Auto Credit Express

FIFA has also intentionally MADE it worse. Because they're closing the parking lot. They're also preventing ride shares from what I can tell??

Meanwhile the governor of New Jersey is saying this is going to cost NJ $48 million to deal with the ridership, and wanted money to offset that, which FIFA doesn't ever do. So they decided to massively inflate train fares to offset the cost.

Again, while trying to prevent rideshare services from occurring.

Oh, ALSO people in New Jersey and New York City are all being told to "work from home" on days of the world cup matches because the public transit congestion is expected to be that bad, coincides with rush hour, and because for some of it, they're full closing off public transit to anyone who doesn't have FIFA tickets.

And then there are people complaining about our "shitty national stadium" and I don't even know how to begin to explain that MetLife isn't even the biggest capacity stadium in the US. It's not even in the top ten. (It is #15).

I genuinely do hope everyone is just being a bit of a troll when they say they're going to walk on the 95 or some shit because people will 1000% die. I don't even know what a comparable metaphor for this is.

But you cannot just shut this road down:

People talk about how you can’t see stars in the city and yeah, that’s true, but their concept of “seeing stars” is being able to make out orion’s belt.

So, so few people have see the sky in all its glory and it’s not sad. It’s a fucking crime. Seeing a perfectly dark night, no clouds, not a hint of light pollution? That’s a fucking religious experience.

The sky the vast vast majority of us grew up with is not the sky that inspired us to look up. It is not the sky that inspired constellations. You can’t even see most constellations.

Your ancestors looked at the night sky and said “surely, that is where the gods must live.” And you might be lucky if you can see hardly more than a handful of stars.

When we were on a field trip to the middle of the red sea, I remember us all crowding at the end of the boat that didn’t have lights and just lying on our backs and staring

When you see a properly dark starscape

You understand why people wrote poems and made up legends and built rockets and said heaven’s in the sky

You think of the night sky like fairy lights on black velvet, but it’s not it’s not it’s like, like, dust in sunlight, like - I can’t find the words.

The stars are everywhere, like sugar, like glitter, like dust. You can’t find the constellations at first, not because you can’t recognise them, but because there’s so many stars you can’t pick out the familiar line of Orion’s belt. The North star has gone from bright familiarity to almost vanishing among a thousand, a hundred thousand, a million other lights. The milky way is a line of light arcing across the sky like a moon-trail on water only infinitely, infinitely bigger.

And for the first time in your life you’ll understand why people call it a dome, because it is, it’s three dimensional in exactly the way a city skyscape isn’t.

You’ll understand why Luthien Tinúviel danced under starlight, not moonlight, why people in a time before we knew the earth was round still looked up and wondered and built telescopes and dreamed about the stars.

The stars are endless and ancient and infinite and you will stand with your head craned back and your rucksack forgotten at your feet and you’ll feel like you’re falling upwards into that great bright sky like it’s calling you home and you’ll wonder how you ever thought the stars were beautiful before tonight when all you’d ever seen were the naked empty skyscapes of your home. And you’ll cry and you’ll spend the rest of your time there gazing up and wondering and imagining what it would be like to stand among those bright silver flecks

I think it's a vicious cycle; when people don't know something exists, they're not curious about it. Also, people use conceptual categories to think about things, and when a topic falls between or outside of conceptual categories, it can end up totally omitted from our awareness even though it very much exists and is important.

@icannotgetoverbirds It already is a maddening, bizarre research hole that I have been down for the past few weeks.

Basically, I learned that we have native bamboo, that it once formed an ecosystem called the canebrake that is now critically endangered. The Southeastern USA used to be full of these bamboo thickets that could stretch for miles, but now the bamboo only exists in isolated patches

And THEN.

I realized that there is a little fragment of a canebrake literally in my neighborhood.

HI I AM NOW OBSESSED WITH THIS.

I did not realize the significance until I showed a picture to the ecologist where i work and his reaction was "Whoa! That is BIG."

Apparently extant stands of river cane are mostly just...little sparse thickety patches in forest undergrowth. This patch is about a quarter acre monotypic stand, and about ten years old.

I dive down the Research Hole(tm). Everything new I learn is wilder. Giant river cane mainly reproduces asexually. It only flowers every few decades and the entire clonal colony often dies after it flowers. Seeds often aren't viable.

It's barely been studied enough to determine its ecological significance, but there are five butterfly species and SEVEN moth species dependent on river cane. Many of these should probably be listed as endangered but there's not enough research

There's a species of CRITICALLY ENDANGERED PITCHER PLANT found in canebrakes that only still remains in TWO SPECIFIC COUNTIES IN ALABAMA

Some gardening websites list its height as "over 6 feet" "Over 10 feet" There are living stands that are 30+ feet tall, historical records of it being over 40 feet tall or taller. COLONIAL WRITINGS TALK ABOUT CANES "AS THICK AS A MAN'S THIGH."

The interval between flowering is anyone's guess, and WHY it happens when it does is also anyone's guess. Some say 40-50 years, but there are records of it blooming in as little time as 3-15 years.

It is a miracle plant for filtering pollution. It absorbs 99% of groundwater nitrate contaminants. NINETY NINE PERCENT. It is also so ridiculously useful that it was a staple of Native American material culture everywhere it grew. Baskets! Fishing poles! Beds! Flutes! Mats! Blowguns! Arrows! You name it! You can even eat the young shoots and the seeds.

I took these pictures myself. This stuff in the bottom photo is ten feet tall if it's an inch.

Arundinaria itself is not currently listed as endangered, but I'm growing more and more convinced that it should be. The reports of seeds being usually unviable could suggest very low genetic diversity. You see, it grows in clonal colonies; every cane you see in that photo is probably a clone. The Southern Illinois University research project on it identified 140 individual sites in the surrounding region where it grows.

The question is, are those sites clonal colonies? If so, that's 140 individual PLANTS.

@motherfucking-dragons

it's called the Alabama Canebrake Pitcher Plant and there are, in total, 11 known sites where it still grows.

in general i'm feral over the carnivorous plant variety of the Southeastern USA. we have SO many super-rare carnivorous plants!!!

I was in the canebrake near my house again this morning, and river cane is extraordinarily good at completely blocking the view of anything beyond it. It is bushier and leafier than Asian bamboos, and birds like to build nests in it. It would make a fantastic privacy barrier.

The cane near my house is around 10-12 feet tall. This species can reach 30 feet or more, but I think it needs ideal conditions or to be part of a large colony with a robust system of rhizomes or something.

Well, several reasons. As y'all may know, bamboo is stronger than any wood, and therefore it makes a fantastic building material.

The Cherokee used, and still use, river cane to make fishing poles, fish traps, arrows, frames for structures, musical instruments, mats, pipes, and absolutely gorgeous double-woven baskets that can even hold water.

Here's some distinguishing traits I've observed myself:

River cane has a really full, bushy, leafy look that makes it really hard to recognize as bamboo from a distance, because the stems are harder to see. The shape of the individual cane with its branches and leaves is narrow, because the branches spread out very little, but the foliage is DENSE. It's like a plume.

River cane is stronger, denser and heavier than invasive bamboos I've seen.

River cane stems are always green all the way around, no yellow (unless the plant's been dead for a good long time)

River cane stems feel smooth like plastic to the touch. The common invasive bamboo I've seen here, when you run your hand upwards along it, the stem feels awful like sandpaper.

The biggest way to distinguish them: River cane grows 6-4 feet tall when it's in little patches, and up to 10-12 feet when it's in a large size patch (like, the size of a backyard) It is known to reach up to 15 feet tall nowadays and historical records claim heights of 30 feet or more in fertile river valleys. I really want to stress that it's RARE for it to get big. A canebrake will almost always be many times wider than it is tall (sometimes they grow in very long strips along fence rows)

The best time to look for it is in winter before things leaf out, because it's evergreen and grows in dense masses, making it easy to spot.

Some more cool stuff i've found out—River cane was a common food of bison! Earliest European settlers reported canebrakes so big that "100 bison could graze on a single canebrake." Apparently it used to make extremely high quality forage for livestock, before it was mostly destroyed.

European settlers apparently set their pigs loose in the canebrakes purposefully to destroy them, because the pigs would root up the nutritious rhizomes and kill the plant. Thinking of the relationship between Bison and Canebrakes, and the relationship between Eastern Native Americans and Canebrakes, and the relationship between Plains Native Americans and Bison...it seems like a pattern, huh?

In the case of both bison and canebrakes, they were a fundamental part of their ecosystem, and fundamental part of the indigenous cultures that used them for every material, their musical instruments, their homes, their most advanced arts, and even food (Rivercane shoots are edible just like other bamboo, and supposedly the seeds are edible too!) but European settlers purposefully destroyed the species almost completely. I can't help but wonder if there was a similar motivation.

Books that talk about Rivercane:

Weaving New Worlds: Southeastern Cherokee Women and Their Basketry by Sarah H. Hill talks about rivercane a LOT and gives tons of details of its uses and history.

Saving the Wild South: The Fight for Native Plants on the Brink of Extinction by Georgann Eubanks has a whole chapter about Rivercane.

Venerable Trees: History, Biology and Conservation in the Bluegrass is a book about Kentucky, but it talks about rivercane's importance including its relationship with bison. It's only a couple pages out of the whole book but it's still great information.

By the way, though, if you read any very early European account of Kentucky, the word "cane" is everywhere. It's just such a nondescript word it's hard to realize its significance.

On a more personal note...god, I love this plant. Here's another photo I took. When you're in the canebrake, it feels so cut off from the rest of the world; it's shaded, quiet, cool, and someone 10 yards away couldn't even see you.

i actually talked to my neighbor that I learned owns the canebrake. She had no idea what it was but she was excited to learn about it! It was a lovely conversation.

Apparently, she knew I had been down there a bunch of times and thought nothing of it. She said "Yeah I told my husband, If you see her down there, just leave her alone she's doing her thing." In the most sincere way possible, God bless this woman

She said I could transplant all I wanted, too. This was great! ...but I quickly learned how RIDICULOUSLY HARD it is to transplant from a canebrake of this size. The rhizomes are so big and tough, a shovel can hardly get through them, and unless you're at the edge of the canebrake, there's a thick mat of them going every which way. I was driving my whole weight down on this shovel and it kept just denting the rhizome and glancing off.

I did get some transplants but each one took like half an hour because I was fighting for my life!

Also, with a canebrake this size, it doesn't grow little canes that will later become bigger—it shoots up tall canes in a single season. The youngest canes, more accessible and toward the edge of the canebrake, were significantly taller than I was. I cut the top off of one transplant for ease of handling—I had a pair of hand pruners with me that were usually perfectly useful for small limbs, but I could barely get these things through the cane, it's just so strong and dense.

Here is some YouTube videos that talk about river cane!

Roger Cain of Keetoowah/Western Band Cherokee shows and talks about Rivercane. This video has a BIG canebrake, the mature canes look as if they could be 15ft tall, but he says it's only a fragment of what they used to be!

Stan the River Man visits a Canebrake in Northern Kentucky. This channel only has 22 subscribers, I feel like I've discovered a rare and priceless treasure

River Cane Renaissance, Episode 1. This guy has devoted a large part of his life to studying Rivercane and now works with the eastern band Cherokee to try and bring it back.

Chattooga river conservancy video on Rivercane, haven't watched the whole thing myself but it looks really good and detailed

This is exactly what you think it is.

For privacy reasons, I share details online of my real world activities only reluctantly, and not very often. But don't be bamboozled into thinking I have forgotten the Canebrakes. It's exactly the opposite.

I have done a lot of networking and made a lot of contacts. I am not alone. There are other people with a story exactly like mine: first, they heard an offhanded mention of forests of American bamboo, which shattered everything they thought they knew about their environment. Next, they became crazed with fascination, searching for knowledge with insane ferocity. Then, they realized that river cane is not only a plant, it is a keystone species symbiotic with indigenous cultures for thousands of years, and it was almost destroyed due to the subjugation of its habitat and the genocide of its caretakers.

The canebrakes' devotees have been working tirelessly to compile every single scrap of information on canebrakes that exists in writing. Every record, every primary source, every historical mention, every comment and conjecture. I have been given access to some of this priceless treasure trove. The wealth of information is amazing, but even more amazing is how much is still unknown.

The history, properties, and ecological importance of the canebrakes is so much more than I imagined.

For example, the massive amounts of seeds produced by huge canebrakes in flowering events fed the passenger pigeon flocks. Likewise the Carolina parakeet was also dependent on canebrakes, and the extinct Bachman's warbler was a canebrake specialist. The destruction of canebrakes could be responsible for why these birds went extinct.

Canebrakes were absolutely fundamental to the indigenous peoples of the Southeast, providing for their every need. Food, shelter, containers, tools, music and art. The settlers foolishly thought the indigenous peoples were not "advanced" enough for metal tools, but in truth, they already had a material superior to metal. River cane by weight is stronger than steel. You can make knives and blades out of it.

I am excited for the future. It seems like momentum is building to save the river cane and bring back the canebrakes, and I am hoping to join together with all the other like-minded people to accomplish this task.

excuse the block of text ID it's hot outsid.e

Please for the love of all that's sacred tell someone who knows this stuff to get to Savannah Georgia, there are so many patches here that experts online cannot identify and think are an undescribed species.

Here's a petition to protect at least one of the canebrakes here

The entire plant does not need to flower at the same time, so you might need to look. Also size does not matter. The plant can be 8 ft tall or less than a foot, it can still flower.

[image description start. Four photos of native bamboo flower buds, each a dark purple color, emerging from tan stems. Image description end.]

And some of them, are flowering literally three times in a row! One tiny plant we found, less than 4 ft tall, flowered and produced seed in February of 2025, then again in September 2025, and now again in February 2026!

Other taller stocks like the ones shown above, for sure flowered in February 2025, and from the seeds still clinging to the plants, they probably did it again in fall as well, but unfortunately I wasn't able to check on them because a storm knocked a bunch of tree branches into my path to get to them. And now they are flowering again, for at least the second year in a row!

Get out there and look for flowers and flower buds! If you are further south or towards the coast, you will likely find Arundinaria tecta, which is what I have picture of! (You know, unless it turns out to be another species that has not been described yet, which is possible)

Very fascinating that it flowered again in the fall and then the next year. I have observed it to do that in a couple of canebrakes, I'm not sure if the plant just keeps going until it dies, or what.

When the pollen is produced, maybe you could save some to test and see if they can be hand-pollinated? (and how long the pollen lasts in storage). Im not sure if anyone has tried hand pollination.

The further north you are, the later the flowering will happen- here in Kentucky, you should look in April-May and if there are seeds they will be ready in June

Like many viewers, I occasionally find myself on YouTube. To be candid, approximately ninety percent of the content I encounter lacks artistic merit. Yet every so often, one discovers a genuine surprise.

Recently, I came across a video of Patti Austin performing a Bob Dylan song with a live band in front of an audience. The performance runs roughly eight minutes—far longer than what the current attention economy typically accommodates—but it rewards patience.

A necessary qualification: I hold no personal admiration for Bob Dylan. In my assessment, his vocal delivery is obtrusive—characterized by a narrow tessitura, limited dynamic range, and a nasal, pitch-approximate production that avoids conventional bel canto technique. His musicianship, by any traditional standard of intonation or phrasing, is deficient. Furthermore, my own direct encounters with him have left the impression of arrogance and presumption. That said, I readily acknowledge his literary achievement. His lyrics function as poetry, with sophisticated rhyme schemes, vivid imagery, and structural complexity. His Nobel Prize in Literature was, in my view, entirely justified.

Consequently, it is unsurprising that when skilled musicians interpret a Dylan composition—reharmonizing his chord progressions, smoothing his irregular phrasing, and imposing melodic discipline—the result can become genuinely compelling.

The Patti Austin performance offers a masterclass in vocal musicianship.

It is immediately evident that Patti Austin ranks among the finest singers of any era. What distinguishes her? Musical intelligence expressed through specific technical choices.

Austin demonstrates exquisite control over her breath support and phrasing. She does not default to melismatic ornamentation—the practice of stretching a single syllable across multiple pitches—which has become the dominant tic of contemporary pop vocals. Instead, she deploys appoggiaturas and passing tones sparingly, as expressive devices rather than athletic displays.

Her dynamics are worth close attention. She understands subito piano (sudden softness) and crescendo as dramatic tools, not merely as volume swells. She moves between chest voice and head voice with seamless registration, avoiding the abrupt register break that less disciplined singers either mask with excess force or avoid altogether through constant belting.

Notably, she does not confine herself to pentatonic and blues scale patterns, which have become the default vocabulary for singers attempting to sound "soulful." She incorporates diatonic and even chromatic passing tones, demonstrating a harmonic awareness that many contemporary vocalists lack. She understands melodic contour—the shape of a line, its peaks and valleys—and respects the composer's original architecture while adding tasteful embellishments.

In short, she knows when to sing legato (smooth and connected) and when to introduce rubato (subtle rhythmic freedom). She never confuses tempo with emotional urgency. She does not rush.

This stands in sharp contrast to much contemporary vocal performance.

In any commercial space—shopping malls, streaming playlists, talent competitions—one is subjected to a relentless stream of vocal acrobatics. The dominant aesthetic prioritizes melismatic density, forced belting across the passaggio (the tricky transitional zone between chest and head voice), and exaggerated dynamic swells from piano to fortissimo within a single phrase.

Singers such as Jennifer Holliday, Celine Dion, Christina Aguilera, and Whitney Houston are frequently cited as exemplars. Yet despite their undeniable vocal agility, wide range, and powerful resonance, their performances often suffer from what might be termed ornamental excess. Every cadence becomes an opportunity for a vocal run. Every sustained note triggers a tremolo or a vibrato so wide it obscures the fundamental pitch. The result is rhythmic distortion—the original melody becomes unrecognizable beneath layers of decoration.

Even rap artists, who theoretically operate within a different vocal register centered on rhythmic delivery and articulation, have adopted similar tendencies toward melodic overstatement in their sung passages.

The most accurate descriptor for this phenomenon is enervating. It exhausts rather than elevates. It prioritizes vocal athleticism over musical phrasing, timbral variety over emotional clarity, and technical display over interpretive fidelity.

It appears to me that many of these performers seek to challenge the legacies of Aretha Franklin and Chaka Khan by overwhelming them—higher tessitura, faster coloratura passages, louder fortissimo peaks. The result is not homage but excess. They mistake volume for intensity and ornamentation for expression.

A counterproposal: Roberta Flack and the value of restraint.

I have reached a point of genuine fatigue with these exceptionally talented yet consistently excessive vocalists. Let me be clear: I am not questioning their technical facility or their laryngeal control. Many possess remarkable instruments. But technique without taste becomes mere exhibition.

Listen to Roberta Flack. Analyze her phrasing on a song like "The First Time Ever I Saw Your Face." Note the tempo rubato—how she stretches and compresses time without losing the pulse. Note her dynamic range, which rarely rises above mezzo-forte, yet achieves greater emotional impact than any fortissimo belt. Note her vibrato, which is narrow and warm, never intrusive. Note her consonant articulation, which is clear but never percussive.

Flack understands primary and secondary dominant relationships intuitively, but she never feels the need to advertise that knowledge through elaborate modulations or key changes for their own sake. She trusts the tonal center. She trusts the listener.

The same can be heard in Patti Austin's Dylan performance. Austin does not assault the listener with sforzando attacks or glissando slides. She invites participation. She demonstrates that real musicality is not measured by range (how many octaves one can cover) or agility (how many notes per second one can articulate), but by phrasing, tone quality, and interpretive intelligence.

Conclusion

I will not repeat myself beyond this: learn to listen to Roberta Flack. Study her rubato, her legato, her dynamic restraint. Do so, and you may rediscover what it means to quietly, deeply enjoy singing as an art form—rather than as an athletic competition judged by the highest note or the longest run.

Less melismatic saturation. More melodic integrity. That is the lesson.

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Utilize computerized accounting software programs (QuickBooks, CMS, Excel, Word) to perform duties and responsibilities.

Operate office equipment including personal computer, copiers, fax machines and 10-key calculator, and assist with other projects as needed.

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