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NASA's Europa Clipper, the largest interplanetary probe, tested its radar during a Mars flyby. The results show the kind of detailed imagery the probe will capture once it arrives at Jupiter’s moon Europa.

By the time Harry Clarke (17 March 1889 – 6 January 1931) came to illustrate Edgar Allan Poe’s Tales of Mystery and Imagination in 1919, the work first published in 1902 had already been illustrated by Arthur Rackham, Edmund Dulac and Gustave Doré. Those were tough acts to follow, but Clarke’s twenty-four outlandish visions of pulsating dark fantasy are arguably the best fit for the sinister luminosity of Poe’s strange worlds. Clarke got the job on spec. He read Poe’s Tales in 1914 and felt inspired to drew an illustration. He showed his work to the publisher George Harrap who recognised that “Poe’s bizarre and gruesome fancies ” were ideally suited to Clarke’s “particular bent”.   MS in A Bottle by Harry Clarke  After studying in his native Ireland at the Dublin Metropolitan College of Art and Design, Harry Clarke moved to London and trained at the South Kensington Schools of Design. After completing his studies, he returned to Dublin and worked for his father’s business designing stained glass. Harry and his brother Walter took over the business after their father’s death in 1921. When Walter died, the studio became the Harry Clarke Glass Studios, and continued to operate even after Harry’s death, producing an estimated 1000 windows and finally closing in 1973.   Berenice by Harry Clarke for Edgar Allan Poe’s Tales of Mystery and Imagination, 1919 Morella for Edgar Allan Poe’s Tales of Mystery and Imagination, 1919 Passages in the Life of a Lion The Assignation of Venice for Edgar Allan Poe’s Tales of Mystery and Imagination, 1919 The Assignation of Venice Bon-Bon Silence A Descent into the Maelstrom Ligeia The Fall of the House of Usher William Wilson for Edgar Allan Poe’s Tales of Mystery and Imagination, 1919 The Murder in the Rue Morgue The Mystery of Marie Rogêt The Masque of the Red Death The Pit and the Pendulum The Pit and the Pendulum The Tell-Tale Heart The Gold Bug The Black Cat The Premature Burial The Facts in the Case of M. Valdemar The Cask of Amontillado Landor’s Cottage The post Harry Clarke’s 24 Sinsiter Illustrations for Edgar Allan Poe’s Tales of Mystery and Imagination, 1919 appeared first on Flashbak.

Former UK PM Liz Truss on what Britain must learn from Trump

Singing in the shower turned to writing in the shower. On May 13, 2014,  Sturgill Simpson released his revolutionary record, Metamodern Sounds in Country Music, produced by iconic producer Dave Cobb. The album is now regarded as some of Simpson’s best work, and arguably the best country album of the past 25 years… one that has changed the perspective of country music among fans. In the height of 2014, “bro-country,” Sturgill saw this as a chance to break the mold of cookie-cutter looks and lyrics, creating a project unlike anything on country radio at that point. With a title inspired by Ray Charles’ boundary-pushing 1962 album, Modern Sounds in Country and Western Music, Simpson resonated with the idea of testing the waters and reversing time, taking the sound back to its traditional roots. The result was a project that amplified what country music started as, and while not immediately, signaled the beginning of the end for the bro-country era of mainstream country music. Stu essentially picked the lock, and Chris Stapleton’s Traveller, launched by a CMA Awards duet with Justin Timberlake of all people, flung the door wide open for a whole new world of non-mainstream country music (AKA excellent country music) to come to the forefront. Flash forward to today, we have non-mainstream acts like Tyler Childers, Billy Strings, Turnpike Troubadours, Zach Bryan, Charley Crockett, Whiskey Myers, Cody Jinks, and more playing for massive crowds and earning Gold and Platinum certifications. The album was nominated for a Grammy, but sadly did not take home the honor, it was still a massive win for independent artists and for moving the needle back toward a more traditional sound. With roots in Hindu mythology, the song is essentially about drugs, and how various forms of psychedelics can help to open your mind up on the innate search for truth that is part of the human experience. Of course, many people look to spirituality for truth and meaning so it also serves as a sort of indictment against organized religion. But at the end of the day, Stu concludes that ultimate truth us unknowable, and that love is the only thing that’s “saved his life.” “So don’t waste your mind on nursery rhymes Or fairy tales of blood and wine It’s turtles all the way down the line So to each their own till we go home To other realms our souls must roam To and through the myth that we all call space and time…” In 2018, Simpson appeared as a guest on Sarah Silverman’s Hulu series, I Love You, America, and shared with Silverman how “Turtles All The Way Down” came to be. After Silverman sang a few lines of the song, she joked That’s what she sounds like in the shower. Simpson gives a light chuckle, then notes that the comparison is pretty funny because he actually wrote the first verses of the famed tune in a hotel shower. “Well, that’s weird because that’s actually where I wrote it. In the shower, in a uh, somewhere, I don’t know where we were, but we were in a hotel. I was taking a shower ’cause leaving, we had to get on the road and drive more that morning, and the whole first and second verse came and I was like, ‘This is kind of weird.’ I had to jump out of the shower to write it down, and I slipped. I totally almost killed myself.” Thank goodness no serious injury occurred as he got out of the shower. Can you imagine a world where Simpson became concussed and forgot the lyrics he came up with? We’d be out one stellar song. Simpson continues: “I ran outside to the parking lot, and the band they were all at the van and I just kind of started reading, singing it to them. They all just looked at me like I lost my mind, and I was like ‘Nah, this is gonna be cool, trust me.'” Cool, it is indeed. “Turtles All The Way Down” is one of the most beloved songs from Simpson’s catalog and changed the game of country music at the time of its release. I guess this is further proof that some of the best ideas come from being in the shower or sitting on the pot… Fire up “Turtles All The Way Down” before you go. The post Sturgill Simpson Wrote “Turtles All The Way Down” In A Hotel Shower: “Had To Jump Out To Write It Down” first appeared on Whiskey Riff.

Is the future of artificial intelligence songwriting already here? With all of the advancements that AI has already brought, and with the seemingly exponential improvements the technology experiences on a monthly (if not daily basis), it’s not the craziest thing to think that it’s already infiltrated the art of songwriting. Granger Smith, who shocked the country music world when he announced back in April of 2023 that he would be leaving country music to pursue a career in ministry, thinks that the AI songwriting age has already begun. Since he left the music industry, he’s dedicated himself to ministry. One way he helps spread the Gospel is through his “Granger Smith Podcast,” which has over 700,000 subscribers online. Another is by joining other Christian media creators for conversations. Smith provided some time to We Over Me, and he and host Bambi Roizen discussed AI’s relationship with religion, among other things. Though Granger Smith no longer considers himself a part of the industry, he believes that artificial intelligence plays a large role in music – and could be used to bring dead artists back to life. But the most interesting thing Granger shared was his thoughts on AI in the songwriting process. He first explained how he did things when he was a touring artist: “Now, you could write songs – full songs – with different AI programs. I preface that by saying I don’t know what it’s like anymore because I’m not on the road. But in my days, we would travel with songwriters and some of our friends. We would get on the bus and we would go on tour… my normal music tour. And we would write songs together during the day, parked in the parking lot of a venue we were going to play that night. That became a thing in the last decade because it’s so much easier instead of taking time off from family or work and sitting in a room in Nashville and writing songs. It’s so much easier to say, ‘Come out on the road and get in the tour bus with me and we’ll knock it out.'” That does seem like the smart, streamlined way of doing things… at least before AI. Granger Smith went on to say that though he isn’t 100% sure that this is happening (since he’s now a full-time missionary instead of a country artist), he believes that “songwriters” are now just using artificial intelligence to pitch close-to-fully-produced songs to interested artists: “I’m almost certain. I actually haven’t talked to anyone about this, but I’m almost certain that songwriters could come out on the road with an artist with pre-planned song from AI that they have already tested, already have melodies, good lyrics. And just pitch it to the artist and say, ‘What do you think of this?’ (They say) ‘I love it!’ (Then they respond) ‘Let’s have you sing it real quick and it’s done.’ We just wrote a song.” Well that’s terrifying. I could see where it could be useful as well, and I certainly believe that it could be happening. Have you listened to any pop country recently? It all sounds like it was birthed directly from an algorithm. Granger Smith might be onto something here… it’s just a shame that he’s not in the industry anymore, or wasn’t when AI became more prevalent, so he could confirm his suspicions. Granger also recently dove in to a Biblical analysis of the question “Is Donald Trump the Antichrist?,” and it’s certainly an interesting conversation The post Former Country Star Granger Smith Believes Songwriters Are Already Be Using AI To Pitch New Songs To Artists first appeared on Whiskey Riff.

A Never Trumper Republican strategist, and resident of Washington, D.C., agreed with President Trump today on crime in the nation’s capital, telling MSNBC’s Al Sharpton that crime is very bad and that . . .