Weekly Reading — 2026-09-12

What If We Could Have A Future?

https://defector.com/what-if-we-could-have-a-future

Maybe you have heard of Roko's Basilisk. This is a thought experiment, for lack of a better term, popular among a certain set: hyper-rationalists, futurists, effective altruists. Tech-industry guys. You get the idea. The most exhausting humans who ever lived, that is to say. People who at present happen to command a critical share of the world economy.

If you're not familiar with it, Roko's Basilisk, in broad terms, supposes that at some point in the future a sentient and omnipotent artificial intelligence could arise, and that this intelligence could then decide to punish all those who had anticipated its possible arrival and either worked to prevent it or refused to participate in its development. In that case, the wise course of action for people now, who are aware of even the theoretical possibility of this scenario, would be to work in good faith to bring this AI into existence, lest they put themselves or their descendants in its future crosshairs.

I have been thinking about Roko's Basilisk this week. The occasion was a pair of engineers at the Anthropic artificial intelligence company using Twitter, as AI exponents regularly, exhaustingly do, to warn, as one of them put it, that "the people building AI earnestly believe that it could kill us all by the end of the decade." The other guy was even more strenuous about it: "We really do earnestly believe AI could kill all humans! I personally think it is >10% within the next decade."

Screenshot via Twitter

It hardly warrants pointing out that these claims, applied to the bullshit presently doing business as public-facing AI, are laughable on their face. No: I am very pleased to tell you that Autocorrect will not be exterminating humanity, no matter how voracious its appetite for the outputs of our energy grid, or for the collected creative works it devours in pursuit of its creators' hopes that a sufficiently large vocabulary database can ever transubstantiate into a mind. There are plenty of good reasons to unplug Claude without including the fear that it will hack your smart refrigerator and tell it to eat you.

The important thing to know about these claims (apart from, uh, the suggestion that human extinction might arrive before today's fourth-graders are old enough to buy a beer) is that these men are not urgently pleading for humanity to halt all AI development and destroy all the means by which it could ever be restarted. One of the two Twitter alarmists, Jacob Coxon, did quit his job at Anthropic, but in pretty much all other cases the technologists making these predictions of doom go right on working at the Creating The AI They Claim To Believe Could Exterminate Humanity Before Donald Trump's Successor Comes Up For Re-Election Factory. Coxon perhaps notwithstanding (I suppose I should read the rest of the Wall Street Journal story to find out if he gave back, or away, all the money he made at Anthropic), these men's fears and consciences only ever trouble them so much.

What the AI alarmists inside the AI industry overwhelmingly want is not for the development of AI to be halted or slowed. They want it to be accepted as inevitable. Their goal is to move the discussion past the Should we? question to the How should we? question. There are cynical marketing reasons why they would do this; there is also, probably, the ego gratification of believing one's work to hold the fate of humanity in balance. There is a two-percent chance that blogs will bring the planets into alignment within the next decade! We better start taking blogs a hell of a lot more seriously. You'd better throw your money at blogs to make sure they have sufficient guardrails.

But also: Maybe these assholes truly believe AI might kill all humans. What they definitely do not believe in is a future where humans can decide, collectively, that we do not want and simply will not permit any technology with the capacity to do that.

This is the basic trick of Roko's Basilisk. Like many supposed thought experiments noodled over by guys who thought Heath Ledger's Joker was the most important moral philosopher of the 21st century, it dresses up as an ethical conundrum what is in truth a deeply evil enticement to abandon the concept of human intention altogether. Decision-making truly cannot get more animal and reactionary than to extend fixed conclusions about what humanity is like out into the imagined indefinite future, conceived as boundary walls defining the path that future can take, and react to that future before it has even had a chance to arrive. It makes the future into the past. It is inherently regressive, fascist.

This is the insidious lie at the core of the AI movement. It disguises itself as a vision of progress and change, of a bright future, while at bottom resting on the idea that neither progress nor change are meaningfully possible and the future must always be just a dismal logical extension of the present. Humanity can't decide not to do the stupid thing; all we can do is accommodate ourselves to the stupid thing's inevitability and hope to sand the sharp edges off the stupid thing's extremities. We can't imagine a path into the future from a vision of what we hope the future can be like; we can only select from the short and shrinking menu of futures made possible by every moment before this one. Hey, don't look at us, we didn't chart this course. The AI can either be an unchecked genocidal horror or it can be a checked genocidal horror. Your pick.

Maybe they are right. I certainly don't know. Maybe all that smashing the extant AI infrastructure to powder and hounding its exponents into the wilderness will accomplish is smashing the extant AI infrastructure to powder and hounding its exponents into the wilderness. Maybe, over any longer timeframe, that will turn out to look like nothing more than a dumb hindbrain spasm by a species that was always destined to be ruled or exterminated by an overdressed Speak and Spell of its own creation. Maybe it was right for leaders to let society be dragooned into the schemes of unaccountable profit-hungry technologist freaks and eugenicists, to quake before the awesome prognosticative power of some dickhead on Twitter going Nice species you got there. Be a real shame if Johnny 5 annihilated it. There is at least one way to find out if they're wrong, though. It isn't a thought experiment.

Nachos, MVP predictions and AI: Joey Votto on his rookie season behind the mic

https://www.nytimes.com/athletic/7578225/2026/09/10/joey-votto-cincinnati-reds-sunday-night-baseball/

As Joey Votto celebrates his 43rd birthday on Thursday, the former Cincinnati Reds first baseman is enjoying being a rookie again.

Votto, who last played in a big-league game in 2023 and retired during the 2024 season after signing with his hometown Toronto Blue Jays, is in his first season as part of NBC/Peacock’s expansive baseball broadcast crew, serving as what the network has called an “Inside the Pitch” analyst. During the final weekend of August, Votto appeared on the network’s coverage of the Reds’ game against the Chicago Cubs at Wrigley Field, along with play-by-play broadcaster Jason Benetti, Reds analyst Jeff Brantley and former Cubs first baseman Anthony Rizzo.

While the other three were in the booth, Votto watched from the dugout level and weighed in not just on what happened on the field, but with some of the less serious parts about the game, including a claim to have never eaten nachos. (He later noted on X that this was not true.)

Online, praise for the broadcast was effusive. Votto, who spoke to The Athletic by phone last week, said he was appreciative of the positive feedback, but more interested in what he felt were valid criticisms of his performance.

Some of the asides, like the nachos or reflections on Votto’s career or relationships with players like Rizzo, charmed some viewers and annoyed others, but he had plenty of insight on the Reds, Cubs and the game.

A 3-time MLB all-star's trick to reset under pressure

Elise Devlin

Votto, who will return for Peacock’s Sept. 20 “Sunday Night Baseball” broadcast between Milwaukee and Baltimore before contributing to the network’s playoff coverage, weighed in on his first year of broadcasting, where he can improve and what the future holds.

Note: Questions and answers have been lightly edited for clarity and length.

I really felt like your first broadcast was a lot of fun. How did you feel about the experience?

The group I worked with was excellent, but the more I read the feedback from the public, which is our audience, it was highly positive. I’ll just speak to my performance — what I want to give the public, the listener, is far more insight, and I want to make sure I don’t distract from the game.

I think there are some nice, fun moments, but I think my responsibility in the “Inside the Pitch” role is to make sure that, of course I am myself, but they’re tuning in for my expertise, for Anthony’s expertise, for Jeff’s expertise. Our former playing days are what we can offer, and I’ll just say for me, I need to do a much better job of giving the viewer how I see the game through the lens of my playing days experience. I can guarantee the next time I work, I’ll be giving much more pointed, helpful replies that can help the person tuning in to better understand some of the nuances of the game.

I read an article about Tom Brady and the difference between his first and second year, and he had a bit of the same thing where there’s just too much — where being more to the point with emphasis serves the audience much better, and I’m going to do the same.

Are you glad you were able to get your first broadcast of a Reds game out of the way early?

I’m glad that I did on the road, if I’m honest. I think that connecting with the fanbase through a road game is probably better. I’m not ready to come back to Cincinnati. I would come back as a fan first.

What I would really like to do is come through early next year. At some point, I would love to come by and take pictures by the clock (at Great American Ball Park that Votto gave to the team) and say hello and walk through the gate as a fan, much more casually. I haven’t been back to watch a game, and I don’t think I’ve watched a game as a fan in Cincinnati yet. I did it while I was injured, but I’m talking about going beyond just saying hello to people and doing things more casually. I was glad to do the (Reds) game on the road to focus.

There were moments where I probably bit my tongue on things because I don’t want to burn bridges or piss people off. Because if I speak too candidly — clearly the Reds have underperformed. There’s some stuff that needs to be better, and the fans are the ones saying that constantly. So I had to make sure I managed my feedback, and I was maximally supportive.

I said this on the very last day I left Cincinnati, and this is kind of the point I was trying to make on the broadcast, but St. Louis is quote-unquote baseball heaven. There are players that want to go there. There are free agents that sign because of the nostalgia and the reputation and the history of the Cardinals and how the organization is run from the top to the bottom, and that’s earned. It bothers me that with a longer history, with plenty of prestige and some of the greatest players of all-time and also a city that no matter what, the Reds are the centerpiece of the city, especially when they are doing well. I had to bite my tongue when I came to my hopes for the team long-term because I think the fanbase deserves a lot. I’m not the one signing the checks, and I’m not the one making the decisions, so I have to watch how much I say, but yeah, on the broadcast I had to be more complimentary than critical. It’s fine. I would generally be more critical of a different team, but when you know these people …

But on the broadcast, you still used “we” to refer to the Reds.

Well, I’ll always be a Red. I use the word “we” from the side of the fans, from the side of the players. I say it as a fan because I’ll always be a Cincinnati Red. My family is the fanbase. My family are the players.

Front offices come and go. Even ownership comes and goes, but I’ll always be a major-league player, and the moment you put that uniform on, you’re a Cincinnati Red. Ask Brandon Phillips. Ask Jay Bruce. Ask Aroldis Chapman. Ask Johnny Cueto. Ask Elly De La Cruz.

I’ll never not be a Cincinnati Red. I tried so hard to be a Toronto Blue Jays fan, but it’s not in me. I tried hard. I signed with the team. I was raised a Toronto Blue Jays fan, but when you spend 24 years with a team, and you’re on the field, and you go to Cincinnati Children’s Hospital, or you go to get coffee, and people come up to say hi, and you know them by eye contact, and you know their first names. … When you support the Freestore Foodbank, and you go by Cincinnati Public Schools, it’s impossible to transition. As much as I’m going to financially support my communities, I’ll always be a Cincinnati Red, and it’s not possible to be raised in Cincinnati and not feel that way as you get older. You always have a soft spot for it.

You mentioned being focused more on the game and what is happening on the field, but one of my favorite parts (of the first broadcast) was how you noticed quickly that the first batter of the game’s grounder got stuck in Cubs first baseman Michael Busch’s glove and how the web may have broken. That led to you and Rizzo talking about how to prevent that. That was the first batter, and I thought it set a tone.

This is what we have to give them more of. It’s our obligation that when you tune in and have a specific angle behind the pitcher, you don’t get to see these subtleties that really matter.

What if that glove breaks and a run scores and you lose by one and you’re (having a), “What the f— is going on?” type of reaction, it’s our obligation to offer it. An adjustment in the box or an adjustment by the pitcher. Does he look hurt? Is this going to affect the next month? — these are little things that players can see. We can always see everything way before it becomes a reality, and that’s what we have to give the fan because they want inside, as they should. They’re the paying customers. We’re going to give them as much insight as we possibly can. That’s why you have former players who played first or caught or pitched who are able to provide that feedback.

Do you like sitting near the dugout, close to where you were as a player, or would you prefer to be in the booth?

I don’t really care where I sit; I just want to make sure I serve the public and can give them what they want and the game can breathe. The side is fine. I don’t mind it. I tried really hard to stay out of the game as much as possible until called upon. That’s fine. I see things on the field being that close that I really want to share, but the people in the booth are speaking most of the time, so I didn’t want to pipe up.

There are plenty of things that I shared — like the Elly thing, which, by the way, I’ll never take back what I said about Elly being exactly on par with (Cubs center fielder Pete Crow-Armstrong) despite there being a difference between the two seasons. I think Elly is going to have his own (MVP-type season) at some point, but I think Elly’s going to need to take it just one gear higher and he’ll get there.

While we’re on current Reds, what do you think of what you’ve seen from Sal Stewart? During the game, there was a graphic showing he had the second-most home runs by a Reds rookie, behind Frank Robinson and ahead of you. What do you think he’ll need to do to take it to the next level?

In my experience, you take one step back and maybe you don’t homer quite as much to be able to get on base a bit more. At some point, you have to do a little less to do more. These guys who homer a lot and don’t get on base. He’s going to have to get better at that. I don’t want to sound critical because he’s had such a great year, but there’s no question about it; there’s more potential there.

I’d like to see him maybe not homer as much. I saw my slugging percentage go up when, instead of taking that transaction of 15-20 outs to get the homer, you may tack on an extra walk or two or something like that.

It’s an odd thing to ask of a guy who is about to hit 35 or 40 homers and drive in a bunch of runs. It’s a team game and getting on base and running the bases allow for those bigger innings.

I would say that in time he’s going to have to really refine his game. I’m not saying this because I got on base a lot or comparing him to me; I’d say the same thing about Elly. That’s how he’s getting better. Elly’s getting better at that. These are things you adjust and say, I’m not going to give away so many outs to get my hits and my homers and my RBIs; I’m going to take the walk.

Just as Stewart is going to make adjustments to his game from his rookie year to the future, how are you working on improving from your rookie year as a broadcaster?

I actually use AI. I throw in all the notes I get from NBC, and then I take the transcript — I took the NBC transcript from (the Cubs-Reds broadcast) and plopped it into Grok, and I had it provide feedback based on specific parts. I used Vin Scully as a comp, asking it why is Vin Scully more efficient?


I practice with it. It can banter back and forth with me. We go through broadcast prep, and I tell it, “Update yourself based on this particular matchup.” What are the storylines? What would Bob Costas ask me? What would Ahmed (Fareed) ask me pregame? I practice, and then it provides feedback on whether I was efficient enough, whether I had enough volume or if I changed my tone, whether I was finishing the point. Whether I was adding commas or using “so,” “and” and “very” too much or adding hyperbole or whatever it is. I do that before each round, and it helps a little bit. It’s been a really helpful tool.

You’re not only taking feedback from AI, but also from what people are saying online? You’ve actually gone into the comments?

I don’t know enough about this, so I’m going to take the public’s feedback. I love when people are emotional and say I’m a f—ing idiot because of my take. That doesn’t bother me. What bothers me is “why are you talking so much?” Or “why are you so long-winded” or “get to the f—ing point.”

It’s like when I played — it never bothered me when people said, “Why aren’t you driving in runs?” It would bother me if people said, “He doesn’t get the job done” or “His swing sucks” or “He’s not as good as this person or that person.”

It’s more about the product and less about the style of the product.

I s— on the Cubs a couple of times and the fans reacted emotionally, as they should. They should defend themselves and tell me that I’m a f—ing idiot. Which is absolutely fair and part of the reaction I’m looking for.

This is just the start of your broadcasting career. Is this something you wish to do long-term?

I don’t know yet. I don’t have that answer yet. I’m enjoying it, though. It’s more about whether I feel like I’m helping. I have to feel like I’m helping.

What Gets Left Out Of Math's New Era?

https://defector.com/what-gets-left-out-of-maths-new-era?_bhlid=eca4e936cdea1b3d1d5e63965fdede5e80618df6

The science fiction author William Gibson's pithy observation that "the future is already here—it's just not very evenly distributed" has had different shades of meaning since it was first formulated. In its original context, Gibson meant it as a measure of technological progress: certain people have access to gizmos, gadgets, and virtual-reality dugongs before that blessed day when those innovations trickle down to the rest of us.

There has always been an economic valence to this quote: Its first full appearance includes a mention of the “elite.” Over time, though, what I might call the post-Gibson interpretation of this insight tended increasingly toward economic inequality and left the technological aspect behind, since economic security is the axis along which "difference" has seemed to vary the most meaningfully across society since, say, the dawn of the iPhone, and "progress" stopped feeling like the right way to describe how technology has been changing once we all started to pack more computational power in our pockets than what was necessary to take humans to the moon. The most salient ways the rich differ from us these days no longer seems to lie in the technological horsepower they can harness, but more in the privacy they can rely on, the laws they can break, the impunity with which they can disregard the social compact, the scorn they can have for the future of the planet, and more. Or so I've heard.

But the uneven temporal and spatial impact of technology qua technology is having its moment again. Your experience of driverless cars is a lot different if you live in the Bay Area or Boston; the quality of your drinking water and the size of your electric bill depends on your proximity to a data center; and so on at ever finer scales, intruding on the neighborhood level, depending on how down your neighbors are with Flock cameras.

This extends into the world of work. Because the capability of artificially intelligent systems is deeply tied to whether or not there are easily quantifiable correct answers available to a question, your economic anxiety is different depending on how closely tied your job is to something like “correctness” rather than (optimistic version) judgment or (realistic version) corporate inertia. Coding is the paradigmatic example in which checkable, correctible answers abound, which is why artificial intelligence is primed to change the daily reality of coding work. Insofar as any given industry utilizes code these days, artificial intelligence looms in all workplaces, albeit unevenly.

There are some people to whom correctness matters even more than it matters to coders, however: mathematicians. When a mathematician brushes up against “correctness,” they have good reason to believe they are doing so in a truly fundamental way. And today’s mathematicians seem to feel like they have recently come under existential threat.


Here’s a question you might not have considered before, but is probably a bit richer than it would seem at first glance: Why is math hard?

Mathematicians and theoretical computer scientists concern themselves with proofs: starting with a small, fixed set of basic axioms and armed with a smattering of Latin phrases (where’s my modus tollens crew at), they build up incontrovertible arguments that have implications far beyond the superficially modest content of the original axioms. But if all math is is proof, and if all a proof does is build upon indisputable axioms in a purely logical way, and if every proof is a question with only two answers (yes or no, true or false), then how can any question be ambiguous or difficult to understand? All you need to do is remember the correct axioms or proofs and apply them in the right way at the right time.

The cognitive and computer scientist Douglas Hofstadter, best known for his concept of “strange loops” as explored in his tome Gödel, Escher, Bach: An Eternal Golden Braid, gave one answer to this question in a 2012 essay, which went lightly viral over the past year. In response to a question from a reader of the journal Mathematics in School about the experience of being a “distinguished mathematician,” he first demurred, protesting his mathematical bona fides. And then he went further, writing of the “traumatic” experience of waking up to his own mathematical inadequacy and limitation. He wrote of “bumping [his] head against [his] abstraction ceiling.” He uses a few more metaphors to get the point across, but I immediately knew the feeling, because, as a pre-predoc, I’d bumped my head hard. At the time, the feeling of being unsure of the truth of some mathematical statement, which I knew other people could perceive and work with, felt akin to a type of personal failure. How did I forget proof A? How did I not realize that implication of proof B? If my ceiling had been higher, I would have seen further, into deeper commonalities with shared structure and more abstraction.

This question can be rephrased with less freighted, less personal language: Why is math not tautology? And what stops us from taking this to the extreme? Why are all mathematical facts not just lying on a frictionless ramp of logic leading from 1 + 1 = 2 (I know, I know: that’s not the first axiom) all the way to the Riemann hypothesis?

If you’re an aspiring mathematician who encounters these thoughts, you have a few options. Obviously, the first and easiest choice is simply to leave math. If you stay, you’re allowed to ignore these foundational issues, as most working mathematicians do. But, if you have a particular type of nerd in you, you’ll dig into the foundations. If you follow this path chronologically, you’ll probably start off by encountering Frege and Russell. You might get to L. E. J. Brouwer, intuitionism, constructivism, and Bourbaki. But at some point, you’ll probably hit Gödel and Turing, and then you’ll likely start thinking about computability.

Computability is the abstraction of computation. Its avatars include the P vs. NP problem, Gödel’s Incompleteness Theorems, Turing’s “Imitation Game,” and many descendants. As a field, computability leads to some deep, thought-provoking questions and to some that, once upon a time, I thought held no interest at all. In particular, I remember learning about computer programs called “proof assistants,” such as Coq (now Rocq). In 2005, Coq (famously!) helped settle the proof of the (notorious!) four-color theorem, after another attempt to use a computer to do so remained stuck in a, shall we say, intermediate epistemic status despite “more than 1,000 hours of computer time” and an announcement to great fanfare in 1976. It’s probably safe to say that the seismic shocks unleashed by that episode are finally reaching the surface of the field:

The math world lit ablaze with equal parts celebration and dismay. One of Appel and Haken’s colleagues, William Tutte of the University of Waterloo in Ontario, rejoiced that they “smote the kraken.” Others despised the thought of computers encroaching on human ingenuity. The affair also posed a philosophical problem in the math community. Does a proof that can’t be verified by humans count as a proof at all?

Still, the whole thing seemed, at the time, a little … dull. Foundations should be all deep philosophical pondering, not infinitesimal tweaks to computer programs!

And yet. Over time, computers have become more broadly capable, and computer-based pure math has been no exception. Its latest and most developed manifestation is a programming language called Lean. By eye, Lean doesn’t look a whole lot different from other programming languages. (You can mess around with it here.) There are types and conditional statements and variables; definitions can be made and reused. The main difference is that with a normal programming language, you write programs that give you outputs in order to automate some repetitive work; in Lean, all you can do is see if the program runs or not. If so, your proof is correct: QED. If not, your proof doesn’t work, try again. The promise—or threat—of Lean has seemed to me to be the realization of the frictionless ramp to the end of logic that would trivialize math. But what would give us the first push over the edge of the ramp?

The key step here was the innocuous “try again” in the last paragraph. The fact that every Lean program is a written artifact with a yes/no answer makes it ideally formatted for AI (and, trust me, I hate that I’m writing what I’m about to write) disruption. The Lean-ification of math may or may not make math any more interesting, and certainly not any more human. Rather, it renders it more efficiently doable by machines.


Since the end of last year, AI chatbots equipped with Lean have produced a stream of proofs of open problems in pure math. At first, when the hype was restricted solely to the predatory capitalist class, it was easy enough to ignore. But to my surprise, the “real” math world seemed ready to embrace the result: I looked at it differently when Terry Tao (the Patrick Mahomes plus LeBron James of modern math) posted about it. At the time, I still detected a bit of a raised eyebrow in most of what I read: “Yes, I guess it’s cool,” they seemed to be saying, “but here’s why it’s still at arm’s length from what I’m actually doing inside my gourd all day.” The questions at hand seemed a bit obscure, and the results didn’t have big implications for any significant vein of literature.

The raised eyebrow is now knitted. An OpenAI paper and accompanying Lean proofs from early August, entitled “Ten Advances in Mathematics and Theoretical Computer Science,” followed closely by a new result from Anthropic, have kicked up a much bigger stir, all of which is sure to be dwarfed by the announcement that a Millennium prize has been nabbed. Although these results have not been fully metabolized by the community, the reaction makes it clear to me that what is happening now hits much closer to what most mathematicians consider their core work. Wild extrapolations of the future of math have abounded as refuseniks preach rejectionism and other, more measured, approaches are suggested.

My favorite skeptical take is from Tobias Osborne, referencing the Bible by way of the title of the reclusive mathematician Alexander Grothendieck’s quasi-mystical memoir Reapings and Sowings. He points out that each of the final human-legible results fits within a single chat session’s context window. The conclusion is that these results are in some sense cherry-picked, and the implication is that what we are seeing now is AI models bumping up against their own current ceiling.

The question that would keep me up at night if I was a working mathematician: Is the raising of that artificial ceiling from last winter to now merely illusory? Or is it real and will it continue apace? And if it does, are there any other significant barriers between now and the end of math? Because regardless of whether or not the right prompts ever got entered to manifest Lean’s thumbs up or down of my pet theory, and whether or not that given logical sequence could become knowable in human terms, and whether or not it was all a stunt to drive pre-IPO hype for a clown car full of extractive capitalist ghouls, the fact that all it took was chatting with a bot to know the answer would kill my interest in turning coffee into theorems.


Among the most admirable things about mathematics as a field is that high-quality conjectures are valued nearly as much as high-quality proofs. In effect, throwing up your hands and saying “I think this is the answer to this question, but I’m really not sure” is understood to be a vital part of how the field moves forward. These are the “sowings” alluded to by Grothendieck and Osborne, and they perform roughly the function that real-world inputs play in other sciences, like “diseases” for medicine, “experiments” for biology or physics, “astronomy” for astrophysics, and so on. Conjectures give not merely questions to answer, but hints born of experience that act as directions for the field to orient around, goals to strive towards. Famous open-ended mathematical musings like Fermat’s Last Theorem (whose name I think is 2/3 as incorrect as Voltaire thought “Holy Roman Empire” was) or the Riemann Hypothesis have driven mathematical research for centuries. The 23 “Hilbert problems” more or less demarcated the boundaries of serious math research for the entire 20th century; the Clay Millennium prize problems were intended to do the same for the 21st. Say what you will about AI bots writing barely intelligible proofs: They aren’t writing conjectures at all.

So is this the end? Will AI math remove the oxygen from the seminar room and suffocate human ingenuity entirely? Or have rumors of math’s demise been greatly exaggerated? If one thing is clear, it’s that different fields are differently predisposed to getting AI-ed. The future is here, but because it’s so unevenly distributed, it’s not really the future.

The frictionless ramp which I feared as a prospective mathematician, and which the roller-coaster cart of pure math now seems to be nearing the crest of, could also be described as a slippery slope. Slippery slope arguments are, always, incomplete: They substitute fear in the place of a critical explanatory step. It’s easy to be vaguely scared of what could happen without saying precisely how. So let me give one particular prognostication of a future for math in light of these recent developments.

The predecessor of what we might call the “conjecture era” we’re now in was the system of patronage, in which mathematics was but one of several baubles the powerful could hoard. I can imagine a re-closing of the workings of knowledge, where the locus of knowledge-making shifts from public, open, collectively (if imperfectly) funded grants to private, closed, quixotically personal discovery labs either inside the biggest tech firms or in small startups that get acquired or shadily co-owned. This will further devastate universities and continue to eat away at the “soft money” edifice they rely on. The resulting not-quite-academic findings will be leased back to us at profit, or held closely, developed in secret, and revealed as barely comprehensible jewels of arcana that, like Renaissance mathematicians at court, lend a bit of stature, a dash of rivalry, some injections of cash, and the imprimatur of legitimacy to the shadier primary activities of the companies. Anything that is old can be new again.


Similar to Hofstadter’s Gödel, Escher, Bach, Imre Lakatos uses a heavily footnoted form of dialogue in his Proofs and Refutations as a way to address heady concepts indirectly. In a footnote in the chapter on “Concept-Formation,” he remarks:

Quite a few mathematicians cannot distinguish the trivial from the non-trivial. This is especially awkward when a lack of feeling for relevance is coupled with the illusion that one can construct a perfectly complete formula that covers all conceivable cases.

There are no completely closed systems. All of what anyone does is human, and as such, humanistic. Even Lean is fallible: Bugs can lead to ambiguities, and “trust” and “belief” are words that get tossed around when discussing it. The point is not that this is bad. The point is that this is not new, or really even all that different. Mathematicians, here are your accordions.

How Cincinnati Ruined All-Star Voting For A Dozen Years

https://defector.com/how-cincinnati-ruined-all-star-voting-for-a-dozen-years

For as long as baseball’s All-Star Game has been played—almost every year since 1933, including twice a year from 1959 to 1962—it’s been the ultimate in wish fulfillment for fans. Want to see a team of future Hall of Famers playing together? It’s got that. Want to see your favorite local players honored on a national stage? It’s possible. Poignant curtain calls and unexpected comedy? You bet.

But actual fan participation in selecting All-Star teams? That’s been a rockier road.

In this generation, when baseball fans are inundated with emails and in-stadium announcements encouraging All-Star Game voting, it’s hard to believe this wasn’t always the case. But after the first game in 1933 featured fan voting, team selections were done briefly by player vote and then entirely by managers. 

Then, at the winter meetings in 1946, owners voted to allow fan voting for eight of the nine starting positions. (Then as today, managers would pick the pitchers, as well as the reserves.)

The arrangement worked well, for a while—until Cincinnati Reds fans got involved.


The first signs of trouble came in 1956. The Reds had made back-to-back World Series in 1939 and 1940, being swept by the Yankees then beating the Tigers. Their next World Series appearance wouldn’t come until 1961, another loss to the Yankees. The interceding two decades were relatively lackluster for the team, which from 1953 to 1959 officially changed its name to the Redlegs to avoid even a tenuous connection to communism during the days of HUAC and the Red Scare. 

But in 1956, Cincinnati finally fielded a team that could compete. They had an offense that hammered the ball, hitting 77 home runs over the season’s first 45 games, a record pace. (They would hit 221 home runs as a team that year, tying the record at the time.) The lineup included slugging first baseman Ted Kluszewski, who made it a habit of playing with no undershirt under his sleeveless Reds jersey, both for range of motion and, admittedly, the gamesmanship of showing off his bulging biceps. The outfield of Gus Bell and Wally Post was joined by a rookie named Frank Robinson, and through the first half of the season, the Reds were in the thick of a pennant race.

Ted Kluszewski.Paul Schutzer/Getty Images

Fans, giddy at the first contending team in a long time, responded, electing five Cincinnati players to start the All-Star Game: second baseman Johnny Temple, shortstop Roy McMillan, Robinson in left field, Bell in center, and Ed Bailey catching. 

No Reds had been leading in the balloting when voting closed, but the league office, which tabulated the votes, was confused and overwhelmed by a late surge in ballots, to the point where ending fan voting altogether was considered. The drastic step was endorsed by The Sporting News, regarded then as “the Bible of Baseball. “It is conceivable that the fan poll is on the way out,” Dan Daniel wrote. “Its elimination would be regretted. But it would not necessarily be a serious blow to the event.” 

There were cries of unfairness in certain quarters (namely Brooklyn, home to the defending champion Dodgers), but Commissioner Ford Frick saw nothing untoward.

“Everybody had a chance to vote, no matter where they lived, so there should be no squawk if somebody doesn’t like the team,” Frick told the Enquirer. “I think it is a representative team. There is nobody there who doesn’t belong.”

It’d take only a year for him to change his tune.


In 1957, hopes were high for the Redlegs. The previous year, they’d been in first place as late as July, but hadn’t been able to overcome the onslaught of the Dodgers and Braves. Even in third place, Cincinnati had won 91 games. Could 1957 be the year?

As the Midsummer Classic approached, Cincinnati media and businesses strongly encouraged voting early and often—and inadvertently, so did baseball itself. There were ballots available at the ballpark and through local newspapers, which would collect them to send to New York for tabulation. But in the fine print, MLB said it would accept official ballots or “a reasonable facsimile.” In Cincinnati, they took that and ran with it.

There were ballots printed in the papers, most notably the Cincinnati Times-Star, which was the city’s official ballot collection point. Those ballots were blank, but ran next to a listing of Reds players to vote for. The Burger Brewing Company, which sponsored Reds broadcasts, printed up 350,000 of their own unofficial but valid “ballots” and distributed them to regional bars. At some establishments, patrons had to fill out a ballot before they would be served. There were also reports of mimeographed completed ballots being returned en masse to collection points in Cincinnati and Columbus. Some fans told reporters they’d each voted hundreds of times.

There might have been an element of defiance to Redlegs fans’ voting. That May, National League owners met six weeks earlier than usual (in preparation for Congressional hearings on the sport’s antitrust exemption), and stories suggested that one of the big topics discussed was relocation, with Giants owner Horace Stoneham and Dodgers owner Walter O’Malley both denying reports that they would be relocating to San Francisco and Los Angeles, respectively. Reports also indicated that if those moves did happen, the Redlegs would then relocate to New York. “I would not even dignify such rumors by commenting on them,” said Redlegs President Gabe Paul.

Of course, the Dodgers and Giants both decamped for California after the season. The Redlegs stayed in Cincinnati (with talk of a new ballpark to replace Crosley Field). But that summer, Cincinnati fans would have been forgiven for feeling like they had to prove a point.

Frank Robinson in 1957.Getty Images

A June 19 report from International News Service said that three Redlegs were leading on the ballot: McMillan, Robinson and Bailey. But once again, a late avalanche from the Queen City—estimated at 550,000 votes, more than half of all NL ballots cast—altered the outcome at the last minute.

Once the ballots were tabulated, it appeared that every starting position player on the National League team would be from Cincinnati.

On June 28, three days before the starting lineups were to be officially announced, Frick stepped in and made an unprecedented move. After consulting with the league presidents, he announced that Stan Musial would replace George Crowe as starting first baseman, and Willie Mays and Hank Aaron would replace Gus Bell and Wally Post in the outfield. (Musial would get a late surge and turn out to be the highest vote-getter at first base.)

The replacements were certainly deserving enough—Musial, Mays, and Aaron would all finish in the top four in NL MVP voting that year—but Frick’s decision had Redlegs fans seeing, well, red. They found the move capricious, even dictatorial. “This isn’t Russia,” fan William Hughes told The New York Times.

An effigy of Frick—constructed at a local bar that had turned in 12,000 all-star ballots—was put in the bed of a truck and driven around Cincinnati. Times-Star Sports Editor Bob Firestone suggested Frick be removed from office. 

“If a candidate for public office was elected because the supporters of his rival did not get out to vote, I am sure his election would still stand,” said Paul, the team president.

Frick conceded the point that the Redlegs and their fans had done nothing wrong, saying, “The overbalance of Cincinnati ballots has resulted in the selection of a team which would not be typical of the league.

“I don’t question the honesty of the poll, but something had to be done.”

In the interest of balance, the Times-Star did run some letters suggesting that Frick was merely correcting the mockery of the game made by Cincinnati fans. “By their unsportsmanlike partisanship, Cincinnati fans have demonstrated that they are not major-league enough to be trusted with the responsibility of voting for the all-star team,” declared one letter-writer. “If Cincinnati had eight players good enough to make the all-star team fairly, they would be 10 games ahead of the pack.” (The Reds would go 80-74 and finish in fourth place, 15 games behind the pennant-winning Braves.)

One fan, Harry Washer, a former Xavier University football player, threatened a federal lawsuit over the Redlegs’ dismissal from the all-star team, saying, “It’s not my fault that people in other cities don’t bother to vote for their team players.” (Washer’s lawyer was a former college swimming champion and World War II veteran named Charles Keating, who would go on to a prominent career as an anti-pornography activist, particularly targeting Larry Flynt, and a white-collar criminal who went to prison for his role in the Savings and Loan financial scandals of the 1980s.) Washer ultimately abandoned his suit after Bell was picked as a National League reserve.

The Sporting News, which had renewed its call to do away with fan voting, doubled down once the results were announced. The suggestion was made that sportswriters should pick the all-star teams, prompting Redlegs manager Birdie Tebbetts to joke, hinting at the writers’ own biases and grudges, “Ted Williams might not make the squad.” 

National League President Warren Giles suggested capping the number of ballots distributed to each major-league city. “Let the fans vote when they visit the ballpark,” he said. “In the end, we would have a team picked by the people who go to the games.” His American League counterpart, Will Harridge, was ready to do away with the fan vote entirely.

AL Manager Casey Stengel and Commissioner Ford FrickGetty Images

The all-star campaign turned out to be the last hurrah for the Times-Star, which was sold the following year to Scripps-Howard, the Cincinnati-based chain that owned the rival Post, and shut down. (The Times-Star building, a beautiful Art Deco masterpiece on Broadway, now houses county government offices.)

Early in 1958, Frick announced what just about everyone had seen coming: all-star teams would henceforth be selected by a vote of players, coaches and managers. “The fan poll was abandoned,” Frick said, “only after long consideration and with a great deal of regret.”

He added, “I’m in favor of the fan vote, if it can be done honestly. But the way it was, it was a joke.”

Frick left open the possibility that fans would get a vote again, but it wouldn’t happen under his reign.


Elected commissioner in 1969, Bowie Kuhn, who’d served as a lawyer for the National League, was serious to the point of austerity—“even his undershirt was stuffed,” wrote Dave Anderson of The New York Times. His tenure is probably best known for his ongoing conflicts with Athletics owner Charlie Finley and Major League Baseball Players Association head Marvin Miller. But one of Kuhn’s first actions as commissioner was to announce the restoration of fan voting for the Midsummer Classic. 

The new system would avoid the previous missteps. A total of 25 million ballots would be printed and available at retailers and ballparks, with special allotments sent overseas for the military, plus a million for Canada, now home to a major-league team, the Montreal Expos. No news organizations would distribute or collect ballots, and if they weren’t official MLB ballots, they’d be tossed out.

The system worked, until voting ventured onto the newfangled World Wide Web in the ‘90s; it didn’t take long before people tried to fix the vote there. In 1999, Chris Nandor came up with a program to vote for his favorite Red Sox players, casting 40,000 votes, all of which were eventually disallowed. 

In 2014, paper all-star ballots went the way of helmets with no ear flaps and the Montreal Expos. The following year, MLB disallowed more than 60 million votes, many of them from ballot box–stuffing Royals supporters, whose defense echoed that of Reds fans nearly 60 years earlier. “If you don’t like it,” said pitcher Jeremy Guthrie, “vote more.”

The technology may change, and the teams too, but stories like this are reaffirming. Nearly a century later, baseball’s All-Star Game still has resonance, and fans are still determined to do whatever they can to get their favorite players into the game.

“The whole concept of the All-Star Game is to match two dream teams for the fans,” Kuhn said in a 1979 interview with the Associated Press. “They’re the fans’ teams, nobody else’s. Not Bowie Kuhn’s, not the players’ and not the managers’.”

Here's All The Court Documents Jed York Asked To Be Sealed

https://defector.com/heres-all-the-court-documents-jed-york-asked-to-be-sealed

On Monday, the day after his arrest on a criminal charge of engaging in prostitution—later pleaded down to disorderly conduct—San Francisco 49ers owner Jed York, through his lawyer, submitted a motion in his criminal case. Specifically, he asked to the court to seal all records related to it.

His stated justification? The owner's request, which you can see in full by clicking here, gave a bit of background on the case before outlining the following reasons:

2. The Defendant is an eligible offender as defined by R.C. §2953.31.

3. There are no criminal proceedings pending against the Defendant.

4. The Defendant has been satisfactorily rehabilitated and poses no risk of recidivism.

5. The Defendant's interest in having the official records pertaining to the cases sealed outweighs any legitimate need of the government to maintain those records.

No other details were given about York's "interest" in having the records kept unavailable to the public. The judge denied the request, which is why they're here.

So what is it that York wanted to keep out of the public eye? The documents provide more details about what happened leading up to the Aug. 23 arrest; they've been providing the steady stream of news articles about the arrest since the news broke. The complaint affidavit, which you can read by clicking here, said that York initially was charged with one count of misdemeanor engaging in prostitution and one count of possessing criminal tools. A sworn law enforcement officer told the court the following:

Affiant states that an undercover ad was posted on a known prostitution website.

Affiant states that the defendant responded to the posted ad, and arrange to have sexual activity with the female in exchange for $140.

Affiant states that the defendant arrived at the meeting location and was found to have in his possession his cellular device which was used to arrange the criminal act.

(In all other documents, the amount York agreed to pay is stated as $160. There's no explanation for the discrepancy in the affidavit.)

More details about the arrest have come from the case report. This was not a court record; it was released by the Mahoning Valley Human Trafficking Task Force. (The San Francisco Chronicle reported that the area of York's arrest has been a "hot spot" for law enforcement stings.)

You can read the case report in full by clicking here.

York was released from custody following him posting a bail bond of $5,000, according to court records.

The rest of the court file is fairly standard documentation: A receipt. York's waiver of his rights. The plea agreement. The judgment entry, which confirms that York pleaded down the prostitution charge to disorderly conduct and was sentenced on that and possession of criminal tools to one day in jail. The same document says York completed an online course—it does not name the course, nor say where or when he took it—and that York would get his phone back.

As for the $160 York had brought with him? That was kept by the task force.

You can view all the documents in the case by clicking here.

Common Sense- Resurrection

https://backspin.substack.com/p/backspin-common-sense-resurrectionhttps://backspin.substack.com/p/backspin-common-sense-resurrection

Could not extract this article automatically (404 Client Error: Not Found for url: https://backspin.substack.com/p/backspin-common-sense-resurrectionhttps://backspin.substack.com/p/backspin-common-sense-resurrection). Read it on the original site instead.

Reliving Missouri football's unlikely, unsanctioned 1896 trip to Mexico

https://www.espn.com/college-football/story/_/id/49744376/1896-missouri-tigers-texas-longhorns-mexico-football

Saturday afternoon, college football will kick off on the other side of the Atlantic when North Carolina and TCU meet in the Aer Lingus College Football Classic.

While the Dublin game becoming a yearly Week 0 staple is a recent development, it's far from the first time the sport has gone abroad. International college football boasts a rather underrated history -- games have been played outside of the United States since the sport's earliest days.

The Bacardi Bowl was contested a handful of times between 1907 and 1946 in Havana, featuring American universities facing Cuban opponents. Matchups played in Canada by American schools against McGill University and other colleges from across the northern border date back to the 1870s. And who can forget when Missouri took that unsanctioned spontaneous trip to Mexico in 1896 with Texas?

Wait, what?

The games the teams played are not officially recorded by either school -- they were exhibitions -- so the first known college football contests in Mexico exist largely as obscure footnotes in the pantheon of the sport's lore. But they happened. And the chronicle of Missouri going rogue to play them is wilder than any of the actual on-field action.

College football is a sport that prides itself on championing the obscure and unusual alike. This is a tale that ticks both those boxes, starting with a future attorney's wisdom and ending with a dismissed coach. In the spirit of college football making its return today on international soil, we went back on a tour of one of those obscure footnotes, reconstructing one of the lesser-known oddities in gridiron history.

Mid-December, 1896: 'No chance to forbid'

Mizzou's unauthorized jaunt across the Rio Grande was the byproduct of an unlikely marriage of convenience between opportunity and renegade college spirit.

George A. Hill was a man with many a plan. A railroad promoter by trade (while he was identified in one 1921 article as the secretary of the Austin Chamber of Commerce, this title does not seem to be corroborated elsewhere), he had built a brand as a local go-to man for trips south of the border. The Austin-American Statesman described him as "the indefatigable Mexican excursion manager and promoter."

But touring passengers weren't the only thing Hill was interested in bringing south. In late 1896, he was plotting to take football to Mexico too.

Hill's original plan seemed to involve taking the University of Texas squad and something of a regional all-star team on the foreign trip. But the second element still wasn't solidified that December -- until it fell right into Hill's lap.

Right around when Hill was dreaming of taking gridiron football southward, Missouri's squad embarked on a season-ending trip to the Lone Star State. Upon arrival, the Tigers were dominant. In addition to beating the Longhorns 10-0, Missouri played four other games against an assortment of Texan opponents -- city YMCAs and the like -- and won them all by a combined score of 129-0.

If Hill wanted an all-star team, a squad putting forth all-star-like results seemed to have arrived on his doorstep. After Missouri opened its Texan tour with a 28-0 win against Dallas Athletic Club, Hill moved to sign up the Tigers -- and, considering the offer in question included a trip to a foreign country with travel and lodging expenses covered, they were more than happy to oblige. According to the 1897 edition of the Savitar, Missouri's yearbook, it was a quick and uniform decision from the team.

"After the game the consultation about the Mexico trip was begun," the Savitar reads. "Mr. Geo[rge] A. Hill, of Austin, was the founder of the scheme, and he, with Mr. Harry O. Robinson, coach of the Texas University team, exposed the plan to the delighted Tigers. The team immediately and unanimously decided to go."

There was just one small hitch. While Missouri's squad had permission to travel for the Texas trip, its excused absence was decidedly not indefinite and did not anticipate a further swing across an international border. A holiday season detour to Mexico would blow past any logical "be back by" date. The speed of the Tigers' affirmative response to Hill, however, helped initially sidestep that problem.

"So delighted were the Missourians that without further ado the proposition was accepted without even so much as an intimation to the faculty of the proposed trip," wrote the St. Louis Post-Dispatch at the time, noting the "stirred up" nature of the university back in Columbia.

Given that such stirring was foreseen by the team's leaders in the moment, it's no surprise that a later retelling of the story indicated that the scant communication back home might have been intentional.

"[Team manager George] English felt sure that the faculty, more than a thousand miles away in Columbia, wouldn't understand and wouldn't let the team go if they were asked. So he didn't ask. He figured that if the faculty didn't forbid the trip, why, it wouldn't be disobedience to go. So he gave the faculty no chance to forbid," the Kansas City Times wrote in 1913, having interviewed English in a revisiting of the story. The Times also dryly added that English went on to enjoy a successful legal career after graduating.

Regardless of potential faculty angst, nothing could practically be done in the moment anyway. The Tigers were more than a thousand miles from campus. Any cables sent toward Austin were in vain.

"As there was nothing to restrain us except college discipline we said we'd love to," English told The Associated Press in 1921.

And that was that. Missouri & Co. would head to Mexico.


Late December, 1896: 'Football will probably remain an exotic'

By all accounts, the trip was a memorable one.

Departing on Dec. 23 with roughly a hundred sightseers joining for the journey, Hill and his "sundry Pullman palace cars and other things conducive to a good time" chugged across the Rio Grande en route to Monterrey and Mexico City in style. Even the train came with novelty, featuring a new Pullman dining car service. Once it pulled into the station, the stories -- reported on by the Savitar -- that ensued as the Tigers explored the cities came in droves.

A near-fight was averted after a member of the traveling party said "Good God" (buen dios) instead of "Good Day" (buen día) while looking at a local man. One player was taken aback by naked swimmers in Mexico City pools. Missouri coach Frank Patterson obtained "a fifty cent opal for a dime."

According to Thomas T. Crittenden, former governor of Missouri and then-U.S. consul general in Mexico City, team members served as fine ambassadors for their university and made the most of the unique experience.

"The boys are making reputations for the Universities -- more than your learned Professors could do in quintriple the time," Crittenden wrote in a letter to University of Missouri president Richard Henry Jesse preserved in the State Historical Society of Missouri's archives. "And then this trip is of much education to them -- infinitely more than they could obtain in months there."

Despite spending a pair of holidays away from home, the mood didn't seem dampened on either Christmas or New Year.

"This was Christmas night and the whole party was quiet and thoughtful. The young ladies and some of the young men gave a concert. The latest songs were not on the programme but they sang the old songs of childhood. These songs took all back to their homes in spirit and removed some of the regret of spending this holy day so far away from home," wrote the Savitar, noting that there was a similar party of song, dance and speeches that went "far into the morning" on New Year's Eve.

In terms of on-field action, the success of the trip was decidedly more mixed. Missouri won the first college football game played in Mexico 12-0 in Monterrey on Christmas Day, with the St. Louis Globe-Democrat reporting an attendance of 3,000, including local governor Bernardo Reyes.

As games No. 2 and 3 were played in Mexico City, though, the novelty of the contests seemed to have worn off. There had been pre-trip talk that Mexico's then-president Porfirio Díaz would attend, but he didn't. The new game competed, unsuccessfully, with bullfighting for attention.

The matchups weren't exactly conventional showdowns, either. Multiple accounts reported that the teams' rosters had been mixed. A 1957 edition of The Alcalde, Texas' alumni magazine, contains an excerpt from a letter reportedly written by Missouri player Adam Hill about the games.

"We played a mixed team," wrote Hill (of no relation to the excursion promoter). "During the games we would interchange players; and even the coaches, Harry Robinson of Texas and [Frank] Patterson of Missouri, joined in and played."

Mexico City's high altitude was also a factor in some less-than-thrilling gameplay.

"The great elevation was seriously felt by the players, who easily lost their wind," reported the San Antonio Express News after the third game, a 0-0 draw. And after the second, the Austin-American Statesman ran a report from The Mexican Herald, a local English-language paper, that spoke to a general lack of interest.

"[The Herald] says that it is not likely that so violent and muscular a game will be introduced here and football will probably remain an exotic, as far as Mexico is concerned."

So Missouri, Texas and the sightseers headed back to the U.S. with plenty of memories, but not much in the way of success as sporting diplomats. When they reached Laredo, Texas, a missed connection forced an extended overnight layover until the next train arrived. So they did what was only right.

They played more football ... and then took the competition to the bowling lanes. Mizzou won both.

"In the meantime a football game was played and one evening was spent at the Laredo Club," the Savitar reads. "Where the Missouri bowling team defeated the Texas bowling team, both being organized on the spot."


January, 1897: 'The committee recommends ...'

The Tigers racked up athletic triumphs, but perhaps their toughest opponent was still on the horizon when they finally hopped the train back to Missouri.

When the team returned to campus, rumors were circulating that the rogue squad would face punishment. Compounding the runaway team's potential troubles was the fact that two players by the names of Buchholz and Lewis, who weren't on the team's usual roster -- nor were they students at all -- had gone with the team to Texas.

Buchholz was on Missouri's team the previous year, and Lewis -- purportedly said by Buchholz to be the "toughest and meanest football player who ever lived" -- was reportedly a practicing physician. Both had been playing in Kansas City that fall, and joined the Tigers ahead of their departure south. The concept of non-students or rostered players competing with college football teams was not unprecedented for the era, but the charge still existed.

The threat of repercussion loomed.

But the maverick Missouri squad was not without champions. The pro-team caucus was a legitimate one, with particular strength among fellow students. One player reportedly claimed that, should the team be expelled, "there are 300 students who will leave with us."

Support also came from an unconventional advocate in Mexico -- Crittenden, the former governor, evidently had been aware of the possible consequences the team could face upon return, and included in his letter to the university president a specific backing of the team.

"I have been induced to write this to you without [the team's] knowledge -- from having seen in some paper -- the Faculty of the Missouri University would in some way hold the young gentlemen responsible for any infraction of some rule or other," Crittenden wrote. "As an old friend of the University and of education I have written this letter, -- [on] behalf of the boys. They have made the trip of their lives, -- (free of cost) -- which is a part of the broadest and most practical education."

Regardless of the support, the team didn't have much of a defense for its actions, though that wasn't for a lack of inventive thought.

"The team has found a scriptural injunction to sustain them in the Sunday game [the Sunday game ostensibly being them facing the discipline committee]: 'When in Rome, do as Rome does,'" reads one dispatch from the Missouri Statesman in the university's archives. "At least the Statesman [reporter], who is not versed in holy writ, takes the Tigers word for the existence of such a text, although the informant has forgotten its exact whereabouts in the Bible."

Biblical roots of "When in Rome" aside -- while the phrase does not appear in the Bible, its coining is attributed to the former Bishop of Milan, Saint Ambrose -- its insight couldn't help the Missouri squad fight the charges. Despite a strong amount of future legal chops among its leaders (in addition to English, Patterson would also go on to become a lawyer), it was an open-and-shut case. The team was guilty and pleaded as such.

It didn't take long for a decision. The majority of those involved were spared punishment. But for Patterson, English and team captain Tom Shawhan, the consequences were serious. The St. Louis Globe-Democrat printed the following resolution, adopted by Missouri's discipline committee in mid-January 1897:

"'That Coach Patterson was responsible for bringing Buchholz and Lewis to Columbia, for taking them on the Southern trip, and for playing them in the games; that, though he knew the action of the council, he failed to notify the team of the action of the council, forbidding the taking and playing of these men.

"Therefore, the committee finds that Mr. Patterson has been guilty of most reprehensible conduct, and recommends that he be debarred from any further connection with any of the organizations of this university.

"That Capt. T. R. Shawhan was guilty of taking and playing these men, knowing that this was forbidden by the council. The committee would recommend that Mr. Shawhan be suspended indefinitely from the university.

"That Manager George H. English protested against taking the men on the trip, but that he was guilty of gross neglect of duty in taking along and playing two men who were not students, and in not communicating with the university authorities with reference to the Mexico trip. The committee recommends that Mr. English be suspended from the university indefinitely from January 26, 1897.

"That the remaining members of the team were not responsible for the taking and playing of Buchholz and Lewis; that they supposed they were excused for the Texas trip: that they were ignorant of the Mexico trip till they reached Dallas, and, influenced by the advantages offered by this journey to Mexico, they went, though they knew they were violating a council rule in so doing. The committee recommends that they be reprimanded by the president for this breach of university law.'"

Frank Patterson, head coach of Missouri for all of one season, had coached the Tigers for the last time.


Postscript: 'Merely gave me a week's holiday'

You may have noticed that only Patterson was mentioned in the final sentence of the previous section. That's for a reason: The punishments faced by English and Shawhan didn't really stick.

Shawhan and English were eventually readmitted. Although the captain never suited up for the school again, he was back around the team helping the new coach by later that year. Patterson's story didn't end poorly either -- after trading the coaching profession for law he went on to enjoy an accomplished career in New York.

But English enjoyed perhaps the best perspective on his consequence: It was essentially a free vacation.

"My suspension, however, was not such a severe penalty," he would go on to say. "It was made effective during the week of mid-year examinations, and as my standing was luckily good enough to pass in all my courses without examination, it merely gave me a week's holiday while everyone else was 'boning' for exams."

Now that your newsletter is AI-generated, I've Unsubscribed

https://idiallo.com/blog/unsubscribed-from-ai-generated-newsletters?src=feed

I've remained subscribed to some newsletters for over 20 years. The authors managed to keep my attention all that time. But then, one day, they decided to switch to an AI-generated newsletter without making any announcement.

After a couple of weeks of blue high-tech image thumbnails, I simply hit unsubscribe. Here's what happened: a person earned my trust. He maintained that trust for all those years. But then he thought the best way to improve was to take himself out of the equation. If you're just going to present me with prompt-generated content, I hate to break it to you but I have access to ChatGPT, and I can do that myself.

The reason the human voice matters to me is because there's real experience behind the words. The oldest newsletter in my inbox is from when I was just 12 years old. It was from a French writer I used to read. After a decade of following him, the emails stopped coming. I was only reminded a few years later, when the emails started coming back.

I didn't jump on it immediately. I didn't even remember who it was. But when I read one at random, the words were different, the tone was nostalgic, and the name was unfamiliar.

I dug deeper and found that the author's son had taken over the newsletter. That was my cue to unsubscribe. But he hadn't used AI to replace his father's voice. He didn't use any tricks to garner clicks. Instead, he announced that his father had passed away and that he would share some stories.

I remained subscribed until the last story was released. I rarely sign up for any newsletter. If I do, it's intentional because I'm interested in what the author has to say. It's not much deeper than that.

There is a big difference between a newsletter written by a person, one that breathes and wanders and sometimes takes his time. Compared to the rapid fire, mechanical hum of AI-generated content. One feels like someone is thinking with you. The other feels like a monetization strategy.



Listening to every Album: AC/DC

https://82mhz.net/posts/2026/05/listening-to-every-album-ac-dc/

When I was young, I was a huge AC/DC fan. I started listening to them probably around the time I got my driver's license, maybe a year or so earlier, and I remember driving around in my Dad's tiny blue Ford Fiesta blaring AC/DC at full volume. I loved it, while everybody else probably thought I was a complete dork. Good times.

Fast forward 25 years, and I recently realised that apart from hearing the occasional song here and there on the radio, I haven't really put on an AC/DC record in years. Shockingly, I never even listened to the two latest albums, apart from checking out the singles when they first came out. AC/DC always stayed true to who they are, and the joke goes that everything sounds the same and they just recorded the exact same album 17 times. Is this true? There's only one way to find out. Here are all 17 AC/DC studio albums in chronological order, from oldest to newest. Let's travel back to Australia in 1975 and get started.


Contents


High Voltage (1975)

★★☆☆☆

Oh dear. I know I heard this album before, a long time ago. But now I also know why I haven't listened to it since, and why I only ever listened to it maybe a handful of times to begin with. They were very young when they recorded this and they were clearly still figuring out their sound and what kind of band they wanted to be. It feels very "proto-AC/DC" in that you can already hear glimpses of what was to come, but it wasn't fully realised yet. Case in point: There's a ballad on the album, called Love Song. How many ballads by AC/DC do you know? Exactly. It's not that good.

Many songs are just a bit too long for what they have to offer, the lyrics are pretty juvenile at times (though this is AC/DC, so they aren't going to get much better) and it's just not a very strong album overall. But hey, everybody has to start somewhere, and it put them on the map and kick-started their career, so I can't complain too much. Just don't record any more ballads, please.

Favourite song

You Ain't Got a Hold on Me.

T.N.T. (1975)

★★★★★

Now that's more like it. As far as I'm concerned, AC/DC starts here. Phil Rudd has arrived on the drums and with him the signature AC/DC groove. Almost every song is a classic and many of them they've kept playing live throughout the years and still play in every show. The Jack is on here (and I had completely forgotten that the lyrics on the album are way different and much tamer than the ones Bon sang live), as is High Voltage, T.N.T. and It's a Long Way to the Top (If You Wanna Rock'n'Roll). With School Days there's also a Chuck Berry cover on the album which makes perfect sense because Chuck Berry is Angus Young's big idol. Which you can not only hear in his playing, but also see on stage. You know the duck walk that Angus does, where he hops around on stage on one foot? That's Chuck's move.

This album is an absolute classic, and they were just getting started.

Favourite Song

It's a Long Way to the Top (If You Wanna Rock'n'Roll). It rocks, it grooves, and it has bagpipes. What more do you want?

Dirty Deeds Done Dirt Cheap (1976)

★★★★☆

Another classic album, but I was surprised to find that I actually liked the previous one a little better. There's still a lot of great songs on here like the title track Dirty Deeds Done Dirt Cheap, Problem Child and of course Jailbreak, and they're also trying some different things here, like the song Squealer which starts slow and calm and then builds up more and more momentum as it progresses which fits the lyrical theme (it's about Sex, what else?). There's also a surprisingly quiet and slow blues song called Ride On. I think this was in my 'midnight' playlist in my teenage years - as the night became quieter, the music I listened to became calmer and with more interesting emotional themes.

There are a few tracks on here however which don't quite resonate with me, like Ain't no Fun (Waiting 'round to be a Millionaire) and Big Balls, which is about, you guessed it, big balls. The ones in ballrooms, supposedly... that song also doesn't have an ending, it just suddenly falls apart and then the next song starts, as if they had reached the end of what they'd written and didn't know how to continue.

Not a bad album, but also not their best in my opinion.

Favourite Song

Jailbreak.

Let there be Rock (1977)

★★★★★

In the beginning,
Back in 1955...

This album is killer. So many great songs on there, among them of course the title track Let there be Rock. It's one of their best songs ever, period. The verse are just bass, drums and vocals, and they are a mini-masterclass of how a rhythm section should work. These guys are locked in with an unbelievable drive. And of course the big Angus solo towards the end... it doesn't get better than that. And then there's Dog eat Dog, Bad Boy Boogie, Hell ain't a bad Place to be and the all time classic Whole Lotta Rosie, all on this one album. It's damn near perfect, the only song that's a bit more meh is Crabsody in Blue, which is a slow blues and is kind of boring to be honest. But one dud on an album full of otherwise absolute killer songs is fine. Yeah. Enough said. Go listen to it, you won't regret it.

Favourite Song

It has to be Let there be Rock, no doubt. And check out the video where Bon Scott appears as a preacher!

Powerage (1978)

★★★★★

I haven't listened to this album in years, probably over a decade. Maybe even two decades? I really don't remember... but I put it on and found that I could sing pretty much every lyric and every riff, and when a song ended I knew which one was going to come next. I must have listened to this album a lot, and for good reason. It's amazing. It's got a bunch of absolute headbangers like Rock'n'Roll Damnation, Riff Raff, Sin City and Up to my Neck in you which I never get tired of hearing, and the remaining songs aren't any less catchy either. Maybe with the exception of Kicked in the Teeth which feels like a less good version of Let there be Rock from the previous album. But what did I just say about one dud on an otherwise great album?

On this album, Cliff Williams joins the band as the new bass player, replacing Mark Evans who played on the previous albums. Phil Rudd and Cliff Williams are a match made in heaven and they form one of the tightest and grooviest rhythm sections in rock history. He will stay in the band until his retirement in 2023, making him the longest-serving band member after Angus Young. His addition to the band also means that even though AC/DC are the quintessential Australian rock band, from this point on they will never again have more than one Australian-born band member, Phil Rudd. Angus and Malcolm Young and Bon Scott were all born in Scotland, and Cliff Williams is English.

Favourite Song

Up to my Neck in you.

Highway to Hell (1979)

★★★★★

Oh boy! This is the album that got me into AC/DC, and into heavier music in general. The gateway drug. I remember the first time I heard Highway to Hell (the song) I was very confused because I was used to the 'polished' sound of bands like Queen, ELO, Elton John and so on. And here were these guys with their ugly scratchy guitars, no keyboards, and some dude with an awful voice shrieking at the top of his lungs... who the hell likes that? Well as it turns out, I do. Who knew.

Because of this history, this album will always have a special place in my heart. But it's also just a really fucking good album! They made a huge leap on this album in terms of songwriting, no doubt due to the input of producer Mutt Lange who they worked with for the first time here. The previous albums were all great and fun and hard rocking, and this album is all of that too, but it's also interesting because the songs are more diverse than ever. Highway to Hell, Girls got Rhythm, Shot down in Flames, If you want Blood (you've got it) are all great songs, and they are all very distinct from one another. No song just blends into the next, they all have their own unique character. Which is nowhere more evident than on the final song Night Prowler which is just dripping with atmosphere. It's hard to decide whether or not this is their best album, but to me it's their most interesting and well-rounded one for sure.

Unfortunately it will be the last album with Bon Scott, who after a night of heavy drinking in London passed out in a friend's car and never woke up again on February 19th, 1980 at the age of only 33 years old. He burned bright, but he also burned out fast, and it's a shame.


Interlude

Since we're at a turning point in the band's career now, I want take a quick break and address something that's been bothering me for literally decades, and that's when people brush off AC/DC as 'simple music'. Even musicians do that sometimes, which I find baffling. "The drummer plays the same simple beat on every song". "The bass player plays the same note throughout the entire song". "They use the same three chords for all songs", and so on. Granted, they're no Rush or Dream Theater, but if you take some time to really engage with their music, you'll find plenty of songs which are far more complex than what some people might want to make you believe. Just listen to the previous album as a prime example.

In addition to this, music is not just about the notes that are being played. It's just as much about the feeling, the groove, the swing, the drive or whatever else you might want to call it. It's about how the notes are played as much as which notes are played. Even on the simplest of songs where the drummer play just a simple 4/4 backbeat, the guitars play the proverbial three chords and the bass player plays nothing but the root of the chord in an 1/8th notes pattern, listen to how they're playing it. Listen to the groove of the drums, to the swing of the 1/8th notes on the hi-hat. Listen to how the bass player locks in perfectly with the drums and plays with the same feeling and swing, forming one of the tightest rhythm sections you will find anywhere in rock music. Put on some headphones and listen to how precise Malcolm plays his parts on rhythm guitar. Malcolm Young in particular is in my opinion one of the most underrated guitar players of all time, because while he might often 'just' play a simple pattern on an A chord for two minutes straight, he does so with absolute precision and perfect timing. Just listen to this, and then try playing it the same way. And keep in mind that he played this live in front of 70.000 people.

AC/DC's music might seem simple on the surface, yes. And anyone who knows three chords on guitar might be able to play AC/DC - badly.

But playing it well? I tell ya folks - it's harder than it looks.


Back in Black (1980)

★★★★★

After Bon Scott's untimely death, the band was incredibly quick to regroup and within a few months found a new singer in Brian Johnson from the Newcastle-based band Geordie and wrote, recorded and released a new album. And what an album it is. This thing is a masterpiece! There is not a bad note on it. If you ask me which one my favourite AC/DC album is, it's this one. Every song is a banger, and Brian delivers a near superhuman vocal performance here. Unpopular opinion: I prefer Brian over Bon. There's just something about his voice that I like more than Bon's voice.

What else can I say about the album? Hells Bells, You shook me all Night long, Back in Black... I could just put the entire track list here. All of them are great. Excuse me while I go listen to it again before I continue with the next one.

Btw, have you ever heard Brian's old band Geordie? I don't think anyone in early 1980 would have guessed that this guy was going to be AC/DC's new singer.

Favourite Song

Hells Bells. The bell, the riff, the vocals... I could listen to this 50 times in a row and never grow tired of it.

For Those About to Rock (We Salute You) (1981)

★★★☆☆

This album always fell flat for me. Back in Black was perfect, the songwriting was top notch and it sounded amazing. This one is a step back in every regard. The songs feel kind of flat and uninspired and it also doesn't sound nearly as good; particularly Brian is mixed so low that he sounds as if he's ten metres behind the band and then an additional five metres away from the microphone. It's weird, especially considering that it was produced by the same guy (Mutt Lange) as the last two albums, which sounded great.

And the songs... For Those About to Rock is a classic of course and the one that they end every show with, with the cannons firing and everything. But the rest? I just finished listening to the album five minutes ago and I've already forgotten most of it. Nothing is really memorable. No wild riffs, no big choruses. Everything sounds a bit bland and uninspired here. I think that's all I can say about this one. Unfortunately, this is a theme which will now continue throughout the rest of the decade...

Favourite Song

For Those About to Rock (We Salute You). I'm linking a live recording here because that's where the song really shines.

Flick of the Switch (1983)

★★★★☆

First reaction: It's better than I remember! I haven't heard this one in decades and I don't remember it being good, but it's... well, not great, but I enjoyed it more than the previous one. The band was fed up with Mutt Lange and so they decided to produce the album themselves. This album is widely criticised for its dry sound, but I still think it's a bit better than For Those About to Rock, even though I have to admit, the guitars and drums sound bone dry and a bit unexciting as a result. It definitely doesn't sound as good as the albums from the 70s, which is weird because it's still two guitars, bass, drums and a guy who screams. If they could make it sound great in 77, there's no excuse for making it sound worse in 83.

Anyway. The songs. Most of them feel like a continuation of the ones from the last album - a bit too slow and uninspired for what we've gotten used to from AC/DC. They seem to have forgotten that they are great at writing riffs and instead deliver mostly sustained chords without much variation. There are a few exceptions, thankfully. Flick of the Switch has some nice riffs, but feels a little too slow overall. Landslide is good though, uptempo and with some good riffing, and the last song Brain Shake finally has that old familiar drive and feels like a proper AC/DC song.

Overall I'd say the album is okay. Not fantastic, but fun to listen to.

Favourite Song

Brain Shake. It grooves.

Fly on the Wall (1985)

★★★☆☆

Tensions were high during the recording of Flick of the Switch and escalated to drummer Phil Rudd being fired after laying down his drum tracks, being replaced by English drummer Simon Wright who was only in his early 20s when he joined the band. With him, AC/DC is now essentially a 100% British band which happened to be founded in Australia.

This is one of AC/DC's worst reviewed albums, and I can see why. It sounds bad, the guitars sound kind of scratchy and unpleasant, the drums on the other hand sound dull and lifeless and Brian sounds as if he got his balls stuck in his zipper and was screaming in the other room while the band was recording, and they just left it like that.

The songs are about the same quality as those on the last album. Some are good, some not so much. Fly on the Wall is not bad, as is Shake your Foundations. Playing with Girls is pretty good, while Danger might be the most boring song they've ever recorded. The rest is kind of meh, pretty forgettable. The lyrics are terrible (guess what Sink the Pink is about), but thanks to the horrible mix you can't understand them anyway, so that works out okay.

For this album they recorded kind of a short film, which is really just a bunch of music videos loosely connected with a nonsensical story. It's not particularly good, but if you're into "so bad it's good" movies with terrible acting, you might get a kick out of this.

Favourite Song

Playing with Girls. Despite the lyrics :)

Who Made Who (1986)

★★★☆☆

Speaking of "so bad it's good", this is the soundtrack to Stephen King's movie Maximum Overdrive in which machines become sentient and start killing people. This movie is legendary for being completely insane in every imaginable way. Reportedly Stephen King was coked out of his mind the whole time he made the movie (and during most of the 80s in general). But he wanted AC/DC on the soundtrack, and so they penned three new songs for the movie and contributed several old ones as well. This album is the soundtrack to Maximum Overdrive with the three new songs Who Made Who, D.T. and Chase the Ace and a number of previously released songs.

The good news is that they fixed the scratchy sound form the previous album. The bad news is that now everything sounds dull. I really don't know what they were doing in the 80s. They had their sound figured out in the 70s and now they kept messing with it and never got it right.

Anyway, the three new songs? Who Made Who is nice, a bit slow maybe but I like it. D.T. is boring as hell, but Chase the Ace (both instrumentals, a first for AC/DC) has a nice drive to it. The old songs are great, but we already knew this. Overall not an essential album.

Favourite Song

Only considering the three new songs, Who Made Who. It's the best of them.

Blow up your Video (1988)

★★★☆☆

80s AC/DC isn't making things easy. I never noticed this before, but now listening to all those albums back to back I realise that my verdict is pretty much the same for all albums of the decade (with the exception of Back in Black): There's a few good songs on there, but also a lot of filler and the sound is subpar, worse than the albums from the 70s (but at least better than Fly on the Wall). So there's not much new that I can really say about this album. It's more of the same.

Heatseeker and That's the Way I Wanna Rock 'n' Roll are awesome, and I enjoyed Nick of Time and This Means War, I was still whistling the verse riff two hours later. The rest is not really worth mentioning.

All in all you could probably compress the last five albums into one, squeeze out all the filler and end up with one really good album.

So, am I going to listen to these albums again at some point? Probably yes. They're not terrible, and there's good stuff on each one. But they're definitely a step down in quality compared to the Bon Scott era and Back in Black. I criticised them a lot here, but I still like all of them. I just don't recommend listening to all of them in one go, maybe that's a bit much.

Moving on, let's see what the 90s had to offer.

Favourite Song

Heatseeker. I remember listening to this at full volume in the car when I was like 18, 19 years old and having a blast.

The Razors Edge (1990)

★★★★☆

Finally, fucking finally after 10 years we get an album that just sounds good! I can't believe I have to say this, but going through the albums from the 80s was quite a slog at times. But now it's the 90s, and this is the best sounding album since Back in Black. It sounds so good in fact that they could release it today and nobody would complain about it sounding dated. Everything is clear and direct and punchy and in your face, the way AC/DC is meant to sound.

And it starts with an absolute bang. Thunderstruck and Fire your Guns are hands down the best songs they've written in a decade. If they don't make you jump out of your seat, nothing will. Things calm down a bit with Moneytalks. The Razors Edge starts slow and then builds up, which I really like, and Rock your Heart out is a great uptempo song, even though the chorus is kind of lackluster. The rest of the songs are okay, though the album loses steam towards the end; Let's make it and If you dare seem kind of forgettable to me. Still, I think this is the best one since Back in Black.

Another lineup change happened here and behind the drums is now Welsh drummer Chris Slade. He's a more versatile drummer than Simon Wright and he must have swallowed a metronome as a child because he plays like a machine with impeccable timing. The result is a rhythm section that's tight as hell, but it's missing a bit of Phil Rudd's laid back swing. I like him a lot in AC/DC though, especially on the 1991 live recording from Castle Donington, where he kicks ass.

Favourite Song

Thunderstruck. Of course. What else?

Ballbreaker (1995)

★★★☆☆

I haven't heard this album in decades. I remember it sounding awful, but it actually sounds fine, no complaints there. But the songs don't do very much for me. Hard as a Rock is fine and became a staple of their live shows. I like The Furor (which I misheard as "Der Führer" in the past - oops), Boogie Man is a bluesy number that's reminiscent of some of the work with Bon Scott, and Ballbreaker is nice and groovy. The rest though seems kind of forgettable to me. Brian also sounds not that great here, kind of hoarse and weak. There's a live recording from the tour after this album called No Bull and he sounds the same there. Out of breath and hoarse. Maybe he was smoking too much during this time, I don't know. But he sounds worse than he did on the previous album and live recording from five years prior.

Phil Rudd is back on the drums here for the first time since the Flick of the Switch album, and he brings the old AC/DC groove back, which is nice. I wonder though how the album would have sounded with Chris Slade still on the drums... maybe he would have given some of the slower songs a bit more of a push. Comparing this album with the last makes me really value his contribution, he gave the band some forward momentum which is missing here.

Favourite Song

Hard as a Rock.

Stiff Upper Lip (2000)

★★★★☆

I think I started listening to AC/DC some time in the late 90s, don't know when exactly. So in my world, everything they released so far has always existed, and this is the first "new" release for me. It came out right around the time I turned 18, when I was into AC/DC big time.

It starts with Stiff Upper Lip, which is an absolute banger of a song. I played it like 50 times in a row when I first heard it. It's right up there with Thunderstruck, Hells Bells and Highway to Hell for me. The rest of the album has more of a bluesy feel, much more than any AC/DC album that came before, and back then I didn't really like that, I wanted every song to be like the title track. Listening back to the album now, I appreciate it a lot more. Songs like Can't Stand Still, Safe in New York City or Satellite Blues might not be the hard rock bangers AC/DC is known for, but they're still great songs in their own right.

The only small issue I have with the album are Brian's vocals. He sounds better here than he did on Ballbreaker, but he sings at the top of his range throughout and that makes him sound squeezed and hard to listen to at times. The bluesy feel of the album could have done with a slightly more relaxed approach to the vocals.

On the tour for this album they played a show in Munich, where they recorded a DVD. Munich is about 1,5hrs from where I grew up, but I was still in school at the time and had no money to buy a ticket and see them; my uncle, who is a massive AC/DC fan, did go. I immediately bought the DVD when it came out, and man did I wish I had been there, because it's a fantastic show!

Favourite Song

Stiff Upper Lip.

Black Ice (2008)

★★★★☆

Eight years since the last album marks the longest gap between AC/DC albums to date, and I remember that throughout the 2000s there was a lot of speculation that the band was going to retire and wouldn't record or tour any longer. Thankfully none of this turned out to be true, and they came out with a banger of an album.

This album feels relaxed to me. The songs are great, and it sounds like the band is having fun playing them. Brian sounds amazing here; he sings in a slightly lower register than he did on previous albums and as a result his voice sound much stronger and freer than it did on Stiff Upper Lip. There are a number of great headbangers on here, especially Rock 'n' Roll Train, Big Jack, War Machine and Wheels, and a couple of bluesy ones in the vein of the last album, too. With 55 minutes it's the longest AC/DC album, and they could have maybe trimmed a song or two off the end, but overall it's a great comeback album and it proved that they weren't done yet.

I finally saw them live on this tour in 2010 in Stuttgart. It was a great show, and there were I think 65.000 people in the audience, which is the biggest crowd I've ever been in. I'm glad I saw them, but I also decided that once is enough. These big stadium shows with tens of thousands of people are just not for me.

Unfortunately this would be the last album with Malcolm Young on guitar, who had to leave the band a few years later due to suffering from dementia. I remember when I saw them live thinking that he seemed to look confused at times. He was already suffering from memory loss at that time, and later on I read that he would often sit down before a show to rehearse the riffs that he wrote and played a million times before, so he would remember them on stage. He died in 2017.

Favourite Song

Big Jack. The chorus is just so catchy!

Rock or Bust (2014)

★★★★☆

Now I'm entering uncharted territory, because I never heard these last two albums in full. By this time my interest in AC/DC had kind of waned; I was and am still following their career, but I no longer run out to the record store to buy their latest album on the day it comes out, which I did with Black Ice. This is the first album without Malcolm, who was replaced by his nephew Stevie Young on rhythm guitar, though apparently all the riffs were still written by Angus and Malcolm, the way it's always been.

How is the album? Well, it's ok. I'm not overly enthusiastic about it, but it's a solid AC/DC record which feels very similar to the previous one. The one song that stood out to me is Rock the Blues Away, which has a great southern rock feel to it. It's unusual for AC/DC, but it's catchy and I like it. The rest of the album flows nicely, but a day after having listened to it, I've already forgotten most of the songs. It's standard AC/DC stuff without any particular ups and downs. Nice album, but it didn't make me jump out of my seat.

Up until this point, AC/DC was always rock solid with its line ups; in fact since 1980 apart from two changes on the drums (followed by Phil Rudd's return) nothing changed at all. Now things are becoming more unstable though. Malcolm had to leave the band to be replaced by Stevie, and shortly before the album's release Phil Rudd was arrested for drug posession and trying to hire an assassin to kill two people. What the hell! So he was out of the band for a while (he briefly returned, then dropped out again for unknown reasons) and was replaced by Chris Slade, who already played on the Razor's Edge album and tour. Cliff Williams announced his retirement at the conclusion of the tour for this album, and Brian had to leave the tour due to trouble with his hearing. He was replaced live by Axl Rose, who did a surprisingly good job singing AC/DC, I have to say. I expected the worst, but he nailed it.

Favourite Song

Rock the Blues Away.

Power Up (2020)

★★★★★

After the recent shakeups in the lineup, it seemed like AC/DC might have been done. But against all odds the stars aligned; Brian got his hearing issues under control, Cliff Williams came out of retirement and even Phil Rudd got his legal troubles cleared up somehow, so the band got together again to record another album. Angus dug through his collection of ideas that he and Malcolm had come up with in the past, so even though Malcolm isn't around anymore, his spirit can still be felt on the album.

And what an album it is. I shouldn't have skipped this one when it came out, because it's great! It pulled me in right from the first song Realize with it's signature AC/DC groove that only they can pull off. Shot in the Dark, which was released as the first single is great, Through the Mists of Time has a nice, slightly melancholic feel to it, Wild Reputation is a typical mid-tempo blues rocker... Everything that makes AC/DC great is there on this album, and I enjoyed every minute of it. If this ends up being their last album, which it probably is, then it's a great conclusion to their career.

Favourite Song

Through the Mists of Time. I especially love the video which takes a look back at their career and pays tribute to the band members who are no longer with us.


Epilogue

So this is it, 17 AC/DC albums. And now I can confidently answer the question I posed at the beginning: Do they all sound the same?

Absolutely not!

They all sound like AC/DC, sure, but each album has it's own character, and you can clearly tell how the band has evolved and changed throughout the more than five decades of their career.

It seems though that the death of Bon Scott had a lasting impact on Malcolm and Angus, because with the exception of Hells Bells, they never again reached that level of raw power that they displayed on their earlier albums. Of course this is pure speculation, maybe the band's trajectory in the 80s would have looked the same with Bon still in the band, who knows.

The band is still touring to this day, but things have changed, starting with the exit of Malcolm due to his health in 2014. By now Cliff Williams has retired, Phil Rudd seems to be out for good (even though nothing was ever announced publicly) and so AC/DC it mostly Angus and Brian now, with Stevie on guitar and two guest musicians (Matt Laug and Chris Chaney) on drums and bass. Angus is 71 and Brian is 78, so who knows how long they'll still be around.

But as long as they're healthy and enjoy what they're doing, I say more power to them, and I'm glad they're still playing and are bringing joy to the people who come out to see them. It will be a sad day when they decide to retire for good, but their albums and live recordings will live on forever, and I'm immensely grateful to them for the countless hours of joy their music has brought me.

Boomers and Their Consequences

https://americanreformer.org/2025/10/boomers-and-their-consequences/

The First Duty of the Ruler is to Sustain the Realm

Editors Note: This is part of a symposium on the Baby Boomer Generation.

Baby Boomers have brought little good and much woe. As I write, the political and cultural establishments of the West are failing. The globalized economy has empowered America’s adversary and weakened our homeland. The American empire is strained by overreach. The green transition has been a fantastically expensive charade. Anti-Western ideologies have gravely weakened solidarity. Feminism and the LGBT juggernaut have undermined functional roles for men and women. Mass migration, legal and illegal, threatens national coherence.

These sorry phenomena were midwifed and encouraged under the leadership of Baby Boomers. This generation—my generation—has rightly earned the disdain of younger Americans. We hired the DEI commissars. It was under our leadership that higher education became a progressive madras. We were in charge when NAFTA was passed, and China was brought into the WTO. We ran the NGOs that funded Black Lives Matter. My generation launched failed wars in the Middle East. We were the top-level Goldman Sachs partners who profited handsomely from the China trade. We designed the 2008 bailouts. We wrote the screenplays that celebrated perversion. It was Baby Boomer elites who quietly conspired to suspend enforcement of immigration laws. In sum, we are the architects of today’s unhappy world.

Younger readers are likely to have a keen sense of the consequences of this mismanagement of our nation’s affairs. But they may not grasp the extraordinary degree to which power was concentrated in the hands of Baby Boomers, especially peak Boomers, the members of my generation who came into adulthood in the 1960s.

Bill Clinton was the first Boomer president. He was born in 1946. George W. Bush followed him. He, too, was born in 1946. Donald Trump was born in 1946. Joe Biden, born in 1944, is technically not a member of the Baby Boomer generation, but his youthful and adult experiences ran along the same rails as those born in 1946. 

It’s quite astounding. Aside from Barack Obama, the White House has been occupied by men born at very nearly the same time for the last 33 years.

And Obama is less of an outlier than his date of birth would suggest. Like me, Barack Obama is a trailing Boomer. He was born in 1961. (I was born in the final month of 1959.) I can testify that those of us at the tail end of the Boomer generation grew up under the shadow of our older siblings. They set the tone for youth culture—the long hair, the disdain for suits and ties, the political moralism, the arrogant presumption that youth is uniquely blessed with wisdom. We listened to their music; their values shaped ours.

The same story of Boomer dominance can be told of the titans of Wall Street over the last thirty years (Hank Paulson, 1946; Larry Fink, 1952; Jamie Dimon, 1956). And the tech billionaires like Steve Jobs and Bill Gates (both born in 1955). And the media mythmakers: Stephen Spielberg was born in 1946. I could go on, but I won’t. Many historians have detailed the extraordinary power and influence of the Baby Boomer generation, which reshaped everything from fashion to finance. They drove cultural and political changes in their youth, and once they took charge after 1990, they set about to revamp the entire world in their own image.

The most important feature of the Boomer self-image arises from the unique circumstances under which they came of age. In the aftermath of World War II, the United States enjoyed two decades of peak solidarity. The influx of newcomers had been halted by the Immigration Act of 1924. The Great Depression had been a shared experience of national suffering. The subsequent World War provided a shared experience of sacrifice and service. After the war, an intense desire to return to normalcy supercharged a middle-class moral consensus and encouraged church attendance. Radio played the same Top 40 hits; the new medium of TV had only three channels. Aside from the black-white divide and enduring regional differences, the country was strikingly homogeneous.

In this context, Boomers cultivated a spirit of rebellion. They imagined themselves as heroic crusaders against soul-crushing conformity and artificial boundaries. Civil rights, women’s rights, gay rights: these were sacred causes on behalf of a more open and more inclusive society. At the same time, Boomers railed against what they saw as the cynical and nefarious power of America’s establishment. They protested against the war in Vietnam, lamented “selling out” to corporate America, and bemoaned the ways in which capitalism oppressed workers and destroyed the environment. When Bill Clinton was at Yale Law School, peak Boomers saw themselves as saviors of Western civilization, which could only be accomplished by smashing “the System.”

Therein lies one of the main reasons why Boomers made such a mess of things when they came into power, for the levers of power are enmeshed in the System. As Boomers laid their hands on these levers, their rebellious self-image distorted their judgment. The first duty of the ruler is to sustain the realm. But Boomers saw themselves as agents of transformation, which meant they neglected their primary duty as they pursued a nihilistic idealism.

Let’s use Bill Clinton as an example. He participated in protests against the war in Vietnam. I can’t speak to his convictions at the time, but those protests were imbued with strong statements that painted American military power as a force for evil in the world. In those circles, something similar was said about capitalism.

Again, I don’t wish to speculate about young Bill Clinton’s views. But it seems very likely that attaining the presidency of the United States led to inner difficulties. As President, Clinton was commander-in-chief of the most powerful killing machine in human history. And his administration oversaw a capitalist economy that had expanded dramatically during the 1980s. We should not be surprised, therefore, that he and his generation of Boomers embraced and promoted an End of History vision of globalization. American wealth and power would be repurposed toward promoting the global common good!

I don’t wish to suggest that Clinton, Bush, or Obama lacked patriotic sentiments. In the 1990s, the global order was constructed to serve American interests, particularly in finance and tech. Rather, the problem lay in their uneasiness with assertions of America’s interests. After all, some had linked arms with those denouncing “Amerika.” Others, like George W. Bush, steered clear of these associations. But he and Boomer conservatives felt the pinch of their generation’s sharp criticisms of American power. This fact about Boomers encouraged them to cultivate and advance globalist ideologies to cover their nakedness. Over time, those ideologies attained great influence.

The green transition is catnip for Baby Boomers. It provides a great cause, one that mandates the transformation of the economic foundations of the West. Life is not about making money! We need to save the world!

Another problem with Boomers rests in their relation to America’s establishment. The role of an establishment is to anchor a society and impose authority when necessary. But in their youth, Boomers had bumper stickers: “Question authority!” Again, when they attained positions of power, which is to say positions in America’s establishment, they were hobbled by double-mindedness. Those in positions of power naturally wish to perpetuate their dominion. But Boomers imagined themselves to be agents of transformation. As a result, they refashioned establishment institutions, making them into patrons of revolution. The upshot is the paradox that was clearly visible in 2020, when huge corporations, venerable universities, museums, and other pillars of the establishment embraced Black Lives Matter.

2020 represents just one instance. In the future, histories of the final decades of the 20th century and the first decades of the 21st will chart the remarkable trajectory as America’s leading institutions. As Boomers came to power, they renounced the usual role of leadership, which is to steady the ship of state and even the keel of culture. Although they did not go to the barricades—that’s not an option for someone who occupies the White House and unseemly for the Director of the Metropolitan Museum of Art —they gave tenure, grants, and awards to those who did. Today’s anti-American pedagogy in schools, our disintegrated moral culture, the toleration of social disorder, and the celebration of transgression stem from Boomer patronage of revolution.

A couple of years ago, I wrote an essay not unlike this one: “Cursed by the Boomers.” I ended with a quote from Charles Péguy: “We must always tell what we see. Above all, and this is more difficult, we must always see what we see.”  Most Baby Boomers cannot see what they see. They suffer from invincible ignorance. (The term comes from Catholic moral theology, and it refers to the condition in which a person is incapable of grasping the truth.) 

Because Boomers grew up in the 1950s and 1960s, they took for granted the coherence of the country, the foundations of prosperity, and the enduring influence of middle-class morality. Put differently, Boomers inherited a great deal of social capital. Thus, as they spent down that capital in projects of inclusion, eroded it with economic globalization and foreign wars, and allowed it to be undermined by mass migration, they simply could (and still cannot) see the realities of America in 2025. Boomers are forever urging our “uptight” and “nativist” country to be more open, more accepting, more inclusive. They are blind to the evident facts. 100,000 people a year are not dying of drug overdose because of an oppressive, patriarchal, and “white” culture. The reason is otherwise: The moral fiber of America has been disintegrated. 

The economic foundations for middle-class prosperity have also disintegrated, largely because of the globalization sponsored by Boomers. The spiritual and mythic foundations of national solidarity have been decimated by the activists and academics sponsored by Boomers. The culture of marriage, motherhood, and paternal duty has been severely damaged by the feminism and LGBT ideologies that have flourished under Boomer patronage.

MAGA has been derided as nostalgic for “white America.” That’s not been my experience. Rather, the citizens of this country (and quite a few non-citizens) have opened their eyes. They see what they see, which is a country damaged by more than thirty years of Boomer leadership. 

I think of my fellow Boomers. Those in high places are well-educated. They cite studies and elaborate theories. Most animated by good intentions. Aren’t we blessed, not cursed by such an intelligent, engaged, and idealistic generation? Then I recall a story about Saul Bellow. An undergraduate in Chicago, he brought some friends with him to have dinner with his aunt. They debated the finer points of Marxist doctrine. After Bellow’s friends left, and he was helping his aunt clean up, she said, “Saul, dear, your friends are so, so smart, but so, so stupid.” I feel the same way about my fellow Boomers.

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