We are just a group of retired spooks that discuss things that you’ll not find anywhere else. It makes us unique. Take a look around. Learn a thing or two.
Please enjoy this video to get the feeling of what it is like in China right now. It is the New Years Eve. It’s a special time; a magical time. This video captures it exactly. Please enjoy.
You can find more articles related to this in my latest index; A New Beginning. And in it are elements of the old, some elements regarding the transition, and some elements that look towards the future.
Oh, I tire of all this anti-China bullshit and all the rest. I just want to live my life in peace and smunch. So here, we are going to digress a spell on something that will “hit you out of left field”…
A Russian simulator.
Who’d figure? Right? There’s some outstanding simulations. One of which is the DF-31 simulator that was developed by one of the MM influencers here. Here’s another one. It’s fun.
Well it is true.
I found this cool and relaxing simulation on a Russian website, HERE, and copied it with my own comments and interjections. All credit to the author, and note that it was edited to fit this venue.
A rural Russian simulator…
Imagine you’re alone in a small wooden hut, not a soul around, only your plot of land, abandoned barns and vast swathes of forest.
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It’s the closest thing to actually being there.
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I open my eyes — outside it’s already light. I get out of bed, cover it with a khokhloma throw blanket, admire the dresser with porcelain dinnerware and go downstairs to have breakfast. On the way, I make sure to glance at the candle-lit icon and thank God before tucking in.
It takes you there.
Downstairs, there is a stove and a dining table with a samovar, cherry pie and cabbage pirozhkis. Only, for some reason, I can’t eat them — only pick things up and throw them at the wooden wall.
I really think that there is something really calming about exploring abandoned rural Russia.
There is no TV, let alone a computer, so, out of boredom, I go outside to the sound of birds singing and grasshoppers chirping. On the plot of land, I am greeted by the sight of an empty well, an old barn and the only living creature besides myself — a bull, gazing mournfully into the distance.
This is a description of the video game ‘Симулятор Одиночества В Русской Деревне’ (‘Simulator of Loneliness in a Russian Village’), released by Russian indie developer Flex Entertainment on Steam on April 9, 2021.
It has no monsters (save perhaps for a few rats in the derelict buildings), complex storyline or quests — only an abandoned village in an unknown Russian province and the chance to feel the atmosphere as the sole inhabitant.
“Once there was a bustling life, however, the lack of work, entertainment and generally any prospects forced all the residents to leave.
You are the only one who did not exchange wide fields, dense forests and a morning swim in the river for office work and a dull life in a nine-story panel house. From the point of view of the gameplay, this is a classic walking simulator in recognizable Russian scenery.
Just relax and spend time wandering through the sun-drenched forest and misty swamps, or explore the interiors of the canonical Russian hut, which has realistic graphics and the entire environment is worked out to the smallest detail,” reads the description on the game’s Steam page.
It is, indeed, a classic walking simulator.
The only objective in the game is to explore your own property, study scrawled messages on the walls of the abandoned buildings, or wander through the dense forest, crossing swamps, rivers and small wooden bridges.
If you max up the volume, it might seem you’re not alone in the village — every now and then what seems like footsteps and eerie creaking sounds can be heard.
You can, like your erstwhile neighbors, try to escape to the city, but the mission is impeded by endless forest and no map. You might not even make it back home…
Unsurprisingly, some players complain that the game lacks action — you can’t climb on the stove, drink vodka or go to the banya.
But the developers don’t promise entertainment, just total immersion in the atmosphere of an abandoned Russian backwater.
“The game’s creators highlight the acute topic of the dying Russian countryside, as well as the problem of loneliness and disconnection between people and their own inability and unwillingness to overcome these barriers,” the player by the name of ‘krtdn’ reflects philosophically in his review.
‘Simulator of Loneliness in the Russian Village’ is available on Steam in Russian only for 59 rubles (approx. $0.80).
Do you want more?
I have more articles like this in my Happiness Index here…
Well it is true. I discovered this sound while looking for information on vintage cast iron doorstops and came across an article on the subject. then I went on Kouguo and started download the tunes. Wow! Quite an unusual sound.
How to describe it?
Have you ever woken up on the couch in the middle of the night to find yourself staring at a black-and-white movie from the 1930s flickering on the TV? If so, your slumber may have been gently stirred by the film’s melancholy soundtrack.
Drifting between dream-state and consciousness, at first you may think you recognize the tinny strains of a slow Argentine tango, but then you discern a melody suggesting a Chopin nocturne, albeit one that’s been tuned to an even gloomier minor key of an Eastern European klezmer dance number. Perhaps you’re still dreaming?
In fact, you’re wide awake, and what you’re hearing is a Hollywoodized version of Polish tango.
It’s a popular genre of sentimental songs composed between 1918 and 1939 by classically trained Polish musicians.
“That’s the soundtrack of interwar Poland,”
…says Juliette Bretan, a journalist and researcher based in Lincolnshire and studying in London.
“The music is very melodramatic and really rather sad, filled with these depressing lyrics about people wanting to take their own lives, or the fights they’re having with their lovers. But it’s also a very mature sound, a very Polish sound. Had World War II not happened,”
She adds,
“I believe Polish music would’ve had an even bigger impact than it did on the global stage.”
Bretan has been on a mission to learn about her Eastern European roots.
“We know my grandmother was taken from Poland in 1941 to perform slave labor in Germany,”
Bretan says.
“We think she was in some camps for a time, but it’s very unclear. After the war, she met my granddad in a displaced-persons’ camp, but we don’t really know what happened to him before that. They married and then came here in ’46 or ’47, and that was that.”
As Bretan delved into her family’s history, Polish tango became her soundtrack.
“I stumbled onto this music purely by chance,”
she says.
“I find the sound intoxicating, so it became a connection to the world my grandparents would’ve known when they were living in Poland. On the one hand, for me, the music is like a reconnection to my heritage, but on the other hand, what is there to reconnect to? That heritage is all gone, so it’s almost like I’m writing a new history of my family.”
Bretan fell hard for Polish tango, which, in an article for culture.pl, she described as
“merging pinches of the age-old Polish romantic and sentimental melodies with Jewish inflections and a more modern, brassy sound, dripping in glissandos and vibrato.”
There is some very interesting background on all this regarding the inter-war years when Germany embraced nationalism in the form of Nazi Facism. But I really don’t have the stomach to get into that right now. I just want to enjoy the music.
History
Tango was first introduced to Poland in 1913, with the performance of Victor Jacobi’s opera Targ na Dziewczęta (Girls’ Market) at the New Theatre in Warsaw. Its popularity over the following years grew not from palpable influences, but gramophone records, the radio and newspaper reports.
This popular consumption through media prompted Polish tangos to carve their own position in the history of the nation’s music: with a lack of direct contact, pieces began to veer away from the original Argentinian form, adopting a more melancholic sound influenced heavily by klezmer, and a softer melody and harmony; replacing the underlying rhythm of the stereotypical bandoneon with a proliferation of slides and rigorous vibrato. Theirs was a journey that blossomed along with the Polish state itself – these tangos were bulwarks of a new, revitalised Polish popular culture.
In 1925, Henryk Gold and his brother Artur established the Gold Orchestra, an 8-piece jazz band that played regularly at the Cafe Bodega in Warsaw. At first, the orchestra exclusively played ragtime, but soon, with the echoes of a more exotic yet wistful sound creeping across the continent, it slowly began to dabble with tangos and waltzes, styles that would become the pair’s legacy.
A year later in 1926, Artur Gold and his cousin, Jerzy Petersburski, co-founded the Petersburski & Gold Orchestra. By the end of the decade, it was one of the most renowned dance orchestras in Warsaw, performing in the fashionable Adria restaurant.
Alongside this development was the growth in popularity of theatres and cabarets, the most significant being the Qui Pro Quo theatre, led largely by Julian Tuwim and Marian Hemar, and, later, the Morskie Oko cabaret.
These two groups competed fiercely to recruit the best Polish stars of the interbellum era: artists like the now legendary Eugeniusz Bodo (often pictured with his dog, Sambo) and Mieczysław Fogg, who performed alongside Mira Zimińska, Zula Pogorzelska, Adolf Dymsza, and the smouldering Hanka Ordonówna.
Experiments in 1920s music, which at the time were coming thick and fast, now had epicentres from which new innovations and styles could thrive: Poland was beginning to embrace tango-fever like nothing else.
The Wall Street Crash and subsequent global economic downturn in the late 1920s hit entertainment establishments hard. Both Qui Pro Quo and Morskie Oko closed in 1933 – but the music passionately cultivated by the artists of these clubs only played louder, and interest in the style swelled. By the 1930s, Poland – and particularly Warsaw – was seeping with the sensuous melancholic passion of the tango, with new tunes churned out on a daily basis.
Above all, the record company Syrena Rekord, Poland’s first and arguably most eminent recording company, helped facilitated the development of this culture. Established in 1908 by Juliusz Feigenbaum to satisfy the Polish demand for popular music, Syrena Rekord was already booming on the eve of WWI, producing 2.5 million records a year.
But it was after the war that the popularity of the company truly soared: where other record companies fell following the economic depression, Syrena jumped from strength to strength.
The music of 1930s Poland that Wars helped produce was influenced not only by traditional Polish countryside folk motifs, but also by the cosmopolitan nature of the interwar state: after regaining independence, the Polish nation exploded in freedoms of cultures, languages and lifestyles, with Warsaw the pivot. Entertainment united these disparate voices in a pleasant environment, providing a means by which any style could be heard and appreciated.
This was particularly true for the Jewish population, who were integral to the Polish interwar music scene. Jewish composers, singers, songwriters and musicians, many of whom originated from families steeped in traditions of classical music, found liberty in popular culture, combining their efforts with other previously-silenced minorities and cultivating an original sound for the new nation.
The Syrena founder Feigenbaum himself epitomised this atmosphere: a Catholic of Jewish descent, he worked as a musician, composer, inventor and businessman – the ultimate cosmopolitan multi-talent that inspired a generation of Poles to follow.
Though Polish Radio was the driver behind the record business at the time, they only wanted to push the most renowned artists – making Syrena the only medium by which all the Polish popular music of the period, all the new melodies and styles and flairs, could reach the heights of fame. Waltzes like Szklanka Wina – Fest Dziewczyna!, slow-foxes like Już Jestem Taka Głupia, and foxtrots like Nikodem and Tokaj perpetually quavered from gramophones and echoed out of the doors of fashionable nightclubs across the country in the 1930s.
But it was the wealth of unique tango sounds that the Polish population craved the most. With its influences from Eastern European, Jewish and Gypsy music, these particular interbellum pieces spoke to the population like no other music could: a population characterised by a tumultuous history, an investment in multi-culture, and the desire for sophistication and charm.
Poles of the 1930s were allured by the exotic yearning desire of such music: the quivering Slavic intonations, the broken passion, and enigmatic performers. The artists themselves sustained the vision through the adoption of a multiplicity of enthralling pseudonyms, adding a soupçon of piquant mystery to the culture.
Biggest hits
The breakout tango hit of Syrena happened early: in 1929, Petersburski’s Tango Milonga [provided below] (with lyrics by Andrzej Włast) burst onto the scene and quickly became not only a national favourite but also a widespread international triumph, with the English title being Oh Donna Clara. The aching cadences and swelling Eastern European melody gave the piece a lively originality, and it is no wonder that it is still remembered by many as a classic interwar tune.
But there were also other tangos which had a momentous impact in Poland. The popular Umówiłem Się z Nią na Dziewiątą premiered in 1937, sung by Eugeniusz Bodo, with a legacy that lasts even today. The yearning 1935 hit Graj Skrzypku, Graj portrayed by the rich voice of Adam Aston and the charming tones of Mieczysław Fogg, among many others, was characteristic of the tango culture emerging at the time.
Meanwhile, the 1932 piece Rebeka, and its 1934 complement Rebeka Tańczy Tango epitomised the figure of the heartbroken female lover, a trope found in so many tangos of the period. Another of Petersburski’s greats, the ominous lament To Ostatnia Niedziela, nicknamed ‘Suicide Tango’, came in 1935 and still remains a symbol of pre-war Polish culture.
Here’s some examples.
See if any of you find it appealing.
There’s something about violins, Accordion & Concertina music. It gives me the chills. I hope you all enjoy this playlist.
An Interview with Noam Zylberberg
From HERE. All credit to the author, and kindly note that it was edited to fit this venue.
It was an exciting time in music history – there was nothing to base these songs on. The result was something simple but not simplistic. That’s what I love about it,’ says Noam Zylberberg. The musician, who is performing Polish pieces written and composed in the Interwar period, told us about the sound he is trying to resurrect.
Noam Zylberberg studied conducting at the Jerusalem Academy of Music. He became fascinated with interwar Polish music and established Mała Orkiestra Dancingowa (The Little Dancing Orchestra), which has played concerts in Poland and abroad. Their first album was released this year.
Juliette Bretan: So let’s start from the beginning. Where do your links to Poland come from?
Noam Zylberberg: My grandparents were born in Warsaw but left Poland in 1934. They were young. They wanted to follow their ideals and reinvent themselves. My grandmother’s family were Warsaw people going back many generations and so Warsaw has always been present in my life.
JB: When did you begin to become more involved with Poland and Polish culture?
NZ: I became curious after my grandparents passed away – I was still very young, but I began wondering about their pasts. They never spoke Polish at home, but I’d heard about their lives and families in Warsaw. This fascination followed me into my student years and still does till this day.
JB:Did your interest in interwar Polish music begin from that period?
NZ: Not really; It was a long time until I discovered this music. It all started through an interesting family connection – one of my grandmother’s cousins, Tadeusz Raabe, was a friend of Antoni Słonimski’s. Tadeusz was from a wealthy background – his family owned a factory.
When World War I broke out, they had to leave to Russia. During those years, Tadeusz spent time in Moscow and Saint Petersburg. That was when he discovered their modern art cafés and avant-garde culture – which didn’t exist in Poland at all.
Back then, Poland was in the midst of the Young Poland movement; art was very serious and patriotic. So when Tadeusz returned home, he opened the first modern art café in the city with Antoni Słonimski, who in turn brought with him Julian Tuwim. This was the famous Pod Picadorem cafe.
Later, he also married a well-known singer and movie star, Tola Mankiewiczówna. When I first learned about this, her name meant nothing to me. I found a video online of her singing the tango Odrobinę Szczęścia w Miłości (A Little Luck in Love). If I’m honest, I wasn’t that taken by it – it’s a video of her dressed as a maid, shining a shoe, and at that time I didn’t understand Polish, so I didn’t know what she was singing about.
JB: And when were you taken by these songs?
NZ: I gradually became more familiar with these songs, and as I started to learn about different individuals and pieces I began to think that it would be cool to do something with them, though I didn’t exactly know what. There was something special about these pieces. I was interested in the sound – it’s such a specific sound of the 1920s and 1930s.
The main genre of this style is the Tango.
It was popular all over Europe in the early years of the 20th century, but its life in Warsaw was longer than abroad. Tango was being danced to in Warsaw in the 1920s, but it was only towards the end of that decade that the local musicians began composing them. The first initiative was taken by Jerzy Petersburski and his cousins, the Gold brothers.
JB: What makes a tango Polish?
It’s difficult to answer the question of what makes a Polish tango. I don’t know if I have a good answer, but I suppose there’s a certain softness; the basics of tango are there, but everything else is from a different world. There’s a different warmth to it; it’s less aggressive.
One good example of a Polish tango is O Piękna Nieznajoma (O Beautiful Unknown Woman). It’s split into two parts – a chorus and an interlude. It’s very soft and lyrical; there’s an elegant countermelody in the background; it’s very sophisticated. It sounds almost like an aria from a Puccini opera. When the intersection comes, it’s like a reminder– ‘this is tango!’
That part is as if not connected to the rest of the song, and when the main theme returns, you can almost forget that it’s really a tango: the only thing that suggests tango at the beginning is the rhythm, like an engine in the background. Everything else is water.
JB: And what about the multicultural aspects of Poland back then – the mix of Poles and Jews and Ukrainians and other minorities?
NZ: It was multicultural – but they were all Poles. They all spoke the same language. Most of the Jewish composers and musicians came from assimilated families. They may have come from different backgrounds, but they shared similar values. Almost all of them were professional musicians, and they all received classical musical education.
They knew what they were doing – if they used a Jewish-sounding motive, it was done deliberately. The same way they also wrote songs in Spanish style about Spain, even though most of them probably hadn’t been there – for the audience, going to the cabarets and the theatres was their way of travelling and accessing something exotic.
They worked quickly. A piece composed one morning could be played the same evening. If something didn’t work the way they’d hoped, they could change it the next day. This way of work is like experimenting in a laboratory. This allowed a new style to take shape relatively quickly. They were even writing for particular musicians, basing their arrangements on who would be in the band on any particular day. One day, they might have three clarinets – so they would arrange the piece for them. The next day, they might have one – and so the next arrangement would be different.
The specific musicians and instruments played a big role in shaping this style. This is what differed it from early pop music played in Berlin or London at the same time.
JB:How were the instruments different?
NZ: A good example is the Hawaiian guitar, which features in so many songs from the period. The main musician playing it was a man called Wiktor Tychowski – he was crazy about the Hawaiian guitar. It’s actually him playing it in a lot of these recordings – the other musicians probably liked working with him – it featured so much that eventually it became a characteristic of the style. Tychowski was just one person but he left a mark – each of these individuals had influence.
JB:And what was the next step for you?
NZ: I spent a lot of time getting to know the style and the people, and then I went through the songs online and made transcriptions of them. Still in Tel Aviv, my idea was to collect a group of people together to play Polish tangos and have dance parties … you know, a very underground scene, playing in a dark basement with hipsters who don’t even look you in the eye – that kind of thing.
Eventually, I never actually set it up. Instead I started travelling to and from Warsaw and met up with some musicians in the city – and one day I just stayed. I spent my time making transcriptions and preparing scores – mostly tangos at that stage.
JB: So you said you transcribe these songs to be able to perform them?
NZ: Yes. When we talk about style, a lot of it has to do with instrumentation. The notes that were published and were available to the public have all the harmonic and melodic information but don’t include any instrumentation, so they’re not helpful for playing in the original style. So I use old recordings and transcribe them.
We try to follow the stylistic traditions of the time – it will never be 100% the same, and that’s not what we want. We’re different people living in a different world, and we’re not interested in imitation. But we try to think about it in similar terms to those in which they were thinking when they created it.
For example, the instruments didn’t change that much, but the technique and approach did. Back then violin players tended to use a lot of portamento – sliding from note to note. But today this is considered bad playing. I can’t ask my violinists to completely change their technique, but I want them to know about it. I want them to be informed, to listen and understand why it sounds the way it sounds.
JB: Do you think this music is coming back into fashion? There seem to be a lot of performers like you whose repertoires include these songs.
NZ: Yes, but each group is doing it differently. There’s room for everyone.
JB: Has this sound always been here, or did it dissipate in 1939?
NZ: In the late 1940s, for a few more years, you could still hear reminiscences of the style in Warsaw. But most of the musicians of the previous generation were gone by then – some perished in the war and other immigrated soon after – and the sound changed. The style back then was based on people; they made it the way it was.
JB: So what about those who survived and kept playing and singing – the best example being, of course, Mieczysław Fogg?
NZ: Fogg’s style changed – you could even say he was a different singer between the 1930s and the 1970s.
What Fogg did – what we owe him for the most – was to be a symbol. Because he was here, he became a symbol of old Warsaw. Some musicians who stayed couldn’t find themselves in the new world. But after the war, Fogg recorded the songs from the 1920s and 1930s in new versions. The songs Fogg didn’t record are mostly forgotten, and those he recorded are the ones we remember. He’s responsible for that.
JB: So what made the Interwar period special?
NZ: It was a peculiar and interesting time all over the world, and it was the beginning of pop culture. Before, there had been serious and folk music – but not pop. The world was changing quickly; technological advances and changes in the social structure changed the way people lived. Suddenly, you have recording and films that need music, and cities were getting larger. It was the first time in history when people had money and time and wanted to have fun. Consumers of culture grew, so there was a need for music.
This music had to be invented. There were questions – ‘How do you write a pop song?’ ‘How long should it be?’ ‘How should you sing one?’
Many of the early songs just don’t work anymore; they’re not relevant and no one speaks this way, so they can’t connect. But things changed – there was an influx of artists, many from Lwów (today’s Lviv), who could create charming rhymes and simple feelings.
JB: And how are your performances taking this into account? Are you performing at the moment?
NZ: There is still more to do – there always is. We perform at SPATiF [a club in Warsaw] regularly, and we have the album, which was produced with the support of Polish Radio.
Almost all of our musicians come from a classical background – they’re a bunch of people who are interested in exploring . None of them grew up with these sounds. This style is not natural for modern musicians. So we have to think: ‘How do we achieve this?’ So even just the way of thinking about the notes was something that we had to work out together.
One point is swing. Today, everyone knows what swing sounds like, but back then, it was something new and unnatural. When we started rehearsing, it sounded more like New York in the 1950s than Warsaw in the 1930s. We had to forget it. Even in concerts, I’ll remind the musicians not to swing. When you start swinging in these songs, everything falls apart and that engine dies. The piece gets heavier – it should be light.
JB: And do you have any favourite pieces?
NZ: One song which is close to me is Codziennie Inna (Different Every Day), which opens our album.
It wasn’t part of our original repertoire – but we had a concert in SPATiF and a couple of the musicians were running a little late. Eventually, we couldn’t wait any more so, in the meantime, I decided I would teach everyone a song. The orchestra didn’t know it either. They caught the melody, and the audience quickly learned the lyrics. By the end, everyone was singing together – it was a great experience.
These songs were a part of this city; these melodies were once hummed in the streets – but then they disappeared. When we did that concert with Codziennie Inna – the audience sang it 20 times. I’m sure it stuck in their heads. Some of them may have even hummed it to themselves on the street the next day.
It’s giving the city back its sounds.
Do you want more?
I have more articles like this in my Happiness Index here…
I have written about Christmas before, don’t you know. I wrote about Christmas in China HERE. And you all might want to visit it and see what Christmas is like in China. And I have other Christmas themed posts as well. But this post will be about me offering you, the reader a very MERRY Christmas. And it won’t be much more than that.
When I grew up in the States, Christmas was a month-long event. It began after “black Friday” and continued to about one week past New Years. At that time the Christmas tree was taken down, and the decorations were removed, the food was all either eaten up or thrown out, and we all would settle in for the Winter months.
December was the month of long lunches with co-workers. Always involving alcohol. Also this was the time when frozen hams or turkeys were handed out. The company would buy them in bulk at bargain basement prices and hand them out to the employees as a token of “appreciation”.
This was also the time when the President would send out signed Christmas cards to every employee. But you know it really wasn’t his signature. My department was once told to sign a stack of 6000 cards for the President to mail out to all the workers. So we did, and over time our signatures got sloppier and sloppier. LOL.
December was quite the month for certain.
Typically, folk would leave for lunch around noon, and get back around four, pretty much sloshed. We would then try to pretend to work, while our bosses would close their office doors and take a nap. Obviously, work was only completed in the morning hours.
Office Workers would take time off to shop in the afternoon before coming home to work.
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All through the month of December, the “white collar” staff would take time off to go shopping during the normal working hours. It was pretty much a normal occurrence, and everyone did this. Just as long as you didn’t abuse this privilege, it was one of the “perks” of being an “office worker”.
So, if you all could imagine what it was like, imagine the afternoon with everyone sitting at their desks, sloshed. Smoking cigarettes in their company ashtrays and imbibing on some of the many, many home-make Christmas cookies donated (for the cause) and sampling the many kinds of dips and chips lying about. Heck! It was an often abused event, when people from one department would sneak into another department to grab some delicious dip and chips.
Fun times!
Christmas was the time when many people would bring in “home made” snacking masterpieces. Some of my favorites were peanut-butter and marshmallow dips, wrapped bacon mini-hotdogs, and those jello molds with tiny orange slices.
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The Christmas Bonus
One of the big conversation pieces revolved around the size of the Christmas bonus that we would get. People would tell stories about what they did with the last year’s bonus. And what they planned to do with this years bonus. Typically the bonuses would either be given out during the Christmas Party, or at the end of the day right before Christmas.
Most people tended to spend it on something big an lavish. It might be a down payment on a new car, an addition to their house, a planned swimming pool, or a vacation to interesting and sunny locations. By the time I started working, the idea of Christmas bonuses were begin phased out all over America. But, instead, we were promised generous sick days, and lenient extended vacation days to make up for the shortfall.
Christmas was always a “hoot” in the office.
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Bonuses tended to equal one months pay. Which is WHY most companies calculated salary based on a 13 month year. Bet that you didn’t know that, did you?
From the festive celebrations to the time away from the office, there’s plenty that your employees look forward to about the end of the calendar year.
But, the one thing that likely tops their lists? A year-end bonus.
Nearly 80% of employers hand out a bonus to employees at this time—making it something that most employees not only appreciate, but expect.
And, while your staff is sure to be all smiles when you present them with a year-end reward, making the effort to provide bonuses on top of the usual payroll has some benefits for you as well. Fifty-four percent of employees state that they prefer monetary bonuses, and they would be willing to change jobs in order to receive that benefit.
-Quickbooks
Anyways, everyone tended to chat about bonuses and television shows. Back in the 1970’s and 1980’s the big shows pretty much dominated the conversation. MASH was always a favorite, as was “The Golden Girls”. And yes, we would talk about these things while at work. It’s what real humans do.
Office parties during Christmas was always fun.
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Most companies, back in the 1970’s and 1980’s, held two Christmas parties. There was one “big” party, that was usually held in a local banquet hall or hotel. And one was a local party for the staff in any given department. Those local department parties were the stuff of legends. I’ll tell you what.
Local Department Parties
These local department parties might be on a Friday evening, where the boss would bring in a case of hard alcohols, and the secretaries would bring in some snacks and munchies. All paid out of the department budget especially reserved for this occasion. Typically, a table would be set up for the foods, snacks, and booze. Sometimes people might wear some stupid party hats. But that seemed to disappear in the 1980’s.
Typically the primary function of the party was to start drinking early on, then have a meal buffet style, and rounded out with some stupid games or a “mystery Santa”, some puzzles or skits, and then closure with handing out the yearly Christmas bonuses. Everyone would be smoking and drinking. Chatting up a storm about sports, television or the work “war stories” and then everyone would pretty much break for home by 9 or 10 pm.
Company party – “in the day”.
In all my recollections, while the ladies might limit the numbers of mixed cocktails that they drank, everyone drank alcohol. If you refused to drink, you would label yourself as an outcast.
The idea was to really get everyone “shit faced drunk”, lower your inhibitions, and have fun. In those days, before the mainsteaming of busy-bodies and their ideas of a perfectionist utopia mandated by law, it was considered important for people to bond free of social inhibitions.
Oh my friends we're older but no wiser. For in our hearts the dreams are still the same. Those were the days my friend. We thought they'd never end. We'd sing and dance forever and a day. We'd live the life we choose. We'd fight and never lose. For we were young and sure to have our way. La la la la la la.
-The 5th Dimension - ThoseWereThe DaysLyrics | AZLyrics.com
The alcohol was all high quality, and expensive shit too. None of that “average” stuff. If you are going to a Company Christmas party, you can expect to drink the best, and the Department Managers would typically contribute to this from their own home stocks.
In those days we also had “free standing” ashtrays. They typically sat upon a metal stand and when you and your friends were smoking, you would move the piece next to you.
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Of course music would be provided. Often it was just Christmas music, and played loud enough to provide atmosphere, but not so loud that you all couldn’t carry on a conversation with. The boss might hand out cigars, and there was always the obligatory visit from the President or the Vice President (the manager’s manager) who would stop by, have a drink and congratulate everyone and hand the manager the Christmas bonuses for him to distribute right then and there.
This was to prevent bad bosses from surreptitiously stealing the cash out of the employees bonus envelopes.
Nope, the bonuses were not in the form of checks. It was in the form of cash.
Indeed, it was usually in the form of hard cold cash. And i think part of this reason was to show gratitude and "special-ness". After-all, how often does a person get a stack of one hundred dollar bills?
So yeah. It wasn't in the form of checks. It wasn't until the 1990's when everyone started to phase out hard cash bonuses.
Now, of course, once the bonuses were handed out, and all that, it pretty much signaled the time for everyone to leave. I would guess that about fifteen minutes to one hour afterwards, the staff would slowly leave in clumps and clusters. Everyone would help everyone else (being drunk and all) get into their cars. If someone was too drunk to drive, they would be driven home instead. And if, for some reason, someone or a couple of people needed to stay there, the company would provide them a hotel for the night.
Often, a co-worker would dress up like Santa Claus and have the secretaries sit on his lap and tell him their deepest desires. LOL.
Arriving Home
We would leave the office, drive home (drunk) and arrive safely. I only know of one accident that ever happened after a party. She wasn’t killed, but her car was smashed up, and she spent a week in the hospital. Obviously the fears of HR do have some weight. But not at the expense of creating a sterile no-fun environment.
But we would tend to drive home. And we would arrive and greet our families. Many of whom were past their normal meal times and who were off studying, watching television, or doing their own personal hobbies and activities. Since this is Christmas, the tree would be lit up (as well as all the house decorations), creating a nice warm and cozy atmosphere for us to arrive home to. And of course, the first thing that the wife would ask was “how big was the bonus this year?”
Often that man would come home from the Company Party and would be greeted by his adoring family and the warmth of their warm house and hearth.
Elsewhere…
Sometimes the men (or ladies) would break off and meet at another venue outside of work before going straight home. The argument of “the night is still young” probably comes from this kind of situation. Often they would leave the company parking lot, only to drive four or five blocks over to a favorite lounge or bar for a few “night toppers” don’t you know.
It’s difficult to find a decent lounge today. But back in the day it was more like an American version of a British pub. It would have an array of sofas, comfortable chairs, fine areas to converse, smoke cigarettes, play cards and just drink with your friends. And at this time, the lounge might be packed and filled with a low hanging cloud of cigarette smoke that would waft and hang there like a blue haze.
Cocktail Lounge.
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These were always fine establishments to head out to and hang out at. Most people might close out and head home around midnight, but others would linger until the “wee hours” of the morning.
Where are these lounges today?
Why aren’t there any more Christmas parties (in the United States) any longer?
What is going on with the HR telling you that you cannot smoke, you cannot drink, and you cannot have fun on your off-hours? I mean, people!, WTF?
Where did things go “off the rails”…
Money
The United States has become a place where everything has been co-opted by a military run money-making machine. The citizens, all are reduced, to what is nothing more than medieval serfs working on subsistence wages to service an enormous military-industrial machine that supports global “police actions”. To keep the citizenry in check, a local military is used which is called the DHS (The Department of Homeland Security). If it does not serve the military-industrial machine, then it is liable to prosecution… anything outside of the “normal” is to be avoided least one get entangled in legal battles.
It does not serve the “machine” for the serfs / working class to get out of control. The first thing that might happen is that they start to think for themselves, and then after that they might question their life, and their role in it.
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Too harsh?
Religion
Ok, then try this angle. Society has changed. Fun is now outlawed. This is because the Bible says that people have to be of a high quality to “witness” to others. That means no vices, a near saint-like presence, and an active effort to spread the word of God. Whether that is door to door with a bible, or obliterating the nations that do not follow the word of God; like Yemen, Syria, Afghanistan, and China.
People (adults) drinking and smoking might be a bad influence on the children. Americans must be forever banned from smoking or drinking…for the children!
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Still to harsh?
SEX
Try this angle. When you are with others celebrating the holidays people tend to relax. they lower their inhibitions. When people of the opposite sex lower their inhibitions, they tend to want to have sexual intercourse. By limiting all aspects of social interaction, the government (in this case, via businesses) can curtail the fun and freedom aspects of gender interaction.
Christmas is a time to loosen up, have some fun, and spend time with those that you care about. Check out this Christmas surprise.
…
Remember boys and girls. The way for the 1%, the PTB, the oligarchy controls people is through “vices”. Vices are natural biological processes that are very popular. By limiting the access to these vices, governments control people. All you need to do is notice the government reactions to control popular pastimes, and systems in support of that.
Actually, it all boils down to sentience. Those with a service-to-self sentience end up collecting riches and with that comes power. They use that power to collect even more power, and as a result they lord over other sentience’s. Service-to-others sentience then is at a natural disadvantage. The two sentiences cannot co-exist.
What we are witnessing is the physical manifestation of the power projection between the two primary sentience’s on this earth and within this reality. And this story about the loss of freedom to have parties at work is one such manifestation.
Or…
To put it another way…
Your owners do not want you wasting your energies, thoughts, and creative abilities on anything that might “take away” from your labors from their interests.
And to that, I say…
Fooey!
Live life. You are in control of it. So live it and live it well. Do things you own way, with those that you care about, on your time schedule and in the way that matters to you. And if others don’t “get it” well, fuck them. That’s their problem.
It’s YOUR life. Live it well!
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And I know…
I know that many won’t understand. That hey might think… well, what would they think? And does it really matter? We are all living our own different realities and the ways that feel best for us personally. And so if someone doesn’t like what we are doing, or how we are doing it, I say FUCK them.
Life is far too short to care about others that lie outside your immediate circle of friends and family. Concentrate only on those that matter to you, and if you put your pets before say a cousin, that is your decision and it is ok. Why? It is because it is your life. Do what is important for you.
And start now.
Start at Christmas.
Spend time with those that you care about.
Yes, things have changed…
Yes. I know that things have changed. That you have to abide by all sorts of diversity quotas, behavioral shackles, rules and regulations from state and local requirements to insurance issues, to local law enforcement requirements. But even so…
WHO says that you need to obey them?
Really. Seriously. So what? What is the worst thing that is going to happen if you want to take your staff out to a bar after work hours for a few drinks? What if your department budget no longer allocates money for recreation or “team building”? What’s stopping you for doing it yourself, on your own time, with your own money?
What’s stopping you?
Fear?
Don’t be afraid to celebrate Christmas in your own way, and in your own manner. Life is too short waiting for group approval. You just go ahead and do things your way and at your speed.
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Yes. I know everyone is different.
So what? Being different is good. No, I take that back. Being different is GREAT. It is what adds color to our lives, and passion to our experiences. It’s the wonderful aroma when bacon is cooking in the skillet, and the wonderful feeling when you take your first sip of icy cold beer after a really bad day at work.
So don’t hold back.
Be yourselves.
And embrace who you are and your own uniqueness. I mean that. I really, honestly do. And no matter what others might think of you, your lifestyle, your behaviors or your taste in music, in all events BE YOURSELF.
It’s an element of what Christmas is.
Celebrate Christmas in your own personal style.
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Oh?
What?
You don’t think that I am serious. Oh Noooo! I am very, very serious. You MUST be who you are and you MUST share that reality with those that you care about. This remains true whether they accept that reality or not. And no it doesn’t necessarily mean that you will get drunk at a work party. It might mean anything.
But it means the freedom to be ourselves surrounded by those that we love and who loves us for EXACTLY WHO WE ARE right now.
Be who you are.
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Strange posting from Metallicman
Yes. I get that a lot.
Why aren’t I railing about the “issues of the day”? Why aren’t I all that concerned about the Fourth Turning, and the SHTF, and the post-election shit-storm and all the myriad of issues that seem to intrude in my daily news feed? Why not?
The train is moving full speed to the end of the line. There’s nothing that I can do about it.
The Oligarchy, the PTB, the 1%, the Jews, or what ever enemy du Jour you want to assign this current world-line to, well it’s also out of my hands. You just recognize what is going on and step out of the way.
Work rules and regulations come and go with the human condition. What we have now is but a fleeting moment in time. Embrace it.
And if this world line is going to opt for the MAD level fiasco, well, I’ll perform a deep slide and get the fuck out of here. Maybe you all should consider that as well.
And if you don’t understand, well then, pour yourself a nice cocktail and forget about it. You need to relax. American have become so fucking uptight over the last few decade. When they arrive here in China they look bewildered and out of sorts. Like they are trying to find some kinds of stability or familiarity that they can hold on to.
If you don’t take some friends, some co-workers, some family out to a meal, or a beer, or just a cup of coffee then you are a sorry, sorry excuse for a person. It’s the relationships with others that define our value. You have no relationships, then you have no value. Simple stuff. Easy to understand. Yet…
What the fuck is wrong with you all?
You don’t need to buy a lot of expensive presents. You don’t need to get shit faced drunk. You don’t need to ask permission. You don’t need to plan for a big event. You don’t need to order a cake.
You just need to be there.
Be unique.
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Some ideas…
Stop over to your grandparents unexpectedly. Say hi. Tell them that you want to look over some old picture albums if they don’t mind. Or barring that, just have a cup of coffee, and maybe watch a television show with them.
Call your brother, or sister and tell them that you remembered about the time when XXXXXXX and you were thinking about that time and just wanted to say hi.
Call up a friend and say hi, and go out for a beer. You pay. It’s your treat.
It need not be extensive, expensive or exclusive. You just need to contribute your time. If you cannot. If you cannot give some of your time up for those that you care about, then what the fuck are you doing with your life? It’s those in our lives that make it worth while and who helps and stands by us when the times are low and we need to know that we are not alone, and that these people care about us.
Christmas is the time to go wild. Let it all hang out.
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My friend Marcus didn’t know that. He thought that he was alone. He thought that people didn’t understand him. He thought that he was a failure. But that was all wrong-headed thinking. He wasn’t a loser. He wasn’t alone. And he wasn’t a failure.
He was just different.
And that difference made him special in our minds. And to this day, I greatly lament that he is no longer here. And yeah, even though I saw him rarely (being at the other end of the globe and all) I still wish that he could have said “MM I’m going through some shit right now, can I crash at your house for a month? I won’t be a bother. I just need some time”
And while my wife might have a fit, I would say “Yeah. I’d be happy to host you. We have an empty 2nd and third bedroom. Just come and we will sort out everything when you arrive.”
That’s what friends do.
That’s EXACTLY what friends do.
Don’t let the world pass you by. Start enjoying the moment. Stop having your head buried in an APP, a game or social media. Experience life.
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It’s a shit load better than the alternative. No shit. It’s better than the alternative; the reality of what actually happened. Instead of lying nude in his bed and blowing his brains out.
So now, it’s Christmas. Are you all gonna follow the herd? Or are you going to spend time with friends and family? Are you going to bond with co-workers? Are you going to be a substantive person? Are you going to make a difference in this world? Or are you going to continue to be a passenger?
Do things your way.
Define your life by your actions now.
Use Christmas as your springboard.
You are in control of your life. Act like it.
Final words
Merry Christmas. Don’t be afraid about being called into HR for saying it either. Be who you are. Be proud, and define life on YOUR TERMS. start now.
Merry Christmas!
And if HR gives you some shit over it, tell them that Christmas is a Chinese holiday and you are just celebrating it because you are part Chinese.
…And if they look at you like you are fucked in the head, show them THIS post.
Remind them that Federal law prevents and prohibits discrimination against your religion and speech. It’s first amendment, baby!
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