42 Random Thoughts on The Smashing Pumpkins

While I haven’t seen them in concert and only own a few albums physically, I do consider myself a big fan of the Smashing Pumpkins, even if frontman/primary songwriter Billy — sorry, William Patrick — Corgan’s massive, fragile ego makes it difficult sometimes. I’m too young to have followed the Pumpkins at the height of their popularity. I became aware of them around the time they broke up through The Simpsons, the made-for-TV documentary Smashing Pumpkins: Full Circle (Graceful Swans of Never is also worth a watch), Corgan shattering a guitar over Lou E. Dangerously’s head in ECW, and by hearing “Bullet With Butterfly Wings” on the radio. The song popped up again in the trailer for the 2003 remake of Willard, which, knowing me, is the reason I got into them. There might be some controversial opinions ahead, though I can’t say for sure since I don’t go out of my way to interact with fellow fans.

“Whoops… I started thinking about baby-man Billy Corgan being sad at Disney Land.”
Credit: Family Guy/Fox

1. Their first few albums are obviously their best — Gish, Siamese Dream, Pisces Iscariot, Mellon Collie and the Infinite Sadness, and The Aeroplane Flies High. Over these five, their style evolves from psychedelic rock to a fuzzy wall of guitars to a more diverse one incorporating piano, strings, drum machines, and electronic beats. Pisces Iscariot and The Aeroplane Flies High are technically compilations of B-sides/outtakes, but they sound like studio albums because the band’s B-sides/outtakes are usually just as good if not better than the “official” songs. There are some real gems to be found in the “deluxe re-issues” of the five I named.

2. Their soundtrack appearances slap too:
Singles — “Drown”
No Alternative — “Glynis”
Lost Highway — “Eye”
Batman & Robin — “The End is the Beginning is the End”

3. In fact, the 2012 mix of “Glynis” is one of my all-time favorite songs by them. Mandolins make everything badass.

4. “Today” for me is their most iconic song. Many, I’m sure, would say “1979”.

5. Their 1988 demo “East” fucks hard. I want to be able to stream it in my car, but it’s only commercially available on the bonus cassette that comes with the physical re-issue of Pisces Iscariot. Corgan sings “normally” on it, having not yet adopted his signature sighs and nasally whines.

6. Corgan used to be kind of obsessed with the moon. The Pumpkins sold a cassette at their early shows titled Moon, the booklet that comes in the Siamese Dream CD has a picture of Corgan’s mother sitting on a moon prop, “Rocket” & “Luna” reference the celestial object, the video for “Tonight, Tonight” was inspired by the French silent film A Trip to the Moon, and “Pastichio [sic] Medley” contains a riff titled “Moonkids”.

7. He also liked the word “June”. “Bye June”, “Rhinoceros”, and “Mayonaise” [sic] all use it.

8. Another one of his trademarks is giving things female names: “Luna”, “Starla”, “Porcelina of the Vast Oceans”, “Medellia of the Gray Skies”, “Glissandra”, “Solara”, “Mandarynne”, “Adrennalynne”, etc.

9. Lastly, he overuses the word “lover” to an insane degree.

10. James Iha’s compositions are vastly underrated. He has a talent for writing simple, sweet love songs. Corgan’s attempts are usually marred by strange lyrics or overproduction. Iha wrote or co-wrote the following: “There it Goes”, “I Am One”, “Wave Song”, “Mayonaise”, “Soma”, “Blew Away”, “Plume”, “Why Am I So Tired?”, “Bugg Superstar”, “Farewell and Goodnight”, “Take Me Down”, “Lover (Arrangement 1 Demo)”, “One and Two”, “Believe”, “The Bells”, “The Boy”, “…Said Sadly”, “Tribute to Johnny”, “Summer”, “Go”, and “Innosense”. He should have written (or been allowed to write) more.

11. I also demand more songs where the other members sing. Iha sings on most of the songs he wrote, as well as “Terrapin” and “A Night Like This”. Wretzky sings on “Daydream” and “Dreaming”. Chamberlin sings on the “Slunk” demo “Chump”, which contains the hilarious lyric “you suck dick like a chump”. It sounds like all three sing backup on the “Barbershop Version” of “Jupiter’s Lament”, and all four sing on “Goodnight and Farewell”.

12. The woman in the star on the cover of Mellon Collie and the Infinite Sadness (who I’ve always assumed is named Mellon Collie) is fingering herself and I can’t unsee it.

13. “Cupid de Locke” should be called “Stupid de Locke” because it’s the worst song on Mellon Collie by far. I hate it. “Bodies” is the only other song that I skip.

14. “Porcelina of the Vast Oceans” is just an epic version of “Cortez the Killer” by Neil Young.

15. In the Pumpkins’ episode of VH1 Storytellers, Corgan explains where he got the title for “Thirty-three”. He says at 27 he was given a Tarot reading that predicted his life would completely change at 33. The band of course broke up when he was 33. Is this an example of a self-fulfilling prophecy? I assumed the title came from the speed at which some vinyls play — 33 rpm. Others claim it’s a Jesus reference.

16. “We Only Come Out at Night” is about socially awkward geeks. GTFO with that vampire shit.

17. Adore is nowhere near as great as Mellon Collie, although it has some great songs. “To Sheila”, “Ava Adore”, “Perfect”, “Appels + Oranjes”, and “Blank Page” are my favorites. The demo versions of “Chewing Gum”, “Once in a While”, and “Do You Close Your Eyes When You Kiss Me?” are better than half the stuff on the album.

18. I have similar feelings about Machina. Machina II blows it out of the water. I’m not thrilled about the fact that Machina II will no longer be free when it finally gets the re-issue treatment.

19. I always thought it was cool how Corgan encouraged fans to freely distribute Machina II, live recordings, and bootlegs.

20. By the way, whoever told him he looked cool in cowboy hats was a bad friend.

21. “Rocket” and “Thirty-three” are missing from the greatest hits album Rotten Apples and that annoys me.

22. Corgan and Chamberlin’s post-Pumpkins band Zwan had a lighter, unremarkable sound, but their bootleg EP Spilled Milk — specifically “Eighteen”, “Riverview”, and the title track — is classic gloomy Pumpkins.

23. The first thing I bought by the Pumpkins was their 2007 return album Zeitgeist, featuring half the original members. It rocks ok, but has very little replay value. That whole era, including the album’s B-sides/store-exclusive bonus tracks, If All Goes Wrong, American Gothic, and the various odds and ends that trickled out after, was lacklustre. Corgan no longer had Wretzky/Butch Vig/Alan Moulder/Flood challenging/guiding him, meaning all his worst ideas went unchecked. He took greater control of production and released through his own label, Martha’s Music. As a result, nothing was mixed the same either. Furthermore, lyrics such as “c’mon, c’mon” and Paris Hilton posing for the cover of the “Tarantula” single made it feel like the band had sold out. “Doomsday Clock”, “Tarantula”, “G.L.O.W.” (which is guilty of c’mon, c’mon-ing), and the half-hour epic “Gossamer” are my favorites from the time. The irony is Chamberlin bailed because Corgan was dominating the songwriting, and it wasn’t even good.

24. It’s funny when title tracks don’t make the cut. There are two radically different versions of “Siamese Dream” the song. One appeared on the “Disarm” vinyl and digital-only compilation Rarities & B-sides. The other, subtitled “Broadway Rehearsals Demo”, can be found on the Siamese Dream re-issue and features hilarious improvisational vocals by Corgan at the end. There is also apparently a “Machina”. “Zeitgeist” appeared exclusively on the purple version of Zeitgeist sold at Target.

25. Why doesn’t anyone talk about the fact that Corgan replaced Asian-American male guitarist James Iha with Asian-American male guitarist Jeff Schroeder and female bassist D’arcy Wretzky with a string of female bassists? That’s no coincidence. Was he just pretending they never left? Lol.

26. Teargarden By Kaleidyscope was a step in the right direction. It has an enchanting, magical sound I enjoy. It was originally announced as a 44-song album to be released one song at a time, for free, via download, based on the Child, Fool, Skeptic, and Mystic cards from Tarot. Only twelve songs were released (ten plus two bonus songs) before Corgan abandoned the project. I burned a CD with “Teargarden Theme” as the intro, the main songs in chronological order, and “Cottonwood Symphony” as the closer, and consider that an official album.

27. Corgan stubbornly tried to claim the next two albums, Oceania and Monuments to an Elegy, were part of the project, calling them “albums within an album”, despite them costing money and having their own unique sounds. Fuck Wikipedia and anyone who tries to say they’re all the same album. That only adds up to 34 songs anyway.

28. I really like Oceania. The beginning of “Quasar” evokes “Cherub Rock”, letting us know that we’re in familiar territory. Spacey titles like “Quasar”, “The Celestials”, and “Violet Rays” boost the connection to Siamese Dream/Mellon Collie. However, it’s not as heavy or angsty as those albums. It’s grown-up, mellow, and pretty. Bassist Nicole Fiorentino’s backing vocals go a long way in making it feel like a full band again. It can be a little much when Corgan layers his own voice on top of itself. I’ve seen the effect referred to as “the million Billy choir” and that cracks me up.

29. “Pale Horse” is my favorite song on Oceania. The riff is actually recycled from an old Mellon Collie-era demo titled “Have Love, Will Travel”. I remember reading fan speculation that “Pale Horse” was about Wretzky, who reportedly lived on a horse farm at the time. I thought it could also be a reference to the seminal conspiracy book Behold, a Pale Horse by Milton William Cooper, who died in a shootout with police who were trying to bring him in for tax evasion. Corgan is friendly with conspiracy nut Alex Jones and once claimed to have seen someone shapeshift before his eyes. Turns out, he wrote the song about his mother.

30. The way Corgan fired Fiorentino and drummer Mike Byrne was kind of fucked up. He just decided one day the current incarnation of the band had run its course and he didn’t need them anymore. Was it just an excuse to work with Tommy Lee on Monuments to an Elegy?

31. Speaking of which, Monuments was a monumental step backward. Opening track “Tiberius” is the high point. It’s all downhill from there. “One and All” is decent. The rest is weak, repetitive garbage. “Being Beige” irritates the piss out of me. “Run2me” is pure torture. I can’t listen without cringing.

32. Monuments was announced at the same time as another album called Day For Night. Whatever happened to that one? Or Corgan’s Chicago Songs album, for that matter?

33. It’s disappointing that more of an effort wasn’t made to bring Wretzky back for the big 2018 reunion. She claims to be sober, in good health, and capable of playing at the level she used to. Give the people what they want.

34. I find the timing of the whole thing suspicious. It coincides with Corgan losing a ton of money in wrestling, which leaves me wondering what his true motive was — reconciling with old friends or recouping his losses. Maybe both?

35. This forum comment from 2016 by “zivotson” is hilarious:

I think if they reunite, they’ll just play the songs they made together. No need to focus on one album. They’ll just pretend it’s the 90s and Billy will wear his zero shirt. They’ll make a lot of money. Then D’arcy will quit again, Billy will claim she was fired, which will cause James to leave, then Jimmy will go back to jazz and Billy will say that reuniting was the worst thing he ever did and his band mates let him down again, then he’ll do a solo album which no one buys, so he will reunite the Oceania lineup again and say they never should have split up, but then the album won’t sell so he’ll fire them again, and then he’ll say that Jeff was actually one of the worst influences in his life and it took him a lot of down time with his cats to figure it out, but everything worked out in the end because he has time to spend with Augustus Jupiter or whatever the hell he named his kid, until his baby mama gets a restraining order against him because he did some wrestling move on her and he can’t see his kid, at which time he’ll say that being a dad has been the worst experience in his life . . . Then he’ll take out a full page ad in the Sun Times announcing that he is reuniting The Marked.

And we still won’t have the f-ing Machina reissue.

36. Seeing James Iha wash his hands in the fountain in the “Solara” music video was an incredible, unreal moment for me.

37. I’m convinced the “Solara” lyric “become the owl at midnight” is a reference to TNA Wrestling. Hear me out. In 2015, Corgan loaned the struggling company several million dollars to keep it afloat with the ulterior motive of taking over. It was first announced that he joined the creative team. He was then declared president. When he realized he wasn’t getting full ownership, lawsuits were filed. Anthem Sports ultimately bought the company, acquiring Corgan’s debt. They paid him off and he went away. TNA was rebranded “Impact” and given Anthem’s logo of a big blue owl. In other words, at the last possible moment before going out of business (midnight), it became an owl. Corgan went on to purchase another wrestling company, NWA.

38. The excessively wordy and oddly punctuated Shiny and Oh So Bright, Vol. 1 / LP: No Past. No Future. No Sun. is ok, but should have been more ambitious for a reunion album. I was disappointed that Iha didn’t write or co-write anything on it. Besides that, my only other complaint is the numbering. Given Corgan’s tendency to abandon things, I doubt there will be a Part 2.

39. I have mixed emotions on Cyr. I appreciate how cohesive the sound is, however, I dislike the pretentious, nonsensical, faux-literary vocabulary. It also strikes me as narcissistic and tone-deaf to make what’s basically a double album using nothing but synthesizers and drum machines (or heavily processed drums, whatever the case) when Corgan has two gifted guitarists and a beast of a drummer right there. It begs the question, why did he bother bringing them back? Again, Iha has no writing credit. “The Colour of Love”, the title track, “Anno Satana”, “Wyytch”, and “Tyger, Tyger” stand out to me.

40. How does Corgan decide what’s released as Smashing Pumpkins material and what’s released as solo material? Because “Cyr” the song sounds like “Mina Loy (M.O.H.)” from his solo debut, TheFutureEmbrace, and the strings on his second solo album, Ogilala, call to mind Mellon Collie. It would be one thing if his solo albums all had a particular sound, but they don’t. The less said about his third solo album the better.

41. Announcing their latest album will serve as a sequel to Mellon Collie and Machina is a shameless appeal to nostalgia. I guarantee it will sound totally different. What even links the first two? Having loose concepts?

42. You can look up any Smashing Pumpkins song on YouTube, especially the blah, nothing-happening stuff, and there will be at least one comment saying it’s the best song ever written followed by a bunch of emojis.

“Let’s Go” and the Rap-Horror Connection

I’m a 90s rocker at heart, but I’ve also been known to enjoy a good rap song. Like everything else in this world, my knowledge of rap can be traced back to horror. My entry point to the genre was New York-based rapper RA the Rugged Man. I learned of him through a special feature on Something Weird Video’s Basket Case DVD in which he tags alongside (my favorite) director Frank Henenlotter. I looked him up and was surprised to read Henenlotter directed his first few videos under the alias “François Pinky”. RA’s single “Till My Heart Stops/Flipside” even re-uses the artwork for Basket Case 2. In 2008, the duo produced Bad Biology. People sleep on that one. You may have heard RA on a soundtrack or two. He contributed a version of Chris Jericho’s entrance theme to the WWF album Aggression and “King of the Underground” to Tony Hawk’s Underground. I came across those by chance, as I love wrestling and skateboard games too.

RA’s whole catalogue is littered with references to exploitation and horror films. His unreleased debut album Night of the Bloody Apes has a song titled “Toolbox Murderer” on it. Other titles include “Even Dwarfs Started Small”, “Grizzly”, “Stanley Kubrick”, “Midnight Thud”, and “Sam Peckinpah”. Besides that, “4 Days in Cali” name-drops Paul Kersey, Charles Bronson’s character from the Death Wish series, “Die, Rugged Man, Die” samples the iconic “Die! Die!” soundbite from Friday the 13th: The Final Chapter, “Holla-Loo-Yuh” quotes It… Well, you get the idea.

What I like most about his style is his self-deprecating sense of humor. While others stroke their own egos, he raps about hating himself, being a fuckup, having poor hygiene, and performing cunnilingus on overweight females. He’s basically a role model.

He features on quite a few songs by other artists as well. I liked what I heard so I branched out and looked up those artists. One was Cage. When I saw the artwork for They Live on Cage’s album Movies For the Blind, I became a fan of him too. His early stuff anyway. Cage’s catalogue is also littered with references to exploitation and horror films. “Ballad of Worms”, for example, is a love song about Zelda from Pet Sematary, and the chorus of “Dead” from his Leak Bros. album Waterworld was taken from Suicide Club. If you’re big into PCP, Cage is the rapper for you.

With him and RA, I came for the horror references, stayed for the music. And to think, I never would have known about them if it wasn’t for Basket Case. It’s the movie that keeps on giving (my review here). Likewise, I never would have known about Kool Moe Dee if his song “Let’s Go” didn’t play at the end of A Nightmare on Elm Street 5: The Dream Child.

Credit: Wrong Side of the Art

I love “Let’s Go”. It was produced by Teddy Riley and incorporates Vincent Price’s evil laugh from “Thriller”. That’s how you know it’s good. Like the best menstrual cycles, Kool Moe Dee’s flow is heavy throughout. He verbally beats down someone assumed (at least by me) to be Freddy Krueger with five minutes of nonstop, hard-hitting trash talk. It’s fun, and if you’re not paying attention (exiting the theatre, etc.), it might seem like a fitting choice for the credits. But was it? For comparison, let’s take a look at the precedent set by the series. These are the end title themes from the first four entries:

Part 1 – “Nightmare” by 213

Part 2 – “Did You Ever See a Dream Walking?” by Bing Crosby

Part 3 – “Dream Warriors” by Dokken

Part 4 – “I Want Your (Hands on Me)” by Sinéad O’Connor; “Are You Ready For Freddy?” by The Fat Boys; “Don’t Be Afraid of Your Dreams” by Go West

Four of the six themes, I think, were written specifically for the movies. Part 2’s was not, but it works well considering the words “dream walking” double as a reference to Freddy, and Crosby’s smooth crooner style juxtaposes the darkness and horror. Part 4’s first theme also works because the survivors are on a date when it kicks in and they have a baby in Part 5, so at some point, one of them does put their hands on the other.

“Let’s Go” wasn’t written for Nightmare 5, and its lyrics don’t apply to it either. When you really zero in on them, it’s apparent from the way Kool Moe Dee refers to his rival’s “rhymes/lyrics/records” he’s addressing a fellow rapper. That rapper is none other than LL Cool J. “Let’s Go” is the second of three diss tracks Kool Moe Dee wrote about him. It came out two full years before Nightmare 5 as the B-side to his single “No Respect” and contains four unmistakable references to the NCIS: Los Angeles star. Once you know all this, the song just seems comically out of place. Take a listen.


Side note, this is the ugliest album art ever ☝

It starts off with a woman asking Moe Dee how he feels about Jack the Ripper. This is the first sign that “Let’s Go” might not make sense here. Why would the woman inquire about a real-life nineteenth century serial killer instead of the movie’s killer, Freddy Krueger? Because “Jack the Ripper”, is the title of LL Cool J’s previous diss in the series, in which he claims to be “Jason with an axe”, that’s why.

1:57 — The line “How you like me now? I’m gettin’ busier. I’m double platinum.” is a direct quote from that song, and is sung in a whiny voice to mock Cool J.

2:36 — In verse 3, Moe Dee even addresses him by his middle name, Todd. If that’s not a big enough clue as to who the song is about, Moe Dee proceeds to spend eight lines — half a standard verse — proposing possible meanings for “LL”:

Lower Level, Lack Luster
Last Least, Limp Lover
Lousy Lame, Late Lethargic
Lazy Lemon, Little Logic
Lucky Leech, Liver Lipped
Laborious Louse on a Loser’s Lips
Live in Limbo, Lyrical Lapse
Low Life with the loud raps, boy

He follows with:

You can’t win, I don’t bend
Look what you got yourself in
Just usin’ your name, I took those Ls
Hung ’em on your head and rocked your bells

That’s right, Kool Moe Dee comes right out and says his rival’s name starts with “LL”. Who else could it be? Who listened to this and didn’t make the connection? Or better yet, who made the connection and decided a personal attack directed at LL Cool J was an appropriate way to follow a scene in which Freddy Krueger is turned into a baby and absorbed by a ghost nun? I like to imagine the person tasked with selecting the song did so knowingly to further their feud. Ha! Now Cool J has to respond!

The funny thing is that LL Cool J went on to appear in Halloween: H20 the next decade. I wonder, did he do it to get the last laugh? The Nightmare on Elm Street series Kool Moe Dee hitched his wagon to ended three years earlier. It’s plausible. Whether you like him or not, LL Cool J is a bona fide horror legend. He won his feud in the long run by outlasting Moe Dee, and was a factor in two of the genre’s biggest franchises. I expect to see him at all the conventions now.

Our new god.

What are your favorite rap-horror connections? Leave a comment below.

So, Where is This Blind Melon Album?

Back in 2018, Blind Melon – sadly, solely remembered for their 1992 mega hit “No Rain” – announced they were heading into the studio for the first time in a decade. Since September of the year after that, they’ve released four new singles through digital platforms, in support of an upcoming album. The recording of new material not only commemorated the tenth anniversary of their comeback album For My Friends, featuring the supremely talented replacement vocalist Travis Warren, but also coincided with screenings of the documentary All I Can Say (now available to purchase on Blu-ray), assembled from untold hours of video diaries left behind by original lead singer Shannon Hoon, who passed away at the height of the band’s popularity.

The current lineup consists of three of the five founding members — Christopher Thorn (guitar), Rogers Stevens (guitar), and Glen Graham (drums). Returning is Travis Warren (vocals), and rounding out the group is newcomer Nathan Towne (bass). Towne is a bandmate of Warren’s from one of his numerous side projects, Texas Lights. Notably absent is founding bassist Brad Smith.

Speaking with Greg Prato, author of the Shannon Hoon biography A Devil on One Shoulder and an Angel on the Other, Thorn said “Brad is doing Brad for now, that is all I can say about that. We’re kind of working that out right now and he seems to be busy doing other projects. We’re really excited about writing and he didn’t have the time. We just have been writing without him at this point.”[1]

For what it’s worth, someone posted an unsourced response from Smith on Blind Melon’s forums and dated it 8/13/2019: “Those guys completely betrayed me and kicked me out of the band without warning before the recent shows. The irony is that I named the band and wrote the songs that made us famous.”

Here’s hoping cooler heads prevail.

Fans may remember that Warren was actually dismissed from the band* the same year For My Friends hit shelves for being “hard to get ahold of” and “not protecting his voice” (I’m paraphrasing from memory, from second-hand forum posts). However, he was welcomed back to the fold in 2010.

It was always my suspicion that Warren’s bandmates were covering for an out-of-control drug problem, not unlike Hoon’s. These suspicions were all but confirmed in 2018 when Warren took to Facebook to announce he’d turned his life around by adopting a strict Paleo diet, casually sneaking in that he’d also stopped abusing heroin, meth, and prescription medications (full text here).

It wasn’t the drugs, guys, I swear!

In hindsight, it seems like the OGs were trying to distance themselves in case history chose to repeat itself. My point is, if Warren was able to patch things up, this probably won’t be the end of Brad Smith in Blind Melon.

There haven’t been many updates, if any, on the status of the album since June. Is it close, or further away than ever? What’s taking so long? I know the pandemic screwed everything up, but, still… it should have been done by now. In the time it’s taken Blind Melon to crank out this album, Warren’s released two of his own.

Here’s what they’ve given us so far. Whether or not these tracks make the album remains to be seen. I’m kind of hoping they don’t, so we can have twelve to fifteen more new ones.

“Way Down and Far Below”
written by Travis Warren

I love the dark country-type vibe on this one. An early version appeared on Warren’s YouTube channel before being reworked by the band. It has since been removed.

* * * * *

“Too Many to Count”
written by Christopher Thorn

An obvious song about Hoon and Thorn’s feelings of helplessness over his death. The line “let your black heart fade” brings to mind a quote from the Blind Melon episode of VH1 Behind the Music. “He really was at… just… such a low point.” Thorn recalls. “I remember he told me, like, he had a black heart, and he just felt like a bad person. I was like, man, what are you talking about?”

* * * * *

“Fence”
written by Travis Warren

Some really relatable lyrics, especially the lines “feels like the laws of gravity surrounding me got flipped upside-down; everything’s falling all around except for me I’m stuck in this town”. Musically, I’d say it sounds right at home on the Soup album.

* * * * *

“In The Very Best Way”
written by Christopher Thorn

My favorite of the four, I think. It certainly has the best energy. With phrases like “the big fall out” and “fair weather friends”, it’s obvious who this one’s about.

* * * * *

trailer for All I Can Say

I want to blubber like a baby when the melancholic piano version of “No Rain” starts up at 1:57.

* * * * *

So what do you think? Are you excited? Underwhelmed? What are your favorite Blind Melon and/or Blind Melon-related songs? Leave a comment below.

*Warren fired back at the band with a song titled “Blind Man” released through his MySpace page. I remember liking it a lot. If you know where to find it, let me know. Warren has a frustrating habit of uploading really great music then taking it down, never to be heard again. He did the same with a Lookout Kids song titled “Burn it Down”, or something to that effect.

References
1. Prato, Greg. “Blind Melon Predicts No Rain in NYC.” Long Island Pulse. April 18th, 2018. Web.