Jupiter

"Sufjan Stevens Announces Carrie & Lowell - 10th Anniversary Edition – Out May 30 

This May, Asthmatic Kitty Records celebrates the ten-year anniversary of Carrie & Lowell with an expanded double-LP album that includes seven previously unreleased bonus tracks, a 40-page art book, and a new essay by Sufjan Stevens. The deluxe edition also offers an alternative cover: a full-framed version of the original Polaroid zoomed out to reveal the photo’s caption written in a child’s handwriting—“Carrie & Lowell”—disclosing the source of the album title (it was written by Sufjan's sister Djamilah). The new edition was designed by Sufjan himself: the 40-page booklet contains various collages of vintage family photos spanning four generations interfused with artwork and drawings (on themes of death, dying, grief and the state of Oregon) as well as landscape photos Sufjan took while traveling across the western U.S. over a decade ago.

The original album is preserved on disc one, while disc two contains 40 minutes of extras, including demo versions of "Death With Dignity," "Should Have Known Better," "The Only Thing," and "Eugene". Expansive outtakes of "Fourth of July" and "Wallowa Lake Monster" are also included, both featuring a more cinematic mood. The final gem is the original demo of "Mystery of Love”, which was recorded around the same time as Carrie & Lowell. This song was scrapped for the album but later re-worked and re-recorded for Luca Guadagnino’s Call Me By Your Name.

Carrie & Lowell was the result of an immensely difficult process in which Sufjan’s songwriting – usually a salve – failed him in the wake of his mother’s death. He was eventually led out of a cycle of creative doubt with a rare handover of production duties to Thomas Bartlett. In wrestling with darkness and devastation, life and death, Sufjan was eventually able to begin making sense of the beauty and ugliness of love.

Sufjan toured the album and personally connected his findings with his listeners, a beautiful hand-over of sorts happened - making these songs those of the listeners and their lives and losses and complexities.Since the album’s release the live tour was turned into a live album, so surprisingly celebratory and cathartic as to become something else entirely. Outtakes, remixes, and iPhone notes have been shared via Sufjan’s The Greatest Gift mixtape as well as a collection of “Fourth of July” versions that took one moment from the album and explored its every crevice.

Ten years on, this anniversary edition does things differently to those other treasures. Rather than deconstructing the album or building on it and continuing its legacy, this edition takes the listener back to the moments leading up to and including its release. Carrie & Lowell is presented in its full form once again, alongside a glimpse of the different roads it could have taken. There are new corners to explore, photographic realising of moments previously only lyrically painted, direct reflection from the album’s creator, subtly different weight on certain syllables that speak to Sufjan’s mind right before he shared it with the world.

Carrie & Lowell -10th Anniversary Edition Tracklist

Disc 1:

1. Death with Dignity 2. Should Have Known Better 3. All of Me Wants All of You 4. Drawn To the Blood 5. Eugene 6. Fourth of July 7. The Only Thing 8. Carrie & Lowell 9. John My Beloved 10. No Shade in the Shadow of the Cross 11. Blue Bucket of Gold

Disc 2:

Carrie & Lowell - 10th Anniversary Edition is now available to pre-order / pre-save here. All pre-orders will include a lyric postcard featuring artwork designed by Sufjan. 

“Mystery of Love” may be widely known from the film Call Me By Your Name, but it began as an early demo during the Carrie & Lowell era. Now released as the first single from Carrie & Lowell – 10th Anniversary Edition, this version presents the song in its original, intimate form.

Video directed and produced by Rena Johnson. Original artwork and select photos by Sufjan Stevens. Archival photos and 8mm film provided by Sufjan Stevens and additional assets provided by Rena Johnson.

Ten years of 'Carrie & Lowell'. Explore the full story in our new comprehensive archive, featuring 'Carrie & Lowell 'and its six companion releases. Photos, video, essays and other materials, gathered in one place for the first time.

WWW.CL.SUFJAN.COM" - Originally posted by Asthmatic Kitty Records

“Why are you interested in working for this company” because I love it!!! I love this company and I’m in love with your ceo and the hiring manager the share holders and I would love to work here forever and never quit

I saw one that was purely unhinged: they soak their socks. They're not allowed to take off the wet socks till they're done doing whatever it is that needs done.

Can't clean? Have dirty dishes? Go get dirty dish with dirty dish water in it and pour it on whatever needs cleaned. You could live with the mess before. Now? Probably not. Probably not.

"I speak for me bitch get a grip" iconic, pithy, fabulous. ty.

training a large language model on Anne Frank’s diary to ask for her opinion on kpop 😔

This is it. The Most Post of All Time.

she would be 96 this year, I can only hope that in another branch of the multiverse she's posting "I didn't survive hitler to put up with this bullshit"

Is this the same AU in which she’s a Belieber?

The Picasso Bug from Tanzania. Looks like a painting!

I thought this was the sickest nail art of all time.

Like salt poured on the wound that is being born in Oklahoma

I did not know this capacity for such great hatred was in me. I feel like a wounded animal snarling and spitting as I cower away from this horrid place. Oklahoma, I hope every good and talented person leaves you. I hope you are the first state in the union to fail. I hope I am there to witness your dissolution.

Oklahoma delenda est

Here is your mission.

TSLA hit its all time high of $488.50 on 15 DEC 2024. To reach of a price of $114.00 would be a 76.7% drop. That's huge, right?

Yeah well, when I checked the price just now (12 MAR 2025 @ 1:31 PM EDT), TSLA is currently trading at $250.85. That's down 48.6% from the high.

Babes, we're already nearly two-thirds of the way there.

TSLA $114.00. I believe this is where I say 'like to charge, reblog to cast.'

Something I find incredibly cool is that they’ve found neandertal bone tools made from polished rib bones, and they couldn’t figure out what they were for for the life of them. 

Until, of course, they showed it to a traditional leatherworker and she took one look at it and said “Oh yeah sure that’s a leather burnisher, you use it to close the pores of leather and work oil into the hide to make it waterproof. Mine looks just the same.” 

“Wait you’re still using the exact same fucking thing 50,000 years later???”

“Well, yeah. We’ve tried other things. Metal scratches up and damages the hide. Wood splinters and wears out. Bone lasts forever and gives the best polish. There are new, cheaper plastic ones, but they crack and break after a couple years. A bone polisher is nearly indestructible, and only gets better with age. The more you use a bone polisher the better it works.”

It’s just. 

50,000 years. 50,000. And over that huge arc of time, we’ve been quietly using the exact same thing, unchanged, because we simply haven’t found anything better to do the job. 

i also like that this is a “ask craftspeople” thing, it reminds me of when art historians were all “the fuck” about someone’s ear “deformity” in a portrait and couldn’t work out what the symbolism was until someone who’d also worked as a piercer was like “uhm, he’s fucked up a piercing there”. interdisciplinary shit also needs to include non-academic approaches because crafts & trades people know shit ok

One of my professors often tells us about a time he, as and Egyptian Archaeologist, came down upon a ring of bricks one brick high. In the middle of a house. He and his fellow researchers could not fpr the life of them figure out what tf it could possibly have been for. Until he decided to as a laborer, who doesnt even speak English, what it was. The guy gestures for my prof to follow him, and shows him the same ring of bricks in a nearby modern house. Said ring is filled with baby chicks, while momma hen is out in the yard having a snack. The chicks can’t get over the single brick, but mom can step right over. Over 2000 years and their still corraling chicks with brick circles. If it aint broke, dont fix it and always ask the locals.

I read something a while back about how pre-columbian Americans had obsidian blades they stored in the rafters of their houses. The archaeologists who discovered them came to the conclusion that the primitive civilizations believed keeping them closer to the sun would keep the blades sharper.

Then a mother looked at their findings and said “yeah, they stored their knives in the rafters to keep them out of reach of the children.”

Omg the ancient child proofing add on tho lol

I remember years ago on a forum (email list, that’s how old) a woman talking about going to a museum, and seeing among the women’s household objects a number of fired clay items referred to as “prayer objects”.  (Apparently this sort of labeling is not uncommon when you have something that every house has and appears to be important, but no-one knows what it is.)  She found a docent and said, “Excuse me, but I think those are drop spindles.”  “Why would you think that, ma’am?”  “Because they look just like the ones my husband makes for me.  See?”  They got all excited, took tons of pictures and video of her spinning with her spindle.  When she was back in the area a few years later, they were still on display, but labeled as drop spindles.

So ancient Roman statues have some really weird hairstyles. Archaeologists just couldn’t figure them out. They didn’t have hairspray or modern hair bands, or elastic at all, but some of these things defied gravity better than Marge Simpson’s beehive.

Eventually they decided, wigs. Must be wigs. Or maybe hats. Definitely not real hair.

A hairdresser comes a long, looks at a few and is like, “Yeah, they’re sewn.”

“Don’t be silly!” the archaeologists cry. “How foolish, sewn hair indeed! LOL!”

So she went away and recreated them on real people using a needle and thread and the mystery of Roman hairstyles was solved.

She now works as a hair archaeologist and I believe she has a YouTube channel now where she recreates forgotten hairstyles, using only what they had available at the time.

Okay, I greatly appreciate the discussion here about the need for interdisciplinary work in academia, and the need to reach outside of academia and talk to specialists when looking at the uses of tools, but somehow people always have to turn this into a “gotcha!” where the stuffy academics get shown up (even though this very thread shows some archeologists reaching out to craftspeople to ask about how tools are used because they recognize the need for that knowledge and expertise).

“A hairdresser comes a long, looks at a few and is like, “Yeah, they’re sewn.”

“Don’t be silly!” the archaeologists cry. “How foolish, sewn hair indeed! LOL!”

So she went away and recreated them on real people using a needle and thread and the mystery of Roman hairstyles was solved.”

Did they? Did they really? The archeologists all laughed at the plucky hairdresser and then she proved her theory by simply recreating the styles?

See, what actually happened is that Janet Stephens (the hairdresser/hair archeologist in this post), who published an article about her theory in The Journal of Roman Archeology in 2008, spent about 6 years of research pursuing her idea that perhaps Roman hairstyles were sewn hair and not wigs. She did both hands-on experimentation sewing the actual hair, and more traditional research reading through a ton of sources. This is coming from an interview done with Stephens herself:

“Lots and lots of reading, poring over exhibition catalogs, back searching the footnotes to the reading and reading some more! It helped that I am fluent in Italian and, in 2006, I took a German for reading class. Working in my spare time, the research took 6 years.”

“I am an independent researcher, but my husband is a professor of Italian at the Johns Hopkins University, so I have library privileges there. We are friendly with colleagues in the Classics/Archaeology department and at the Walters Art Museum. They were kind enough to send me articles and clippings, read drafts and help with some picky Latin, though I try not to impose.”

(Source: http://www.thehistoryblog.com/archives/14729)

Wow, so people in the Classics/Archeology department and at the art museum sent her articles and clippings and HELPED her with her research as opposed to laughing at her in their gentleman’s club! It’s almost like people working the archeology/art history these days aren’t all stuffy old white guys from the 1950’s!

Stephens also presented her work at the Archeological Institute of America Conference, and according to the interview I cited above, it was apparently well received: “It seemed to create a a lot of buzz and people said they enjoyed it. It’s not every conference where you go to the poster session and see “heads on pikestaffs”!”

Like, there’s plenty to be said about the ivory tower and the need for interdisciplinary work, and the racism/sexism etc. that newer researchers are working against, but framing this story as “hairdresser totally shows up the archeologists with her common sense!” is needlessly shitting on the academics involved here (and the humanities in general have been struggling to maintain funding at many universities in the US, they don’t need to be further attacked), as well as greatly over-simplifying and downplaying Janet Stephens’ achievement. I think it’s more respectful to acknowledge the six years of work that she put into the project than to tell the story like she just sewed some hair and then all the archeologists’ monocles popped out.

I want to point out that the original post actually fundamentally misunderstands the original article. This was not a case of the archaeologists not recognising the artefact type and a leather worker identifying them, this was a case of the artefact being so unexpected in this context, that it was almost missed. Here is a direct quote from the article:

“The first three found were fragments less than a few centimeters long and might not have been recognized without experience working with later period bone tools. It is not something normally looked for in this time period.”

The archaeological team almost missed them because these bone fragments were both tiny and unexpected as “[the] technology [was] previously associated only with modern humans”. As in, Neanderthals had not been shown to have even been capable to make these artefacts before that point. I don’t think people quite understand how big of a deal this is - this is about the equivalent of finding pottery in a modern human group about 20 000 years ago (they haven’t but that’s the level of *that shouldn’t be there*)

This was identified *by the archaeologists working on the project* because they’d found them before. They fully knew what these artefacts were in the first place, they just didn’t expect to find them there.

Then to prove it, they replicated the use-wear by buying a modern tool off the Internet and doing microscopic analysis. There was not a single modern leather worker mentioned in either the article linked or the actual paper put out. That is absolutely something that would have been acknowledged in both of the papers.

This paper was revolutionary in our understanding of Neanderthal crafting capabilities, recognisied by brilliant and diligent archaeologists and this entire narrative of incapable stuck up archaeologists is an insult to their work.

The women who recognised that the blades were being stored out of reach of children were also archaeologists. Janet Stephens’ research is part of a legitimate branch of archaeological research called Experimental Archaeology. Experimental archaeology has been practiced academically/professionally since the 80s. I’m a hobbiest in a lot of historical crafts and have been the person that a colleague turned to when struggling to identify an artefact. We were able to figure out what it probably was because I knew what use-wear to look for and how to find parallels.

The narrative that archaeologists are opposed to interdisciplinary work is very frustrating as so many of us, including myself, are strong proponents for it. We are very happy to talk to any and all professionals who will talk to us and highly value modern parallels (sometimes a bit too much, actually)

reblogging for the updates.

you guys are so fucking stupidddd omg "rapists and pedophiles should be chemically castrated, this is a good thing" quick tell me about historical precedents of this idea and who or what ideology they are connected to......... 🤔

and the thing is you can't argue with these idiots bc they always ""shut down"" every argument with "ummm so you support rapists and pedophiles" like wow guys great job convincing me you're not a reactionary who will cheer fascists as long as they use the right words. i'm sure you actually arrived to this conclusion based on actual reasoning and not revenge fantasies.

IN CASE you don't know why this is bad and would like to bc you aren't a stupid reactionary weirdo: