surprised I didn’t notice before, or maybe it just, didn’t actually click that it was an issue. Last week I got 1989 (Taylor’s Version). While listening to that, everything seemed, slightly too fast. I think I may have noticed this a bit with my Bone’s 10th vinyl as well. In the case of the Taylor Swift album, I decided it was just something to do with it being a re-recorded album, and not a straight remaster/release.

More recently, I got my copy of Aurora’s All My Demons… (Commentary here)…

Because I started hardcore tracking my listening with Last.fm years ago, I can say, with confidence, that I have listened to this album a lot. I can’t say it’s my most listened to album of all time for sure, but I can say, it’s the top since I started tracking. When listening to it, things were definitely off. The whole thing was running slightly too fast, and Aurora’s wonderful vocals sounded weird.

My first thought was, that maybe the belt was wearing out. It also occurred to me, that it’s a belt, it probably has a tension adjustment somewhere. I looked up a copy of the manual, which didn’t mention it anywhere. But, various audio forums did mention it. On the bottom of the players, are two small holes, where a screwdriver can be inserted and the tension adjusted, altering the rotation speed.

The problem then was, how to know if the speed was right. I probably could have done it by ear with All My Demons, but the adjustment is on the bottom, I can’t adjust it while it’s playing (well, not easily). It turns out, there are technical ways to do this as well. One of the search results mentioned a printable strobe guide. I’m not positive what this is, but I can infer based on other things I know of. I suspect it works like a Zeotrope, where you get a sort of animation going when the record spins at the proper speed.

Another result suggested an app called RPM Speed and Wow. As the name suggests, it uses a phone’s accelerometer to measure the RPM and Wow of a turn table. I’m not entirely sure what Wow is, it seems to be related to audio distortion, I may look into that later a bit more. For now, the concern was the speed. I loaded up the app, placed the phone on the turn table, pressed the “pause” button on the player, which prevents the arm from dropping, but not the table from spinning, and pressed play. After about a minute, I had a measurement of 34.99 RPM, almost 5% off.

Suddenly it makes sense why all the music seemed too fast, because it was!

I dug out a small screw driver and carefully lifted the player up to turn the knob. One issue was that I wasn’t sure which direction to go. I went with clockwise (Spoilers, the correct direction is counter clockwise). I tested again, but it didn’t change. I tried counter clockwise, no real change. So I went and got an even smaller screwdriver.

Left Screwdriver was too large to fit, the right was needed.

It takes a very small screwdriver to get in the hole properly to adjust the knob. Also, it takes a very very very small amount of turn to adjust the speed. The best way I can describe it, I needed a 5% change, which pretty much meant a 5% turn out of a whole circle. I doubt it’s actually that exact, but it’s very very slight.

Anyway, after going Clockwise, things got faster, so I lifted things up and went counter-clockwise until I landed on 33.12 RPM. This is around half a percent too slow, which frankly, is close enough. Probably as close as I am going to get without seriously altering my methods. For one thing, during at least one tip to adjust, the turntable itself fell off, so I had to put it and the belt back on, which probably screws up these small adjustments I’m making as more than half a percent.

I put my All My Demons record back on the turn table and fired it up, and it was better, much much better, enough that it wasn’t noticeably off.

Just as a quick wrap up, I want to give a shout out to this Matco screwdriver set. A friend of mine in High School gave this set to me for my birthday, I think my 16th. His dad worked for Matco and there were a ton of Matco tools in his house. Anyway, it’s served me well, repeatedly, for over 25 years now. It’s a super useful set of screwdrivers (the pen not so much, I’ve never used the pen).

Albums

Taylor Swift – 1989 (Taylor’s Version)

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Taylor Swift’s 1989, an album so nice I bought it twice. I may actually go in on buying it a third time later with a digital copy. Arguably her best album, though fans will of course argue over that until the end of time, it’s certainly my favorite Taylor Swift Album. I have them all, and I’ve listened to them all, quite a lot. Taylor Swift ranks quite high on my Last.fm all-time scrobbles (#4 I believe). The original version of this album, 1989, is carrying a lot of the blame for that.

The recent release of 1989 (Taylor’s Version) is the 4th re-release of this style. In case you’re not aware of the whole situation, the general gist is that after her 6th album, Reputation, Taylor left her original record label, Big Machine. For whatever reason, they refused to sell her the rights to the masters of her songs. She still owned the rights to the songs, just, not the original recordings. Rights are weird man. So a few years ago, on the new label, she started effectively re-releasing those albums, each subtitled, “(Taylor’s Version)”. Previously, we have gotten, Fearless, Speak Now, and Red. I can’t imagine Reputation and the original self-titled album Taylor Swift, can’t be that far behind.

These are not straight re-releases though. Due to the nature of it all, it’s all been freshly re-recorded. This is actually a lot more obvious with albums like Fearless and Speak Now, which are quite a bit less “twangy” in the (Taylor’s Version) releases. There is definitely a cleaner sound for the 1989 Re-recording, but it’s much closer to the original. Another aspect of all of these releases however is the inclusion of additional tracks, or “From the Vault”. 1989 is a bit lighter on these tracks than the previous albums with only 5 Vault Tracks, but it does include the three tracks originally only on the Deluxe edition of the original release (which is what I had previously, on CD).

I don’t plan to rack up Taylor Swift Vinyls like other artists I like, but as 1989 is my favorite Swift album, I’ve opted for the Vinyl release on this one, specifically the green edition. I’ll probably pick up the digital FLAC version eventually like I’ve done for the previous Taylor’s Version albums, (everything else is on CD), but for now, Spotify works for regular listening.

The album itself is nice, the records themselves on this edition are a nice light green color. When opened there is a nice spread of photos, with a record on each half inside. Each of the sleeves has the song lyrics scrawled across them. The box also contained a few small paper stars for some reason. Like large confetti pieces. Part of the reason I picked this version was also because I like the front image on this cover better than the normal edition release (which I think has blue records).

There are way too many tracks to cover all of them, and frankly, I’m not a super fan of doing that style of write-up anyway. I’ll just say that I do enjoy pretty much every track though, which shouldn’t be surprising since I’ve essentially heavily implied it’s kind of a top-tier album on my list of favorite albums. Instead I’ll touch on some of my favorites. I’ll just start off and throw out there that probably the most popular tracks on the album, Shake it Off, and Bad Blood, are probably my least favorites on the album. I like both, but they are kind of low on my list.

Probably my favorite track on the album is Style. I really love the low-key even flow of this track. It has a really nice running beat going through it. I also really like its follow up Out of the Woods. The little story it tells along the way is fun, I’m a sucker for that sort of thing, and it has some really fun builds and falls through its run.

Another one that’s high on my list is Wildest Dreams. I love the airy feel of this one, and it also has a good feel that reminds me of Style. One of the Vault Tracks I can see becoming a favorite as well for this reason, Is it Over Now? really reminds me of Style as well. I have no idea of the writing process behind these, but I could actually see Style and Is It Over Now? as having the same root, and it was maybe decided to only keep one on the original release.

The last track I want to mention on my list is New Romantics. It was originally only on the Deluxe release of the album, I really love the theme and build-ups on this track. The little break moments with the “Ahhh ah ahhh ahh”s. It’s also frankly, kind of a better anthem of “Don’t sweat the small stuff” than “Shake it Off” is.

For the sake of mentioning another of the Vault Tracks, I’ll mention “Slut!” I suppose, which seemed to be sort of getting pushed as a release signal. It’s an alright track, but it’s a bit slow for my tastes these days. It’s definitely a slower, almost plodding track than a lot of the others, though the overall feel does fit with the other tracks of 1989.

All in all, the album is still great. It doesn’t add quite as much as the previous Taylor’s Versions, but it was already such a strong album it would be kind of hard to add much.

Books

The Mysteries – Bill Watterson and John Kascht

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So, like many people within a pretty large range of my age, I was, and am, a huge fan of Calvin and Hobbes. I am sure Peanuts and Garfield would try to make the claim, and there is a good argument to be made for The Far Side, but Calvin and Hobbes may be the best newspaper comic there ever was. And that’s not really hyperbole. It perfectly road that line between, “appealing to younger folks” through Calvin’s adventures with his imaginary friend Hobbes (a stuffed cat who comes to life for Calvin), and still appealing to adults, by using clever metaphors to make statements on the real world.

It’s the kind of magic the Muppets have done for ages.

The strip only ran for ten years too, from 1985 to 1995. Bill Watterson, the creator, has also done something super interesting in that there is basically no Calvin and Hobbes merchandise. There was like, one school book and a couple of calendars, everything else is bootleg, including all those stupid “Calvin pissing on things” stickers. I assume he is doing okay for himself on the book sales, and I admire his refusal to cheapen his creation.

He also hasn’t done anything else since until now. He’s put out a new book, alongside another creator, John Kascht. The book has nothing to do with Calvin and Hobbes, but it’s worth mentioning the strip, because I am sure, like myself, a LOT of the interest in this book comes from people who loved Calvin and Hobbes. There are some videos and articles about the process, and the two apparently went back and forth a bit on how to present the visuals. It seems that Watterson did a lot of the painted backdrops, and Kascht did more of the physical foreground material. The images themselves are a combination, done using photos, that look a lot like elaborate illustrations. The story is quite simple in design and presentation but seems to mostly be the work of Watterson.

The book itself is essentially a “children’s book” in presentation, with a simple singular sentence on one page, and artwork on the opposite page. The artwork is very, very, bleak. I don’t mean it’s bad, I actually really like it, but good god it’s bleak. If you came into this expecting an upbeat comic book story, you’re not going to get it. The story is pretty bleak as well. It’s short, a rough count says, 35 pages long, maybe on average 10-15 words per page. This post is probably longer in total than the entire story. It follows something called The Mysteries, and their exit and subsequent return to the world. In Calvin and Hobbes fashion, the whole thing kind of feels like a metaphor for a few things. One being, how the society in the book basically exists in fear of the unknown, with no desire to really understand it or change. The later half takes quite a turn and seems to be a metaphor for the climate crisis.

Maybe I’m just projecting what I think it is, that’s kind of the beauty of writing sometimes, when done properly, the meaning is up to interpretation. This is also why I like a lot of the music I enjoy as well.

Also, I suppose I am kind of spoiling the story a bit but the story is pretty basic, and honestly, It’s not a book you buy for the story.

The book itself is quite nice. The size is a bit smaller than I expected, but it’s not too small or anything. The cover has this wonderfully textured cloth feel to it, and feels very sturdy, the pages themselves are nice heavy glossy paper. For the little content there is, the book definitely has been designed with a lot of care and consideration and desire to make a real quality product. It’s a “children’s book” story, with a very “adult presentation.” I suppose that’s the kind of work Watterson has always done, with the way Calvin and Hobbes was in its ability to be appreciated by younger and older folks.

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